Having a rockin' good time with A Hard Day's Night
Nicknamed " The Quiet Beatle", this never failed to amuse George { at one point he said " If I was quiet, the others must have been REALLY LOUD ", or words to that effect }. His voice was always heard within the group, though the other three may not have taken such a voice all that seriously. It is true that George, only 20 when they played America in 1964, had to fight to get his thoughts and ideas taken with any serious consideration, especially in those early days of extra large, world-crazed fame. As the group progressed and George got a bit older, dropped acid, and became more mature, he held considerable influence over his bandmates. His introduction of the sitar to pop music on John's Norwegian Wood was a subtle direction the group would go both musically { more inward, fewer love songs } and personally. George, becoming involved in Eastern religion and philosophy, introduced the group to The Maharishi Mahesh Yogi in 1967. John, Paul and Ringo, by this time completely over the whole Beatlemania thing, were receptive to alternate lifestyles and philosophies. This is basically why John indulged in so much acid in the mid-60's, not just for the rush { there was that, of course } but what you can learn or take from that rush. Religion was another rush for the group. But to Harrison it was more and he would be the only Beatle to remain interested and active in the mysticism and culture of India.
While his sitar gently weeps.
Early on I noticed a cynicism or bitterness in George's songs, those few he wrote that actually made it to their albums : Don't Bother Me, Think For Yourself, Taxman, even the classic While My Guitar Gently Weeps has some pointed lyrics on the waste and indulgence of someone George may be fond of, but whom he is not shy of criticizing { that person may even be himself }. During the Let It Be sessions George walked out on the group for what most folks { wrongly, as it turns out } thought was a disagreement with Paul McCartney, which is captured on film in Let It Be. What is less well known is that Harrison also had it out with John later the same day and that's when he walked, telling them " See ya round the clubs" as an exit line. John's reaction was to incorporate Eric Clapton in George's place, but Harrison came back before Clapton was so much as approached. Before he would commit to come back to the group George made a demand : he would under no circumstances play in a big coliseum or amphitheater when the group was to give their big concert to close the film. Hence, we got the rooftop concert on January 30, 1969, the last time the group would perform live, rather than a proper big-time sendoff. George also brought along keyboardist Billy Preston not only to help musically but also to act as a sort of personal "emollient", to quote George Martin's phrase. Everyone liked Preston and he brought out the best in the other three, leaving petty bullshit behind.
An unusually happy George during the hell of Let It Be
George Harrison's greatest period as a songwriter was from 1968 to about 1973 or 74. He was the first to jump start his solo career with the triple album set All Things Must Pass and the hugely influential Concert For Bangladesh in 1970 and 1971. Living in the Material World in 1973 was another big hit album but it's follow up 1974's Dark Horse was badly received as was the concert tour to promote the album. It was the first tour of America for any of The Beatles since the bitter break up of the group in 1970. After that Harrison's career was earth bound and rarely soared again, although his big comeback in 1987 with Cloud Nine and his part in the mega-group The Traveling Wilburys around the same time brought him back into the spotlight after years in the shadows. Harrison also co-founded Handmade Films, a production company best known for it's Monty Python association but also responsible for such films as The Long Good Friday, Mona Lisa and Time Bandits. George also had a interest in cars and auto racing. Another little known fact : in the early 70's, while still married to Pattie Boyd, Harrison and Ringo's first wife Maureen had an affair. His friendship with Ringo survived.
On November 29, 2001 George left this world far too early at the age of 58. In those 58 years Harrison managed to affect people worldwide not only with his music, which is his most formidable gift to us, but also through his interest in all things Hindu and help making it known to the Western world. Rolling Stone founder and editor Jann Werner said that George's talent as " a guitarist who was never showy but who had an innate, eloquent melodic sense. He played exquisitely in the service of the song. " A toast to George, "the Quiet One". Hare Krishna.
Sources : Wikipedia page on George Harrison
Revolution in the Head by Ian MacDonald
You Never Give Me Your Money by Peter Doggett The Beatles Anthology Photos taken from the internet, at random
I'll be the first to admit it: sometime I am late catching on to certain films, directors and performers that should have captivated me the first time around. I may see a brief glimpse of a performer's filmography and casually dismiss them or view half a movie, with near indifference { always a bad thing when watching a movie }, until I inevitably leave the room. Or worse yet, ones I had been resisting due to lack of interest, laziness, stubborn ignorance - call it what you may - until I did indeed see them. Such was the case with Jean Seberg.
What are you lookin' at?
I had seen her in Airport eons ago on the ABC Sunday Night Movie back in the 70's and her found blonde beauty intriguing, though her performance and screen presence didn't bowl me over. I wondered why I hadn't seen or heard of her before. Curious, I got out one of my film reference books to look up her filmography only to find Jean didn't make a lot of films and when she did they were mostly European productions, consequently a fair portion of her output was hard to see when those films first saw the light of day; today some still are. I noticed she was in the big musical flop Paint Your Wagon in 1969 and something called Macho Callahan, a movie that tried to make a film star of David { The Fugitive TV show } Jansen, that also didn't fare well with the critics and public. Seems Jean would often shuttle from the U.S. and France, the latter being the country that had embraced and recognized her talent, while the American critics found it lacking. Currently, I have seen just a smattering of her work. Some I have on disc yet have not viewed include 1966's A Fine Madness, a quirky comedy with Sean Connery and Joanne Woodward and 1964's Lilith directed by Robert { The Hustler } Rossen , co-starring Warren Beatty. Her real claim to fame was to be for her appearance in Jean-Luc Godard's New Wave classic 1960's Breathless, in which Seberg played the girlfriend of criminal Jean Paul Belmondo. Jean eventually had a sad, bitter end to her life. She died in 1979, officially a suicide, yet questions of foul play have never subsided. { For further details on her life and death, I recommend starting at her Wikipedia page }
Seberg, captured in the photographer's lens, 1957. Bonjour Tristesse
Jean Seberg was a small town girl from Marshalltown, Iowa when, in 1956, she was plucked by Otto Preminger to star in his adaptation of George Bernard Shaw's Saint Joan based on Shaw's play in which Jean, just 18, would play the title role. With a script by none other than Graham { The Fallen Idol ; The Third Man } Greene, Jean chosen from over 18,000 young women, was to be taken to England for filming with a stellar cast that included Richard Widmark, John Gielgud, Richard Todd and the magnificent Anton Walbrook. Quite a pedigree. The shoot was as difficult for Jean as possible. Preminger, never known on set for his soft touch, screamed, bullied and berated her constantly. During the dangerous Joan-at-the-stake moment, filmed during the last week of production, the fire got out of control. Thankfully an alert crew member reacted quickly and extinguished the flames. Jean offered to continue the filming but Preminger said no and dismissed the company for the day. For the rest of her life Seberg would have the scars on her stomach from where the fire had scorched her.
A frightening picture of Jean surrounded by fire, cast and crew. 1957, Saint Joan
Preminger, who had Jean under personal contract, assigned her the role of Cecile in his adaptation of Francoise Sagan's overnight book sensation Bonjour Tristesse { the title translates to Hello Sadness }.Sagan's novella {she was only 19 at the time of publication}, was translated into twenty languages, was a big success, Preminger's film adaptation was not well received, with much criticism laid at Seberg's feet for her portrayal of the female protagonist. However, the role, and her presence in it, led to her being cast in Jean-Luc Godard's Breathless, one of the first of the " La Nouvelle Vague" or"New Wave" of French filmmakers that would take America and the world by storm in the coming decade { the New Wave was to film what The Beatles were to music. }
Cellar-dweller Jean, from Bonjour Tristesse
Bonjour Tristesse, excellently embodies the spirit of a teenage girl who is so threatened by the possibility of her widowed father Raymond { a happy-go-lucky David Niven } falling in love with Anne { Deborah Kerr } that she will concoct a scathing and ultimately successful plan to remove Anne from her father's life as well as Cecile's, with tragic results. The film was tepidly received when released, however, time has been kind to it and the film currently holds a 85% rating on Rotten Tomatoes and a 70% ranking on IMDB, with Seberg being singled out as particularly effective. Guess it goes to show how some things get better with age. Seen with fresh eyes, all the Seberg and Saint Joan hype now forgotten, Bonjour Tristesse appears modern and vibrant. The opening sequences are filmed in black and white, traditionally reserved for flashbacks but here giving the viewer a melancholy feeling that feeds the story perfectly. Perversely, the past flashback portions are filmed in color. Yet this makes perfect sense when taken from Cecile and Raymond's POV. The present is all going-through-the-motions and a strain, while the past, however recent, is all technicolor and wide screen, with beautiful vistas as far as the eye. In these scenes each moment is to be savored and anything is possible. Vacationing in the south of France with Raymond's girl-toy of the moment Elsa { a joyous, all but scene-stealing, vivacious turn by Mylene Demongeot}, incest between father and daughter is also implied, as Seberg and Niven seem uncommonly close.
Jean's delicate beauty shines best in Bonjour Tristesse
Throughout the film Seberg brings a gamine quality to Cecile that is precious and hard to resist. Whether plotting against Deborah Kerr's Anne, flirting and losing her virginity to Geoffrey Horne or {not so ? } innocently playing Daddy's girl to Niven, Jean Seberg is never less than captivating. All my moviegoing life I had never given into the allure of the androgynous type before, mostly because androgyny for women meant trying to pass as a man a la Julie Andrews in Victor/Victoria, Katharine Hepburn in 1935's very diverting Sylvia Scarlett or the now-you-see-her-now-you-don't quality of Keira Knightly of the Pirates of the Carribean movies. Seberg brought a half-way sexuality not seen since the days of Marlene Dietrich dressing in drag in Morocco and it's ilk. The early B&W scenes show Jean/Cecile as a very sophisticated young woman -almost an Audrey Hepburn as Sabrina quality- who seems unusually detached from those around her, even Papa Niven/Raymond. As the movie unfolds the color flashback scenes show Jean/Cecile still a bit awkward, with a youthfulness that is in marked contrast to the B&W scenes. Watching this movie I could appreciate the growth of character Jean gives Cecile, never an easy task for an actor. By movie's end, Cecile is completely lost. Lacking anything better, Cecile and Raymond continue their endlessly futile lives.
Anyone wishing to view Bonjour Tristesse can do so, the film is available on DVD and Blu-Ray, the film also shows up - uncut and letterboxed - from time to time on TCM. Highly recommended and good intro to Jean Seberg's work. I have been hooked on her ever since and plan to delve more into her life and work. I understand there are two good works about Jean I have not yet seen or read, they would be the 1995 film From the Journals of Jean Seberg and the book Played Out by David Richards, both are regarded as excellent sources of all things Jean.
Sources : Wikipedia page on Jean Seberg
The World and It's Double: The Life & Work of Otto Preminger by Chris Fujiwara
IMDB
Rotten Tomatoes
Turner Classic Movies
All images were pulled from the internet at random.
Note : Although this has been strictly a blog about movies, I will take the opportunity to write about the FabFour in the coming year, starting with this initial entry. These will cover the group through the good times and bad times they shared, not just with each other but with the world at large and how they challenged and changed the world we live in, from our sense of fashion, music, religion and cultural, but moreover, how they changed me - forever.
The arrival in New York City. They couldn't believe the brouhaha was for them.
In 1964 America was hurting. Having lost their young President to an assassin's bullet, America - nearly three months later - was still in a state of shock and disbelief, licking it's wounds and trying to recover from it's national car crash. America needed an antidote and maybe that is why we took to their irreverent humor and the raucousness of their music so much. On Sunday night, February 9,1964, America got it's first glimpse of what had been happening in the British music scene for nearly two years. That's right, two years a hit in England before the U S of A finally caught on to the big brouhaha that had been building to a fever pitch across The Pond. In the mid-fifties America had Elvis Presley burst upon the scene followed quickly by Buddy Holly, Jerry Lee Lewis, Chuck Berry, Fats Domino. They were the ones who brought Rock n' Roll to the Hit Parade, but by 1964 Elvis had been tamed and was turning out bland family fare movies, Buddy Holly had died in a plane crash { that also claimed Richie Valens } and the rest had been phased out, pushed aside by the record companies who, by 1963, offered up pop ditties like Dominique by The Singing Nun { I know, the mind spins at such a concept }, Sugar Shack performed by Jimmy Golmer and the Fireballs, Steve Lawrence with Go Away Little Girl and in early 1964 Bobby Vinton and his numero ono song There! I've Said It Again { a title that sounds similar to Brittany Spears' Oops! ... I Did It Again }. In other words, Rock n' Roll had drifted far from where Elvis and his brethren had been almost ten years previous. But all that was about to change. Rock n' Roll was about to get fun again, and eventually, a little { and then a lot } more wild.
Can you imagine being there ?
We forget that they were not quite men. These were college age kids, barely out of high school, conquering the world. John and Ringo were only 23, George not yet 21, when they came to America to perform on the biggest variety show {"shoe"?} in all of show biz. They were familiar in Europe, having schlepped across Great Britain, Germany and France. After appearing on The Ed Sullivan Show, they would to go to be familiar around the world. John, Paul, George and Ringo would be as well known and welcome as a favorite family member, although a little wild and more than a touch irreverent and supremely talented. For the first time since Elvis, girls { and no doubt some boys } screamed with delight as they performed on the world's stage. From Portland, Maine { or Portland, Oregon } to Timbuktu or Cucamonga and back again, we all followed their exploits. Setting attendance records, album sales records, number one hit record records. The Beatles conquered the world like only a handful of mortals have: Elvis for sure, Sinatra yeah, Michael Jackson too. Justin Bieber is famous worldwide yet how many folks, picked at random, could name or sing one of his songs? With The Beatles, even seniors knew what "yeah,yeah,yeah" meant. I venture to say no one brought the throng together quite like the mop tops from Liverpool. The Beatles made being British cool and without them to lead the way who's to say when The Rolling Stones, with their unique brand of bad boy attitude and hard driving, blues-rock music, would have made it to American shores? The Beatles paved the way for the British Invasion that took over the radio waves of the mid-sixties { remember The Dave Clark Five, Herman's Hermit's, Gerry & The Pacemakers, etc} .These are facts that cannot be ignored. They became a part our nation's consciousness. Their songs are a part of our DNA, weather one chooses to acknowledge them or not, one could not { still can't } ignore them. But for one chubby, crew-hair cut boy from the middle of the country, they brought so much more.
The first album to hit America, an iconic image.
I suppose The Beatles were the first performers I wanted be. Not quite five years of age in February 1964, I can't remember a time when the group and their songs were not a strong part of my life. They went with me as my family moved from Santa Paula to Santa Barbara to Santa Maria and back to Santa Barbara again, all in a matter of three years. They have been with me on the bittersweet day of my high school graduation, the day I got married, the amazingly surreal day I became a Father, that dark day I was told to leave my home and got divorced, and the joyous life affirming day I became a Grandfather, when everything came full circle. I've always thought of them as my best friends. My faves growing up were John and Paul, natch. Makes sense, I guess. Lennon & McCartney, the great songwriting partnership of the age, raising their voices in perfect harmony. Even at my tender age I was aware of the myth-making of those two guys. Only I didn't know it was a myth. John and Paul were a fact ! They were the two who wrote the songs coming from everyone's radio's and they were the two on everyone's list of greats. I have an older sister who loved the group far greater than I did at the time. We would put on the records, and when Mom or Dad were gone we'd get out the tennis rackets, pretend they were our guitars and lip-synch to the songs on the stereo that was as big as a piece of furniture. Of course Sister, being older, would take all the best songs and leave me with the George or Ringo leftovers like Honey Don't or Everybody's Trying To Be My Baby. She rarely let me in the spotlight of our own creation. But that didn't stop me. I would go to my own room and mouth the songs she would never let me and I was the star of my own show. You must understand the powerful imagination behind all this. Anyone who imitates The Fabs with a crew-haircut has got to have a pretty well-developed fantasy life.
I didn't know it at the time, but the U.S versions of every Beatles album, until Sgt.Pepper, was altered from the British originals to create more albums, and therefore, more $$$$.
From The Ed Sullivan Show the group went on and on. The evening news would follow them from city to city, country to country. They were big news and they made us feel good and forget our countries numerous problems, if only for a while.Then they were in a movie, which everyone knew was a quickie rip-off to make a fast buck on a fad that couldn't possibly last more than a few more months, or maybe, at best a year. Then A Hard Day's Night saw the light of day in movie palaces. People were somewhat shocked; it was good, some said great. The script was witty, the direction clever and fresh. The Beatles seemed to have an ease and natural presence on screen, seems they would be fun to have a pint with. John's biting sarcasm, Paul's cuteness, George's dead pan, and Ringo's everyman, the ordinary bloke, with his hangdog expression; the luckiest man in show biz. And maybe the nicest. Now we know these were not the real men, bur the reel ones, simple variations on a theme, but it gave each one a separate identity, even if it was a bogus one, that would serve them well in the years ahead as individuals. This was important because when the group first hit the American shores, to some eyes, one seemed almost imperceptible from the other. They all dressed alike, talked alike, and with their bushy full head of hair, looked alike.
At first there were some dissenters. Most of the media thought they were at best amusing, at worst an offensive joke, bordering on lunacy. Music journalism was basically non-existent, and what there was of it wasn't taken seriously, most of it being of the TigerBeat variety, appealing mostly to teen and pre-teen girls. No one expected their level of fame to last, maybe a year or two. That they have outlasted such fame and fanfare is due to the amazing legacy they have left us with; the rich tapestry of music, images and words that have survived the group's own self destruction. However, the "older generation" { those over 30 and not to be trusted }, or most of them, didn't "get" The Beatles. To the over-30 crowd who grew up with Patti Page, Frank Sinatra, Nat King Cole, Rosemary Clooney and the like, rock n' roll was an affront to their ears. Remember this scene?
As defense attorney Herr Rolfe in 1961's Judgement at Nuremberg. The film brought Schell an Oscar for Best Actor and everlasting immortality.
Oscar winning actor Maximilan Schell passed on Feburary 1, 2014 at the age of 83 of a "sudden and serious illness." Mr.Schell's film career was jump-started with his role as Marlon Brando's by-the-book commanding officer in 1958's The Young Lions. His next film got him an Academy Award for Best Actor, 1961's Judgement in Nuremberg. The film, an adaptation of a Playhouse 90 teleplay, saw Schell reprising his role as defense attorney Hans Rolfe who is hired to defend accused Nazi, Dr. Ernst Janning played by Burt Lancaster in the role previously offered to Laurence Olivier. Schell is nothing short of excellent in the film, though I have always been more entranced by Montgomery Clift's incredibly affecting turn as a simple minded witness who had been sterilized years earlier on the orders of Dr.Janning, and by Spencer Tracy's easy authority as Judge Dan Haywood, the film's conscious.
First break in Hollywood : The anti-war film The Young Lions, based on the huge best seller by Irwin Shaw.
Schell's film career had an up and down quality to it. The 1960's and 1970's found him most active in both Hollywood and European productions, some of the more notable being 1964's heist flick Topkapi opposite Melina Mercouri, Sidney Lumet's integral spy-thriller The Deadly Affair, The Odessa File from 1974, another Oscar nominated performance in The Man in the Glass Booth, the Disney sci-fi flop The Black Hole, Fred Zinnemann's Julia in a brief, yet affecting performance as Lillian Hellman's {Jane Fonda} contact in Nazi Germany { another Oscar Nom, this time in the Supporting category } and a Nazi officer in the mega-budgeted-all-star war film A Bridge Too Far. After these high profile films Schell, who also had begun a career as an independent filmmaker, made fewer appearance's on the big screen, in fact Schell would record only six film or television perfs in the 1980's with one of his major successes as Peter in the TV-movie Peter The Great which won an Emmy as Outstanding Mini series in 1986.
The affecting, if possibly fictitious, Julia. The last great film by Fred Zinnemann and the film debut of one Mary Louise Streep.
1984 brought the release of Marlene, a documentary on the life and career of the legendary Marlene Dietrich. The film, made under great duress as the subject at the last minute decided she didn't want to be filmed, was a major success for Schell and was nominated for an Oscar for Best Documentary. I think it one of the best doc's I have ever seen about a performer's life and how that performer tries to keep her career and life under her own control despite evidence to the contrary { the usual lies about birthdate, but also re-imagining the past as Dietrich wishes it to be remembered }.
The film presents a cranky Dietrich, at one point becoming exasperated by Schell's continuous questioning of her past, telling him he should " go back to Mama Schell and learn some manners".
The film also is a sad representation of a icon who believes no one will care about her life in film and that it was all "schmaltz". The film has recently been released on Blu-Ray, which I may seek out as my old VHS copy is of poor quality.
Great documentary of a great subject : The Magnificent Marlene Dietrich. I have this poster which I have hung in my apt from time to time. When they were little my sons never liked this poster. This one, and the Napoleon poster I had from the video release of the Able Gance silent classic, always freaked them out.
The 1990's brought some him some hullabaloo in film like his reunion with Brando in The Freshman { as the strange Larry London } and Deep Impact, a not bad disaster flick as Tea Leoni's dad and John Carpenter's 1998's pain-in-the-neck Vampires. Schell's last film was 2008's The Brothers Bloom. His sister is the actress Maria Schell. Per his Wikipedia page, Maximilian was married twice with no children listed. Godspeed, Max.
There was a time, waaaay back in the past, when the announcement of the Oscar nominees would get me all excited to a near sexual frenzy. Alas, those days are no more, in fact they have all but faded from view. The Oscars and the nominees are taken with a grain, no, a pound of salt. All but a couple of the noms were predictable. Let's start with Best Actress : Meryl Streep. Again! Must we? Why does everything she's in turn to Oscar gold? No one, I mean NO ONE is that good. Not Olivier, not Brando, not Tracy or K.Hepburn got the noms that Mighty Meryl gets. One thing is for sure : she is not underrated. Streep could scratch her ass, open a garage door or sneeze in her hand and if a camera catches it, BOOM!! Oscar Nomination!!!! I have loved many of her films and her work in them but honestly people, I am getting tired of her { betcha couldn't tell }. I thought Cate Blanchett amazing in Blue Jasmine but I'm rooting for an Amy Adams upset.
Best Actor gave us a surprise in not giving Robert Redford a nom for All Is Lost in which Redford gives probably his most award worthy performance ever. I'm thinking it's between Bruce Dern or Matthew McConaughey but I want to see Leo nab the gold. DiCaprio has given us at least 12 or so years of stellar work and Wolf of Wall Street may be his best with a role that stretched his talent the farthest. Speaking of McConaughey this man has done a complete 360 on his career. From the light fluff of Failure To Launch and The Wedding Planner to serious stuff like Mud, Killer Joe and now Dallas Buyers Club. His career turnabout reminds me of William Holden's in the 50's, who went from Apartment For Peggy to awesome stuff like Sunset Blvd to The Country Girl to Bridge On The River Kwai and his Oscar winner Stalag 17.
The Director category wa pretty much in step with the critics and navel gazers. The internet buzz says Alfonso Cuaron is the leading contender. If I had a vote it would go to Marty. His Wolf pushes boundaries { which is probably why it, and he, will lose } and shows us that at 71 Scorsese will not be put out to pasture and moviegoers can look forward to a few more challenging films from him in the future.
Supporting Actress is kinda a coin-flip { as are several of these categories } but the early line says Lupita Nyong'o is the front runner. Jennifer Lawrence won't win. She won for Best Actress last year. As for the others, it's not in the cards for them.
For Supporting Actor Jared Leto is suppose to be incredible in Dallas Buyers Club and I feel everyone else is an also ran. I read online that the Jonah Hill nom was a bit of a surprise but I expected it. I feel Fassbender was a bit of a shock because, although he is an excellent actor and fine in it, his role as a brutal plantation owner is kind of one dimensional.
So that leaves us with Best Picture. Unlike recent years there appears to be no real front-runner, which could make the awards fun this year and may bring genuine upsets and give some long shots a chance. I am not a professional critic and I haven't yet seen all or even half of the nominees. This blog is something I do out of love after I leave my day job { I know, don't quit it } and on weekends. I don't have the luxury of having screeners sent to me or going to private screenings and film festivals so, admittedly, there a lot of these films I still have to catch up with. But I know what I like and I hear a lot of buzz on the internet. As anyone who has seen my predicted Oscar winners on this blog the last two years can tell you, I can be pretty savvy as to who I think who will take the crown { as opposed to who I want to win, which are two different things }. At this early date I really cannot predict much. However, I will go out on a limb to say Cate will win Actress, Leto for Supporting Actor and Nyong'o for Supporting Actress. I have a strong feeling for American Hustle for Picture. But beyond that I really couldn't say. Not yet. Check back in about a month when all those various Guilds put in their two cents worth in and I will post my full predictions then.
Oh, one more thing. Not an Ellen fan, really. Nothing against her but I thought Seth MacFarlane's tastelessness { for some } was pretty spot-on funny, and I feel the Oscar's take themselves a wee bit too serious and could use more irreverence. Or Steve Martin, who kills as host. But the show's producers picked Ellen because she is a safe bet and will play by the rules. I think this year's show could be one of the dullest. I hope I'm wrong.
Ever have a Charlie Chaplin New Year's celebration? Didn't think so. I have.
Ever find your self voted designated driver for the night when you least expected it? Me too.
Ever celebrate with four of your best mates? Me too.
Ever have a Italian sex-bomb get on your table to dance? Me neither.
Ever have your brother kiss you on the lips at midnight on New Year's ? If so, it's the kiss of death.
Ever party like it's 1924, with hip-hop?? Didn't think so.
Ever see a beautiful girl sitting by herself at a party looking so forlorn that you couldn't help but go up to her and try to make her laugh? Try it sometime.
Ever been invited to one of Holly Golightly's toga parties? Me neither, but I did go to a toga party once. But Holly wasn't there.
That's it. Goodbye 2013. Been nice knowing you, but your expiration date has past. Cheers!!!!
I thought my first encounter with screen siren Gloria Grahame was in the movie The Bad & The Beautiful, Vincente Minnelli's inside view of Hollywood circa 1952. In it she plays southern belle/flirt/wife of Dick Powell. The role is not really typical Gloria Grahame for generally in the movies { and in life? } she was the bad girl par excellence. In B & B, Gloria is a coquette, not really bad. No, I was wrong. I first saw her, without knowing anything of her or her filmography, in 1946's It's A Wonderful Life. Not knowing what I had stumbled upon { the film was about half way in }, It's A Wonderful Life and George Bailey's story captured my imagination from that first accidental viewing long ago. I thought Donna Reed was a babe, but that Gloria Grahame was the kinda doll I couldn't take home to momma and I wouldn't want to, but I would want to take her to bed. Even, or especially, in that film's environment, there was something lethal about her attitude, strut, and the way she was ready to go with George on a wild ride, but wasn't ready to go up to the falls and watch the sun rise. Not her idea of a scandal, probably because it wouldn't be scandalous or, to be more specific, sleazy enough. By the time. Because Gloria Grahame knew all about sleaze.
With hubby number two, Nicholas Ray.
Born in 1924, Gloria Grahame began her film career in 1944 at MGM. Even with her success with Wonderful Life, Metro didn't see much potential in her and sold her contract to RKO in 1947. What at the time must have seemed to be a setback to her became one of the most important moves of her life and career, for RKO was the home of film noir with talents like stars Robert Mitchum, Dick Powell, Robert Ryan and up and coming directors like Edward Dmytryk and Nicholas Ray. Ray, who would become her second husband, would make two films with her. 1949's A Woman's Secret and 1950's noir classic In A Lonely Place. Gloria would gain prominence and her first Oscar nomination for Dmytryk's classic noir Crossfire made in 1947 at her new studio. While making A Woman's Secret Nick Ray and Grahame, who had both been married before { Ray had a son from wife number one }, had a whirlwind romance and were wed about six weeks into the filming. They had a son born in November 1948. By the time they started Lonely Place in late 1949, Ray and Grahame's marriage was on the brink of collapse, due in no small part to Gloria's teasing and pushing Ray's jealousy button's. Patrick McGilligan's biography on Ray, sites how " many of those who knew Grahame considered her a nymphomaniac who lusted after multiple sex partners." According to actress Jeff Donnell, Grahame expected Ray to be " possessive and temperamental, and when he wasn't she would create situations to make that happen." McGilligan's book goes on to say "at one point in their relationship Gloria pulled a gun out of her handbag and ordered him to fuck or die." The couple separated for a time, reconciled, only to divorce in 1952 after Nick Ray caught Gloria in bed with his 13 year old son, Anthony, shortly after her turn in C.B. DeMille's circus epic, 1952's Best Picture Oscar winner The Greatest Show On Earth.
Gloria, no doubt leaving town on a rail, in Fritz Lang's Human Desire.
At the time of this scandal, which was generally known in Hollywood but discussed only in hushed terms, Gloria's career was riding the crest of a huge wave. In 1952 alone her credits included not only the DeMille and Minnelli films, but also the Joan Crawford thriller Sudden Fear and a small bit in Josef Von Sternberg's farewell to Hollywood filmmaking Macao opposite Jane Russell and noir icon { and former brother-in-law }, Robert Mitchum. Gloria nabbed the Oscar for Best Supporting Actress for Bad & The Beautiful, but the award was something of a career win for her stellar work that year.
1953, 1954 and 1955 would bring even more outstanding turns in such films as Elia Kazan's Man On A Tightrope as Fredric March's slutty wife; getting a coffee pot full of experience from Lee Marvin in Fritz Lang's crime classic The Big Heat and Lang's 1954 noir on infidelity Human Desire; Naked Alibi, playing a bar singer; back to Minnelli-land for the The Cobweb as shrink Richard Widmark's meddling wife; lost among the many stars in Stanley Kramer's maiden directing effort, the dismal, yet popular Not As A Stranger; and as Ado Annie in Fred Zinnemann's uneven adaptation of Rodgers & Hammerstein's Oklahoma!
After this slew of A-status films and performances, Grahame's film career took a dive. She would appear in only four more films over the next fifteen years, the best of the bunch being a return to noir with Odds Against Tomorrow for director Robert Wise in 1959. Over the years Grahame, besides addicted to sex, was obsessed with her looks, particularly her lips, which she would have surgery after surgery on to help achieve just the right pouty look she wanted to express. Grahame would have so many of these operations, mainly to her upper lip, that according to Wikipedia it left her mouth partially immobile and made speech difficult at times. After leaving Nicholas Ray, Grahame would marry two more times, in 1954 to Cy Howard which ended in divorce in 1957 and in 1960 to Anthony Ray, so in a way she kind of married her son. They were to have two sons before divorcing in 1974.
Great poster art for the Minnelli melo about the doctors, patients and significant others of a mental institution.
In the 1970's Grahame began working in film and television with more frequency, though mostly in low-budget affairs. One of the more high profile parts for Gloria was the mini-series Rich Man, Poor Man and the Howard Hughes-Melvin Dumar comedy Melvin & Howard directed with a deft hand by Jonathan Demme. While working in England in 1981, Grahame under went surgery for fluid that had developed in her abdomen. During the procedure the doctor accidentally punctured her bowel and she came down with peritonitis and died on October 5, 1981, age 57.
Gloria and her gun.
Gloria Grahame's life was without a doubt a bumpy ride, but with the rediscovery of film noir and the various websites and film festivals around the world, Gloria and here siren-sisters of the silver screen like Marie Windsor, Audrey Totter and Lizbeth Scott { to name just a few } have been rediscovered by millions of new fans and their work will continue to live on movie screens, big and small, of cineaste's the world over.
Sources : Media : Wikipedia page on Gloria Grahame
Turner Classic Movies
Books : Nicholas Ray : The Glorious Failure of an American Director by Patrick McGilligan
.jpg)
