Saturday, December 26, 2009

A Sneak Peak at 2010 posts

In January, I plan to start a three part seris on films that were based on John O'Hara novels.

John O'Hara (January 31,1905-April  11, 1970, born in Pottsville, PA, had a long and distinguished literary career, most notably as a novelist and as a writer of short stories. Many of his stories were set in the coal mining region of Pennsylvania.  He was unable to attend college due to the premature death of his father. A theme that would appear in this works. He worked as a reporter for various newspapers before moving to New York City, where he began to write short stories for magazines. In his early days he was also a film critic, a radio commentator, and a press agent; later, with his reputation established, he became a newspaper columnist.  In the three and a half decades following the publication of his first novel, Appointment in Samarra, O'Hara wrote twelve novels, five novellas, fifteen collections of short stories, nine published or produced plays, three credited screenplays (along with several unproduced screenplays and uncredited work on a half-dozen other films), and three collections of essays. A Rage to Live, Pal Joey, Butterfield 8, and From the Terrace were turned into movies. More than 400 of his stories were published in magazines, including some 300 in The New Yorker.

Friday, December 25, 2009

Merry Christmas!!!

I hope you had a great Christmas. Just wanted to post a special shout-out to readers of  my blog.  I could not do it without you!  Best wishes for 2010. I hope it will be a great year for everyone.


Thursday, December 10, 2009

The Barefoot Contessa (1954) : What is the Spanish Word for Cinderella?

Humphrey Bogart .... Harry Dawes
Ava Gardner .... Maria Vargas
Edmond O'Brien .... Oscar Muldoon
Marius Goring .... Alberto Bravano
Valentina Cortese .... Eleanora Torlato-Favrini (as Valentina Cortesa)
Rossano Brazzi .... Count Vincenzo Torlato-Favrini
Elizabeth Sellars .... Jerry
Warren Stevens .... Kirk Edwards
Franco Interlenghi .... Pedro Vargas
Mari Aldon .... Myrna
Bessie Love .... Mrs. Eubanks
Diana Decker .... Drunken blonde
Bill Fraser .... J. Montague Brown
Alberto Rabagliati .... Nightclub proprietor
Enzo Staiola .... Busboy

Joseph L. Mankiewicz-Producer,Director and Screenwriter
Mario Nascimbene-Composer (Music Score)
Jack Cardiff-Cinematographer
Arrigo Equini-Art Director
Michael Waszynski-Associate Producer
Sorelle Fontana-Costume Designer
William W. Hornbeck-Editor
Charles Knott-Sound/Sound Designer


The story is that of a dancer, picked out of a night club in Madrid by a trio of Hollywood insiders who magical turn her into a movie star. At the height of her career, she gives it up to marry an Italian Count,but remains a simple, barefoot girl, at heart. There are echoes of Ernest Hemingway, of Scott Fitzgerald, of Dorothy Parker and of D. H. Lawrence in this film.

It is told using flashback recollections, fetched out of the silent thoughts of a group of gentlemen who are attending the Countessa's (Maria Vargas/Ava Gardner) funeral. One is the Hollywood director (Harry Dawes/Humphrey Bogart),who actually coaxes her away from Madrid and serves as a wise but passive counselor through most of her spangled career. Another is a loud-mouthed press agent (Edmund O'Brien/Oscar Muldoon) for an American multi-millionaire (Kirk Edwards/Warren Stevens)whose whimsical interest in movie-making accounts for the "discovery" of the girl. Yet another is a South American playboy (Alberto Bravano/Maurice Goring) who snags her briefly from this surly young tycoon. And the last is the Italian Count (Rossano Brazzi/Count Vincenzo Torlato-Favrini) who proves a dismal disappointment all around.

Gardner came out of near-poverty with no ambitions grander than becoming a secretary. She would have a very interesting life. In 1941, at age 18, she made a trip to New York to visit her older sister, who was dating a photographer. He took some pictures of her, put one in the window of his shop, where it was seen by an MGM messenger, who told his bosses about it. In the blink of an eye Gardner was signed by MGM.

On her first day at MGM, she would meet Mickey Rooney who pursued her relentlessly. He would be the first of three husbands-Mickey Rooney, Artie Shaw and Frank Sinatra. Bullfighters,CoStars and beach boys would become her lovers during between and after her marriages. While filming this movie in Italy she filed for seperation from Frank Sinatra. He would make repeated trips to try to win her back. While filming, she began a torid  affair with Luis Miguel Dominguin, who in the 1950s was Spain's premier matador. It was at this time that she decided to  Madrid.

Ernest Hemingway became a close friend (not a lover). He would teach her how to bullfight. A few years later she was involved in a horseback riding accident  involving a bull. She was at an Andalusian bull ranch observing testing of the bulls and someone suggested that she hop on a stallion and ride into the ring.. Drunk on Cognac, and Absinth, she pranced around on the horse and then the bull charged them. The horse stopped, reared up and threw Ava to the ground. She landed face down on her right cheek. Her cheek became horribly swollen and bruised. Several months later, there were attempts to correct the damage to Ava's face. If you look at pictures of Ava after 1957 you will notice that on one side of her face she has two dimples below her cheek. It was the result of the corrective plastic surgery.

She would make her home in Spain until the mid sixties and  then she moved to  London permanently.

Casting Notes:
Rumors were that the story was about Rita Hayworth's rise to fame. 

The Kirk Edwards character was based on Howard Hughes.
Production Notes:
The flamenco scene was one of Gardner's favorites from her career. "Not only was I getting more and more intoxicated by the romantic rhythms of flamenco, but this was the first time I'd ever danced in a film, so I practiced every night on those cold Roman floors for three full weeks. We shot the scene in an olive grove in Tivoli, outside Rome, with 100 gypsies beating time to a phonograph record. When the phonograph broke, they kept right on beating and that was the take we used." She seemed to understand her character, saying "the only place she feels safe looking for love is back in the gutter where she came from." But she hated the way the film was promoted, "That damn advertising line, 'The World's Most Beautiful Animal' will probably follow me around until the end of time."

United Artist-Studio released the film was on September 29,1954.
Figaro-Production Company


Gardner is exquisitely lovely and beautifully gowned by the Italian couturier Fontana. At the premeire of her first film she wears a gorgeous blue satin gown. On the boat in the riviera, she dons a black velvet bathingsuit. Later, there is one particularly stunning strapless Pink/Lavender satin gown, beaded in black and white, and a bolero jacket with long trailing sleeves.






Growing up in North Carolina she really hated to wear shoes, just like Maria Vargas. Ava was a tomboy and would put her shoes in the mailbox in the morning and  play in the country fields all day. 
The statue that was made of Gardner during filming, would later be purchased by Frank Sinatra. He placed it in his garden at his Palm Springs home. Talk about being obsessed! When he married Barbara Marx, in the mid 1970's,the statue was mysteriously removed from the premises.


Harry Dawes: "What's the Spanish word for Cinderella?" 

The film never clears this up, but it is Cenicienta.


Edmund O'Brien breathed so much credibility into the stock part of a Hollywood press agent that he won an Academy Award for best supporting actor of 1954. He also won a Golden Globe for this part.

Review/Final Thoughts:
Gardner was equally well served in The Barefoot Contessa (1954), which, in many ways, was a replay of her own rags-to-riches personal story. She is good in one or two moments—when she tells of a childhood in Madrid, and when she seeks the solace of her old friend, the director, in her last scene. 

Bogart is really good as her "all knowing" fairy godfather. But I really think that Edmund O'brien steals the show as the anxious,sweaty Studio press agent.
Even though this film was not a critical success, I really enjoyed it. You girls out there will love the costumes and Ava looks stunning.

Sunday, December 6, 2009

A Place in the Sun - 1951


Elizabeth Taylor-Angela Vickers
Montgomery Clift-George Eastman
Shelley Winters-Alice Tripp
Raymond Burr-Frank Marlowe
Lois Chartand-Marsha Eastman
Fred Clark-Bellows
Charles Dayton-Kelly
Ted de Corsia-Judge
Kathryn Givney-Mrs. Louise Eastman
Herbert Heyes-Charles Eastman
Frieda Inescort-Mrs. Vickers
William Murphy-Mr. Whiting
Anne Revere-Hannah Eastman
John Ridgely-Coroner
Walter Sande-Jansen
Douglas Spencer-Boatkeeper
Shepperd Strudwick-Anthony Vickers
Keefe Brasselle-Earl Eastman
Paul H. Frees-Rev. Morrison


George Stevens -Director and Producer
Charles C. Coleman, Jr-. First Assistant Director
Ivan Moffat -Associate Producer
Hans Dreier -Art Director
Walter Tyler -Art Director
William C. Mellor -Cinematographer
Franz Waxman -Composer (Music Score)
Edith Head -Costume Designer
William W. Hornbeck -Editor
Pat Moore -Additional Editing
Wally Westmore -Makeup
Harry Brown -Screenwriter
Michael Wilson -Screenwriter
Emile Kuri -Set Designer
Gene Garvin -Sound/Sound Designer
Gene Merritt -Sound/Sound Designer
Gordon Jennings -Special Effects


This film is based on the 1925 Theodore Dreiser novel and was originally filmed in 1931. This 1951 remake was directed by George Stevens under a new title. A PLACE IN THE SUN was the first of director Stevens' "American trilogy" of films - the other two films were the classic western SHANE (1953) and epic GIANT (1956). Production on this film started in 1949 and was not released until 1951. Location shooting took place in  Lake Tahoe, NV.

Montgomery Clift stars as George Eastman, poor relation to the rich Eastman family. His father is dead and his mother is a religious fanatic. George leaves religion behind and wants to be with the rich and beautiful people of the world. He works at menial jobs and the story begins with Monty hitchhiking to a big city to begin a new life. He wants his “place in the sun.” He had a chance encounter with his rich uncle and is offered a job at the family business (a women’s bathing suit factory). He starts off working on an assembly line where, against company policy, he starts a relationship with one of the factory girls, Alice Tripp (Shelley Winters).  Before long, however, he is spending time with his wealthy relatives where he meets and is instantly smitten by the luminously beautiful Angela Vickers (Elizabeth Taylor). In her, he sees a future that embodies the good life. She is beautiful, rich, dresses impeccably and drives a nice car. What more could a man want? LOL!

Note: While watching this movie, look for a slow dissolve between scenes. It gives the film a ghostly quality.

At a formal party a few weeks later, Angela sees him shooting pool and strikes up a conversation. In the first minute of the movie she drives by him. She did not notice him hitchhiking in a t-shirt and jeans. In a nice suit, she now takes notice of the attractive ambitious George Eastman. Edith Head’s gorgeous famous white gown is showcased in this scene. It fits Elizabeth like a glove. It is probably one of the most famous scenes in 1950’s movie history.

George and Angela begin a love affair and now he is now caught in a love triangle. George's “place in the sun” seems assured, except that Alice doesn't want to let him go. Alice is also in “Trouble.” While dealing with Alice, Angela is constantly in his thoughts. Her image appears on billboards, newspaper articles and even a flashing sign outside of his bedroom window. While George tries to figure out how he can keep a charade going with Alice and still love his dream girl Angela, everything comes to a tragic head over Labor Day weekend at the Vicker's lakeside home.

My Review:

The acting in A PLACE IN THE SUN is spectacular. This moving romance captured the emotions of post-war audiences with its unflinching, painful depiction of one man's struggle to achieve the American dream, and the fates which conspire against him. Montgomery Clift does some of the finest acting of his career, he is especially convincing during several phone call scenes. He completely embodies the confused young protagonist of Theodore Drieser's novel. He is also very good in the beginning as the shy “outsider” of the family. His body language is very convincing. In many of the scenes you are supposed to be horrified by his actions and motives, but he plays for the audience’s sympathy and he wins. You yearn for him to succeed.

Liz Taylor plays Angela perfectly. She manages to make you believe she genuinely loves George Eastman. Her ability to be an angelic young girl and a voluptuous worldly woman at the same time was never more evident than in the scene where she comforts a troubled Monty Clift with the whispered utterance, "Tell momma." It's an incredibly screen moment. The camera cuts in so close, almost too close. She never looked more beautiful than she does in this film. She was only 18 and she glows. Elizabeth and Montgomery Clift would begin a close friendship that would last until his death. This is the first of their three movies. The second was “RAINTREE COUNTY” and the third was “SUDDENLY LAST SUMMER.”

She meet s Conrad “Nicky” Hilton while filming on location in Lake Tahoe, NV. He would become her first husband. Their marriage would last less than a year. He was addicted to alcohol and gambling. It was also rumored that he beat Elizabeth.                                                    
Shelley Winters is pitiful and annoying as Alice Tripp, which is exactly what the part calls for. At times, I wanted to slap her. Alice recognizes in George exactly what George sees in Angela: higher quality - someone made of finer material - and perhaps a way out of a dead-end life. She allows George to seduce her early in their relationship in an attempt to attach him permanently. Eventually,she makes a desperate attempt to force him the marry her. Shelly was nominated for an Academy award for this performance. It would also be one of the first movies that involve her getting in the water and swimming.  Her private life was a mess during filming. For two years, she had been datiing a married man. That man was screen icon Burt Lancaster. She ended the relationship when a Hollywood magazine annoucned that Lancaster's wife was pregnant.

This moving romance captured the emotions of post-war audiences with its unflinching, painful depiction of one man's struggle to achieve the American dream, and the fates which conspire against him. The only bad (over-the-top) performance comes from Raymond Burr (in his pre-Perry Mason days) as the overly dramatic prosecuting attorney. Just listen to the way he repeats, "Didn't you Eastman?" in an incredibly accusatory tone. This is the slowest part of the movie. It is still a great movie and worth watching. The sexual and class issues can be may seem outdated in the 21st Century, but that was the way life was in the 1950's.


Costumer Edith Head's designs for Liz in A PLACE IN THE SUN influenced "young miss" collections nationwide. It also earned her an Academy Award. Knockoffs of her party dress with a daisy-covered bust was the country's most popular prom dress that season. This silhouette has been popular ever since.In Edith Head's Hollywood, a biography on the groundbreaking fashion designer (she dressed Liz for A PLACE IN THE SUN, ELEPHANT WALK and more) and great friend of Elizabeth's, she had this to say about her:

Elizabeth Taylor is the most beautiful woman I've ever fit. She is not as easy to dress as Grace Kelly or Audrey Hepburn, because she is a short woman - only 5'2". She's also extremely curvaceous and has short legs. But, you see, those are the kinds of minor imperfections that make for classic beauty. A woman's individual beauty is created by little mars in the state of perfect beauty. Elizabeth's fascination lies in those little discrepancies. She has aged gracefully, despite what her detractors have said. She is beautiful when she is plump and she is lovely when she trims down. A faulty figure can be changed by foundations and the proper use of dark and  light olors. But no makeup can create a face like  Elizabeth's. She is exquisite.
 The dress that Elizabeth wore.

In her autobiography “Shelley (Also Known as Shirley)" Winters states that she provided Stephens with ideas for her character’s wardrobe. She tried out for Alice in disguise and George Stevens could not believe it her. She wore no makeup,flattened her curled hair and dressed really frumpy for her audition. She wore her sister Blanches clothes for the audition. She was meeting Stevens at The Hollywood Athletic Club. She was seated next to him for almost 20 mins before he noticed her. Shelley had been appearing in bombshell roles and she really wanted a change. After getting the part of Alice, Shelley would temporarily dye her hair brown to add to her dowdy appearance.


To prepare for his role as a condemned man, Monty actually spent a night on death row at San Quentin prison in California.


Alice-"I'm in trouble, George... bad trouble"


The film was nominated for nine Academy Awards, and won six - Best Director (the first Oscar for Stevens), Best Screenplay (Michael Wilson and Harry Brown), Best B/W Cinematography (William Mellor), Best Dramatic Score, Best Film Editing, and Best B/W Costume Design (Edith Head).

Its other three nominations were for Best Picture (it lost to AN AMERICAN IN PARIS (1951)), Best Actor (Montgomery Clift) and Best Actress (Shelley Winters).