Tuesday, August 04, 2015

Farewell to Coleen Gray

The news that Coleen Gray has passed on, which I first learned from Alan K. Rode last evening, has hit particularly hard.

In 2012 I wrote a 90th birthday tribute to Coleen Gray expressing my admiration of her. The tribute was noticed by Coleen's friend David Schechter, who kindly arranged for me to interview Coleen on the phone.


A condensed version of our talk appeared in the Dark Pages film noir newsletter's 2013 tribute to the film noir classic NIGHTMARE ALLEY (1947); I described a portion of our interview here. I expect to share that interview in sections here in the future.

Some of the stories Coleen told me were also used in a 2013 tribute to her which I wrote for ClassicFlix.


Coleen was a remarkable lady who had nerves of steel, whether it was spontaneously reciting monologues to audition for a room of intimidating Fox executives or being an unknown contract actress who dared to make an appointment with studio head Darryl Zanuck to ask for the role of Molly in NIGHTMARE ALLEY.

Coleen then further had the courage to turn down the NIGHTMARE ALLEY part she wanted so much when Fox tried to wiggle out of a contractually mandated salary increase in exchange for giving her the role. The young actress, about 24 years old at the time, told the studio they weren't being fair and "cried a lot." The studio eventually caved.


In her first featured roles the young actress worked opposite some of Hollywood's biggest names: John Wayne, Victor Mature, and Tyrone Power. (RED RIVER was filmed first but released after KISS OF DEATH and NIGHTMARE ALLEY.) I asked Coleen how it felt to be a newcomer to films and whether acting opposite big names she'd admired for years was intimidating, and she said, "It was exhilarating. Nobody made me uncomfortable. Everybody was nice."


Although Coleen very occasionally played a femme fatale, such as in THE SLEEPING CITY (1950), she is best known as the "good girl" of film noir. I asked how she felt about that and she said, "I didn’t like being a sweet, wholesome type. I wanted to be sexy. I wanted to be evil and do all those juicy parts. I realize now that the good Lord was protecting me. Better to stay where you are and be good at it..."


Coleen was a woman of strong Christian faith, and something else I admire about her is that later in life she and her husband ministered to women in prison, encouraging them to turn their lives around and start fresh when they were released.


Below is a gallery of some of Coleen Gray's most notable films.

KISS OF DEATH (1947) with Victor Mature; her fresh, natural performance grabbed my attention and made me a fan of her work:


Starring with Tyrone Power in NIGHTMARE ALLEY (1947):


With John Wayne in Howard Hawks' RED RIVER (1948):


Reunited with Victor Mature in FURY AT FURNACE CREEK (1948):


KANSAS CITY CONFIDENTIAL (1952) with Preston Foster and John Payne; she and Payne also costarred in THE VANQUISHED (1953) and TENNESSEE'S PARTNER (1955) and for a time shared an offscreen romance:


ARROW IN THE DUST (1954) with Sterling Hayden:


With Hayden again in Stanley Kubrick's classic THE KILLING (1956):


Starring with Jeff Morrow in COPPER SKY (1957), a personal favorite of mine:


Obituaries have been posted by Daily Variety, The Hollywood Reporter, and the Los Angeles Times.


Coleen Gray was extra-special to me, and while I'm very sad she's no longer with us, she leaves behind a distinguished body of work which we can all enjoy in the years to come.

My sincere condolences to Coleen's family and friends.


Coleen Gray films reviewed at Laura's Miscellaneous Musings: KISS OF DEATH (1947), NIGHTMARE ALLEY (1947), FURY AT FURNACE CREEK (1948), THE SLEEPING CITY (1950), FATHER IS A BACHELOR (1950), APACHE DRUMS (1951), THE FAKE (1953), SABRE JET (1953), ARROW IN THE DUST (1954) (also here), LAS VEGAS SHAKEDOWN (1955), TENNESSEE'S PARTNER (1955), THE WILD DAKOTAS (1956), THE KILLING (1956), and COPPER SKY (1957).

Notable Coleen Gray films not yet reviewed include RED RIVER (1948), SAND (1949), RIDING HIGH (1950), KANSAS CITY CONFIDENTIAL (1952), THE VANQUISHED (1953), DEATH OF A SCOUNDREL (1956), HELL'S FIVE HOURS (1958), and THE LEECH WOMAN (1960).

Monday, August 03, 2015

Tonight's Movie: Ant-Man (2015)

Another week, another Marvel movie! Today's film, ANT-MAN (2015), marked the fifth Marvel film I've seen since Independence Day. I enjoyed it very much.

ANT-MAN begins with a brief prologue set in 1989, as Dr. Hank Pym (a digitally "de-aged" Michael Douglas) visits SHIELD headquarters. I'd seen just enough of the Marvel universe in previous films to understand that Pym was arguing with an "older" Howard Stark (John Slattery) and Peggy Carter (Hayley Atwell) about his secret formula, which Pym says would be dangerous even in the hands of the "good guys." (Hayley Atwell has played Peggy at three different ages so far in the Marvel series, and she's been believable at each step.) The film then zooms forward to the present day, where Pym's fears are realized as his protege Darren Cross (Corey Stoll) now has the formula...which enables men to shrink to the size of an ant.

Dr. Pym selects Scott Lang (Paul Rudd), who was recently released from San Quentin for burglary, as the perfect man to use his formula to become "Ant-Man" and beat Darren at his own game. Dr. Pym and his daughter Hope (Evangeline Lilly), who have a conflicted relationship, painstakingly train Scott in the use of an "ant man" suit; Scott also gets over being creeped out when surrounded by ants, befriending them and marshaling them into an army. Then it's time to head into battle, as Darren has sold his formula to the bad guys at HYDRA.

ANT-MAN is an engaging film which works on multiple levels: superhero film, OCEAN'S 11 style heist movie, comedy, and a touching relationship film about fathers and daughters. While Dr. Pym and Hope are working through their issues, which date from the disappearance of Hope's mother, Scott wants to find a way back into the life of his little girl Cassie (Abby Ryder Fortson).

One of the film's more amusing aspects is that Scott's burglar friends who support his mission are quite nice -- only in the movies! -- with one of the funniest moments in the film being when Scott's former cellmate (Michael Pena) asks with astonishment, "Are we the good guys?!"

Other fun moments include Ant-Man's confrontation with befuddled Avenger Sam Wilson (Anthony Mackie), aka "The Falcon," who gasps that Captain America had better not hear about his humbling experience, and some hilarious sight gags with Thomas the Tank Engine in the film's final moments. Smiling Thomas looks pretty scary when you're the size of an ant!

I'm not the world's biggest Michael Douglas fan, but I must say he was perfectly cast in the role and brings a lot to the movie. He was an excellent choice, simultaneously capturing his character's loneliness, intelligence, sarcastic arrogance, and nobility.

Rudd believably makes the jump from loser to brave hero, and while Lilly initially seems on the chilly side, it's in character; wait till you see her eyes flash when she sees... Well, you have to sit through the end credits. And don't leave until the VERY end of the credits as there are not one but two important "tags," as well as the info "ANT-MAN WILL RETURN."

One of the other things I liked was that the movie avoided cliches regarding Paxton (Bobby Cannavale), the man who plans to marry Scott's ex (Judy Greer) and be little Cassie's stepfather. It would have been easy to go the SAN ANDREAS (2015) route and have Paxton turn out to be a bad guy, but as the story develops, he's simply a cop with clear ideas about right and wrong, and Scott, being an ex-con, has been wrong. When it comes to Cassie, Paxton clearly loves her (filming her first cartwheel on his phone is a nice touch), and he's right there to put his life on the line for her alongside her father.

I noted multiple Disney connections in IRON MAN 2 (2010), including a brand-new Richard Sherman song modeled on the 1964 World's Fair tune he wrote with brother Robert, "It's a Great Big Beautiful Tomorrow." The Sherman Brothers' World's Fair music reappears in ANT-MAN, this time with a character whistling "It's a Small World" during the climactic action sequence. I'll be curious to see if the filmmakers keep that thread going and drop bits of Sherman music into future films.

Trivia: When I first heard the lead actor was named Paul Rudd, I was a bit confused, as the Paul Rudd I knew was a TV actor of the '70s and '80s. That actor died in 2010 at the age of 70. The Paul Rudd who stars in ANT-MAN was billed as Paul Stephen Rudd early in his career because of the name issue.

ANT-MAN was directed by Peyton Reed and filmed by Russell Carpenter. It runs 117 minutes.

Parental Advisory: This film is rated PG-13 for sci-fi action violence. Someone being "vaporized" and a child briefly in danger are as bad as it gets, and for the most part the little girl seems more fascinated than scared.

For two more "thumbs up" takes on ANT-MAN, please visit reviews by Kenneth Turan in the Los Angeles Times and by Leonard Maltin. The trailer is here.

ANT-MAN provided another enjoyable visit to the Marvel world. Recommended.

Previous Marvel reviews: CAPTAIN AMERICA: THE FIRST AVENGER (2011), CAPTAIN AMERICA: THE WINTER SOLDIER (2014), IRON MAN (2008), IRON MAN 2 (2010), and AGENT CARTER (2015).

Sunday, August 02, 2015

Tonight's Movie: Callaway Went Thataway (1951) - A Warner Archive DVD Review

Howard Keel shines in a dual role in CALLAWAY WENT THATAWAY (1951), recently released on DVD by the Warner Archive.

In this interesting look at the early days of television, Fred MacMurray and Dorothy McGuire play Mike and Debbie, executives who snagged the TV rights to air "old" cowboy movies starring Smoky Callaway (Keel).

Smoky's Westerns are a huge hit with kids, and there's a mint waiting to be made on Smoky toys and new Smoky movies -- if only Smoky were actually around to sign contracts and resurrect his film career. Unfortunately no one's seen Smoky in a decade, and at last report he was a raging drunk.

Mike and Debbie hire a been-around-the-block agent (Jesse White) to search for Callaway, and while he's checking every bar in Mexico, Mike and Debbie stumble across an amazing Smoky lookalike, cowboy Stretch Barnes (Keel). Mike and Debbie tell sweet, innocent Stretch that the original Smoky is dead but that he'd be doing a great thing for the kids of America by pretending to be Smoky. Being able to quickly earn the money for his dream ranch convinces Stretch to seal the deal.

Although Stretch is an awkward actor, the director (Don Haggerty) sees a "freshness" in "Smoky" that he likes, and Stretch-as-Smoky is a big hit with the kids in personal appearances, especially as he has genuine cowboy skills. Moved by his hospital visits, Stretch sets up a foundation for kids with polio.

And then it all threatens to collapse as the real Smoky reappears. Keel and makeup artist William Tuttle do a remarkably good job, with the alcoholic Smoky having subtle dark shadows under his eyes and generally looking ragged and older. The film dares to be rather dark, as it doesn't go for easy plot devices such as Smoky going on the wagon and redeeming himself. The snarling Smoky leaves town an angry man, likely destined for cirrhosis of the liver and an early grave. The big question now is what will Stretch do?

I felt some discomfort with the film's general premise, which involves multiple people sustaining a long-term lie, up to and including the imposter signing legal documents. Putting that aside, however, it's a well-done film with many fun moments, and it's also an interesting take on the popularity of TV cowboys in the '50s. In fact, there's even a disclaimer at the end saying the film is all in good fun and not meant to disparage those cowboys who have been great role models for America's children, or words to that effect.

The movie certainly underscores what a talented man Keel was. It's always clear which character the audience is watching, with Keel charming as the singing cowboy and also quite believable as his unpleasant doppelganger.

McGuire seemed to often play rather brittle women, and Debbie is another example. She's got her eyes on dollars and financial security, but bit by bit finds that Stretch's authenticity and good heart are getting to her. Initially Debbie seems ideally matched with her partner Mike (MacMurray), as they cynically banter back and forth, but over time Debbie's eyes are opened to the important things in life. She gradually unbends and takes on a new warmth.

Mike, it seems, will likely remain a fairly shallow fellow, as even near the end of the film he attempts to manipulate Stretch into doing what he wants, even though he knows he really shouldn't. Given how MacMurray is remembered for MY THREE SONS and Disney movies, it's interesting to realize how many times in his career MacMurray played characters with varying degrees of sleaze. The ick factor is fairly mild here, compared to, say, THE APARTMENT (1960), but Mike is definitely out for himself first and foremost, and MacMurray's not afraid to dive into the role.

CALLAWAY WENT THATAWAY was written and directed by Melvin Frank and Norman Panama, a team especially known for writing and sometimes directing comedies and musicals. Their screenplay for the very serious ABOVE AND BEYOND (1952) about the dropping of the first atomic bomb, was unusual fare for the pair; THE COURT JESTER (1956) was more typical.

The movie was shot by Ray June. It runs 81 minutes.

The supporting cast includes Natalie Schafer, Fay Roope, Douglas Kennedy, Acquanetta, Ned Glass, and Stan Freberg. Look for Ann Robinson (THE WAR OF THE WORLDS) as the hatcheck girl at Mocambo's and Hugh Beaumont (LEAVE IT TO BEAVER) as an attorney. There are also fun cameos by a trio of very big name MGM stars of the era.

For more on this film, please visit KC's review at A Classic Movie Blog.

The Warner Archive DVD is a crisp black and white print. The DVD includes the trailer.

Thanks to the Warner Archive for providing a review copy of this DVD. Warner Archive releases are MOD (manufactured on demand) and may be ordered from the Warner Archive Collection at the WBShop.

Tonight's Movie: Where Are Your Children (1943) - A Warner Archive DVD Review

Gale Storm and Patricia Morison are two actresses I've been enjoying quite a bit in the last year or two, so when I heard they costarred in a movie I was intrigued. WHERE ARE YOUR CHILDREN (1943) is a Monogram programmer available from the Warner Archive.

Storm plays Judy Lawson, a young girl who works at a diner. She meets wealthy Danny Cheston (Jackie Cooper), who takes her dancing, but unbeknownst to Danny and Judy, his "friends" spike Judy's drink. The tipsy Judy ends up being escorted home from the date by Linda Woodford (Patricia Morison), a juvenile officer who tries to steer young people onto the right track before they end up in serious trouble with the law.

Judy sleeps in the front room in her brother's house; her brother (Anthony Warde) is sympathetic but his wife (Gertrude Michael) is a harridan who hates Judy and thinks the worst of her. Matters go from bad to worse when Judy's sister-in-law sees a letter from Danny, who has joined the Navy, and assumes the worst about Danny and Judy's relationship, kicking her out of the house.

The distraught Judy, not knowing where to turn, is desperate to get to San Diego, where Danny is stationed.  She ends up accepting a ride to San Diego from the same group of people who had previously spiked her drink. Unfortunately during the trip one of the boys hits a gas station attendant in the head, and the man later dies. Now Judy's in a lot of trouble...

WHERE ARE YOUR CHILDREN is an engrossing film about a misunderstood young girl who is a victim of both circumstances and a lack of support at home. Her problems are compounded by the fact that Danny cares about her -- as evidenced by his reminiscing about her while a Navy pal (John Laurenz) sings a lovely rendition of "Girl of My Dreams" -- but he thinks encouraging her to have ideas about a future relationship is wrong since he's shipping off to war. Danny telling Judy they don't have a future is the emotional last straw for her, unless her brother, Linda, and a thoughtful judge (John Litel) can straighten her out.

Storm does a good job portraying a confused young lady who virtually every character acknowledges is "a nice girl but..." Lacking much love at home, her heartbreak over the rejection by Danny, her only "safe haven," is palpable. Cooper is also good as a young man who isn't perfect -- he's obviously out dancing with the wrong crowd -- but who is trying to do the right thing as he sees it, including not allowing his "connected" mother to pull strings and get him an officer's commission.

It was interesting seeing Morison playing a very idealistic character, just a few years after her chilling performance as a hardened criminal in PERSONS IN HIDING (1939), which I watched almost exactly a year ago. There's an interesting tie-in to the war as Linda points out to community leaders that if juvenile delinquency is unchecked, it will not only hurt the young people and the town, it will provide propaganda for Hitler! It's also mentioned that wartime conditions, with both parents working long factory shifts, lead to young people being unsupervised. It's a darker homefront story than we usually see in films of the era.

WHERE ARE YOUR CHILDREN runs 73 minutes. It was directed by William Nigh and filmed by Ira Morgan and Mack Stengler. The screenplay by Hilary Lynn and George Wallace Sayre was based on a story by Lynn. The following year Nigh and Lynn collaborated on a similarly themed Monogram film, ARE THESE OUR PARENTS? (1944) with Helen Vinson and Lyle Talbot. I'd love to see it!

The supporting cast of WHERE ARE YOUR CHILDREN includes Addison Richards, Evelyn Eaton, Sarah Edwards, and Betty Blythe.

As a note of trivia, although IMDb uses a question mark in the film's title, the Warner Archive DVD case is correct; the title card is simply WHERE ARE YOUR CHILDREN.

The print is frequently "speckled," as also noted by Glenn Erickson in his positive review at DVD Savant. However, it does not detract from enjoying the movie. There are no extras on the disc.

This was an interesting and rather different WWII-era melodrama with a good cast. I enjoyed it, and I'm very glad the Warner Archive has made it available.

Thanks to the Warner Archive for providing a review copy of this DVD. Warner Archive releases are MOD (manufactured on demand) and may be ordered from the Warner Archive Collection at the WBShop.

Saturday, August 01, 2015

Tonight's TV: Agent Carter (2015)

My immersion in the Marvel world continued this weekend with the first two episodes of this year's TV series AGENT CARTER.

In the past month I've watched four Marvel films for the first time, CAPTAIN AMERICA: THE FIRST AVENGER (2011), CAPTAIN AMERICA: THE WINTER SOLDIER (2014), IRON MAN (2008), and IRON MAN 2 (2010).

For those who, like me, are new to the Marvel films, Agent Peggy Carter (Hayley Atwell) served with Steve Rogers (Chris Evans), aka Captain America, during WWII.

In CAPTAIN AMERICA: THE FIRST AVENGER Steve's plane went missing while he was in the midst of saving the world (or at least a big chunk of it) and he was presumed dead. By the time the "frozen in time" Steve awoke several decades later, as seen in CAPTAIN AMERICA: THE WINTER SOLDIER, Peggy was an elderly lady.

The limited TV series AGENT CARTER is set in 1946. With the war over, Peggy now works for the secret Strategic Scientific Reserve (SSR), a forerunner of SHIELD which is hidden away in a NYC phone company building. Despite Peggy's valor during the war, most of the men at the SSR treat her dismissively, wanting her to serve coffee and file papers.

Peggy's old friend, inventor and weapons manufacturer Howard Stark (Dominic Cooper), is accused of selling weapons to the enemy. He secretly approaches Peggy to get her help to clear his name; Howard then disappears but leaves behind his trusted butler Jarvis (James D'Arcy) to serve as her aide and comrade in arms. Things get deadly almost immediately.

I was quite impressed with the initial episodes. Atwell and D'Arcy are simply terrific; it's fun listening to their banter -- in clipped British accents -- as their friendship develops. Their relationship is strictly platonic, as Jarvis is devoted to an unseen wife named Anna.

Incidentally, it's curious to note that Howard's son Tony has a robot butler in the IRON MAN films...who is also named Jarvis (voiced by Paul Bettany).

AGENT CARTER has a cinematic quality, fitting right in with the movies, but with the extended storytelling time allowing for added depth. The show has a great '40s look, with bright candy-colored costumes and sets, including an automat diner where Peggy regularly meets with Jarvis. Adding to the fun, the series filmed some street scenes on the same Warner Bros. backlot sets where movies were filmed in the 1940s, including the set seen at the right.

One of the things I really appreciate about AGENT CARTER and the Marvel movies is they feature strong female characters who can kill at a moment's notice while remaining beautiful and feminine. Atwell is a real find as Peggy, who is afraid to let anyone get close, as people she cares about have a way of being killed. I'd love to know more of her back story but you certainly don't need it to enjoy Atwell as a woman trying to make it in a "man's business," the spy game in the '40s.

D'Arcy is likewise wonderful, seemingly mild-mannered and proper yet always there in the clutch. I'm intrigued by his references to his wife and would love to know more.

After talking with other classic film fans who also like the Marvel films and TV series, I think some of the appeal for viewers such as myself is that some of the entries (CAPTAIN AMERICA and AGENT CARTER) have "retro" settings; all of the films also emphasize old-fashioned values such as service to country and mankind, self-sacrifice, and good determined to triumph over evil.

Based on feedback from many other viewers, I expect that I'll be enjoying AGENT CARTER all the way to the end of the series, and I'm looking forward to Season 2, which will find Peggy and Jarvis in late '40s Hollywood.

Meanwhile, I learned today about the existence of Marvel short films. At the end of IRON MAN 2 Agent Coulson (Clark Gregg) left for a new assignment in New Mexico. He had an adventure along the way, as seen in a brief short on YouTube.

I anticipate watching THOR (2011), THE AVENGERS (2012), and ANT-MAN (2015) in the near future!

Update: Thanks to Michael Kuzmanovski on Twitter for alerting me that AGENT CARTER will be released on DVD and Blu-ray on September 18, 2015. The DVD and Blu-ray editions are both listed as "Amazon Exclusive" on the Amazon site.

Friday, July 31, 2015

TCM in August: Summer Under the Stars Highlights

It's hard to believe July has drawn to a close! Kudos to Turner Classic Movies for a phenomenal two-month-long Summer of Darkness, which I know many of us are reluctant to see come to an end.

There's still plenty of summer ahead on TCM, though, as the annual Summer Under the Stars festival launches on Saturday, August 1st!

For a quick chronological overview of the stars being celebrated in this year's festival, please visit my June preview post.

TCM has a beautiful Summer Under the Stars microsite with information about this month's films, as well as the regular online schedule.

As is usually the case in August, there are several days this month I'd be happy to leave the TV on all day long! Here's a quick look at just a few highlights from a great month on Turner Classic Movies. Click any highlighted title for my review.

...It's possible that Saturday, August 1st, is my favorite day on this year's schedule, as it celebrates a favorite actress, Gene Tierney. I've seen and liked all but a couple of the movies showing on the 1st. You can't go wrong with any of them, so I'll mention a couple of the lesser-known titles I like, NEVER LET ME GO (1953), a Cold War thriller with Clark Gable, and CLOSE TO MY HEART (1950), an adoption drama also starring Ray Milland.

...Olivia de Havilland celebrated her 99th birthday on July 1st, and TCM pays tribute on August 2nd. Again I've seen a majority of the films and want to highlight two films not as well known: PRINCESS O'ROURKE (1943), which anticipates ROMAN HOLIDAY (1953) by a decade, and the moving Western THE PROUD REBEL (1958), in which she plays a lonely farm woman whose life is changed by a man (Alan Ladd) and his mute son (David Ladd).

...Earlier this year I enjoyed seeing Harold Lloyd in THE MILKY WAY (1936) at the UCLA Festival of Preservation. Adolphe Menjou plays Lloyd's boxing manager, and the film is being shown as part of a day honoring Menjou on August 3rd. Menjou's real-life wife, Verree Teasdale, has a terrific part playing Menjou's glamorous, sarcastic girlfriend.

...Does anyone not love Teresa Wright? I didn't think so. It's Teresa Wright Day on August 4th. The excellent lineup includes one of my favorite Hitchcock films, SHADOW OF A DOUBT (1943). Teresa Wright, Joseph Cotten, and a cute young Macdonald Carey are just three great reasons to watch it.

...Two of my favorite Fred Astaire films are again among his lesser-known films. CAREFREE (1938) is one of my couple favorites of the 10 movies he made with Ginger Rogers; it's as much '30s screwball comedy as musical, complete with Ralph Bellamy. And, as I've said here many times, YOU WERE NEVER LOVELIER (1942), costarring Rita Hayworth, might be my favorite Astaire film of all. It makes my heart happy! It's Fred Astaire Day on August 5th.

...My top pick for Katharine Hepburn Day on August 7th is my favorite of all her films, LITTLE WOMEN (1933). A classic in every way.

...August 8th is Raymond Massey Day; TCM will show two films in which he played abolitionist John Brown back to back: SANTA FE TRAIL (1941) and SEVEN ANGRY MEN (1955).

...You wouldn't believe how many professors and students have written me asking how to find THE BEGINNING OR THE END (1947), MGM's depiction of the Manhattan Project. The Warner Archive would probably do brisk business if they released it on DVD! It's shown as part of Robert Walker Day on August 9th. Walker is part of a marvelous cast which includes Brian Donlevy, Tom Drake, and Audrey Totter.

...On August 10th, Joan Crawford Day, my pick is THE DAMNED DON'T CRY (1950). Steve Cochran and Palm Springs locations are good reasons to try this engrossing melodrama.

...August 11th the Star of the Day is Rex Ingram, and I recommend ESCORT WEST (1958), a very likeable Western starring Victor Mature. It was produced by John Wayne's Batjac Productions.

...On August 12th you can't go wrong with two Robert Mitchum Westerns: RACHEL AND THE STRANGER (1948), costarring Loretta Young and William Holden, and BLOOD ON THE MOON (1948) costarring Barbara Bel Geddes, Walter Brennan, and Robert Preston, directed by Raoul Walsh. Entertainment guaranteed.

...What to watch on Ann-Margret Day on August 13th? VIVA LAS VEGAS (1964) is a perfect summer movie.

...August 15th is one of my favorite days on this month's schedule, honoring Douglas Fairbanks Jr. I recommend the pre-Code UNION DEPOT (1932), costarring Joan Blondell, which has an amazing opening tracking shot. It's a crackling, gritty Warner Bros. Depression-era movie. And anyone who hasn't seen it yet should watch THE PRISONER OF ZENDA (1937), for which Fairbanks should have been nominated for an Oscar as Best Supporting Actor. ZENDA is showing in prime time.

...I'm admittedly not much of a Patricia Neal fan, but that makes her an effective villainness in the Western melodrama RATON PASS (1951), airing on August 16th. She plots with Steve Cochran to steal a ranch from her new husband (Dennis Morgan) and his father (Basil Ruysdael). Dorothy Hart plays the woman Morgan should have married.

...THIEVES' HIGHWAY (1949) was a highlight of the Arthur Lyons Film Noir Festival I attended in May. It will air as part of a tribute to Lee J. Cobb on August 17th.

...August 18th...Vivien Leigh Day...GONE WITH THE WIND (1939), which will always be a great cinematic achievement despite those who have recently advocated tucking it away in a museum. Enough said.

...August 19th is John Wayne Day, and along with favorites like SHE WORE A YELLOW RIBBON (1949) and RIO BRAVO (1959), there are several lesser-known titles. I highly recommended the funny TALL IN THE SADDLE (1944), one of Wayne's best non-Ford Westerns. I'm also partial to BIG JIM MCLAIN (1952) which is derided in some quarters as anti-Communist propaganda but which I find a fascinating look at the era, plus it's got the Duke romancing sweet Nancy Olson in Hawaii. Not a perfect film but it works for me.

...It's Mae Clarke Day on August 20th! I love that. I very much recommend the pre-Code comedy-mystery PENTHOUSE (1933), also starring Warner Baxter and Myrna Loy. It's delightful, plus it led to Loy being cast as Nora Charles.

...On August 22nd, check out Hitchcock's lesser-known STAGE FRIGHT (1950) with Star of the Day Marlene Dietrich. Jane Wyman, Richard Todd, and Michael Wilding costar.

...Sunday, August 23rd, it's Debbie Reynolds all day! Check out the cute young Debbie in THE AFFAIRS OF DOBIE GILLIS (1953) and GIVE A GIRL A BREAK (1953). Bob Fosse is in both films and is pretty young and cute himself.

...August 25th is another favorite day on the schedule, honoring Virginia Bruce. SHADOW OF DOUBT (1935) is a nifty mystery with a good cast including Ricardo Cortez and Regis Toomey. Try it out!

...It's Christmas in August on August 27th, when Monty Woolley Day includes two Christmas perennials in which he costarred: THE MAN WHO CAME TO DINNER (1942) and THE BISHOP'S WIFE (1947).

...Robert Montgomery shows why he would have been a good Hitchcock villain in RAGE IN HEAVEN (1941), shown as part of Ingrid Bergman Day on August 28th. George Sanders, who had recently been in Hitchcock's REBECCA (1940) and FOREIGN CORRESPONDENT (1940), is the hero. Alas, the only film Montgomery made with Hitch was the comedy MR. AND MRS. SMITH (1941).

...The month is winding down on Gary Cooper Day, August 30th. I like DALLAS (1950), an amusing Western in which he costarred with Ruth Roman and (there's that name again!) Steve Cochran. I also enjoyed TASK FORCE (1949) about the origins of the U.S. aircraft carrier program.

...The month ends on August 31st with Shelley Winters Day. She'll never be one of my favorites, but I DIED A THOUSAND TIMES (1955) is of great interest -- I visited the old gas station seen in the movie's opening scenes last October! It's just outside Lone Pine, California, right down the road from the "Soda City" location of Hithcock's SABOTEUR (1942). More on the I DIED A THOUSAND TIMES location here.

Happy Summer Under the Stars!

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