Saturday, September 21, 2019

Tonight's Movies: Hit Parade of 1941 (1940), Crooked Streets (1920), and Chatterbox (1943) at Cinecon

And finally, a look at my final day at this year's Cinecon Classic Film Festival!

I spent Labor Day at Cinecon 55 watching a trio of films back to back: HIT PARADE OF 1941 (1940), CROOKED STREETS (1920), and CHATTERBOX (1943). It was a fairly diverse lineup, starting off with a musical, then going back in time a couple of decades for a silent suspense film, then jumping back to the '40s for a comedy.

HIT PARADE OF 1941 was in my top three favorites of the nine films I saw at the festival. It was right up my alley, with great singing (Frances Langford) and marvelous dancing (Ann Miller). It even had a touch of the WWII-era "Good Neighbor Policy" promoting our allies to the south, which I'm always interested to run into in early '40s films; in this case there was a South American themed fashion show and dance.

The plot is a bunch of lightweight yet engaging silliness, thanks to the talented cast. A ding-a-ling business owner (Hugh Herbert) buys the radio station which plays the show where he's been advertising and tries to make a success of it. This includes also broadcasting the latest craze -- television!

Another station sponsor, department store owner Emily Potter (Mary Boland), agrees to pay for a TV show to showcase her daughter Annabelle (Miller) and her singing talent. The only problem is, Annabelle doesn't have much singing ability, despite many lessons -- but she's a heck of a dancer!

Foreshadowing SINGIN' IN THE RAIN (1952) a dozen years later, station manager David (Kenny Baker) persuades lovely radio singer Pat Abbott (Langford) to dub Annabelle's singing voice. Annabelle becomes a huge TV singing star, but Pat's sister Judy (Patsy Kelly) becomes increasingly frustrated with Pat being hidden in the background, especially as Pat loves David but he's often too busy promoting Annabelle to spend time with her.

Judy deliberately exposes the dubbing hoax during a telecast, but all's well that ends well, as Pat and Annabelle can each now be appreciated for their true talents.

I wondered when I watched this if anyone behind SINGIN' IN THE RAIN had seen this film, as there were definitely a couple of parallels. It was quite a fun movie, with faces like Phil Silvers, Sterling Holloway, Franklin Pangborn, Donald MacBride, and Barnett Parker in support of the leads. Herbert manages to be slightly less annoying than usual, and Boland is quite amusing as the dimwitted store owner.

Langford is a joy to hear singing, and it boggles the mind that dancing dynamo Ann Miller was just 17 when she made this! She's lovely; her dark coloring and hairstyle in this made me think of Snow White.

The movie received two Oscar nominations, including an Original Song nomination for Jule Styne and Walter Bullock's "Who Am I?"

HIT PARADE OF 1941 was an 88-minute Republic Pictures film directed by John H. Auer and filmed in black and white by Jack Marta. The movie was later shown on TV as ROMANCE AND RHYTHM, as seen in a poster above.

For more on this very enjoyable film check out Mark Fertig's 2012 review at Cin-Eater.

CROOKED STREETS was a real change of pace, but I also found it an entertaining time, accompanied by live piano music.

Gail Ellis (Ethel Clayton, a new name for me) applies for a job serving as secretary to an antique dealer (Clyde Fillmore) and they travel to Shanghai, along with the dealer's wife (Josephine Crowell) and adult son (Clarence Geldart).

Gail has a mysterious reason for wanting to make the trip to such an exotic place, and when she explores the more dangerous parts of the city she runs into difficulty. Gallant Britishman Rupert O'Dare (Jack Holt) battles a nasty French sailor (Frederick Starr) to rescue Gail.

It will later turn out that Gail repays the favor and rescues Rupert, but I won't spoil the rest of the story...there are some fun plot turns.

This was quite a fun watch, with great atmosphere. I'm sure this was the earliest film I've been Holt in, and I was amused that he played a Brit -- since it was silent, the lack of an accent didn't matter! Clayton was very good as the enterprising, determined Gail.

CROOKED STREETS was directed by Paul Powell and filmed by William Marshall. It ran 63 minutes. The movie was produced by Famous Players-Lasky Corporation and distributed by Paramount-Artcraft Pictures.

My final film of the day was CHATTERBOX, a Republic Pictures comedy starring Joe E. Brown and Judy Canova. (A side note, this film has no connection to a 1936 Anne Shirley film of the same name.) The movie was introduced by Canova's daughter Julieta. Incidentally, some readers may be more familiar with Canova's other daughter, actress Diana Canova, known for the '70s comedy SOAP.

I was a bit dubious about seeing this film, as Brown and Canova are known for the kind of broad slapstick comedy which doesn't appeal to me, but it proved to be a reasonably entertaining 77 minutes.

Brown plays Rex Vane, a radio cowboy who's signed to a movie contract but doesn't know the first thing about actually being a cowboy.

When Rex runs into trouble riding a horse at a personal appearance, he's saved by Judy (Canova). The public is dismayed to learn Rex can't ride, so the studio attempts to salvage the film Rex has signed to make by cashing in on publicity and casting Judy as his leading lady.

There were some pretty funny scenes, especially when Judy, who can't act, is asked to emote the line "My lover, he's been shot!" Her repeated deadpan deliveries had me in stitches. Canova brought a certain sensitivity to the role, along with the comedy, and I enjoyed her in this more than I expected.

A longish sequence with Brown and other actors in drag was less amusing, but I liked the movie's Western filmmaking theme and overall it was a pretty good time.

I was drawn to the film in part by some of the supporting cast members, but they all received relatively short shrift. Rosemary Lane had a decent amount of screen time, including setting up the final set piece with Rex and Judy endangered by explosions, but her role didn't really take advantage of her talents, including her singing ability.

Similarly, the Mills Bros. are in the film, but their appearance was quite short, singing at a cookout.

A young Anne Jeffreys was prominently billed, her 11th film released in a bit more than a year, but she was little more than an extra. I think she had one line near the end! Her next film was CALLING WILD BILL ELLIOTT (1943), which I recently wrote about for Classic Movie Hub, and from there her career began to pick up speed, with numerous leads in "B" films and increasing prominence in films such as DILLINGER (1945).

CHATTERBOX was directed by Joseph Santley and filmed in black and white by Ernest Miller. Some of the scenes were filmed in the familiar environs of Iverson Ranch in Southern California.

I had a terrific time in my 48 hours at this year's Cinecon, enjoying nine films, a two-reeler short, and a cartoon. I hope to attend again in 2020!

Friday, September 20, 2019

Last Night at Disney California Adventure: Oogie Boogie Bash

A week ago we took our first look at Disneyland's 2019 Halloween Time decorations, and last night we had a wonderful experience at the Oogie Boogie Bash at Disney California Adventure.


This is the party's first year in Disney California Adventure. Like Mickey's Halloween Party in Disneyland, which we attended three years ago, the Oogie Boogie Bash is a separately ticketed private party with several entertainment options which are only available at the party.


Buena Vista Street is all decked out for Halloween Time!


During the party there are "trick or treat" trails all over the park; each trail has several bins of candy, and the cast members put generous handfuls in each bag as guests pass by. By the end of the night guests can collect a rather amazing amount of candy to take home.


Some of the trails have characters midway through who interact with the guests, including Maleficent from SLEEPING BEAUTY (1959), Dr. Facilier from THE PRINCESS AND THE FROG (2009), and (seen here) the Mad Hatter from Tim Burton's ALICE IN WONDERLAND (2010).


One of the first things we did was catch Mickey's Trick & Treat show in the Disney Theater. It was fun simply because all the little costumed kids were so excited dancing and interacting with Mickey and the gang! And they passed out more candy at the end!


The Guardians of the Galaxy ride with its seasonal Monsters After Dark overlay was a "walk-on"! I only go on this ride every two or three years, as it's pretty intense, but I couldn't resist riding it without a line, and it was a lot of fun.


After dark the Treat Trails had these glowing signs to lead guests to even more candy!


Hollywood Boulevard spookily lit as dark descended...


The Headless Horseman's arrival signifies that it's almost time for the Halloween parade! Speaking of the Headless Horseman, next month I'll be attending a very special event on the Disney Studios lot, "Mostly Ghostly," which will include a screening of "The Legend of Sleepy Hollow" from THE ADVENTURES OF ICHABOD AND MR. TOAD (1949).


We really enjoyed the Frightfully Fun Parade. While the party was well attended (sold out, in fact), it was nice that the crowd levels were lower than a typical busy day at the park, which made it easier to enjoy things like the parade.


The Haunted Mansion float:


And the dragon from SLEEPING BEAUTY! Our daughter took this shot, as well as several other photos seen in this post.


The Carthay Circle...


...which periodically featured some amazing animation making it look as though the building was crumbling!


Loved the spooky fog effects seen at Grizzly Rapids:


The misty Villains Grove at the Redwood Creek Challenge Trail was a remarkable walk-through light and effects show. My favorite part was a Queen of Hearts display with red roses everywhere...and the area even smelled of roses!


The Cheshire Cat grinning near the Queen of Hearts display:


Some of the beautiful lights in the trees.


At the very end of the grove, the lights change to a more tranquil look, giving the effect that you're walking out of the spooky darkness and into a beautiful, peaceful light...very effective!


Our evening concluded with the brand-new Villainous! World of Color water show on Paradise Bay, which we very much enjoyed.

We had an absolutely wonderful evening and were able to do everything on our "must" lists. We really felt we got our money's worth! This year's parties are completely sold out, but I recommend it for guests who may be able to attend in future years. (Tip: September parties are a lower price than the parties in October, hence our early celebration of the holiday!)

Early wishes to my readers for a happy and fun Halloween!

Monday, September 16, 2019

Tonight's Movie: Counterspy Meets Scotland Yard (1950)

I've recently been listening to the old time radio series DAVID HARDING, COUNTERSPY, which got me to thinking about the entertaining 1950 film by that name I watched a few years ago.

DAVID HARDING, COUNTERSPY was part of VCI's Forgotten Noir Vol. 3 DVD collection. There was one other film made based on the radio show, COUNTERSPY MEETS SCOTLAND YARD (1950), which is part of the VCI Forgotten Noir and Crime Collection, Vol. 4.

It had been far too long since I watched a film from one of my Forgotten Noir sets and really enjoyed pulling COUNTERSPY MEETS SCOTLAND YARD off the shelf and watching it. I find these "Forgotten Noir" movies great fun in general, and the David Harding films in particular are very entertaining. The Forgotten Noir films won't be for everyone, but I love every aspect of these movies, from the casts to the glimpses of Southern California to the slightly hokey ways the characters interact. In the Harding films I particularly love how on top of things the good guys are, so you never have to worry about how things will turn out!

Howard St. John returns as David Harding in COUNTERSPY MEETS SCOTLAND YARD, which was released four months after the earlier film. Also returning are Fred F. Sears as Agent Peters and John Dehner as Agent Reynolds.

An agent (Harry Lauter) monitoring a missile testing site in the American Southwest commits suicide just after dictating an important report for his boss, David Harding. Simultaneously important secrets go missing. Lickety-split, Harding is on his way to the location from Washington, D.C.; as he and his team of agents investigate the case, they unexpectedly discover that Agent Simon Langton (Ron Randell) of Scotland Yard is investigating as well.

How a British agent was able to independently launch an investigation on U.S. soil is never really explained, but it's fun watching Harding and Langton connect.

Langton joins forces with his U.S. counterpart to solve the mystery, which partly involves a beautiful secretary (Amanda Blake of GUNSMOKE) from the military base who knows top secret information being administered truth serum as part of her "psychiatric" treatments. She has no idea she's blabbing state secrets to foreign agents every couple weeks! The reports are then cleverly smuggled out of the doctor's office.

I found this a very fast-paced and engaging 67 minutes with a good cast. As with the previous film, John Dehner (pictured with St. John) is particularly enjoyable as a multitalented agent. I only wish there were more of these Counterspy movies! Well, at least I still have lots of episodes of the radio show...

The "B" films in these "Forgotten Noir" sets in general often play like really well-done extended TV episodes. It's easy to understand why these films mostly faded out after the early '50s, replaced by television, but they sure were fun while they lasted. I plan to catch up with more films in the sets soon.

COUNTERSPY MEETS SCOTLAND YARD was directed by Seymour Friedman and filmed in black and white by Philip Tannura.

The cast also includes June Vincent (BLACK ANGEL) and John Doucette as members of the spy ring.

Other films reviewed in this collection: HIGHWAY 13 (1948), SKY LINER (1949), WESTERN PACIFIC AGENT (1950), RADAR SECRET SERVICE (1950), and MOTOR PATROL (1950).

Side note, one of those films, RADAR SECRET SERVICE, probably had the lowest IMDb rating of any movie I've ever seen, but I had a good time watching it!

Sunday, September 15, 2019

Tonight's Movie: Day of the Outlaw (1959) - A Kino Lorber Blu-ray Review

The superb Western DAY OF THE OUTLAW (1959) is now available in an outstanding Blu-ray edition from Kino Lorber.

I saw this film for the very first time just about a year ago, writing about it for Classic Movie Hub in a column titled "Snowy Westerns and Day of the Outlaw." I was happy to revisit the film relatively soon after my first viewing as it's that good...I feel as though I'm making up for lost time!

DAY OF THE OUTLAW, directed by Andre De Toth, is as stark a Western as any I've seen, yet it's also a film of surpassing visual beauty, filled with excellent performances.

After weeks stuck on their ranches and farms due to the winter weather, local settlers arrive in the town of Bitters, Wyoming. Rancher Blaise Starrett (the great Robert Ryan) is itching to kill farmer Hal Crane (Alan Marshal), who's fenced off land, but he's also got another reason he'd like to get Crane out of the way: He once had an affair with Crane's wife Helen (Tina Louise), who now regrets it and henceforth intends to live up to her marriage vows.

Just as Starrett and Crane are on the verge of a gunfight, Captain Jack Bruhn (Burl Ives) and his gang of cutthroats burst into the saloon, and the film's focus shifts wildly. Bruhn and his men are killers loaded down with stolen gold, with the cavalry on their trail.

Suddenly and most unexpectedly Starrett and Crane are on the same side, trying to stay alive while dealing with a vicious group of men (including Jack Lambert, Lance Fuller, and Frank DeKova) who think nothing of killing and would also like to have their way with the town's few women (Venetia Stevenson, Helen Westcott, and Betsy Jones-Moreland, in addition to Louise). Only young Gene (David Nelson), who is quietly attracted to Ernine (Stevenson), seems to have redeeming qualities.

As long as Bruhn's alive, he's got control over his men, but he's weakened from a bullet wound, and the local vet (Dabbs Greer) who removes the bullet warns Starrett that Bruhn could die of internal bleeding. If Bruhn dies, all bets are off on what will become of the townspeople.

Starrett, chastened by the experience, plots to draw the gang away from the town by offering to guide them over the mountains; it's a trip he may not survive, for more reasons than one.

Having reviewed WAGON MASTER (1950) last weekend, I was struck anew at some of the plot similarities, with an outlaw gang just barely restrained by a "father figure" type; both films are also visually beautiful, but the comparisons end there. The movies essentially tell flip sides of a similar story; in WAGON MASTER, a happy, cohesive group of people are invaded, while in DAY OF THE OUTLAW, "farmer and cowman" enemies are forced to unite in order to survive the invading evil. DAY OF THE OUTLAW also provides an interesting twist near the end regarding the outlaw leader, which won't be revealed here.

The performances are uniformly good, especially Ryan's haggard yet charismatic, intelligent Starrett, but what really sets DAY OF THE OUTLAW apart is its wintry look. The shots of the men trudging through the snow, filmed in black and white by Russell Harlan, are simply stunning, looking at times almost like paintings.  The movie is a must-see for the visuals alone, shot in Oregon and Northern Arizona, but happily there's much more to it than that.

The screenplay of this 92-minute film was by Philip Yordan, based on a novel by Lee E. Wells. The supporting cast also includes Mike McGreevey, Elisha Cook Jr., and Nehemiah Persoff, who recently turned 100!

The excellent commentary track by Jeremy Arnold analyzes how the film was shot while simultaneously filling viewers in on the backgrounds of the cast. Several actors who worked on the film are still living, and Arnold was able to interview most of them and incorporate their memories into his talk. His discussion of the use of wide shots versus closeups was also quite interesting.

I really enjoyed rewatching the film and gleaning additional insights thanks to this track. And for those worried about the horses in the final scenes -- I was! -- Arnold shares interesting info gleaned from research at the Academy Library. He is nothing if not thorough!

The disc also contains the movie trailer and a gallery of trailers for five additional Westerns available from Kino Lorber.

Highly recommended.

Thanks to Kino Lorber for providing a review copy of this Blu-ray.

Saturday, September 14, 2019

Tonight's Movie: Passion Flower (1930) - A Warner Archive DVD Review

Kay Francis stars in PASSION FLOWER (1930), available on DVD from the Warner Archive.

While Francis is most strongly associated with her work at Warner Bros., at this stage in her career she made films for multiple studios, including MGM and Paramount. Her costars in MGM's PASSION FLOWER were longtime MGM contract player Lewis Stone as well as Charles Bickford and Kay Johnson, stars of the previous year's MGM film DYNAMITE (1930).

DYNAMITE has been directed by Cecil B. DeMille, and as it happens, PASSION FLOWER was directed by Cecil's older brother, William C. DeMille.

In PASSION FLOWER Kay plays Dulce Morado, in a loveless marriage to a nice -- and very wealthy -- man, Antonio (Stone).

When Dulce's cousin Cassy (Johnson) marries the family chauffeur Dan (Bickford) -- shades of DOWNTON ABBEY! -- her father (Winter Hall) disowns her. Dulce and Antonio try to gift Dan and Cassy with a small farm next to Morado's estate on their wedding day, but Dan is too proud to accept.

Flash forward half a decade, and Dan has been trapped in a job as a stevedore for the duration of the marriage, and he and Cassy are trying to raise two children in a small garret apartment. When Dan loses his job, he decides it's finally time to move to the country. Dan and Cassy's former landlady (the always-amusing ZaSu Pitts) comes along to live with the family as their housekeeper.

Things are looking up for Dan and Cassy with a new life and a healthier environment for their little ones...and then Dan and Dulce spoil it all by falling in love.

This was an absorbing 79 minutes, though I questioned some of the character motivations. After Dan's long struggle to independently support his family, I'm not sure how much sense it made for him to jump from that to becoming Dulce's "do nothing" lover, but perhaps once he gave in on the farm, that role was a logical next step. And the screenplay does at least make that an issue which bothers Dan.

It was also hard to buy Dulce and Dan betraying the loyal, steadfast Cassy to such an extent; it seemed especially cruel given how she had cheerfully stood by Dan through thick and thin, but then again people don't always do the reasonable thing. The ultimate resolution was interesting.

The leads are all fine, though I've never found Bickford very compelling as a leading man. Johnson is a bit reminiscent of Karen Morley as the long-suffering wife, while Francis is always good as a bored society type. Stone, a fine actor, is pushed to the background in this one and mostly sits around frowning with concern.

The melodrama is lightened by Pitts' amusing deadpan deliveries, and the late Dick Moore, whose birthday was last week on September 12th, is absolutely adorable as Dan and Cassy's son Tommy. He would have been about four or five when he filmed this. I probably could have watched a whole movie consisting only of scenes with Moore playing with his puppy, he's so cute.

Interesting faces spotted in bit parts in this film are Mary Carlisle and future Oscar winner Ray Milland as party guests; Carlisle can just barely be glimpsed, but the young Milland has several lines. He's seen at the left of the DVD cover at the top of this post.

PASSION FLOWER was filmed by Hal Rosson. The script by Martin Flavin was based on a novel by Kathleen Norris. L.E. Johnson and Edith Fitzgerald also contributed to the script.

As is sometimes the case with films of this vintage, the soundtrack of this Warner Archive DVD is a bit fuzzy at times; I had to turn it up louder than normal to be sure I was catching everything. The picture is soft but overall quite acceptable for its age. There are no extras.

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 or from any online retailers where DVDs and Blu-rays are sold.

Friday, September 13, 2019

Tonight's Movies: Mills of the Gods (1934) and For Heaven's Sake (1950) at Cinecon

My second day at this year's Cinecon Classic Film Festival consisted of seeing four movies, with a short in the mix as well.

I started off with the silent films THE SHAMROCK HANDICAP (1926) and THE DELICIOUS LITTLE DEVIL (1919), both reviewed here, along with the short ROOM MATES (1933).

Then it was time for a mid '30s film, MILLS OF THE GODS (1934), which was a mashup of workplace drama and family soap opera, followed by the comedic fantasy FOR HEAVEN'S SAKE (1950), featuring festival honoree Gigi Perreau; the former child actress sat just a few rows ahead of me as she watched herself acting six decades ago!

MILLS OF THE GODS stars May Robson as Mary Hastings, the head of Hastings Plow Works.

Mary's family (including Fay Wray, James Blakely, Raymond Walburn, and Josephine Whittell) are content to enjoy the wealthy lifestyle the Plow Works affords them, but none of them are interested in succeeding the aging Mary as company head. Truth to tell, they're a collection of selfish jerks.

Things change when business begins to tank due to the Great Depression, which also results in labor unrest. Mary summons her family home, hoping against hope that they will help loosen up some trust funds to bail out the company, but the family members prefer to "take the money and run," letting the company close and putting all the employees out of work.

Sarcastic, hard-edged Jean Hastings (Wray) chances to get to know labor leader Jim Devlin (Victor Jory) and a crack in her armor appears when she decides to help him avoid being arrested on a trumped-up charge cooked up by her relatives. Jean and Jim flee to hide overnight at a mountain cabin; as they get to know one another in their hours together, Jean's attitude begins to change.

This was an interesting 66 minutes, although one of the big questions raised is how did someone as "noble" as Mary raise such a collection of unpleasant people? When Jim gets to know Jean, he asks what had hurt her and caused her to act as she does, but she never answers the question. We're left to wonder. Perhaps Mary was too wrapped up in the business even decades earlier? Or was it just plain bad luck and out of her hands? Clearly there were issues never explained to the audience.

Despite that lingering question mark, the film is worthwhile, especially the extended sequence with Wray and Jory in the cabin. It's sharply written and adult, with excellent performances by Wray and Jory. The sequence zigs when you expect it to zag -- I was glad when it appeared something bad would happen, but it didn't come to pass -- and all in all this section is really superbly done. The movie doesn't go for a pat ending with Wray and Jory, either; it seemed fitting to leave it more open-ended.

MILLS OF THE GODS was directed by Roy William Neill, known for Sherlock Holmes movies, and was filmed by Allen G. Siegler.

The last film of the day for me was FOR HEAVEN'S SAKE (1950), which was a favorite of mine on local TV when I was growing up here in Southern California. Though I've seen it multiple times, I doubt I had seen the movie in the better part of four decades.

FOR HEAVEN'S SAKE is a fantasy in which a pair of angels, Charles (Clifton Webb) and Arthur (Edmund Gwenn), are attempting to retrieve a little sprite of sorts (Gigi Perreau) from a New York penthouse. The little one believes she is destined to be the child of the people who live in the apartment, a playwright named Jeff (Robert Cummings) and his actress wife Lydia (Joan Bennett); careers and marital uncertainty continually cause the couple to put off having children.

The angels take pity on the little girl and Charles temporarily takes human form as "Slim," a possible backer for Jeff's next show, hoping to help push Jeff and Lydia closer together and finally have their baby.

As may be deduced from the briefest of descriptions, this one is pretty wild, between the oddball fantasy and Clifton Webb's scenes playing a different kind of "angel," a Broadway investor; Slim is a Western oilman and as one might imagine, Webb is pretty funny in these scenes, playing wildly against his usual urbane type.

The film is a tad long at 92 minutes, but the interesting premise and solid cast make it worthwhile. The film was a reunion for Gwenn and director-cowriter George Seaton, who had worked together on MIRACLE ON 34TH STREET (1947).

FOR HEAVEN'S SAKE was filmed in black and white by Lloyd Ahern Sr. The top supporting cast includes Joan Blondell, Jack La Rue, Harry von Zell, Tommy Rettig, Charles Lane, Whit Bissell, and Robert Kent.

Perreau was interviewed after the film; her entire family was there to watch the movie with her, which she had never seen theatrically. I'm fortunate in that this was my second time to see her interviewed in person this year. She also appeared at a Noir City Hollywood screening of SHADOW ON THE WALL (1950).

Perreau said that while Webb was clearly not very comfortable around children, he was also quite nice, as was Gwenn, and she had a wonderful experience working on the movie. Perreau is very appreciative in general of the many special people she worked with as a child; happily it all seems to have been positive for her, and she grew up to be a happy, well-adjusted adult.

Coming soon: My final reviews from my last day at this year's Cinecon fest: HIT PARADE OF 1941 (1940), CROOKED STREETS (1920), and CHATTERBOX (1943).

Today at Disneyland: Halloween Time 2019

It's hard to believe it will be autumn in just a few more days!


The change of seasons was definitely in the air as we spent a lovely afternoon and evening enjoying Halloween Time at Disneyland.


Some of the seasonal landscaping was quite different this year. I loved this flower bed at Town Square:


A bit of Main Street U.S.A. decked out in its annual Halloween bunting:


These gorgeous flowers were at the Hub in the center of the park:


I loved these balloon-shaped popcorn buckets:


More beautiful flowers, this time near Zocalo Park in Frontierland:


Dia de los Muertos decorations in Frontierland's Zocalo Park:




Ray Bradbury's Halloween Tree in Frontierland has been one of my favorite things about Halloween Time since the tree was first decorated a dozen years ago. It's a wonderful tribute to Walt Disney's longtime friend, who loved Disneyland:




Main Street U.S.A. as the sun began to set:



The entrance to Disney California Adventure, seen as we left:


Three years ago I attended the Halloween Party in Disneyland. This year I have a ticket for the Oogie Boogie Bash which will take place in Disney California Adventure; the festivities include a brand-new World of Color show, Villainous!, and Mickey's Trick or Treat show. Plus, as usual, all the Halloween candy you can carry!

The party is now sold out for 2019 so I'm glad we got tickets as soon as they went on sale! I expect to share the Halloween party photos here next weekend.

Update: Here are photos from the Oogie Boogie Bash Halloween party!

Previous Halloween Time Posts and Photos: September 29, 2006, September 30, 2006, October 21, 2006, September 28, 2007, October 12, 2007, October 17, 2008, October 9, 2009, October 15, 2010, the 2011 Annual Passholder Private Party (October 17, 2011); October 21, 2012, September 13, 2013, October 18, 2013, September 12, 2014, September 18, 2015, September 20, 2016, September 23, 2016, Mickey's Halloween Party, posted on October 18, 2016September 29, 2017October 14, 2017, October 13, 2018 (Disneyland) and October 15, 2018 (Disney California Adventure).

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