Tag: film history

Calendar: October 14

A Year: Day to Day Men: 14th of October

The Maroon Leather Armchair

October 14, 1893 was the birthdate of silent film and stage actress Lillian Gish.

After appearing for thirteen years with her sister Dorothy on the vaudeville stage, Lillian Gish eventually found her way onto the big screen. In 1912, she met famed director D. W. Griffith, who immediately cast her in what was to be her first film, the 1912 “An Unseen Enemy”. This was followed the same year by two more films: “The One She Loved”,  and “My Baby”. Gish would make a total of twelve films for Griffith in 1912.

After performing in twenty five films in the next two years, Lillian Gish’s exposure to the public was so great that she fast became one of the top stars in the industry, alongside “America’s Sweetheart” Mary Pickford.. In 1915, Lillian Gish starred as Elsie Stoneman in Griffith’s most ambitious project to date, the 1915 “The Birth of a Nation”. Although the number of films that she now appeared in were not as frequent as her first years, she was popular and successful enough to be able to pick and choose the right films. In 1916, Gish appeared in another Griffith classic, “Intolerance: Love’s Struggle Throughout the Ages”.

By the early 1920s, Gish’s career was slowing down; new actors and actresses appeared on the scene, replacing former stars. Lillian Gish did not appear at all on the screen again until the year of 1926. She appeared in “La Boheme” as Mimi and “The Scarlet Letter” in the lead role as Hester Prynne. As the 1920s ended, silent films were being replaced with the new sound films. At this time, Lillian Gish returned to stage productions which were acclaimed by the public and critics alike.

In 1933, Gish filmed “His Double Life” with Roland Young, and then didn’t make another film for ten years. When Gish did return in 1943, she played in two big-budget pictures, the 1942 “Commandos Strike at Dawn” and “Top Man” released in 1943. Although these roles did not bring her the attention she had in her early career, Gish still proved she could hold her own with the best of them. She later earned an Oscar nomination as Best Supporting Actress for her role of Laura Belle McCanles in the 1946 “Duel in the Sun”, but lost to Anne Baxter for her performance in “The Razor’s Edge”.

One of the most critically acclaimed roles of Lillian Gish’s career came in the 1955 thriller “The Night of the Hunter”, also notable as the only film directed by actor Charles Laughton. Lillian Gish made in 1987 what was to be her last motion picture, “The Whales of August”, a box-office success that exposed her to a new generation of fans. After a seventy-five year career in film, on February 27, 1993, Lillian Gish died at age 99 peacefully in her sleep in New York City.

Calendar: October 13

A Year: Day to Day Men: 13th of October

Jeans and Treble Cleft

October 13, 1950 was the release date of the American drama film “All About Eve”.

“All About Eve’ was written and directed by Joseph Mankiewicz and produced by Darryl F. Zanuck. Based on the 1946 short story “The Wisdom of Eve” by Mary Orr, the film starred Bette Davis and Anne Baxter. In the film, Davis’ character Margo Channing, a well regarded but aging Broadway star, has her career and personal relationships threatened by a ambitious fan, ;played by Baxter, who maneuvers herself into Margo Channing’s life.

In 1949, Joseph Mankiewicz was considering a story about an aging actress and, after reading Orr’s book, felt that the added element of a conniving girl would be a good addition to his story. He presented a film treatment of the combined stories, changing some characters’ names, removing the husband of the actress in the book story, and replacing him with a love-interest character for the actress to add tension when the ambitious fan arrived. Producer Zanuck reduced the screenplay by about fifty pages and chose the title “All About Eve” from the opening scenes when the theater critic says he will tell us “more about Eve…All about Eve, in fact.”

There was much discussion about who would play the lead character Margo Channing. Barbara Stanwyck, Tallulah Bankhead, and Joan Crawford were all considered. After discussion it was decided to give the role to Claudette Colbert, who withdrew after an injury just before filming. The role eventually went to Bette Davis, who thought the role was very good for her career. The character of Margo Channing was changed with the casting of Davis, from a genteel, humorous actress to a more abrasive one.

Anne Baxter had spent ten years in supporting roles, winning the 1946 Academy Award for Best Supporting Actress for her role in “The Razor’s Edge”. She was cast in the role of Eve Harrington, the ambitious fan, after the first choice, Jeanne Crain, became pregnant. The remaining supporting actors were all well known in film: George Sanders, Hugh Marlowe, Celeste Holm, Gary Merrill, and Thelma Ritter; however, there was one young and as yet unknown actress in this film, but about to become a star: Marilyn Monroe.

“All About Eve” received overwhelmingly positive reviews from critics upon it release on October 13, 1950 at a New York City premiere. The film received fourteen Academy Award nominations, winning six, including Best Picture. “All About Eve” is the only film in Oscar history to receive four female acting nominations: Davis and Baxter for Best Actress, and Celeste Holm and Thelma Ritter for Best Supporting Actress. When the American Film Institute named Bette Davis as number two on its list of Greatest Female American Screen Legends, it cited “All About Eve” to highlight Davis’ legendary career.

Gaston Velle, “La Metamorphose du Papillon”: Film History Series

Gaston Velle, “Métamorphoses du Papillon (The Butterfly’s Metamorphosis)”, 1904,  Silent Hand-Colored Nitrate Film, Running Time Two Minutes, Pathé Frères, Collection of the AMCI 

Born in Rome, Italy in 1868, Gaston Velle was a French silent film director and a pioneer in the field of special effects. He was a prominent figure in both French and Italian cinema in the early twentieth-century.

Gaston Velle was the son of Hungarian entertainer Joseph ‘Rrofessor’ Velle, a magician who traveled throughout Europe preforming for the nobility. He began his career as a traveling magician; however when the opportunity presented itself, he entered the developing world of cinematography where he employed his illusionist skills. Velle worked under the Lumière brothers, Auguste and Louis Jean, who were using the newly patented Cinematograph system to make short silent films. Velle nest served as the head of production for the Italian studio Società Italiana Cines, both a producer and distributor of films.

Velle created more than eighty films between 1903 and 1911. He is best known for those works produced at Pathé Frères, a business founded by the four Pathé brothers in 1896. By the early 1900s, this company developed into the world’s largest film equipment and production company, as well as, a major producer of phonographs and their cylinder and disc records. Velle produced for Pathè short films designed to feature special effects; these were intended to rival those of film director Georges Méliès, France’s leading pioneer of special effects films. 

One of Gaston Velle’s earliest directorial works was the 1904 short silent crime film “Les Devaliseurs Nocturnes (Night Burglars)”. Some of Velle’s films pioneered techniques which have been used by others over the years. His 1906 “Les Invisibles” is the first known invisible man film. Valle also created some of the first Féerie films known for their fantasy plots, visual effects and lavish scenery. These films used a fairy-tale design to combine theater with dance, mime and acrobatics.

Velle collaborated with other directors on film projects, including Spanish director Segundo de Chomón, who previously did the cinematography on Velle’s “Night Burglars”, and French director Ferdinand Zecca, who as a Pathé director set up the Pathé pavilion at the 1900 Paris Exposition Universelle. Among these collaborative efforts were such silent film classics as the 1905 “Réve à la Luna (The Moon Lover)”, the 1906 “L’ecrin du Rajah (The Rajah’s Casket)” and the 1905 “La Poule aux Oeufs d’Or (The Hen Who Laid the Golden Egg)”. Director Martin Scorsese inserted “La Poule aux Oeufs d’Or”  into his 1997 Academy Award nominated film “Kundun”. 

Gaston Velle retired from the film industry in 1913. There is little information available about the last decades of his life. He still remained part of a prominent cinematic family as his son Maurice Velle, a cinematographer, married and had a family with screenwriter Mary Murillo. Gaston Velle died in Paris on the eighth of January in 1953 at the age of eighty-five. 

Gaston Velle’s 1904 “Métamorphoses du Papillon (The Butterfly’s Metamorphosis)” is a hand-colored, silent nitrate print film with a running time of less than two minutes. The film follows a caterpillar’s change into a butterfly which later morphs into a female dancer. It is currently housed in the collection of the Australian Centre for the Moving Image, ACMI, at Federation Square in Melbourne. Additional information, as to cinematographer and the actress portraying the dancer, is not known. The full length film can be seen on several online venues including YouTube.  

Second Insert Image: Gaston Velle, “Voyage Autour d’Une Étoile (Voyage Around a Star)”, 1906, Short Silent Film, Pathé Frères

Bottom Insert Image: Gaston Velle, “La Poule aux Oeufs d’Or”, 1905, Short Silent Film, Pathé Frères

Calendar: October 10

 

A Year: Day to Day Men: 10th of October

Magician

October 10, 1916 is the birthdate of American character actor Benson Fong.

Born in Sacramento, California, Benson Fong’s acting career resulted from a chance meeting with a Paramount Pictures talent scout. He was approached and asked if he would like to be in a movie. Fong was given an uncredited role as a guerrilla soldier in the 1943 film “China”, a story occurring during the Japanese occupation of China. He was offered a ten-week contract at $250 a week.

First appearing onscreen in “Charlie Chan at the Opera” as an extra, Benson Fong returned to the series and is best remembered playing Number Three Son “Tommy Chan” opposite Sidney Toler in six “Charlie Chan” movies between 1944 and 1946. Othe films in which he appeared included “Thirty Seconds Over Tokyo”; “The Keys of the Kingdom” as Joseph; “His Majesty O’Keefe”; “Flower Drum Song” as Wang Chi-Yang: and “Our Man Flint” in the role of Doctor Schneider. a mad scientist threatening the world.

Benson Fong’s career as an actor included appearances in several television series. He made four guest appearances on “Perry Mason”, seven appearances on “My Three Sons” as Ray Wong, and four on the “Kung Fu” television series. He also appeared in Walt Disney’s “The Love Bug” starring Dean Jones and Michele Lee.

While appearing in “Keys of the Kingdom” with Gregory Peck, a casual remark by Peck inspired Benson Fong to start a chain of restaurants. After two years of saving his own capital, Fong opened in 1946 his first Ah Fong’s restaurant on Vine Street in Hollywood. After the Vine Street restaurant’s success, Fong opened four more restaurants . He retired from the restaurant business in 1985..

Benson Fong died, at the age of seventy, of a heart attack in Los Angeles, California, in 1987.

Calendar: October 8

A Year: Day to Day Men: 8th of October

Thumb in Briefs

October 8, 1910 was the birthdate of American actor Kirk Alyn, born John Feggo Jr.

Kirk Alyn was born to Hungarian immigrant parents in New Jersey. He started his career as a chorus boy for Broadway plays, appearing in musicals such as the 1930 “Girl Crazy” and Hellzapoppin” on Broadway in 1938. Alyn also worked as a singer and dancer in vaudeville acts before he went to Hollywood in the early 1940s to act for feature films. He was only successful in getting bit parts in low-budget movies.

Kirk Alyn was featured in movie serials, including the 1948 “Federal Agents Versus Underworld Inc”, the 1950 “Radar Patrol Versus Spy King” and the 1952 “Blackhawk”, a spy thriller based on a Quality comic book. In 1948 he had a role as a police officer in the Charlie Chan series film “The Trap”. In early 1948, Kirk Alyn achieved his fame when producer Sam Katzman of Columbia Pictures asked him to play Superman.

Alyn played Superman for the first live-action “Superman” movie serial, released in 1948. The serial consisted of fifteen episodes covering Superman’s arrival on earth, his job at the Daily Planet newspaper, and his meeting Lois Lane and Jimmy Olsen. The series revolved around Superman’s battle with the arch criminal Spider Lady. Two years later another serial was released entitled “Atom Man Versus Superman”, featuring Lyle Talbot as the villain Lex Luthor.

In these serials, Kirk Alyn gave a different portrayal of Clark Kent, emphasizing the element of his disguise, a tradition of the older radio series. Superman’s flight was effected by Alyn jumping up, at which point an animated character made by rotoscoping flew away. Initially wires were used for the first serial but were clearly visible in the footage; so the animation was used instead.

Kirk Alyn was the Grand marshal of the Metropolis, Illinois Christmas parade and Annual Superman Celebrations many times. DC Comics named him in 1985 as one of the honorees in the company’s 50th anniversary publication “Fifty Who Made DC Great”. Alyn died in 1999 in The Woodlands, Texas, was cremated, and had his ashes scattered off the coast of California.

Calendar: October 7

A Year: Day to Day Men: 7th of October

Light Green Shirt

October 7, 1971 was the date of the New York City and Los Angeles premieres of “The French Connection”.

“The French Connection” is a 1971 American crime thriller film directed by William Friedkin, who began his career in documentaries and is closely identified with the New Hollywood movement of the 1970s. The screenplay by Ernest Tidyman is based on Robin Moore’s non-fiction book of the same name. It tells the story of New York Police Department detectives in pursuit of a wealthy French heroin smuggler.

William Friedkin noted that the film’s documentary style realism was the result of his having seen the French film “Z’, a political thriller film. He credits his decision to direct “The French Connection” to director Howard Hawks who thought Friedkin’s previous films were bad and recommended that Friedkin make a movie with a better chase scene than any previous films.

The casting of “The French Connection” ultimately was one of the film’s greatest strengths; however Friedkin had problems with casting choices from the start. He was strongly opposed to the choice of Gene Hackman for the lead; he was considering Paul Newman, Jimmy Breslin, and Charles Bronson, among others. For different reasons these choices were not available, so Friedkin chose Hackman for the role of Detective Jimmy “Popeye” Doyle..

The choice of the French heroin smuggler was the result of a mistaken identity. Friedkin was impressed with the performance of Francisco Rabal in the film “Belle de Jour”; but he could not remember the actor’s name, only thatt the actor was Spanish. The casting director contacted another Spanish actor named Fernando Rey for the role. After Francisco Rabal was finally contacted, Friedkin discovered that the actor spoke neither French nor English; so Fernando Rey was given the role of Alain Charnier.

“The French Connection” contains one of the greatest car chase sequences in film history. The detective Popeye played by Hackman commandeers a civilian’s car and frantically chases an elevated train, on which a hitman is attempting to escape. Some of the chase scenes were filmed from a bumper mount camera on the car, resulting in a low-angle view of the streets racing by. The speed of the camera was set a 18 frames per second to enhance the sense of the car’s speed. Stunt drivers were supposed to barely miss the speeding chase car, but accidental collisions occurred and were left in the final film.

“The French Connection” was the first R-rated movie to win an Academy Award for Best Picture since the rating system started. It also won Best Actor for Gene Hackman, Best Diredtor for William Friedkin, Best Film Editing, and Best Adapted Screenplay. Ernest Tidyman won for his screenplay a Writers Guild of America Award, a Golden Globe nomination, and won an Edgar Award from the Mystery Writers of America for his screenplay.

Amy May Wong: Film History Series

Photographer Unknown, “Anna May Wong”, Portrait Photo, Date Unknown, 8 x 10 Inches

America’s first female Asian American star, Anna May Wong was born oin January 3rd in 1905, Wong was a minor film star from the 1920s through the 1940s who fought against stereotypes and sometimes, of necessity, worked with them. She was almost exclusively a film actress as opposed to a live performer. However, she did occasionally make vaudeville tours to promote her film career during the twenties and early thirties.

In 1935 Wong was dealt the most severe disappointment of her career, when Mertro-Goldwyn-Mayer refused to consider her for the leading role of the Chinese character O-Lan in the film version of Pearl S. Buck’s “The Good Earth”, choosing instead the white actress Louise Rainer to play the leading role. Wong spent the next year touring China, visiting her family’s ancestral village and studying Chinese culture.

In the late 1930s, Anna May Wong starred in several B movies for Paramount Pictures, portraying Chinese and Chinese Americans in a positive light. She made history in 1951 with her TV show “The Gallery of Madame Liu-Tsong”, the first ever U.S. television show with an Asian American in the starring role. Wong had been planning her return to film with “The Flower Drum Song” when she died in 1961, at the age of 56 of heart failure.

Calendar: October 3

A Year: Day to Day Men: 3rd of October

Perched

October 3, 1941 marks the premier of John Huston’s directorial debut of “The Maltese Falcon” in New York City.

“The Maltese Falcon” was based on Dashiell Hammett’s 1930 novel of private detective Sam Spade’s solution to a mystery case. Hammett, who had once worked for the Pinkerton Detective Agency,  created the character of Sam Spade as a dream detective, the person most private detectives wanted to be. The plot follows Sam Spade, played by Humphrey Bogart, and his dealings with a client and three unscrupulous adventurers, all of whom are competing to obtain a jewel-encrusted falcon statuette.

Humphrey Bogart was not the first choice to play Sam Spade; producer Hal B. Wallis initially offered the role to George Raft, who turned it down not wanting to work with a newly starting director. Bogart, at the age of forty-two, was delighted to play a highly ambiguous honorable yet greedy character. Huston was grateful that Bogart accepted the role, the film consolidating their friendship and leading to future films such as “Key Largo” in 1948 and “The African Queen” released in 1951.

The character of the sinister “Fat Man” Kasper Gutman was based on the overweight British detective / entrepreneur A. Maundy Gregory. Producer Hal Wallis sugggested that Huston give a screen test to Sydney Greenstreet, a veteran stage character actor who had never appeared on film before. The sixty-one year old Greenstreet impressed Huston with his sheer size, his abrasive laugh, and his manner of speaking. Greenstreet later appeared with Bogart in “Casablanca” and starred in the 1946 “The Verdict”.

The character of Joel Cairo, played by Peter Lorre, was based on a criminal arrested by Dashiell Hammett for forgery in 1920. In the novel, the character is clearly gay, but to avoid problems with the Hays Office censors, this was downplayed considerably in the movie. Because of the Hays Office strict regulations, homosexuality could only be shown through hints, not through any direct means. Thus, Cairo’s calling cards and handkerchiefs are scented; Cairo fusses about his clothes; and Cairo makes subtle fellating gestures with his cane during an interview with Sam Spade.

The uncredited appearance of the character actor Walter Huston, in a small cameo role as the freighter captain who delivers the Falcon, was done as a good luck gesture for his son, John Huston, on his directorial debut. The elder Huston had to promise Jack Warner, head of the studio, that he would not demand a dime for his little role before he was allowed to stagger into Spade’s office.

“The Maltese Falcon” received three nominations for the 14th Academy Awards; Best Picture, Best Supporting Actor for Sydney Greenstreet, and Best Adapted Screenplay for John Huston’s work. The film was selected for inclusion in the National Film Registry in 1989 and was cited by Panorama du Film Noir Americain as the first major film noir.

Calendar: October 2

A Year: Day to Day Men: 2nd of October

Eagle Rising

October 2, 1890 marks the birthdate of actor and comedian Groucho Marx.

Groucho Marx, born Julius Henry Marx, was born in New York City. His father Samuel never had much success as a tailor, and the family struggled financially. His mother Minnie became a stage mother, guiding her children’s theatrical acts and even performing herself. The act eventually featured Groucho and his brothers Leonard, Adolph, and Milton.

Groucho Marx received his colorful nickname based on his personality from vaudeville performer Art Fisher, who also gave the brothers stage names: Leonard became ‘Chico’, Adolph became ‘Harpo’, and Milton became ‘Gummo’. Milton Marx left the act to fight in World War II and was replaced by the youngest brother Herbert, who became known as ‘Zeppo’.

By the 1920s, the Marx Brothers had become a hugely popular theatrical act. During this time, Groucho developed some of his famous trademarks; the long coat, the painted-on mustache, thick glasses, and the thick cigar. Groucho explained that the props were useful also: “if you forget a line, all you have to do is stick the cigar in your mouth and puff on it until you think of what you’ve forgotten”.

The Marx Brothers had a string of Broadway hits, starting with the 1924 “I’ll Say She Is”, which Groucho helped write. The following year, they returned to the stage with “The Cocoanuts”, a spoof on land speculation in Florida. The Marx Brothers hit it big again in 1928 with “Animal Crackers.”  Working with producer Irving Thalberg, the Marx Brothers created one of their most popular movies “A Night at the Opera”, released in 1935.

Even before the Marx Brothers split up, Groucho Marx had been exploring other career opportunities. He wrote the 1930 humorous book “Beds”, and followed it up in 1942 with “Many Happy Returns”, his comic attack on taxes. On the radio, Groucho worked on several programs before landing a hit in 1947 with “You Bet Your Life”. He hosted the quirky game show, which focused more on his quick wit than on contestants winning prizes.

Groucho Marx’s “You Bet Your Life” moved from radio to television in 1950, and Marx entertained America with his wisecracks for 11 years, also winning an Emmy in 1951. After that program ended in 1961, he appeared on “Tell It to Groucho”, a short-lived game show the following year. After the end of that game show, Grouch Marx retreated from the limelight, making only occasional appearances on television and film.

Groucho Marx died of pneumonia in a Los Angeles hospital on August 19, 1977. The New York Times article on his passing stated: “He developed the insult into an art form. And he used the insult, delivered with maniacal glee, to shatter the egos of the pompous and to plunge his audience into helpless laughter”.

Calendar: September 29

A Year: Day to Day Men: 29th of September

The Skateboard

September 29, 1907 was the birthdate of Orvon Grover Autry, known to film fans as the American cowboy Gene Autry.

Gene Autry was an American singer, songwriter, actor, musician and rodeo performer who gained fame as a singing cowboy on radio, film and on television.  Born in northern Texas, he worked on his father’s farm while attending school. After high school, Autry worked as a telegrapher for the Saint Louis-San Francisco Railway. He would often sing and accompany himself on guitar at local dances.

Autry went to New York in 1928 and auditioned for Victor Records. The company had just hired two similar sounding voices so he did not get a contract; but he did get the advice to sing on radio to gain experience. Autry started singing latter that year on the Tulsa radio station KVOO as “Oklahoma’s Yodeling Cowboy”, eventually recording two duets with singer Jimmie Long for Victor Records.

Gene Autry signed a recording deal with Columbia Records in 1929. His first hit was in 1932 with “That Silver-Haired Daddy of Mine”, a duet co-written and sung with Jimmy Long. Autry also recorded the classic Ray Whitley hit “Back in the Saddle Again” , as well as many Christmas holiday songs including “Frosty the Snowman” and “Rudolph the Red-Nose Reindeer”, which became a big hit.  Autry’s own composition of “Here Comes Santa Claus”, which he wrote after the 1946 Hollywood Christmas Parade, was recorded in 1947 and became an instant hit.

Gene Autry and Pat Burnette, a recently returned Army Air Force veteran, were discovered by producer Nat Levine in 1934. Together, they made their film debut for Mascot Pictures Corporation in the western “In Old Santa Fe” as part of a singing cowboy quartet. Autry was then given the starring role by producer Levine in the 1935 twelve-part film serial “The Phantom Empire”, which combined western, musical and science fiction genres. This was Gene Autry’s first starring role, playing himself as a singing cowboy.

Mascot Pictures was absorbed by the newly formed Republic Pictures Corporation, which continued making films with Gene Autry. He made forty-four more films with the company up to 1940, all ‘B’ Westerns, acting under his own name. Autry rode his horse Champion, had Pat Burnette as his regular sidekick, and had many opportunities to sing in each film. In the Motion Picture Herald’s Top Ten Money-Making Western Stars poll, Gene Autry held first place from 1937 to 1942 and second place, after Roy Rogers, from 1947 to 1954, when the poll ended.

Calendar: September 28

A Year: Day to Day Men: 28th of September

Amber Waves of Grain

September 28, 1924 was the birthdate of Italian actor Marcello Mastroianni.

Marcello Mastroianni made his uncredited screen debut as an extra in the 1939 Italian comedy “Marionette”. He made several more minor film appearances and landed his first big role in the 1951 “Atto d’Accusa”, playing Renato La Torre in the melodrama. Within a decade, he became a major international celebrity, starring in “Big Deal on Madonna Street” and in Federico Fellini’s “La Dolce Vita” opposite Anita Ekberg. In “La Dolce Vita”, Mastroianni played a self-loathing and disillusioned tabloid columnist who spends his days and nights. exploring Rome’s high society.

After “La Dolce Vita”, Mastroianni starred in another Fellini film “8 1/2”. He played the signature role of a film director who, in the midst of self-doubt and troubled love affairs, finds himself in a creative block in his effort to direct an epic science-fiction move. Between 1954 and 1995, Mastroianni starred in twenty seven films including “La Notte” with Jeanne Moreau; “Marriage Italian-Style”; Robert Altman’s “Ready to Wear” with Sophia Loren; “The Pizza Triangle” with Monica Vitti”; Fellini’s “City of Women” and “Ginger and Fred”; and Nikita Mikhalkov’s “Dark Eyes” with Marthe Keller.

Marcello Mastroianni was nominated for the Academy Award for Best Actor three times; for “Divorce Italian Style”, “A Special Day”, and “Dark Eyes”. He is one of only three actors to have been twice awarded the Best Actor at the Cannes Film Festival. Mastroianni won it in 1970 for “The Pizza Triangle” and in 1987 for his role of Romano in “Dark Eyes”. His final film was “Voyage to the Beginning of the World”, a Portuguese- French drama film, released in 1997  after his death.

Mastroianni died of pancreatic cancer in December of 1996 at the age of seventy-two. The Trevi Fountain in Rome, associated with his role in Fellini’s “La Dolce Vita”, was symbolically turned off and draped in black as a tribute. At the 1997 Venice Film Festival, his lover Anna Maria Tatò, an author and filmmaker, screened her four-hour documentary entitled “Marcello Mastroianni: I Remember”. His honors included British Film Academy Awards, Best Actor awards at the Cannes Film Festival, and two Golden Globe Awards.

Calendar: September 26

A Year: Day to Day Men: 26th of September

Infectious Smile

September 26, 1877 was the birthdate of character actor Edmund Gwenn.

In 1901 Edmund Gwenn went to Australia and acted on stage there for three years, not returning to London until 1904. There he took a small part in “In The Hospital”, which led to him receiving a postcard from George Bernard Shaw, offering him a leading role as Straker, the chauffeur, in Shaw’s “Man and Superman”. Gwenn accepted and the play was a success. He spent three years in Shaw’s company, performing in “John Bull’s Island”, Major Barbara”, “The Devil’s Disciple” and other plays by Shaw.

Edmund Gwenn made his first appearance on screen in a 1916 British short “The Real Thing at Last”, followed by a silent version of “The Skin Game” in 1920 as the character Hornblower. This role he would reprise in a talking version by Alfred Hitchcock, released in 1931. After these films, Gwenn worked steadily until the end of his life, appearing in English stage pays and films, eventually doing more and more on Broadway and in Hollywood.

In 1940 Edmund Gwenn played a delightful Mr Bennet in “Pride and Prejudice”, then played a completely opposite role as an assassin in Alfred Hitchcock’s 1940 “Foreign Correspondent”. He later played a comedic role in the 1941 “Charley’s Aunt”, in which he romanced Jack Benny, masquerading as a woman. Gwenn was in the 1945 “Bewitched”, “Of Human Bondage” released in 1946, and the 1947 “Green Dolphin Street”.

Then in 1947, Edmund Gwenn became a super star. Twentieth Century-Fox was planning the film “Miracle on 34th Street”. The studio had offered the role of “Kris Kringle” to Gwenn’s cousin, the well-known character actor Cecil Kellaway, but he had turned it down with the observation that the role was too whimsical. Twentieth Century-Fox then offered it to Edmund Gwenn, who immediately accepted. His performance earned him at the age of 71 an Academy Award as Best Supporting Actor and, because it is rerun every Christmas season, Gwenn would become for many their all-time favorite screen Santa.

Though rotund, Edmund Gwenn didn’t feel he was rotund enough to look like the jolly old elf most people expected after having read Clement Moore’s “The Night before Christmas”, in which Santa “had a broad face and a little round belly”. Although it was suggested that he could wear padding beneath the Santa costume, Gwenn resisted as he saw the padding effect as too artificial. So he gained almost 30 pounds for the role, a fair amount for a man of his short stature, and added nearly five inches to his waistline.

Gwenn’s final days were spent at the Motion Picture Home in Woodland Hills, California. Having endured terrible arthritis for many years, he had suffered a stroke, and then contracted pneumonia, from which he died at age 81 on September 6, 1959. His body was cremated, and his ashes are buried in a vault at The Chapel of the Pines in Los Angeles.

Calendar: September 22

A Year: Day to Day Men: 22nd of September

Red Atop of Gray

September 22, 1885 was the birthdate of director, actor and producer Erich von Stroheim.

Erich von Stroheim is considered one of the greatest directors of the silent era; he created films representing both a cynical and a romantic view on human nature. His style of directing was known to be dictatorial and demanding on the actors. Stroheim’s best remembered work was his adaption of Frank Norris’ period novel “McTeague”, released in 1924 under the title “Greed”. It originally started as a project with Goldwyn Pictures, which later during the filming, Merged with Loew  and became MGM,

“Greed” was intended to be a highly detailed version of the book, shot at the actual locations in the book. Scenes with actors in period dress and Silent movie make-up were shot amidst a modern day San Francisco, with its automobiles seen in many scenes. The Death Valley scenes in the book were shot on location in the heat of summer, the first feature-length film shot at the location.

The original print of “Greed” ran for ten hours. Stroheim and director Rex Ingram, after cutting more than half of the footage, edited it into a four-hour version that could be shown in two parts. Metro- Goldwyn Mayer, tired of Stroheim’s attempts to cut the film to less than three hours, removed him from control and gave the film to head scriptwriter June Mathis with instructions to cut it further. Mathis gave the print to a routine cutter, who reduced it to two and a half hours in length. In what is considered one of the greatest losses in cinema history, a janitor at the studio destroyed the cut footage. Stroheim disowned the released version which became a commercial failure. 

Erich von Stroheim’s unwillingness or inability to modify his artistic principles for the commercial cinema, his extreme attention to detail, his insistence on near-total artistic freedom and the resulting costs of his films led to fights with the studios. As time went on he received fewer directing opportunities. In 1929, Stroheim was dismissed as the director of “Queen Kelly” after disagreements with star Gloria Swanson and producer Joseph P. Kennedy over the mounting costs of the film as well as Stroheim’s introduction of indecent subject matter into the film’s scenario.

Stroheim played the role of producer Max von Mayerling in Billy Wilder’s 1950 “Sunset Boulevard”, for which he received a nomination for the Academy Award fo Best Supporting Actor. Excerpts from Stroheim’s previous work “Queen Kelly” were shown in the film. His “Sunset Boulevard” character had lines stating that he used to be one of the three greatest directors of the silent era. These lines reflected the actual humiliations and trials Stroheim had actually suffered through his career. Erich von Stroheim, paralyzed from cancer in his body, passed at his chateau near Paris on May 12, 1957 at the age of 71.

Calendar: September 18

A Year: Day to Day Men: 18th of September

Morning Wake-Up

September 18, 1951 marks the release the film “A Streetcar Named Desire”.

“A Streetcar Named Desire” is an American drama film adapted from Tennessee Williams’s Pulitzer Prize-winning 1947 play of the same name. Williams collaborated with screen writer Oscar Saul and Elia Kazan on the screenplay. Kazan , who had directed the Broadway stage production, also directed the black and white film. Marlon Brando, Kim Hunter, and Karl Malden were all cast in their original Broadway roles; Vivien Leigh, who had appeared in the London theater production, was cast in the role of Blanche DuBois.

The play’s themes were controversial, causing the screenplay to be modified to comply with the Hollywood Production Code. In the original play, Blanche’s husband had committed suicide after he was discovered having a homosexual affair. This reference was removed from the film; Blanche says instead that she showed scorn at her husband’s sensitive nature, driving him to suicide. Other scenes were shot but cut after filming was complete to conform to the Production Code and later, to avoid condemnation by the National League of Decency.

The Production Code censors demanded 68 script changes from the Broadway staging, while the interference of the Catholic Legion of Decency led to even further cuts, most of them having to do with references to homosexuality and rape. In 1993, after Warner Brothers completed a routine inventory of ltheir archives, the censored footage was found and restored in an original director’s version.

The music score by Alex North was written in short sets of music that reflected the psychological dynamics of the characters. For his work on the film, North was nominated for an Academy Award for Best Music Score, one of two nominations in that category that year.

Upon release of the film, Marlon Brando, virtually unknown at the time of the play’s casting, rose to prominence as a major Hollywood film star. The film marked the first of Marlon Brando’s four consecutive Academy Award nominations for Best Actor and earned an estimated $4,250,000 at the US and Canadian box office in 1951, making it the fifth biggest hit of the year.

“A Streetcar Named Desire” won four awards at the 24th Academy Awards. The film set an Oscar record when it became the first film to win in three acting categories, a feat later matched by the film “Network”. The awards the film won were: Vivien Leigh for Actress in a Leading Role, Karl Malden for Actor in a Supporting Role, Kim Hunter for Actress in a Supporting Role, and Best Art Direction.