gloria grahame

Gloria Grahame – Sister Under the Mink – Episode 21

This month we’re righting some wrongs here at Any Ladle’s Sweet. Gloria Grahame shone in support roles in many noir films, under many great directors but she references her mother as her only influence on her acting style. Negative stories surrounding her personal life overtook her talent and hard work and fact and fiction mixed into a tawdry Hollywood Babylon style mess. Gloria was a unique talent and we are here to celebrate her hard work and mesmerising onscreen presence. We discuss 3 of her finest, In a Lonely Place (1950), The Big Heat (1953), and Human Desire (1954).

Sources:
Callahan, D. (2008) ‘Fatal Instincts: The Dangerous Pout of Gloria Grahame’

Bright Lights 30 April [Available at: brightlightsfilm.com/fatal-instinct…/#.WX9Yq4jyvIV].

Chase, D (1997) ‘Gloria Grahame: In Praise of the Dirty Mind’ Film Comment September/October [Available at: www.filmcomment.com/article/gloria-grahame/].

Curcio, V. (1989) Suicide Blonde: The Life of Gloria Grahame. New York: William Morrow and Company.

Eisenschitz, B. (1996) Nicholas Ray: An American Journey translated by Tom Milne. New York: Faber & Faber.

Gunning, T. (2000) The Films of Fritz Lang: Allegories of Vision and Modernity. London, BFI with Palgrave Macmillan.

Hagen, R and Wagner, L. (2004) Killer Tomatoes: Fifteen Tough Noir Dames. Jefferson: McFarland.

Human Desire (1954) Dir. Fritz Lang [YouTube] Columbia Pictures.

In a Lonely Place (1950) Dir. Nicholas Ray. [DVR] Columbia Pictures.

Ray, N. (1993) I Was Interrupted: Nicholas Ray on Making Movies Berkeley: University of California Press.

Rickey, C. (2017) ‘In a Lonely Place: Film noir as an opera of male fury’

Library of America 28 June [Available at: www.loa.org/news-and-views/1301…-opera-of-male-fury].

The Big Heat (1953) Dir. Fritz Lang [DVD] Columbia Pictures.

Turner, P. (1986) Film Stars Don’t Die in Liverpool. London: Pan Books.

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louise brooks

Louise Brooks – Naked on Her Goat – Episode 20

Actress Dorothy Mackaill said of Louise “She was a peculiar girl, odd, different but she was damned attractive, and I’d say good-humoured, not difficult about it all. She used to laugh and shrug her shoulders and say ‘the hell with it’. But they got what they wanted. All they had to do with Brooksie was turn the camera on.” There really was no one like Louise and we’re dedicating our twentieth episode to this enigmatic dancer turned actress turned writer. We discuss 3 of her finest films: Pandora’s Box (1929), The Diary of a Lost Girl (1929) and Prix de beauté (1930).

Viva Louise!

Resources:
Brooks, L. (1982) Lulu in Hollywood New York: Knopf.

Eisner, Lotte. (1952) The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt: University of California Press

sensesofcinema.com/2010/feature-ar…-tabula-rasa-3/

Bright Lights Film Journal [Available at: brightlightsfilm.com/martyrdom-lulu-louise-brooks- 100/#.WWSi7YTyvIU].

Diary of a Lost Girl (1929) Dir. G.W. Pabst [DVD] Pabst-Film.

Pandora’s Box (1929) Dir. G.W. Pabst [DVD] Süd-Film.

Paris, B. (1989) Louise Brooks New York: Knopf.

Prix de Beauté (1930). Dir. Augusto Genina [internet archive] Sofar-Film.

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irene dunne

Irene Dunne – ‘She longed to be called baby’ – Episode 19

Irene Dunne was the queen of melodrama, comedy and musicals, a leading lady adored by all and seen by female audiences as an ‘every woman’. Many critics over the years have labelled Irene as either the ‘female Cary Grant’ or the refined lady who excelled in maternal roles. We at Any Ladle’s Sweet beg to differ and offer a more nuanced view of this deeply funny lady who always longed to be called ‘baby’. We discuss 3 of her finest roles: Ann Vickers (1933, Theodora Goes Wild (1936), and Unfinished Business (1941).

Sources:
Ann Vickers (1933). Dir. John Cromwell [DVD] RKO Pictures.

Basinger, J. (2007) The Star Machine. New York: Vintage.

Bawden, J. and Miller, R. (2016) Conversations with Classic Film Stars: Interviews from Hollywood’s Golden Era. Lexington: University Press of Kentucky.

Bogdonovich, P. (1997) Who the Devil Made It: Conversations with Legendary Film Directors. New York: Ballantine.

Carman, E. (2016) Independent Stardom: Freelance Women in the Hollywood Studio System. Austin: University of Texas Press.

Douglas, M. (1986) See You at the Movies: The Autobiography of Melvyn Douglas. (with Tom Arthur) Lanham: University Press of America.

Gehring, W.D. (2006) Irene Dunne: First Lady of Hollywood. Lanham: Scarecrow Press.

McCourt: J. (1980) ‘Irene Dunne: The Awful Truth’ Film Comment 16.1 pp. 26-32.

Theodora Goes Wild (1936) Dir. Richard Boleslawski [YouTube] Columbia Pictures.

Unfinished Business (1941) Dir. Gregory La Cava [YouTube] Universal Studios.

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mary astor

Mary Astor: Bitch’s Cauldron – Episode 18

Mary Astor was in the words of David Niven a woman who “looked like a beautiful and highly shockable nun with the vocabulary of a long shoreman.” Dominated by a brutish money grabbing father, hated by her mother, pushed into film acting and some disasterous marriages and affairs, it was a long time before the real Mary Astor came into her own. A woman consumed by her many passions and demons, she brought a vitality, intelligence and wit to her roles that was ahead of its time. Join us as explore her best work in three films: The Maltese Falcon (1941), The Great Lie (1941) and The Palm Beach Story (1942).

Sources:

Astor, M. (1959) My Story: An Autobiography New York: Doubleday.

Astor, M. (1967) Mary Astor: A Life on Film 1 st British edition 1973. London: W.H. Allen.

Huston, J. (1980) An Open Book New York: Knopf.

Sorel, E. (2016) Mary Astor’s Purple Diary: The Great American Sex Scandal of 1936 New York: Liveright Publishing Company.

Sturges, P. (1990) Preston Sturges on Preston Sturges Adapted and edited by Sandy Sturges. New York: Simon and Schuster.

The Great Lie (1941) Dir. Edmund Goulding (DVD) Warner Brothers.

The Maltese Falcon (1941) Dir. John Huston (DVR) Warner Brothers.

The Palm Beach Story (1942) Dir. Preston Sturges (DVD) Paramount Pictures.

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carole lombard

Carole Lombard: Hoyden, Screwball, Mogul in the Making – Episode 17

Ice-blonde with blue piercing eyes and great gams, Carole surprised many with her salty tongue, endless pranks and keen head for business and publicity. A screwball comedy queen, she also had a big heart when it came to looking after everyone she came into contact with, on and off the set. A proto feminist, she strived for better contracts and demanded her way when it came to choosing writers, directors and cinematographers for her projects. Her life was tragically brief so we want to pay homage to this great lady who was really just getting started. In episode 17 we discuss Virtue (1932), No Man of Her Own (1932) and My Man, Godfrey (1936).

Sources:
Bogdanovich, P. (1997) Who the Devil Made It: Conversations with Legendary Film Directors New York: Ballantine Books.

Carman, E. (2016) Independent Stardom: Freelance Women in the Hollywood Studio System. Austin: University of Texas Press.

My Man Godfrey (1936) Dir. Gregory La Cava [YouTube] Universal Pictures.

No Man of Her Own (1932) Dir. Wesley Ruggles [DVD] Paramount Pictures.

Swindell, L. (1975) Screwball: The Life of Carole Lombard Brattleboro: Echo Point Books and Media.

Virtue (1932) Dir. Edward Buzzell [DVD] Columbia Pictures.

Ott W. Frederick. (1972) The Films of Carole Lombard: The Citadel Press

sensesofcinema.com/2011/cteq/my-man-godfrey/

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