anita loos

Anita Loos – Queen of Wit and Sass Supreme – Episode 24

In episode 24, we discuss the darling of the silent intertitle, mother of sass mouth dames in early talking pictures, raconteur, and all-round solid gold good guy, Anita Loos. We discuss selections of her witty writing on her experience working in Hollywood during the golden era. Stories from Kiss Hollywood Goodbye (1974), Fate Keeps on Happening (1984), Gentlemen Prefer Blondes (1925) and A Girl Like I (1966). We also discuss two of her finest scriptwriting examples in Blondie of the Follies (1932) and The Girl From Missouri (1934).

Sources:
Beauchamp, C. and Loos, M.A., Eds. (2003) Anita Loos Rediscovered: Film Treatments and Fiction by Anita Loos. Berkeley: University of California Press.
Beauchamp, C. (1997) Without Lying Down: Frances Marion and the Powerful Women of Early Hollywood Berkeley: University of California Press.
Blondie of the Follies (1932) Dir. Edmund Goulding [DVD] MGM.
Carey, G. (1988) Anita Loos: A Biography London: Bloomsbury.
Loos, A. (1925) Gentlemen Prefer Blondes (1992) London: Penguin.
Loos, A. (1966) A Girl Like I New York: Viking.
Loos, A. (1974) Kiss Hollywood Goodbye London: W.H Allen.
Loos, A. (1977) Cast of Thousands New York: Grosset & Dunlap.
Loos, A. (1984) Fate Keeps on Happening: Adventures of Lorelei Lee and Other Writings. London: Harrap.
Red-Headed Woman (1932) Dir. Jack Conway [DVD] MGM.
The Girl from Missouri (1934) Dir. Jack Conway [DVD] MGM.

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rosalind russell

Rosalind Russell: Dollface Hick – Episode 22

Orry-Kelly recalled a conversation with Roz during the filming of Auntie Mame “On one occasion I said to her ‘You know, you’re a pretty wonderful girl and you’ve been a wonderful wife. In fact, you’ve been a wonderful mother.’ A naughty Mame-ish gleam came into her eyes as she said, ‘Yes, and I’m a hell of a lover’”. Episode 22 is devoted to this gargantuan superwoman of the silver screen. A unique comedic talent who always displayed class and good humour in whatever picture she worked on. In our opinion, Roz was ‘top drawer’. We discuss three of her finest: The Women (1939), His Girl Friday (1940), and Auntie Mame (1958).

THAT outfit, long thought deleted from the final version of the film but we found its brief appearance!

rosalind russellrosalind russell

Resources:
Auntie Mame (1958) Dir. Morton DaCosta [DVD] Warner Bros.
Dennis, P. (1955) Auntie Mame: An Irreverent Escapade New York: Penguin.
Haskell, M. (1973) From Reverence to Rape: The Treatment of Women in the Movies Chicago: University of Chicago Press.
His Girl Friday (1940) Dir. Howard Hawks [YouTube] Columbia Pictures.
Life is a Banquet: The Rosalind Russell Story (2009) Narr. Kathleen Turner [DVD] Total Media Group.
Russell, R. (1977) Life is a Banquet (with Chris Chase) New York: Ace Books.
The Women (1939) Dir. George Cukor [DVD] MGM.
seul-le-cinema.blogspot.ie/2008/12/women-1939.html
www.criterion.com/current/posts/43…rfect-remarriage

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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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