Welcome to Sister Celluloid: Where Old Movies Go To Live! I’m so happy we found each other! Here, it’s all about classic films—and you! It’s a dialogue, not a monologue. Please take a look around, and jump in on every story that interests you. Stop by often, as I’ll be adding lots of great history, news, interviews, photos etc. And I’ll be running contests for fabulous prizes like vintage jewelry, great books and terrific DVDs and CDs! Please scroll through, dig in and pipe up! I’d love to hear from you!
Dutch Girl: Audrey Hepburn in WWII Reveals Entirely New Facets of Her Life, Including Her Work as a Resistance Fighter
Ah, there’s the Audrey we love—light and breezy, cycling around the set of Sabrina in capri pants and a ponytail.
But a scant eight years earlier, an Audrey we’ll grow to love even more was cycling through the darkened streets of her Nazi-occupied city, entrusted with urgent missives of the Dutch Resistance printed on sheets no bigger than paper napkins: “I stuffed them in my woolen socks in my wooden shoes, got on my bike and delivered them.”
This is the girl we meet in Robert Matzen’s extraordinary and deeply moving new book, Dutch Girl: Audrey Hepburn in WWII (GoodKnight Books, 2019), gleaned from exhaustive research that includes family diaries, Dutch archival records, Audrey’s own recollections, and interviews with villagers who knew her during the war. It also features photographs from her personal collection, published for the first time.
Audrey didn’t come by her anti-Nazi fervor naturally: both her parents were fiercely pro-fascist. Her father, Joseph Ruston, peddled Nazi propaganda so hard that he wound up on the radar of British intelligence. And her mother, the Baroness Ella Van Heemstra, penned articles praising the Führer (“Well may Adolf Hitler be proud of the rebirth of this great country and of the rejuvenation of the German spirit!”)—and treasured the moment he kissed her hand during a personal audience in Munich.
Ruston abandoned his family when Adriaanjte (“little Audrey”) was only six—opening a wound that would never fully heal. (“I think it is hard sometimes for children who are dumped,” she recalled decades later, the pain still palpable. “I don’t care who they are. It tortures a child beyond measure. They don’t know what the problem was.”) Also undone by the sudden shock, Ella shuttled her two sons off to a boarding school in The Hague and Audrey to another near Dover, England, where she found refuge in music and dance. (“I fell in love with dancing,” she said later. “There was a young dancer who would come up from London once a week and give ballet lessons. I loved it, just loved it.”)
But in 1939, as the Nazis blighted ever more of Europe, the baroness, who had moved from Belgium to the Netherlands to be closer to family, reclaimed her children to a land she thought was safe. Astonishingly, she still trusted Hitler, and believed he wouldn’t invade a country that Germany had deemed off-limits during the Great War.
Ten-year-old Audrey made it safely out of England not a moment too soon. “There were still a few Dutch planes allowed to fly,” she later recalled. “They put me on this bright orange plane. You know, orange is the national color and it flew very low. It was really one of the last planes out.”
Ella’s peculiar trust in the Führer proved short-lived, as the Nazis invaded the Netherlands the following spring. “We saw the grey uniforms of the German soldiers on foot,” Audrey would remember. “They all held machine guns and marched in looking spick and span and disciplined… then came the rumble of trucks… and the next thing we knew they had taken complete charge of the town.”
In Holland, she continued to find solace in the rigors of ballet, enrolling in a music school run by a celebrated local instructor. And she found warmth and comfort with her Uncle Otto and his wife Wilhelmina, who gave her the affection her mother brusquely withheld.
Even in the early years of the occupation, Ella remained on friendly terms with influential local Nazis, which helped her maintain a prominent—and to her, still important—role in the town’s cultural affairs. But she finally relented when the war took a monstrously personal toll.
In May 1942, Otto was one of hundreds rounded up, arrested and imprisoned for the acts of resistance across the Netherlands. Four months later, when critical a rail line was sabotaged, he was one of five hostages dragged from their beds and driven to the middle of a remote forest. There, they were forced to dig their own graves through the night, and executed by firing squad at dawn the next morning. Grief-stricken and terrified, Audrey’s family fled to Velp, where her grandfather lived.
After years of study which helped keep her sane, Audrey had become Arnhem’s most prominent young ballerina, grudgingly giving her first public performance in July 1941 for an audience of Nazi soldiers. But the heartbreak of losing her beloved uncle hardened her even further against the brutal occupiers—and soon, she would turn her talents to aiding the Resistance movement that Otto had given his life for. She started performing at secret, invitation-only fundraisers called zwarte avonden (black evenings), so named because the windows were blacked out to avoid Nazi detection. “Guards were posted outside to let us know when Germans approached,” Hepburn later recalled. “The best audiences I ever had made not a single sound at the end of my performance.”
In the summer of 1944, a family friend introduced Audrey to Dr. Hendrik Visser ’t Hooft, whose hospital was the center of the local Resistance, where doctors and staff forged identity papers and set up communications with the Allies. Audrey helped treat the wounded during the bloody, protracted Battle of Arnhem, and, because she spoke fluent English, carried messages to downed American and British fliers, telling them where they might find food and safe haven.
One English pilot who was shot down found shelter with the Hepburns, who hid him until he could make his escape. “My mother told me it was thrilling for her—it was risky, he was a stranger in uniform, a savior, and therefore a knight and hero,” her son, Luca Dotti, recalls in Dutch Girl. “Then I learned about the German law that if you were caught hiding an enemy, the whole family would be taken away.”
Partly as a form of cruel vengeance against a people who clearly despised and resisted them, the Nazis began withholding food, fuel, coal, and other vital supplies; even water was in short supply. During the “Hunger Winter” of 1944-45, thousands succumbed to intense cold and starvation, while many who survived, including Audrey, suffered extreme malnutrition. She went for days at a time without eating, and meals, when they could be cobbled together, usually consisted of a potato or a slice of bread—often made from ground tulip bulbs—and a thin broth.
Finally in April 1945, Canadian forces, bearing gifts of cigarettes and candy bars, forced the last Nazis out of Velp. And Audrey celebrated by gorging on chocolate until she was too sick to eat any more.
Dutch Girl is Matzen’s third volume covering the war years of classic Hollywood stars, following Fireball: Carole Lombard and the Mystery of Flight 3 and Mission: Jimmy Stewart and the Fight for Europe. I love all three, not only for the meticulous research he devotes to them—by now he’s practically a grizzled war veteran himself—but because he pushes past the ordinary celebrity portraits to reveal aspects of their lives and characters we’d never known before.
In the case of Audrey Hepburn, this is especially welcome. It always bothers me when she’s portrayed merely as a meringue confection or style icon, when there was so much underneath, so much more going on behind her eyes. Now, thanks to Matzen’s book, we know what some of that was.
The horrors she witnessed, and those that shattered her family first-hand, would have hardened a lot people, or perhaps instilled a sense of entitlement. Audrey had literally looked pure evil in the face, and God knows she’d earned a safe, secure haven to hide away in. Instead, she reached out to a world still in pain, still battling hunger and disease, war and injustice. She could have looked away. With all her heart, she didn’t.
From almost the moment she gained a public platform, Audrey used it for good, urging the world to Look. See. Help. The phrase “worked tirelessly” is tossed around a lot, but she did—for the Red Cross and as an ambassador for UNICEF. All over the world, wherever a light needed to be shown. At fundraisers, she sometimes gave readings from the diary of Anne Frank, who was born the same year and whose family had also fled to Holland in a frantic search for safety, to find it only briefly. She knew many passages by heart.
“The war was very, very important to her,” says Dotti in Dutch Girl. “It made her who she was.” Or, just maybe, it revealed who Adriaantje was all along, from the very beginning.
Katharine Hepburn. Even when she insulted you, something good came out of it.
Back in the 1970s, Kate befriended a young Manhattan neighbor at the urgent request of her father. It seems the girl was threatening to drop out of Bryn Mawr, Kate’s alma mater, and her frantic dad wrote to Kate—whom he’d seen but never met—to talk some good old New England sense into the child. (Needless to say, she did, over tea.) The four-time Oscar winner and the family soon became friendly, and years later, when Kate was injured in a car accident, the father dropped by with a batch of home-made brownies.
Miss Hepburn was not amused.
Oh, sure, she was grateful for the gesture, but she balked at the brownies: “Too much flour! And don’t overbake them! They should be moist, not cakey.” Then she rattled off her own recipe by heart, while her chastened guest took notes.
Here are Kate’s brownies, which, as you might expect, are pretty much perfect. They’re loaded with nuts, and the liquid-to-flour ratio gives them an extremely high Gooey Factor, which all good brownies should have. (Whenever I see a recipe with the line, “for cakier brownies…” I don’t even finish the sentence. If you want cakey, bake a freaking cake.)
KATHARINE HEPBURN’S BROWNIES
1 stick butter
1/2 cup cocoa
1 cup sugar
1/4 cup flour
1 cup walnuts or pecans, broken into pieces
1 teaspoon vanilla
A pinch of salt
Preheat oven to 325 degrees. Melt the butter in a saucepan with the cocoa and stir until smooth, being careful not to overcook. Remove from heat and let cool for a few minutes. Gently fold in the eggs, one at a time. Stir in the sugar, flour, nuts, vanilla and salt. Pour into a greased 8×8 pan. Bake 35-40 minutes; check with a toothpick after 35. They should still be gooey when they’re done. Let cool (a must!) before slicing.
Enjoy! And don’t look now but you’ve got a little chocolate on your chin…
Happy Birthday, Audrey Hepburn!
This extraordinary woman was born 90 years ago today, and to celebrate, we’re launching Audrey at 90: The Salute to Audrey Hepburn Blogathon! A heartfelt thank-you to all the writers helping us explore so many aspects of her amazing life.
And we’re so honored to welcome a very special guest —Audrey’s son, Luca Dotti, author of the New York Times bestsellers Audrey at Home: Memories of My Mother’s Kitchen and Audrey in Rome. “I’m touched and delighted that so many writers are celebrating my mother’s 90th birthday,” he told us. “I look forward to reading the variety of topics on her films and her life which are covered here.” Luca also wrote the moving and insightful foreword to Robert Matzen’s brand-new book, Dutch Girl: Audrey Hepburn in World War II, an incredible story beautifully told—which will leave you even more in awe of Audrey.
Three lucky participants will win a copy! On May 8, we’ll draw the names and notify the winners.
I’ll be writing about this fascinating book, and the author will be sharing his thoughts on what it was like to spend so much time “with” Audrey, compared with his other stellar subjects, including James Stewart, Olivia de Havilland, Errol Flynn and Carole Lombard.
So without further ado, let’s get this party started!
The event runs from May 4 to May 7, so be sure to check back often for the latest entries as we add live links. And if you’re participating, just grab one of the banners at the bottom and link back to the blogathon in your article.
Here’s the list of topics:
Sister Celluloid: Dutch Girl: Audrey Hepburn in WWII
Robert Matzen: Spending time “with” Audrey as a subject, compared with other stars
Moon in Gemini: The Nun’s Story
Poppity Talks Classic Film: The Unforgiven
Diary of a Movie Maniac: Bloodline and Love Among Thieves
The Story Enthusiast: Enchantment: The Life of Audrey Hepburn by Donald Spoto
Caftan Woman: Charade
Realweegiemidget Reviews: Robin and Marian
Three Enchanting Ladies: Funny Face
The Stop Button: Secret People
Love Letters to Old Hollywood: Love in the Afternoon
The Midnite Drive-In: The Children’s Hour
MovieMovieBlogBlog: My Fair Lady
Popcorn and Flickers: How Audrey Met Givenchy
Stars and Letters: Cher’s Letter to Audrey
Maddy Loves Her Classic Films: A Salute to Audrey
Thoughts All Sorts: Roman Holiday
The Pale Writer: Audrey’s early career and How to Steal a Million
Champagne for Lunch: The Nun’s Story and Robin and Marian
Critica Retro: Paris When It Sizzles
Cinematic Scribblings: Two for the Road
Welcome to an April-foolish Monday edition of STREAMING SATURDAYS, where we embed free films for you to watch right here!
From 1969, it’s Stuart Rosenberg’s The April Fools.
We first meet Howard Brubaker (Jack Lemmon)—newly promoted to a corner office on Wall Street—as he awkwardly elbows his way through a shady parade of partygoers who look like Holly Golightly’s hangers-on eight years down the line. But then—literally across a crowded room—he spots Catherine (Catherine Deneuve), also in need of rescue, and together they flee into the warm city night.
After an awkward outing at a jungle-themed cafe and the obligatory bout of gyrating at a groovy ’60s club, they come to the aid of Grace (Myrna Loy, luscious in a sherbet-colored caftan), a grande dame in distress whose chauffeur is too sloshed to drive her home. To her castle. Where husband Charles Boyer awaits. (Wait, is this still the movie, or one of those old-Hollywood fever dreams I sometimes fall into after a couple-too-many glasses of sherry?) Grace draws Catherine into a tarot card reading as a roundabout way of advising her to hang onto Howard and give her husband the air.
Oh yes did I mention both Howard and Catherine are married to other people? But they’re fed up with their social-climbing spouses and tired of the pretext they’re forced to keep up… you get the feeling that before they met, they were too beaten down to even realize how miserable they were. After finding Catherine, Howard tells his best friend, “All my life I’ve been tense and I never knew it.” Yes. That feeling where you’d grown so used to the pain you were barely aware of it any more—until someone came along and made it go away.
Shirley MacLaine was originally set to play Catherine, but bowed out to make Sweet Charity and barnstorm for Bobby Kennedy for President. (His brother-in-law Peter Lawford stayed on in the film, as Catherine’s husband.) And as adorable as a Lemmon-MacLaine reunion might have been, Deneuve, who can express pain and weariness with the slightest shift of her brow, gets the mood just right. And her cool grace plays perfectly off her co-star’s essential Jack Lemmon-ness.
So on this April Fools Day, what do I wish most for you? That you find someone who looks at you the way Jack Lemmon looks at Catherine Deneuve. Or the way he looked at Shirley MacLaine. Or even the way he looked at Walter Matthau. Honest to God, no one has ever poured more pure, unabashed how-did-I-ever-get-so-lucky love into a single gaze.
STREAMING SATURDAYS is a regular feature on Sister Celluloid, bringing you free, fabulous films! You can catch up on movies you may have missed by clicking here! And why not bookmark the page to make sure you never miss another?
There’s a certain luminous quality that shines through when a director is in love with his leading lady. In Frank Capra’s The Miracle Woman, starring Barbara Stanwyck, it’s all over the screen.
This was the second film for these kindred spirits—whose relationship got off to such a rocky start, the real miracle is that they ended up working together at all.
In 1930, as Capra prepared to shoot Ladies of Leisure, he got an urgent call from Columbia boss Harry Cohn.
“He asked me to talk to an ex-chorus girl who made a hit in a stage play called Burlesque,” Capra recalled in his memoir, The Name Above the Title. “He had a hunch about her. I was annoyed. I had a girl already set.
“She came into my office sullen, plainly dressed, no makeup,” he went on. “Obviously hating the whole idea of the interview, she sat on the edge of her chair and answered in curt monosyllables. I didn’t want her before she came in, and what I saw of this drip made me sure of it. After about thirty seconds of the usual inane questions… she jumped to her feet and and snapped, ‘Oh, hell, you don’t want any part of me,’ and she ran out. I phoned Cohn. ‘Harry, forget Stanwyck. She’s not an actress. She’s a porcupine.'”
When Stanwyck came home in tears, her husband, comedian Frank Fay, called Capra in a rage. According to the director, it went something like this:
“Look, fella, what the hell did you do to my wife?”
“Do to her? I couldn’t even talk to her!”
“Well she came home crying and upset. No one can do that to my wife!”
“Listen, funny man, I don’t want any part of your wife, or of you. She came in here with a chip on her shoulder, and she went out with an axe on it.”
Fay chalked Stanwyck’s defensiveness up to nerves and urged Capra to view a brief screen test she’d made for The Noose, for Alexander Korda over at Warner Bros. The director reluctantly agreed to spare the three minutes.
“The test flashed on the screen. Nothing in the world was going to make me like it,” Capra recalled. “After only thirty seconds I got a lump in my throat as big as an egg… never had I heard or seen such emotional sincerity. When it was over, I had tears in my eyes. I was stunned.”
Capra bolted from the screening room to call Cohn:
“Harry! Harry! We’ve got to sign Stanwyck for the part…”
“What’re you, nuts? A half-hour ago you told me she was a kook!”
“Yeah, yeah but I just saw a test of her—she’ll be terrific… don’t let her get away.”
Within the hour, Stanwyck was signed for Ladies of Leisure. But it was her next project with Capra, The Miracle Woman, that’s probably the biggest sleeper of his long and legendary career.
Based on the play Bless You, Sister by Robert Riskin (early in what would be a brilliant career) and John Meehan—with generous dollops of inspiration from the notorious evangelist Aimee Semple McPherson—The Miracle Woman centers on Florence Fallon (Stanwyck), whose father, a preacher, has been shunted aside by his congregation for a younger man.
On the morning he’s to deliver his final sermon, Florence takes to the pulpit to announce he’s just died in her arms—and delivers a blistering diatribe of her own: “You killed him! For thirty years, he tried to touch your stony hearts with the mercies of God—and failed. Why? Because you don’t want God!” As she starts to single out the churchgoers for their sins and hypocrisies—drinking, carousing, the usual stuff—they scurry from their pews toward the exits.
It’s the kind of scene that usually caps off a movie rather than opening one—but Stanwyck is just getting started. And so is Florence: one of the few people who doesn’t flee the church is Bob Hornsby (Sam Hardy), a local huckster who tells her how she can “get famous, get rich, and get even.”
“Religion is like anything else,” he purrs, sidling in closer. “It’s great if you can sell it, no good if you give it away.” The two team up for a traveling tent show called the Temple of Happiness, complete with fire, brimstone and “miracles”—designed to bring desperate people closer to God and further away from their money.
One day, as Florence promotes the show on a local radio station, she actually saves someone. John Carson (David Manners), a flier who was blinded in the Great War, has just had the latest in a long line of rejections from music publishers sending back his songs. He’s mailed them off to every company in the phone book, from A to Z. “Where do you go after Z?” he despairs. His answer: to the window. But just before he’s set to jump, he hears Florence’s voice from an apartment across the courtyard: “What did God give man the backbone for? To stand up on his own two feet! Beethoven wrote his greatest symphonies after he went deaf… God can forgive a sinner, but not a quitter!”
John backs away from the ledge as if struck in the face, and shows up at the tent show that night—even taking to the stage to help Florence re-enact the parable of Daniel in the lion’s den. (With real lions. In these days before process screen photography, the only thing separating the actors from the animals was a thin piece of netting. “I could smell their breath,” recalled Manners, but I’m guessing the poor lions were even more miserable than he was.)
John is thrilled when Florence follows up their first meeting with several visits to his dingy little flat—but he’s nervous and awkward, falling back on sleight-of-hand card tricks to entertain her. To express his growing affection, he even hides behind his wooden dummy, who confides, “He keeps me locked up until he gets in a jam and then he hauls me out.”
(Yes, he does card tricks and a ventriloquist act. Somebody shoot me. But in the hands of David Manners, it’s touching and charming.)
Florence is falling hard too, and the more time she spends with John, the dirtier she feels onstage as a “miracle woman.” His tenderness and trust wear down her bitterness until she can no longer tolerate the fraud she’s neck-deep in—but she can’t seem to pull herself out either. “I don’t know how to play on the level any more,” she confesses to John. “And God wouldn’t believe me under oath.”
Determined to restore Florence’s faith in herself, John pulls some gallant fakery of his own—and even though she sees through it, she’s inspired enough to give up the grift, whatever the consequences. Much as she leapt to the pulpit of her father’s church, she takes to the stage and tells the gathered faithful a few truths they don’t want to hear. The results are shattering.
Capra said The Miracle Woman failed to follow his intended vision of “one woman’s life in three acts: disillusion, venality, conversion.” Credit Stanwyck with that “failure”: nothing is ever that cut-and-dried with her. Even at her most “venal,” a conscience is beating beneath—and when she regains her faith, it’s with a wariness that never completely melts away.
As Capra quickly discovered, much of Stanwyck’s power came from throwing everything she had into her first take—whether the cameras were rolling or not. “All subsequent repetitions, in rehearsals or retakes, were pale copies of her original performance,” he recalled. To harness that raw emotion rather than squander it on prep work, “I had to rehearse the rest of the cast without her, work out the physical movements without her.
“And the crews had problems,” Capra explained. “I had to take the ‘heart’ of the scene—the vital close-ups of Barbara—first, and with multiple cameras so she would only have to do it once.” He would go over the scene in the dressing room with his star, working through the emotions while never allowing her to act anything out. Then, as she stepped onto the soundstage, he’d gently remind her: “No matter what the other actors do, whether they stop or blow their lines—you continue your scene right to the end.” He marveled that “she remembered every word I said—and she never blew a line.”
Capra and Stanwyck would go on to make three more films together: the melodrama Forbidden, the wildly underrated The Bitter Tea of General Yen, and the classic Meet John Doe.
“Underneath her sullen shyness smoldered the emotional fires of a young Duse, or a Bernhardt,” Capra recalled in his memoir, still thunderstruck decades later. “Naive, unsophisticated, caring nothing about makeup, clothes or hairdos, the chorus girl could grab your heart and tear it to pieces. She knew nothing about camera tricks, how to ‘cheat’ her looks so her face could be seen, how to restrict her body movements in close shots. She just turned it on—and everything else on stage stopped.
“It’s true that directors often fall in love with their leading ladies—at least while making a film together,” he admitted. “I fell in love with Stanwyck, and had I not been more in love with Lucille Reyburn I would have asked Barbara to marry me after she called it quits with Frank Fay.”
When she accepted her Lifetime Achievement Award from the American Film Institute in 1987, a radiant Stanwyck said the time she spent with Capra was the key to everything that came after. “Frank Capra… taught me what film was all about and what film could do for me and what I could do for film… each day was a learning process and it was wonderful… that’s why I’m here tonight—Mr. Frank Capra.”
A typically modest assessment of her own power onscreen, which a gifted director felt instantly, honored reverently, and harnessed brilliantly.
This article is part of the Fay Wray and Robert Riskin Blogathon, honoring the work of two brilliant artists and celebrating the publication of Fay Wray and Robert Riskin: A Hollywood Memoir, by Victoria Riskin. For the rest of the entries, please click here!
I used to slog through the bloated Oscar show every year just to see the honorary awards for Lifetime Achievement, which were grudgingly doled out to classic stars and directors the Academy had criminally ignored throughout their careers. But then a few years ago, they banished them to a smaller event that’s not even televised. (“You’re being honored for decades of brilliant work? Hey, we’ll be sure to post a link on YouTube!”) Then this year, they planned to squeeze the Cinematography, Editing, Live-Action Shorts and Makeup/Hairstyling awards into commercial breaks. (They claimed they were “forced to,” but somehow when folks like Martin Scorsese, Guillermo del Toro and Alfonso Cuaron blasted them for it, they backed down. So “forced to” was really more like “try to get away with.”)
If they shaft living Academy members this shamelessly, God help those who are gone. Which brings us to our annual list of snubs from the Oscar memorial reel.
As usual, they somehow found time to get several publicists in there, and who among us doesn’t count their press releases among our favorite film moments. But they left out Stanley Donen. I actually had to rewind the whole thing to make sure that was true. How long would it have taken to make a last-minute addition for a Lifetime Achievement Oscar winner?!?
Just as a palate cleanser, to get that awful taste out of your mouth, here he is accepting his award in 1998, and throwing in a little soft shoe:
Also snubbed were actors Verne Troyer, Ricky Jay, R. Lee Ermey, David Ogden Stiers, Charlotte Rae, Hugh Dane, Scott Wilson, Dick Miller, Jo Andres, Anthony Vajna, Eunice Gayson, Philip Bosco, Michele Carey, Peter Donat, Douglas Rain, Louise Latham, Dolores Taylor, Sondra Locke, Bob Einstein, Pamela Gidley, Harry Anderson, Liliane Montevecchi, Vanessa Marquez, Ken Berry, Bibi Ferreira, Carmen Argenziano, Joe Sirola, Nita Bieber, Kristoff St. John, Clive Swift, Louisa Moritz, Kevin Barnett, Verna Bloom, Robert Mandan and Louis Zorich; writers Harlan Ellison and Christopher Knopf; producers Arnold Kopelson, Meg Randall, Alan Johnson, Gary Kurtz and Philip D’Antoni (who produced Bullitt and won an Oscar for The French Connection); directors Stan Dragoti, Michael Anderson, Vijaya Bapineedu, Larry Brand and Lewis Gilbert; composer Arthur B. Rubinstein; stuntman Jimmy Nickerson; and designer Hubert de Givenchy.
Classic film always seems to get slammed especially hard in the memorial reel, which gets more painful as there are ever-fewer artists left to honor. Left out along with Donen were Donald Moffat, Allyn Ann McLerie, Mary Carlisle (still an active supporter of classic film when she was over 100), Connie Sawyer (whose career spanned ten decades), William Phipps, Tom Reese, Dewey Martin, Jean Porter, Liz Fraser, Jerry Maren, Carol Channing, Kaye Ballard, Chuck McCann, Julie Adams, Joseph Campanella, Patricia Morison, Clint Walker, Rose Marie, and Charles Aznavour. And Gloria Jean and Susan Miller, who, 77 years after co-starring in W.C. Fields’ Never Give a Sucker an Even Break, died five days apart.
Whenever they’re called out on their slights (even overlooking Oscar winners), the Academy’s stock responses are: the show is so very short on time (while still managing to fit in lame bits, canned banter, and endless commercials), and there’s a longer list on the website. But all that does is set up a creepy A-list/B-list for dead people. (Does this never end in Hollywood?) It’s gotten to the point where pre-show lobbying campaigns have become a sad annual ritual.
I don’t know what the answer is. But as long as they keep dissing people, we’ll keep trying to honor them here. And the ones we miss, please point out in comments so we can add them (the timeframe is from last year’s March 4 telecast to tonight’s show).
Godspeed and heartfelt thanks to all of them—from the little people out here in the dark…
Happy Valentine’s Day and lots of love to my classic film family of friends!
Still looking for that perfect card, or maybe—gasp—you forgot the big day was today? Feel free to grab one of these, created just for you.
Whether you’re lucky enough to have found love or are still searching for it, I hope your day is a lovely one.
This has nothing to do with classic film, but I feel like you’re family, so I hope you’ll bear with me in remembering my sweet, beloved Linus, who we lost last week. He lived to be sixteen years and eight months old, but his life seemed to go by in the blink of an eye.
We adopted him when he was just shy of three; he had been so horribly abused that a neighbor called the woman who ran the local no-kill shelter and begged her to somehow get the people who had him—I refuse to call them his family—to surrender him. In his early days with us, his trauma surfaced in heartbreaking ways, as when my husband Tim pulled on a pair of heavy boots to go out and shovel snow—and Linus wailed and shook violently, ran to a corner, and tried to dig his way into the wall.
When we first met him at the shelter, he was clearly anxious to be let out of the kennels. Far and away the smallest dog there, he broke free of his handler, snuggled into a spot on the sofa between us, sighed, and settled in. He was home already. While we waited to sign the final adoption papers—we’d already been through an application process the FBI would gaze upon in awe—I ran through a bunch of names in my mind. “What about Linus?” I asked Tim, thinking of the Peanuts character. “He’s looks so sweet and thoughtful, like he’s got a lot on his mind.” And when we got him home, the first thing he did was burrow deep into his carrier and pull out something that had been scrunched up in the back: his blanket.
He sniffed his way around his new home, and just to make sure we knew it was his, he peed on every rug. Then he curled up on the sofa with his brand-new stuffed bear, chewed the nose off and gleefully pulled out the stuffing.
The bear would be first of a long string of victims which ran the gamut from stuffed toys to silk eye masks.
Linus 1, Mister Fluffy Bunny 0.
And oh, yes, that poor Santa hat—his revenge for the 15 seconds he had to wear this silly outfit for a Christmas card photo.
He literally loved his soccer ball to bits, and no shiny new replacement—even if it was exactly the same thing—ever made him as happy. So I’d just grab his old one, gather up the trail of stuffing strewn across the living room floor, and sew it all back together again.
Only the Grinch was spared from being torn apart, and they became such fast friends that I took to leaving him out all year.
When we first brought Linus home, we weren’t sure how long his walks should be. No one had ever bothered to take him for a real walk before—at the shelter they’d heard he’d been let out in the yard maybe once or twice a day. And being a dachshund, he took a whole bunch of steps for every one of ours. So we decided to just walk him until he got tired.
He never got tired.
After three or four miles, I’d be splayed face-down on the sofa, and he’d be like, “So, where are we goin’ now, Ma?”
Sometimes before we even got to the street, he’d meet Patty or Helen or Michelle from our apartment building, who all adored him. And oh was it mutual. He’d squeal and yip, waggle his butt, and run up and smoosh against them, just unable to contain himself. And he’d bark at their husbands.
Down the street we sometimes ran into Jeff and John, who’d swoop off their stoop the minute they saw Linus. They even bought dog biscuits to keep on hand for him. One night when we passed Jeff, we didn’t stop because he was on the phone. But he let out a whoop and waved us over. He proceeded to tell the guy on the other end Linus’s entire life story—and then ignored him completely talk to Linus, asking over and over, “Who’s a good boy?”
We’d often stop at the coffee shop on our walks, where he’d make new friends. In the summer, I’d often hear a sudden “Ooh!” only to turn and discover Linus had rubbed his cold nose against someone’s bare calf. And then there was the firefighter with arms roughly the size of Bluto’s, who cooed baby-talk to him and treated me to a cappucino because he loved him so madly.
It took my breath away how open-hearted Linus was, after all the horrors he’d been through. People hold grudges for years, sometimes forever, over the tiniest slight. But once Linus was safe and happy and loved, he was willing—happy, even—to give the whole human race a second chance. He was such an old soul, such a sweet spirit.
For all his years in our family, Linus went with us just about everywhere. He especially loved the “come-withs” at our upstate house on weekends. And because he was crazy-smart, he picked up on clues instantly. When he saw Tim make any move toward the Linus bag—the little canvas pouch with his portable water dish and snacks—he’d go crazy. He also went nuts when I took my bra out of the drawer, because it meant I was going somewhere so probably he was too. It got to the point where if we were heading out without him on the weekend, I had to sneak my bra out when he wasn’t looking.
We took him on our vacations…
…on camping trips…
…on family visits to the lake and cruises up the Hudson…
…on day hikes (where once he was super-excited to meet a countryman)…
…to every park we could find (whether he was allowed there or not)…
…to street fairs and festivals…
…and to restaurants, where, on the rare occasion we dined outside without him, we’d get grilled about it by the waiters. (“We were just out shopping and we didn’t know we’d be stopping to eat!” we’d plead, heads down, like guilty criminals.) At one place where we dined often, the manager would greet him with a full plate of bacon. One day, a woman at a nearby table complained, “You served that dog before you waited on me!” and he replied dryly, “He’s a regular.” To know Linus was to love him to the point of obliviousness to all else.
And, um, yes, he had a little portable bed, to protect him from the hard ground. (Though sometimes after we finished our meals, he’d venture off just far enough to sneak a peek at what the people at the next table were having.)
He also had a bed to cushion his naps in the backyard. Okay fine, two beds.
Mostly, though, he roughed it.
Oh and he had a bed in the car, though sometimes it was more of a pillow.
Though having fluffy beds pretty much everywhere, including three in the house, didn’t stop him from checking out other options.
Linus was so sweet and supremely silly…
Once, in a rare attempt at hunting, he somehow wound up in a stack of planters, while the chipmunk had long since scampered down the driveway.
When it was too chilly for the yard but just warm enough to get near it, he loved to watch the world from the screenporch.
Being so close to the ground, Linus was not a huge fan of the cold and wet. (When we got a couple of inches of snow, I’d croon, “It’s up to your knees out there…”) He’d take a few steps and then lift a chilly front paw as if to say, “Taxi!” And I’d pick him up and carry him out to the plowed road for a quick walk. Then he’d come in for a vigorous pat-down with his super-absorbent doggie towel, play-fight with it after he was dry and happy, and burrow under his blankets again.
Always a sun puppy, in bleakest February he’d follow the scant rays around the house. (I call this The Linus in Winter.)
On sleepy weekend mornings, Linus had a little ritual he loved. I’d give him breakfast and take him out for a walk—and then he’d all but march me back to bed. (Tim was usually still there.) He’d head toward the bedroom, stop and turn around to make sure I was following him, and harrumph at me if I wasn’t moving fast enough. Then he’d stand by the bed and wait to be lifted up, barking at me to follow him under the covers so the three of us could snuggle.
He also made a huge fuss whenever Tim came home. You’ve seen the heartwarming videos of dogs whooping and jumping and hurling themselves wildly at returning soldiers, who’ve been away for years? That was Linus when Tim came back from the deli.
He loved belly rubs…
…and deep, long snoozes, and honest to God you’d sell your soul to sleep like that for five minutes.
And if he snoozed on something I needed, I’d just wait until he woke up.
He was also great at self-snuggling, where one minute he was lying flat on his blanket and the next he was a dachshund burrito.
Linus never met a snack he didn’t like (that’s a telltale yogurt ring on his face)…
…and his devotion to whatever you had on your plate bordered on the monastic.
A couple of weeks after we brought him home, we went out to a family dinner and brought home a big, fat, juicy steak bone. When we gave it to Linus, he didn’t seem to know what to do with it at first—because apparently in his almost three years of doggie life, no one had ever given him a bone. But he quickly caught on, and wouldn’t let go. We somehow managed to pry it away from him for his nightly walk, but upon returning, he raced down the hall, frantic to reclaim his prize. After that, he got lots of bones.
When my Mom visited, she actually teased us about spoiling him. Imagine. And then there was this.
But how else would I treat my best editor? When I was stuck for a word, I could always turn to him for support. Or, more often, just chuck what I was working on and curl up with him.
He’d also sense our miseries and truly sympathize. Whenever I cried, whether from something real or even an old movie, I’d soon find him clinging close to me.
Every autumn, on the Feast of St. Francis, we took Linus to be blessed, which I think may have helped him through the health crises in his life.
In the summer of 2007, a few weeks after my company closed its doors, I was spending some time with Linus upstate. One day, rather than racing around the yard, he seemed sluggish, mostly sitting in one spot under a tree. I chalked it up to the weather, which had grown more sultry as the afternoon wore on, and thought it best to bring him inside. But when I picked him up, he howled in pain. Trying (and failing) not to panic, I softly cradled him into his bed and called the vet, but they’d already closed. So I called a cab to get to the emergency vet in the next town.
An hour passed. No cab. By now the sky was black, and it was pouring. I called again (I vaguely remember screaming). A half-hour later, the cabbie drove right past me as I stood on the screenporch frantically waving my arms. I ran outside, caught up with him and jumped right in front of the car.
By the time Linus made it to the vet, his back legs were paralyzed. He had ruptured a disc and needed emergency surgery, but whether he’d ever walk again was highly uncertain. They brought him into the back, gave him steroids, pain medication and sedatives to stabilize him overnight, and told me to get him to Cornell veterinary hospital first thing in the morning. I called Tim from the front desk, sobbing so hard he could barely understand what I was saying.
As I waited for him to drive up from the city, I sat outside crying on a bench under an awning, as the rain pounded against it. A woman who’d seen me inside came out, sat beside me, and pulled my head onto her shoulder. “He’ll be alright,” she said over and over, like a lullaby, or maybe a prayer. I’ll never forget her. (And she was right.)
During the drive up to Cornell, I sat in back with Linus. Bundled in blankets, he clung to my lap, drifting in and out of a fearful, fitful sleep, trembling the whole time. When we arrived, they whisked him into surgery within an hour, removed the ruptured disc and fused the ones on either side. They were going to keep him for another three days, but he was so scared and miserable in his cage—he hadn’t spent a night without us since we first brought him home—that they let him leave a day early, giving us strict instructions on how to get him back on his feet.
Naturally, at first, he was wobbly as a newborn foal. I’d hold him as he took a few halting steps and then lose his footing and stumble to the ground. I started to look into scooters, in case he needed one. But then suddenly, less than a week after surgery, he went from staggering to running, in a single motion. So there we were in the yard, him scampering around like he’d never left, like it was just another Tuesday, and me crying my head off. I started to call Tim, but then I put the phone down. I wanted Linus to surprise
him when he came home.
The only lingering result of his trauma was that occasionally when he sat down, he would swing one leg out to the side, like Rita Hayworth in her pinup shots.
I told Tim if anything ever happened to me, he should take me to Cornell and tell them I’m a German Shepherd.
A few years later, a routine vet visit turned up some disturbing lab results. So we went back to Cornell, where a battery of tests revealed a dangerous tumor. He needed surgery right away, and the only available slot was the day before Thanksgiving. For the second time, everything went perfectly, and in their post-op report, the clearly perceptive vets actually wrote, “Linus is a very good dog.” Tim and I had our holiday dinner at the only place we could find open, a bar in downtown Ithaca. I ordered a cocktail, only to have the waiter snap, “Today we have beer and wine and that’s it.” Yipes. But since he was stuck working, I could hardly blame him for sounding like Sheldon Leonard in It’s a Wonderful Life. (“We serve hard drinks in here for men who want to get drunk fast, and we don’t need any characters around to give the joint atmosphere!”)
And once again Linus, desperate to go home, was released early, enjoying some post-holiday deli turkey on the trip back.
But the following year, Linus was diagnosed with Cushing’s disease, which is something of a plague for dachshunds. Every story I dug up was more horrible than the one before, and the typical prognosis was two years. Linus was blessed with another four, and until he was near the end, fate was somewhat benevolent to him. But in the last few months, one by one, a series of cruel symptoms came crashing down on him. Cushing’s attacked his retinas, dementia darkened his wonderful mind, and sometimes he struggled to stand. Before, the vets always had an answer. Now they had none.
Often I’d pick him up, wrap my arms close around him, and try to will time and trauma away. Do your worst to me, I’d plead, but leave his little fourteen-pound body alone.
It’s one of the cruelest twists of nature that they get so much less time on this earth than we do. I would have happily shared my years with him if I could have.
The night before Linus died, Tim and I slept on either side of him, guardians at the gate with nothing left in our desperately depleted arsenal but how much we loved him. At first, he shared my pillow, his nose pressed against my neck. But then he shifted, resting his head on my hand and curling his body into the crook of my arm. Then he sighed and settled down, just as he did those first few moments we welcomed him into our family.
Despite his age and his illness, losing Linus was an awful, sudden shock. Losing someone you love so much always is; there’s no “preparing” for it. It’s not just a turn of phrase to say I don’t know what to do without him. I really don’t. I can’t put his beds and blankets and bowls away, but I can’t bear to look at them either. I can barely breathe.
I know he lived a long, happy life, and he was loved like crazy, and we’ll always have our memories of him. But none of that helps right now. I’ve collapsed in tears in the diner, in the supermarket, on the street, everywhere. And it’s worse at home. I wake up crying and go to sleep the same way. I miss everything about him, even the smallest things, like the sound of him lapping at his water bowl and his paws click-clacking on the floor. As little as he was, he filled the house. And he filled my heart. Losing him has thrown open the gates to a very dark place I can’t find my way out of without him.
Goodnight and sleep safe, my sweet, silly, beautiful, beloved pup. You were such an indescribable blessing, beyond any words I can find. I have no idea if there’s a God, but there better be a Heaven for you. May the angels hold you as close as we did for all those wonderful years.
Welcome to another edition of TINTYPE TUESDAY! This week, we’re off to see The Wizard of Oz on the big screen, courtesy of TCM and Fathom Events. For tickets, just click here!
But before heading out, let’s take a peek at what was really going on behind the curtain. The Kansas tornado was nothing compared to the blizzard of cast and script changes—not to mention the many mishaps, including a couple of near-fatalities. Even Toto didn’t escape unscathed…
Dorothy: Both MGM unit head Arthur Freed and music maven Roger Edens fought for Judy Garland, but Louis B. Mayer—who often derided the painfully insecure teenager as “my little hunchback”—pressured producer Mervyn LeRoy to do whatever it took to land Shirley Temple for the lead. Fortunately, all attempts to get 20th Century Fox to loan out the wildly popular moppet went nowhere. (However, the long-standing rumor that MGM offered to swap the services of Clark Gable and Jean Harlow for Temple is false; Harlow succumbed to renal failure in June 1937, before MGM even had the rights to the book.) Deanna Durbin, whom Mayer openly preferred to Garland, was also considered—but because the film initially had a sub-plot involving Betty Jaynes, another operatic singer, she was dropped from the running. So Mayer had to “settle” for Judy. (Oh and her ruby slippers were originally silver, as they were in the book. But in the age of Technicolor, red won out.)
The Scarecrow: Buddy Ebsen was the first loose-limbed, lanky dancer to step into the role, which would have worked out much better for him, as we’ll soon see… but Ray Bolger ultimately carried the day (and the hay). He also carried lines on his face from the rubber prosthetics for more than a year after filming ended. For that kind of grief, you’d think they’d have left his original dance number—longer, trippier, and choreographed by none other than Busby Berkeley—in the film:
The Tin Man: Much to his disappointment, Bolger was first cast in this clunkier role. If he’d only had the heart… but he longed to be the Scarecrow, the part he’d seen his childhood hero, Fred Stone, play in the 1902 Broadway show—which is what inspired him to hit the boards in the first place. “I’m not a tin performer—I’m fluid!” he reportedly pleaded to LeRoy, who finally caved in, allowing Bolger and Ebsen to swap roles. Ebsen was an absolute peach about the whole thing, even teaching Bolger the “wobbly walk” he’d perfected in rehearsals. But no good deed goes unpunished, and this one almost killed him: after about a week of breathing in the toxic aluminum powder that covered his “tin” face, Ebsen was rushed to the hospital in critical condition. (At first, Mayer—who assumed other people’s morals were as low as his own—thought the actor was faking an illness as some sort of contract ploy. So he dispatched his minions to the hospital—where they found Ebsen strapped into an iron lung.)
When Jack Haley, on loan from Fox, arrived to replace him, the make-up artists were much more careful: they protected his face with a thick layer of white greasepaint and diluted the aluminum powder into a paste. (Oh, and they never told him why his predecessor left the film—on a stretcher.) Ebsen didn’t vanish entirely, though: his voice can still be heard in the group vocals, as there was no time to re-record them.
And given all the gruesome drama surrounding the Tin Man, perhaps it’s appropriate that they used chocolate syrup to produce his tears—a technique later used by Hitchcock for the blood circling the drain in Psycho.
The Cowardly Lion: Bert Lahr’s costume was made of actual lion pelts—and weighed almost 100 pounds. The valiant wardrobe team did their best to rinse the sweat out of the sopping-wet suit at the end of each day, but, in the words of one unlucky staffer, “it reeked.”
The Wicked Witch of the West: Initially, the witch was fashioned along the glamorous lines of the evil queen in Disney’s Snow White and the Seven Dwarfs. When she morphed into something decidedly more hag-like—including green skin, a long, pointy nose and a wart or ten—Gale Sondergaard, MGM’s original choice, pointed her pumps toward the exit. Margaret Hamilton was cast just three days before shooting began. Told by her agent she was up for a part in the film, she asked which one. “The wicked witch—what else?” he helpfully replied. (That 10% they get? It ain’t for morale-boosting!)
She didn’t get much more respect after she signed on: her dressing room was a makeshift canvas tent, while Billie Burke had a hideaway that MGM dreams are made of. “She had a pink and blue dressing room, with pink and blue powder puffs and pink and blue bottles filled with powder and baby oil—and pink and blue peppermints,” Hamilton later recalled, admitting that she sometimes popped in for a nap on the glamorous Glinda’s days off.
And God knows she needed the rest, as she proved to be the second casualty on the set: In the scene where she seems to disappear in a cloud of fire and smoke, she very nearly did. At the last minute, a moving platform was supposed to lower her out of harm’s way, but her cape got snagged and she was trapped amid the flames—which fed on the greasepaint and copper makeup slathered on her face, arms and hands. Before she could be pulled free, the fire had seared into her skin, leaving her with second- and third-degree burns. Wise woman that she was, she later refused to do a post-production pick-up scene that involved a flaming broomstick. So they had to make do with maiming her stand-in: the smoke mechanism exploded, burning and permanently scarring Betty Danko’s legs.
The Wizard of Oz: After Ed Wynn refused the part because it wasn’t big enough, MGM turned to W.C. Fields, who thought the paycheck wasn’t big enough. During a few protracted rounds of haggling—they offered $75,000, he wanted $100,000—the producers burned while Fields fiddled. They finally gave out and offered the role to Frank Morgan.
Oh and here’s a story you might have to close your eyes and click your heels together to believe, but some swear it’s true, and if it isn’t (which is probably the case), it should be: When wardrobe staffers went scavenging through second-hand stores to find the perfect tattered coat for Morgan, they returned with an armload of samples for Victor Fleming to choose from. He settled on one he thought conveyed just the right touch of “shabby gentility”—and, idly turning out the pockets, found a label with L. Frank Baum’s name on it. An MGM publicist reportedly contacted the tailor and Baum’s widow, who confirmed it was his (he did live in L.A. for a time), and the studio presented her with the coat at filming’s end.
Toto: Shirley Temple may never have made it to Oz, but she did meet Toto five years before Garland did. Terry the terrier appeared in 16 films, including Temple’s Bright Eyes, as well as Fury, The Women and George Washington Slept Here. In Tortilla Flat, she re-teamed with Morgan and Fleming, and in Twin Beds, she reunited with Hamilton. Her $125 weekly salary for Oz was more than double than that of the Munchkins, who each earned $50 a week. And as it turned out, Terry should have gotten combat pay: one of the Wicked Witch’s heavy-heeled henchmen stepped on her tiny paw and broke it, sidelining her for several weeks. After filming, Garland, who’d fallen in love with the dog, wanted to adopt her, but the owner wouldn’t… surrender Terry.
All of which bring us to the director. Or directors. Richard Thorpe, whose previous work consisted mainly of quickie westerns, was first at the helm, but LeRoy felt he was shooting the film more like a low-budget oater than a lavish fantasy, rushing scenes along and not giving the production the care it deserved.
While he searched for a replacement, LeRoy left the project in the tender hands of George Cukor—who, in his brief stint as caretaker, made some critical changes. First, he ditched Garland’s blonde wig and heavy glamour-girl makeup, which made her look ridiculous and feel worse.
He also told Garland to relax and simply be herself—a lovely, vulnerable teenage girl—which was just what the part called for. Then he did something less crucial but pretty fabulous: he brought in Adrian to design the Wicked Witch’s costume. Which, if you peer beyond the black-on-black, is a real work of art, with its lace bodice, cut-out mutton sleeves, and pouch dangling fetchingly from the hip. To her pointy hat, Adrian added a long, silky-sheer scarf that floats menacingly behind her, like an ill wind.
Cukor was never meant to stay on when production began in earnest; he was due over at Gone with the Wind. Victor Fleming took the reins in October 1938, and oversaw everything but the sepia-tone scenes (including the Over the Rainbow number) that book-end Dorothy’s adventures in Oz. But the following February, he was called away suddenly… to direct Gone with the Wind after Cukor was fired. Fleming’s close friend King Vidor came aboard to gently shepherd the crucial Kansas scenes through to completion, but never publicly acknowledged his involvement until after Fleming’s death in 1949.
And as if Fleming didn’t have enough on his mind during the shoot, he also had to protect Garland from her scenery-chewing companions on the Yellow Brick Road, seasoned old vaudeville pros who were none too excited about surrendering the spotlight to her (as she laughingly recalls in a clip from The Jack Paar Show, below). Ironically, her only close friend on the set was Hamilton, a former kindergarten teacher who gave her some much-needed mothering.
Whew! There’s enough material behind the scenes of The Wizard of Oz for a whole other movie… but in the meantime, enjoy seeing the original again on the big screen!
TINTYPE TUESDAY is a weekly feature on Sister Celluloid, with fabulous classic movie pix (and backstory!) to help you make it to Hump Day! For previous editions, just click here—and why not bookmark the page, to make sure you never miss a week?
Reposting in honor of Marlene’s birthday. And I’ll bet nobody ever pulled the old “joint Christmas/birthday gift” thing on her…
She sizzled onscreen with the hottest leading men in Hollywood—Gary Cooper, Cary Grant, Charles Boyer, Robert Donat, James Stewart, Ronald Colman—but Marlene Dietrich’s most memorable co-star may have been a balding, jowly, irascible middle-aged man. While entertaining the troops during World War II, she ventured within a mile of the German front lines on the arm of Gen. George Patton. When asked why she’d take such a huge risk—especially when the Nazi government had placed a seven-figure bounty on her head—she replied, “Aus anstand.” Out of decency.
A staunch anti-Nazi, the Berlin-born actress had become a U.S. citizen in 1939, refusing a personal request from Adolf Hitler to return to Germany as the centerpiece of his propaganda campaign. Following the attack on Pearl Harbor, she was one of the first in line to sell war bonds.
After barnstorming the country for a year and a half, selling more bonds than any other star, Dietrich headed…
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