One of Fritz Lang's first American productions after having fled Nazi Germany, and one of several films at the time with the purpose of encouraging America to enter World War II (among for example To Be or Not to Be, 1942).
I saw Kate's list the other day [link], and I just needed to copy the idea. If anyone else hasn't done this top 20 tag, go ahead and do it now! You may use the header I made if you want to.
There is a problem with me vs. these kind of tags though, and that is that I suck at making lists. I just can't rank favorite actors and point out the best. So what I did was that I first narrowed my favorites down to pre-1960's. Then I just went with those I feel are in the top 20 at the moment, and skipped a lot of my obvious favorites like:
Etc etc... I hope they will forgive me, and that I will be able to sleep tonight. Here is my current top 20 favorite actors, in alphabetical order (I'm a chicken, I know):
A dramatic thriller set in a foggy London in the beginning of the 20th century. A composer, George Harvey Bone (Laird Cregar) struggles with the writing of a piano concerto, while he realizes that he suffer from black outs when he hears dissonance. The film begins with this sequence:
After that George returns home to meet his girlfriend Barbara (Faye Marlowe). He has blood on his forehead and a knife in his pocket. He can't explain why to his girlfriend, because he can't remember. Soon they hear the newpaper boys shouting about a murder having been commited in that part of London where George had just been. Barbara persuades George to believe that he couldn't have done it. George is worried anyhow, and decides to contact a doctor he has heard of, that know a lot about the modern findings of psychology, Dr. Allan Middleton (played by the wonderful George Sanders).
Nightclub singer Netta (Linda Darnell).
The doctor advices him to take a break from the stress of writing the concerto, and befriend other London citizens. That's when George meet nightclub singer Netta Longdon (Linda Darnell). He becomes obsessed with her, and she takes advantage of his interest for her by making him write songs for her. George is too blind of devotion that he can't see that his stress returns, and soon other attempts of murders are commited around him.
Netta, using her femininity to get George to write songs for her.
Dr. Allan Middleton keeps his eyes open.
I saw this film for the first time yesterday, and I deeply regret that I hadn't seen it much sooner. This might be one of the greatest films I've ever seen, easily reaching the top ten. (Not that I ever rank the films I see, but if I did I'm sure this one would be on it.) The actors are at their best, the music is both beautiful and inconvenient, the photography is wonderful with a great contrast in the gray scale. But most of all they managed to show the protagonist's dramatic change when he turns into a different person with uncomplicated and brilliant techniques. The noise in his head, the rings on the pool of water that pauses in its movements, and of course the brilliance of Laird Cregar's acting.
Here follows a great documentary on Laird Cregar that I found on the extra material for Hangover Square, which tragically enough was to be his last film. In only twenty minutes you learn a lot of him and the tragedy of his death. (God, it took a lot of time before this piece of film was uploaded on the blog, so see it!)
Quotes:
George Harvey Bone: All my life I've had black little moods.
George Harvey Bone: But, Dr. Middleton, music is the most important thing in the world to me. Dr. Allan Middleton: No, Mr. Bone, the most important thing is your life.
Netta Longdon: "All for you. There's not a thing I wouldn't or that I couldn't do." You wrote that for me, George. But you've never really tried to find out, have you?
"Leaving Fox was like leaving home at 28; I'd been there since I was sixteen."
Linda Darnell on 20th Century Fox
Linda Darnell was an American film actress, born Monetta Eloyse Darnell in Dallas, Texas in October, 1923. She was one of five siblings of a postal clerk and his wife. In 1934, at the age of eleven, she began to model clothes, being adressed as 16 years old. When Linda was 13 talent scouts from Hollywood came to Dallas, and her mother encouraged Linda to go to the audition. After a short look at Linda and her acting, the studio took her to California for another audition. However, her real age was revealed and Linda was sent back home, told to come back when she was 15.
Linda Darnell as a clothes model.
Two years later Linda went back to Hollywood, and her career was up and running. Her film debut was in Hotel for Women (1939) with Ann Sothern, an actress she would work with once again ten years later in Joseph L. Mankievicz's A Letter to Three Wives (1949). At the time she was 16, and the youngest leading lady in Hollywood history. She made another film in 1939 called Day-Time Wife, the first of four films she would star in opposite Tyrone Power. (The others are The Mark of Zorro and Brigham Youth from 1940 and Blood and Sand from 1941.)
Poster for Day-Time Wife (1939) with a 16 year old Linda Darnell and Tyrone Power.
American poster for The Mark of Zorro (1940).
Hir third film Star Dust (1940) brought Darnell up to the heights of the other Hollywood stars. She plays a girl named Carolyn Sayres that signs a Hollywood contract, but is later rejected because she is concidered to be too young. (Does that sound familiar...?) Her following films were not less popular, and soon she was often referred to as "the girl with the perfect face". Next year she starred in the Technicolor film Blood and Sand (1941) opposite Tyrone Power and Rita Hayworth. A scene were she confronts the seducing Hayworth follows:
In 1945 Darnell starred in Hangover Square with Laird Cregar and George Sanders. The film is described on IMDb to have been a "box-office bonanza". The same year she made a film noir with Dana Andrews as the leading man, Fallen Angel. A scene from the film is included after this paragraph, and it is really interesting to see how different her character in this film is compared to the timid and innocent woman in Blood and Sand. Next year she put a great mark in cinema history, playing Chihuahua in the western classic My Darling Clementine, co-starring Henry Fonda as Wyatt Earp and Victor Mature as Doc Holiday.
Linda Darnell and Dana Andrews in Fallen Angel (1947).
In 1947 Darnell reached the top of her career when playing opposite Cornel Wilde and George Sanders in the 17th century drama Forever Amber, where she also appeared in flaming red hair in contrast to her famous jet black.
In the following scene from Forever Amber, that I managed to hunt down (the sound is terribly unsynchronized, but it'll do!), we see Linda Darnell as Amber St. Clair, dancing with King Charles II played by the always superb George Sanders. Cornel Wilde appears as Amber's husband, Bruce Carlton.
"You're mind is like your wardrobe, madame. Many changes and no surprises."
Linda Darnell in Forever Amber (1947).
Linda Darnell made several more films, among others the earlier mentioned A Letter to Three Wives (1949) and Blackbeard, the Pirate (1952), but her blossoming career was on it's way to die. One of the reasons was Darnell's drinking problem, which she had had during almost all of her career.
Her latest screen appearance was in the 1965 western Black Spurs. She was married and divorced three times. Her death was a sad but heroic story. 10 April, 1965 Darnell was dining at the house of her friend and former secretary. Darnell's early film Star Dust (1940) was being shown on television that night, and she saw it. However, during the night something caught fire and everyone had to evacuate the house. When Darnell noticed that one of her friend's children was missing she ran into the house again to find the girl. The child had managed to escape, but Darnell burnt 90 % of her body, dying from her injuries at the hospital the next day. At that time, at 41 years of age, Darnell had filmed a total of 46 motion pictures.
Linda Darnell on the cover of Screenland in October, 1948.
I stole this Q&A from Nicole at Classic Hollywood Nerd, and thought it would be fun to answer the questions too!
Who was the first actor/actress that you were first interested in?
Amazingly just the same as Nicole - James Dean. I quickly bought his three movies (on VHS! How long ago...), and watched them 'til the tapes were almost worn out. East of Eden (1955) was my favourite. James Dean was however quickly followed by Cary Grant. My first actress idol was Vivien Leigh, I believe. Of course I'd had pictures of Marilyn Monroe all over my walls for some time then, but it took a few years before I saw a movie with her in it. Shortly after James Dean and Cary Grant my obsession for the Marx Brothers began, when A Night at the Opera (1935) and A Day at the Races (1937) was shown on Swedish television.
My first movie icons - James Dean and Vivien Leigh.
How old were you when you really began watching old movies?
I began in the seventh grade, when I was 13. I borrowed Casablanca (1942) and Gone With the Wind (1939) on VHS from my grandfather. I saw them both with my mother, who thought I would love them. Thank you mother! She was so right.
What was the first old movie that caught your interest?
Casablanca! I fell in love with Humphrey Bogart immediately.
Who is currently your favourite actor?
A hard one. I'm currently more fascinated by the strong women of old Hollywood, but let me think... Oh yes. George Sanders as Addison DeWitt in All About Eve (1950)!
Who is currently your favourite actress?
That is even harder! I have to name three: Gloria Swanson, Bette Davis and Mary Pickford. (The strong women of old Hollywood, as I said!)
My current favourite Hollywood women - Swanson, Davies and Pickford.
What is your favourite old movie and why?
I can't possibly name one. It's like choosing your favourite parent or sibling. But I'll name some of my all time favourites:
Duck Soup (1933) - because it's the most ultimate, sick, twisted, "Marxy" Marx Brothers film ever. It is perfect. And just a bit over an hour long - perfect length!
All About Eve (1950) - because of the perfect script by Joseph L. Mankievicz, the double entendres, the perfect casting of every little supporting role and the intensity of the drama.
Sunset Blvd (1950) - because it's one of the greatest film noirs in motion picture history, has an innovative plot and unexpected developments of the characters, roots in reality and, as in All About Eve, has perfect actors and cameos.
Gone With the Wind (1939) - because the film keeps the viewer interested and absorbed by the story for almost four hours, great acting and drama, and the developement from a charming costume film to a war melodrama, and then over to final tragedy. Perfectly done.
How many old movies do you own?
Hrrrm. Like... eeeh... roughly about 200-250 DVD's. I'm a collector! And a very sick girl.
If you could go back in time and visit any actor/actress, who would it be?
Gloria Swanson! She could teach me everything about the life of a woman. I think she made all the mistakes she could, and then learned from all of them. She would be my mentor. And if I wanted to go back in time to meet an actor, I would probably choose Paul Newman in the 1950's or 1960's. And do very filthy stuff to him.
Give me that blue-eyed thing!
Who is one actor/actress that you want to know more about?
If I get interested in a person I always read about him/her. I'm manic, I always take the time. But if I would try to think of someone I don't know so much about... Maybe Rudolph Valentino. I don't know enough about him. Wikipedia, here I come!
What film could you watch over and over again?
Every time I get a cold or a fever I watch Gone With the Wind and feel sorry for myself, with a cup of hot chocolate with whipped cream and a warm blanket. I have no idea how many times I've seen that movie. And now I finally have the glorious 4-disc DVD-box! I sent for it from the USA to get the English version and not the Swedish one. I'm a nerd, I know. Also, today I saw All About Eve for the fourth time. The last three times were during a period of less than two weeks. And I would have no problem watching it again!
Bette Davis and Gary Merrill in All About Eve. This picture is glorious - click on it for a higher resolution. Trivia: Davis and Merrill fell in love during the filming of All About Eve. Even though they both were married , they got divorced and married each other. They were married for ten years.
I've recently re-watched two of my favourite films from the 1950's - Sunset Blvd. and All About Eve, both from 1950. I saw a lot of similarities between them, both in the films themselves and the story behind them. I thought that they could do great in a post together.
Sunset Blvd. Director: Billy Wilder USA 1950 115 min
Characters: Joe Gillis - a B-move script writer and the narrator of the film. Norma Desmond - an isolated, forgotten silent movie queen. Max von Mayerling - Norma Desmond's butler and ex-husband. Betty Schaefer - a script reader wanting to become a successful script writer.
Norma Desmond (Gloria Swanson) is an aging silent moviestar, living in a gigantic mansion with her butler Max von Mayerling (Erich von Stroheim), isolated from the outside world. One day Joe Gillis (William Holden) finds himself stranded at Norma Desmond's driveway with a flat tire. The time couldn't have been better - Norma Desmond is planning a come-back to the audience she thinks is still waiting for her, and wants Gillis' help with the script. Gillis, full of unpaid debts, feels he has nothing to loose and moves in with Norma to become her toy boy. Soon though, he tires of the unadventurous luxuary in the mansion, and starts sneaking out at night to write a script with his best friend's fiancée Betty Schaefer (Nancy Olson), while Norma battles with her paranoia, jealousy and fear of aging.
Margo Channing - a successful theatre actress not longer in her golden years of youth. Eve Harrington - a theatre devotee, Margo's greatest admirer, who wants a career of her own. Addison DeWitt - an intelligent theatre columnist. Bill Sampson - director at the theatre and Margo's lover. Lloyd Richards - the theatre playwright. Karen Richards - the playwrights wife and Margo's best friend.
This film tells the story about the charming and secretely manipulative woman Eve Harrington (Anne Baxter), and how she found her way from being a nobody to become the most admired actress in the theatre world. The path she chooses to reach her goal makes it necessary for her to charm, cheat and use everyone in her way. Eve Harrington's way to the stars begins with her getting to meet her greatest theatre idol - Margo Channing (Bette Davis), a hardened, skeptical and articulate woman in her 40's, tiring of always getting parts playing 20. But that is something Eve soon shows willing to change.
So, the similarities are...?
Begins with the end.
The first likeness between Sunset Blvd. and All About Eve is noticed right from the beginning - both films begin their story by revealing the end. Both movies are also narrated. While Sunset Blvd. has exclusively one narrator, All About Eve shifts its narrating between the different characters, but dominated by Addison DeWitt.
The first scene in All About Eve takes place at the Sara Siddons Award, where the award for Best Actress is just going to be presented. We hear the voice of Addison DeWitt (played with great bravura by George Sanders), who presents the characters, starting with himself ("My name is Addison DeWitt. My native habitat is the theater. In it I toil not, neither do I spin. I am a critic and commentator. I am essential to the theatre."). Margo Channing is introduced to us with the following words:
Margo Channing is a star of the theater. She made her first stage appearance at the age of four in Midsummer Night's Dream. She played a fairy and entered, quite unexpectedly, stark naked. She has been a star ever since. Margo is a great star, a true star. She never was or will be anything less or anything else.
After that we are introduced to Karen (Celeste Holm making a wonderful performance), the playwright Lloyd Richards (Hugh Marlowe) and director and Bill Sampson (Gary Merrill). And last, but not least, Miss Eve Harrington, receiving the award, with all the earlier mentioned skeptically glancing toward her.
Sunset Blvd. begins with a corpse in a Hollywood moviestar's pool. Policemen and photographers surround the body, which we get to see both from above the surface and from an upwards angle, under the water. The man had been shot three times - twice in the chest and once in the back. The narrator, Joe Gillis, informs us that it is he who lies in the pool:
The poor dope - he always wanted a pool. Well, in the end, he got himself a pool.
Gillis begins to tell us the story about how a B-movie script writer ended up dead in a movie star's pool.
Comeback parts.
Another similarity concerns the leading actresses, who both made great and successful comebacks with their parts in All About Eve and Sunset Blvd.
Gloria Swanson belonged to those who made the step from silent to talking pictures in the late 1920's, but still her career declined a bit into the 1930's. From 1934 she didn't appear on screen (apart from one film she made 1941), but instead she used her time to politics and art. When Mae West, Pola Negri and Mary Pickford all had declined the role of Norma Desmond, however, Gloria Swanson received the offer. She accepted, and there it was - the part she would be most remembered for in movie history.
Bette Davis was one of the most celebrated actresses in the 1930's, but a bit into the 1940's even her career began to fail. Her films became flops, and she was on great bit on her way to be all forgotten. When Darryl F. Zanuck (the producer to All About Eve) wanted someone to play the role of Margo Channing it was out of the question that Bette Davis could play her. (They couldn't stand each other, going as far back as 1941 when Davis walked out on her post as president of The Motion Picture Academy.) He had visualized Marlene Dietrich in the leading role, and director Joseph L. Mankievicz hoped for Claudette Colbert, whom they eventually settled for. Unfortunaly (or fortunately), Colbert suffered a raptured disc while filming Three Came Home (1950), and had to decline. Bette Davis stepped into the part, saved her career and did an immortal performance as the aging diva Margo Channing.
Both Bette Davis and Gloria Swanson were believed to actually more or less be their characters. Gloria Swanson wanting a comeback, Bette Davis bitter about getting old. But to quote Gloria Swanson:
It's amazing to find that so many people, who I thought really knew me, could have thought that Sunset Blvd. was autobiographical. I've got nobody floating in my swimming pool.
And I guess that goes for Bette Davis too. After all, it demands quite a lot of self perspective to appear on screen with no make up, tape in her hair and a thick layer of some strange moist in her face. A lot of people also thought that Margo Channing was based on actress Tallulah Bankhead (which it wasn't), but it was that rumour who made Bankhead say following about Bette Davis:
Don't think I don't know who's been spreading gossip about me . . . After all the nice things I've said about that hag. When I get hold of her, I'll tear out every hair of her mustache!
Older women falling for younger men and aging paranoia.
One of the main themes in both of the films is the trouble of successful women getting older. Both Margo Channing and Norma Desmond falls for a younger man and are plagued with the knowing that women are no longer seen as attractive when they passed the 30-mark, while men on the other hand always have the charm of the grey temples. In short, oth the leading female characters in the films are worried deeply that their men soon will be tired and leave them for a younger woman.
Immortal quotes.
Sunset Blvd:
Joe Gillis: You're Norma Desmond. You used to be in silent pictures. You used to be big. Norma Desmond: I am big. It's the pictures that got small.
Norma Desmond: All right, Mr DeMille, I'm ready for my close up.
All About Eve:
Margo Channing: Fasten your seatbelts, it's going to be a bumpy night!
Birdie: All of a sudden she's playing Hamlet's mother.
Perfect cast. (Left to right: George Sanders, Gary Merrill, Bette Davis, Anne Baxter, Celeste Holm, Hugh Marlowe, William Holden, Gloria Swanson, Nancy Olson, Erich von Stroheim.)
Down to the smallest supporting roles, both of these films have been perfectly cast. All characters symbolize something, and if you had taken away any character (feel free to choose anyone) the film wouldn't be as great as it is. Notable in All About Eve is Marilyn Monroe in one of her first screen appearances as Miss Casswell. See film clip:
Of course, there are also a lot of differences between the films and their characters. For example Margo Channing is a quite normal (?) woman in a crisis, while Norma Desmond is a mental fuck-up. Also, Sunset Blvd. has a darker shimmer over it (being a classic film noir) than All About Eve. Even though either of the films endings can be seen as simply sad or happy, there is at least some hope left for the viewer when THE END hits the screen after watching All About Eve. But I don't find it particularly interesting to discuss the differences between two entirely different movies, the similarities interest me far more. But of course, I am open for discussion.
Scene: Bette Davis in her best element in a fabulous scene you will never be able to forget.
Scene: Joe Gillis and Norma Desmond in their first encounter. Brilliant.
Academy Awards
It may seem strange that neither Bette Davis nor Gloria Swanson won the Oscar for Best Actress, but that it instead went to Judy Holiday for Born Yesterday (1950). I'm sure Judy was a real darling, but her part in that film is not even near the immortality Margo Channing and Norma Desmond have reached. The theory behind the whole thing is that when Anne Baxter saw to it that she would be nominated for Best Actress and not Best Actress in Supporting Role, she caused the votes to split so that they weren't enough for either of them to win the award. How awful.
Anyway, All About Eve ended up with the six Oscars:
Best Actor in Supporting Role, George Sanders
Best Director, Joseph L. Mankievicz
Best Picture
Best Writing, Screenplay, Joseph L. Mankievicz
Best Costume Design Black and White
Best Sound, Recording
Sunset Blvd won three Oscars:
Best Writing, Story and Screenplay, Billy Wilder
Best Music, Scoring of a Dramatic or Comedy Picture
Best Art Direction-Set Decoration, Black-and-White