#charles halton

[makeitquietly]

Charles Halton, Lyda Roberti, Tom Dugan, Jack Haley, Rosina Lawrence, Mischa Auer, Patsy Kelly, Stan Laurel and Oliver Hardy on the set of Pick a Star (1937)

[letterboxd-loggd]

Midnight Manhunt (1945) William C. Thomas

July 12th 2024

[gatutor]

June Storey-Charles Halton "Dance Hall" 1941, de Irving Pichel.

[cladriteradio]

Here are 10 things you should know about Charles Halton, born 147 years ago today. The prolific character enjoyed a career in theatre, movies and TV that spanned more than 60 years.

[tcmparty]

@tcmparty live tweet schedule for the week beginning Monday, January 02, 2023. Look for us on Twitter…watch and tweet along…remember to add #TCMParty to your tweets so everyone can find them :) All times are Eastern.

Friday, Jan. 06 NANCY DREW Double Feature

8:00 p.m. NANCY DREW...DETECTIVE (1938) A teen-aged sleuth investigates a wealthy woman's disappearance.

9:15 p.m. NANCY DREW...REPORTER (1939) A teen-aged sleuth sets out to prove a young girl innocent of murder charges.

[esonetwork]

Dr. Cyclops | Episode 437

New Post has been published on https://esonetwork.com/dr-cyclops-episode-437/

Dr. Cyclops | Episode 437

Jim discusses a classic sci-fi film from 1940 – “Dr. Cyclops, ” starring Albert Dekker. Janice Logan, Thomas Coley, Charles Halton, and directed by Ernest B. Schoedsack, for producers Merian C. Cooper and Dale Van Every. A reclusive scientist with a laboratory laboratory deep in the Amazon jungle invites three scientists to assist. Upon discovering a horrific secret, they are subjected to experiments involving radiation. Find out more on this episode of MONSTER ATTACK!, The Podcast Dedicated To Old Monster Movies.

[badmovieihave]

Bad movie I have In Old California 1942

[cinemaquiles]

Clássico inovador: "O delírio de um sábio" (Dr. Cyclops, 1940)

[raynbowclown]

Midnight Manhunt

Midnight Manhunt – a dead gangster, worth $5,000 dead or alive, is ffound dead in a wax museum. And it’s a case of who’s got the body! The murderer? The reporter? Her reporter boyfriend? The office boy? Continue reading Midnight Manhunt

[vintagedreamsofsennett]

Why is it that if a man kisses another man's wife, he's seducing her?

And why is it that if Dorothy kisses another woman's husband, she's betraying her own husband?

[thewarmestplacetohide]

Dread by the Decade: Stranger on the Third Floor

👻 You can support me on Ko-Fi! ❤️

★★★½

Plot: After his testimony leads to a man being sentenced to death, a reporter and his fiancée are haunted by the possibility that a mistake was made.

Review: Arguably the first film noir ever made, this movie is emotionally and stylistically evocative, albeit hamstrung by its too-short runtime.

Year: 1940 Genre: Psychological Horror, Crime Thriller Country: United States Language: English Runtime: 1 hour 4 minutes

Director: Boris Ingster Writers: Frank Partos, Nathanael West Cinematographer: Nicholas Musuraca Editor: Harry Marker Composer: Roy Webb Cast: John McGuire, Margaret Tallichet, Charles Halton, Charles Waldron, Elisha Cook, Jr., Peter Lorre

------

Story: 3/5 - Despite well rounded characters and a compelling central question, this story ends a bit too abruptly for it to breathe.

Performances: 4/5 - McGuire and Tallichet have great chemistry, and Halton is great as Mike's unbearable neighbor, but Lorre is criminally underused.

Cinematography: 4.5/5 - Gorgeous nods to expressionism. The nightmare sequence's cinematography is hypnotic.

Editing: 4.5/5 - Very stylistic. Especially shines during the nightmare sequence.

Music: 3.5/5 - Fitting, if not the most memorable

Sets: 4/5 - Limited but believable. Made surreal well during Mike's nightmare.

Costumes, Hair, & Make-Up: 4/5

Trigger Warnings:

Brief but graphic discussion of violence (dialogue-only)

Mild misogyny

Ableist portrayal of a mentally ill person

[byneddiedingo]

Ray Milland and Carole Lombard in Mr. & Mrs. Smith (Alfred Hitchcock, 1941)

Cast: Carole Lombard, Robert Montgomery, Gene Raymond, Jack Carson, Philip Merivale, Lucile Watson, William Tracy, Charles Halton, Esther Dale. Screenplay: Norman Krasna. Cinematography: Harry Stradling Sr.. Art direction: Van Nest Polglase, Albert S. D'Agostino. Film editing: William Hamilton. Music: Edward Ward.

If Alfred Hitchcock's name were not attached to Mr. & Mrs. Smith, would we remember it at all today? Perhaps as one of the last films of Carole Lombard -- it was the last released before her death in January 1942, though the posthumously released To Be or Not to Be (Ernst Lubitsch, 1942) was the last one she completed filming. Or perhaps as one of the lesser examples of the romantic/screwball  comedy genre that flourished in the 1930s and '40s. But even hardcore Hitchcockians find it difficult to fit it into the director's canon. Hitchcock had said he wanted to work with Lombard, and when Lombard liked Norman Krasna's story and screenplay, the teaming was put into play. Lombard and Robert Montgomery play Ann and David Smith, who discover that their three-year-old marriage is invalid, owing to a legal technicality. Complications ensue, especially when David doesn't rush into remarriage as quickly as Ann likes. She kicks him out of the apartment, and then his law partner, Jeff Custer (Gene Raymond), makes a play for her affections. Lombard is very much at home in this kind of comedy, and Montgomery is good at it too. The weak link is Raymond, who has the kind of role, the "other man" patsy, at which actors like Ralph Bellamy in The Awful Truth (Leo McCarey, 1937) and His Girl Friday (Howard Hawks, 1940) and John Howard in The Philadelphia Story (George Cukor, 1940) excelled. Raymond plays his part with a pinched, rather prissy manner that hardly sits well with the fact that he's supposed to have been the best fullback at the University of Alabama. In fact, the character seems to have been coded as latently gay: Witness Lombard's reaction when Ann learns that he decorated his own very tasteful apartment. Much of the film skirts around matters forbidden by the Production Code, including whether the now-unmarried Smiths should sleep together, which a director like Lubitsch or Hawks would have treated with more wit and finesse than Hitchcock does. This was only his third film made in Hollywood, and it was his first with a completely American setting; the first two, Rebecca (1940) and Foreign Correspondent (1940), were set in Europe and England. His unfamiliarity with American idiom shows up particularly in his treatment of the Alabama football jock Jeff and his parents (Philip Merivale and Lucile Watson), proper Southerners who are shocked at the suggestion that Ann has been sleeping with David. But whenever Hitchcock is working with Lombard and Montgomery, especially using Lombard's great gift for uninhibited physical comedy, the movie comes to fitful life.

[byneddiedingo]

Angel (Ernst Lubitsch, 1937) Cast: Marlene Dietrich, Herbert Marshall, Melvyn Douglas, Edward Everett Horton, Ernest Cossart, Laura Hope Crews, Herbert Mundin, Dennie Moore. Screenplay: Samson Raphaelson, Guy Bolton, Russell G. Medcraft, based on a play by Melchior Lengyel. Cinematography: Charles Lang. Art direction: Hans Dreier, Robert Usher. Film editing: William Shea. Costume design: Travis Banton. Music: Friedrich Hollaender.

In Ernst Lubitsch’s Angel, you can almost feel the Production Code censors breathing hotly down the director’s neck, driving some of the oxygen out of the room. What’s meant to be a light and airy sophisticated comedy, like for example Lubitsch’s pre-Code masterpiece Trouble in Paradise (1932), often feels starchy and coy. The emigrée grand duchess played by Laura Hope Crews is clearly a high-class procuress and her “salon” a very upscale brothel that enables a “fling” by Lady Maria Barker (Marlene Dietrich) with a curiously naïve Anthony Halton (Melvyn Douglas). Their affair never seems to get consummated, although there are the usual narrative jumps when the relationship comes to the boiling point. And of course the Code’s aversion to divorce and abhorrence of any sign that adulterers might get away with it unpunished means that the film must end with Lady Maria and Sir Frederick (Herbert Marshall) happily reconciled. We’re used to such evasions in Hollywood movies of the 1930s through the 1950s, but it’s a little depressing to see them stifle Lubitsch’s usually sublime naughtiness. Sometimes it feels as if Dietrich is to blame: She never really strikes sparks with either Douglas or Marshall – certainly not the way Greta Garbo does with Douglas in Ninotchka (1939) or Miriam Hopkins with Marshall in Trouble in Paradise. But lovers of Lubitsch have plenty to enjoy in Angel, chiefly the way the director subverts expectations. When Sir Frederick invites Halton, an old war buddy, to dine with him and his wife, who neither man knows is the “Angel” Halton met in Paris and has been rhapsodizing about ever since, we expect a big explosion, especially when the husband points out his wife’s picture to her lover. But just as Halton is about to look at the photograph, Lubitsch cuts. We don’t see the awkward encounter between wife and lover we expect when she comes downstairs to meet the guest. Instead, we pick up with them later and realize that both have exerted exceptional self-control at the meeting. And we don’t see the three of them at the dinner table; instead, Lubitsch takes us into the kitchen, where the servants are wondering why neither Lady Maria nor Mr. Halton has touched their food. Lubitsch leaves to our imagination scenes that other directors would have milked shamelessly. In another example, at their first encounter Maria and Halton are in a Parisian park at night, and after he proclaims his love for her he spots an old woman selling violets. He goes to buy the flowers, but Lubitsch holds the camera on the old woman, whose expressions tell us what’s going on: Maria has chosen the moment to disappear and we hear Halton calling out “Angel!” in his pursuit of her. The flower seller sighs and picks up the dropped bouquet, dusts it off, and puts it back with the other flowers, then turns and walks away. Similarly, Lubitsch doesn’t linger on the reconciliation scene between Maria and Frederick: They simply walk out the door, headed for Vienna and what we hope is a revived marriage. In the end, these “Lubitsch touches” aren’t quite enough to lift Angel out of the middle tier of the director’s films, but they constitute its saving grace notes.  

gifs from gingerastaire

[switchbldz]

under construction. some muses are included in verses that i'll elaborate on, eventually.

anaïs nkosi, 21 - 23 years old, voice actress (primarily for video games), bisexual, looks like tyla.

luzia 'luz' sampaio, 22 - 25 years old, professional gymnast / olympic medalist, bisexual, looks like juliana nalu.

selina velasco, 28 - 31 years old, pop star, bisexual, looks like saweetie.

judas akamai, 34 - 38 years old, mechanic / street racer / arms dealer / crime boss, heterosexual, looks like roman reigns.

kato savea, 33 - 37 years old, professional mma fighter, heterosexual, looks like jey uso.

kieran savea, 33 - 37 years old, professional baseball player for the san diego padres, heterosexual, looks like jimmy uso.

chantel larson, 30 - 32 years old, luxury real estate agent, bisexual, looks like jade cargill.

kali winchester, 23 - 25 years old, personal shopper, bisexual, looks like uma jammeh.

guinevere 'gwen' jacobs, 25 - 27 years old, luxury travel agent, bisexual, looks like lori harvey.

bria adesina, 27 - 30 years old, elementary school teacher, bisexual, looks like tems.

zuri evans, 25 - 28 years old, wnba social media manager / podcaster, lesbian, looks like megan thee stallion.

memphis stone, 32 - 35 years old, jeweler, heterosexual, looks like odell beckham jr.

iverson west, 21 - 26 years old, professional basketball player, heterosexual, looks like jude bellingham. (alt fc: miguel harichi.)

alyvia 'lyv' woods, 24 - 27 years old, exotic dancer / video vixen, bisexual, looks like latto.

siobhan 'shiv' halton, 26 - 33 years old, celebrity chef / restaurateur, lesbian, looks like zendaya. (alt fc: laura harrier.)

venice collins, 33 - 37 years old, film actress / screenwriter, heterosexual, looks like shay mitchell.

cody zamora, 21 - 23 years old, college student / graphic designer / street racer, lesbian, looks like giovanna ramos.

nadia sinclair, 25 - 27 years old, bartender, bisexual, looks like jorja smith.

kitana ambrose, 30 - 35 years old, street racer / spy / assassin, bisexual, looks like zoe kravitz.

saskia park, 23 - 26 years old, club promoter / gambler / street racer, bisexual, looks like jennie kim.

denver cardona, 27 - 30 years old, unemployed / trust fund kid, heterosexual, looks like jacob elordi.

honey barleti, 22 - 24 years old, socialite, bisexual, looks like leah halton.

yasmeen laheri, 25 - 27 years old, professional ballerina, bisexual, looks like mishti rahman.

valentine st. clair, 23 - 26 years old, professional figure skater / olympic medalist, bisexual, looks like mariah the scientist.

bronx spencer, 30 - 32 years old, surgical resident, heterosexual, looks like keith powers.

seven torres, 24 - 26 years old, dental student / nanny, heterosexual, looks like michelle domingos.

dahlia chambers, 31 - 33 years old, relationship and sex therapist, bisexual, looks like sza.

pippa vaughn, 24 - 26 years old, flight attendant, bisexual, looks like aisha potter.

jameson 'jamie' silver-choi, 28 - 31 years old, f1 driver, heterosexual, looks like charles melton.

jolie summers, 24 - 28 years old, child star / pop sensation / songwriter, bisexual, looks like madelyn cline.

gia forbes, 36 - 40 years old, academy award winning actress, bisexual, looks like beyoncé knowles.

thalia franco, 22 - 25 years old, hotel heiress / nepo baby, bisexual, looks like cindy kimberly.

brent singh, 24 - 26 years old, tattoo artist, heterosexual, looks like central cee.

zeta cameron, 25 - 30 years old, twitch streamer / internet personality, bisexual, looks like doja cat.

knox aquino, 25 - 28 years old, scammer / law school student, bisexual, looks like dominic fike.

cruz tatum, 29 - 32 years old, music producer, heterosexual, looks like mason gooding.

iris abaza, 26 - 29 years old, boutique owner / street racer, bisexual, looks like bella hadid.

maize ventura, 30 - 32 years old, receptionist / arms dealer / street racer, bisexual, looks like alexa demie.

hunter sinclair, 22 - 24 years old, college student / street racer, heterosexual, looks like tyrese haliburton.

supernatural muses.

ember leblanc, immortal / vampire, bisexual, looks like megan thee stallion.

kylar de la serre, immortal / vampire, bisexual, looks like gabbriette.

**all street racer muses are apart of the same verse set in miami, fl — to be expanded upon later.

**all vampire muses are apart of the same verse set in new orleans, la and paris, france — to be expanded upon later.

[vision360tours]

Home for Sale - 13 Charles Street, Halton Hills, ON L7G 2Z1 Virtual Tour: http://13charles.com/

[docrotten]

STRANGER ON THE THIRD FLOOR (1940) – Episode 142 – Decades Of Horror: The Classic Era

“The only person who ever was kind to me was a woman. She’s dead now.” Wait. What? Join this episode’s Grue-Crew – Chad Hunt, Daphne Monary-Ernsdorff, Jeff Mohr, and guest host Dirk Rogers – as they witness the brilliance of Peter Lorre highlighted by the dark stylings of cinematographer Nicholas Musuraca in Stranger on the Third Floor (1940).

Decades of Horror: The Classic Era Episode 142 – Stranger on the Third Floor (1940)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

ANNOUNCEMENT Decades of Horror The Classic Era is partnering with THE CLASSIC SCI-FI MOVIE CHANNEL, THE CLASSIC HORROR MOVIE CHANNEL, and WICKED HORROR TV CHANNEL Which all now include video episodes of The Classic Era! Available on Roku, AppleTV, Amazon FireTV, AndroidTV, Online Website. Across All OTT platforms, as well as mobile, tablet, and desktop. https://classicscifichannel.com/; https://classichorrorchannel.com/; https://wickedhorrortv.com/

An aspiring reporter is the key witness at the murder trial of a young man accused of cutting a café owner’s throat and is soon accused of a similar crime himself.

  Director: Boris Ingster

Writers: Frank Partos (story & screenplay by); Nathanael West (uncredited)

Music by: Roy Webb

Cinematography by: Nicholas Musuraca

Art Direction by: Van Nest Polglase

Wardrobe: Renié

Special Effects by: Vernon L. Walker (special effects)

Selected Cast:

Peter Lorre as The Stranger

John McGuire as Mike Ward

Margaret Tallichet as Jane

Charles Waldron as District Attorney

Elisha Cook Jr. as Joe Briggs

Charles Halton as Albert Meng

Ethel Griffies as Mrs. Kane, Michael’s landlady

Cliff Clark as Martin

Oscar O’Shea as The Judge

Alec Craig as Briggs’ Defense Attorney

Otto Hoffman as Police Surgeon

Emory Parnell as Grilling Detective in Dream Sequence (uncredited)

Herb Vigran as Reporter Who Wins Cardgame (uncredited)

Bobby Barber as Giuseppe (uncredited)

Stranger on the Third Floor inhabits the creepier side of, shall we say horror-adjacent, film noir. In fact, some experts argue that it is the first example of that dark genre, later to be labeled film noir. It’s a nightmare-influenced murder mystery featuring Peter Lorre chewing on all the scenery he can. Boris Ingster directs Stranger on the Third Floor with all the style that feels as if it could have been an early Val Lewton production. Yup, it’s Hollywood expressionism, RKO-style. This film is worth the watch, even if only for two 7-minute scenes: the nightmare sequence and the interaction between The Stranger (Lorre) and Jane (Margaret Tallichet).

If you have the urge to view this early example of noir filmmaking (or is it “proto-noir?”), and decide for yourself if it is truly horror-adjacent, Stranger on the Third Floor is, at the time of this writing, available to stream from archive.org or PPV from iTunes. There is also a Warner Brothers DVD available if physical media is your preference.

For more Peter Lorre goodness, check out these episodes of Decades of Horror: The Classic Era:

M (1931) – Episode 113

MAD LOVE (1935) – Episode 81

TALES OF TERROR (1962) – Episode 92

THE COMEDY OF TERRORS (1963) – Episode 75

Gruesome Magazine’s Decades of Horror: The Classic Era records a new episode every two weeks. Up next in their very flexible schedule, as chosen by Daphne, will be Diabolique (1940, Les Diaboliques), the French classic directed by Henri-Georges Clouzot, based on a novel by Boileau-Narcejac.

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans: leave them a message or leave a comment on the Gruesome Magazine YouTube channel, the site, or email the Decades of Horror: The Classic Era podcast hosts at feedback@gruesomemagazine.com

To each of you from each of them, “Thank you so much for listening!”

Check out this episode!