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nitrateglow · 3 years ago

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Thoughts on Lady in a Cage (1964)

Lady in a Cage is like if Tennessee Williams wrote Panic Room.

The story itself is straightforward: middle-aged poet Mrs. Hilyard is alone at home during the Fourth of July weekend. Incapacitated by a broken hip, she has to use an elevator to navigate between floors. Unfortunately, a power outage stops the elevator mid-ascent, leaving her trapped and vulnerable-- especially when an assortment of criminals (an alcoholic burglar, a desperate hustler, and three garden variety psychopathic hoodlums) come a-calling to rob and terrorize her.

Mrs. Hilyard’s character is a cross between the fluttery, aristocratic pretensions of Blanche Dubois from A Streetcar Named Desire and the maternal clinginess of Violet Venable from Suddenly, Last Summer. She lives with her 29-year-old son Malcolm and treats him with a weird blend of motherly manipulation and romantic affection: he calls her “darling” and she begs him to leave her little letters before going off on a trip, blurring the lines of their relationship in a subtly disturbing way. Malcolm only has about five minutes on the screen, but his melancholy, resigned presence resonates throughout the film’s 95-minute runtime. Ultimately, Mrs. Hilyard’s predicament forces her to take a good look at herself. Her assumptions about her own character-- that she’s sensitive, loving, and empathetic-- melt like ice in the sun over the course of her imprisonment.

Lady in a Cage is not considered one of De Havilland’s better projects or performances. I’ve seen some people comment that it’s painful to watch De Havilland “demean” herself with some of the things she’s called to do in this movie, but I was impressed by how bold her performance was-- even if it pushes a bit into camp territory, her terror at both the criminals and her own self-discovery is powerful. It’s a performance that fits the stifling, nightmarish atmosphere the film creates.

De Haviland isn’t the only one channeling Tennessee Williams: as the chief hoodlum, James Caan is like Stanley Kowalski if he were one of the droogs from A Clockwork Orange. Some viewers dismiss Caan’s acting as a cheap imitation of Brando, but I thought he was the perfect villain for this kind of thriller, threatening and oddly alluring in his open honesty about his own monstrosity. One could almost interpret him as the manifestation of the smothered Malcolm’s torment and rage, especially once Caan starts wearing the other man’s clothes.

The other standout performance comes from Ann Sothern as the hustler Sade. She is the one character in this movie’s savage universe that comes close to being sympathetic and she is certainly the most three-dimensional of the other supporting criminals, who tend to resemble caricatures more than real people. Originally in the house for a quick buck, she becomes Caan and company’s prey just as much as Mrs. Hilyard is, and her dread, self-loathing, and terror register strongly in the film’s last third.

Lady in a Cage was demonized by critics as a sleazy shocker upon release. Nowadays, it’s commonly hailed as either a campy “psychobiddy” thriller like Whatever Happened to Baby Jane or as a chilling reflection of the social turbulence of the 1960s. It’s easy to write the movie off as reactionary horror (Mrs. Hilyard laments that Caan’s thug is the inevitable product of “the welfare state” her taxes support), but this ignores how Mrs. Hilyard comes to find that she herself-- despite believing she is the only “thinking, feeling creature” in her invaded home-- is also capable of monstrous domination and dehumanizing behavior towards others. It’s a quintessentially 1960s brand of thriller and would make an interesting companion piece to Psycho.

#lady in a cage #thoughts #olivia de havilland #james caan #ann sothern

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elcinelateleymickyandonie · 4 years ago

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Isobel Elsom.

Filmografía

Teatro

1917-1918 : The Freaks, de Arthur Wing Pinero, con C.V. France y Leslie Howard (Londres)

1920-1921 : Up in Mabel's Room, de Wilson Collison (Londres)

1922-1923 : Sweet Lavender, de Arthur Wing Pinero (Londres)

1923-1924 : The Green Goddess, de William Archer, con George Arliss, Ivan F. Simpson (Londres)

1926 : The Ghost Train, de Arnold Ridley, con Eric Blore, Claudette Colbert

1927 : The Mulberry Bush, de Edward Knoblauch, con Claudette Colbert

1927 : People don't do such Things, de Lyon Mearson y Edgard M. Schoenberg, con Stanley Logan

1928 : The Silver Box, de John Galsworthy, con Mary Forbes

1928 : The Behavior of Mrs. Crane, de Harry Segall, con Walter Connolly y Charles Trowbridge

1928 : The Outsider, de Dorothy Brandon

1938-1939 : American Landscape, de Elmer Rice, con Charles Dingle y Charles Waldron

1940 : Ladies in Retirement, de Reginald Denham y Edward Percy, con Flora Robson

1942 : The Flowers of Virtue, de Marc Connelly, con Frank Craven, Thomas Gomez y Vladimir Sokoloff

1944-1945 : Hand in Glove, de Charles K. Freeman y Gerald Savory, dirección de James Whale

1950 : The Innocents, de William Archibald, con música de Alex North

1950 : The Curious Savage, de John Patrick, con Lillian Gish

1951 : Romeo y Julieta, de William Shakespeare, con Olivia de Havilland y Jack Hawkins

1952 : The Climate of Eden, de Moss Hart

1954m : The Burning Glass, de Charles Langbridge Morgan, con Cedric Hardwicke y Walter Matthau

1957 : Hide and Seek, de Roger McDougall y Stanley Mann, con Barry Morse y Basil Rathbone

1957 : The First Gentleman, de Norman Ginsbury, con Walter Slezak.

Cine

1915 : A Prehistoric Love Story, de Leedham Bantock (corto)

1916 : Milestones, de Thomas Bentley

1918 : The Man who won, de Rex Wilson

1918 : The Way of an Eagle, de G.B. Samuelson

1918 : The Elder Miss Blossom, de Percy Nash

1919 : Hope, de Rex Wilson

1919 : Quinneys, de Maurice Elvey y Herbert Brenon

1920 : Aunt Rachel, de Albert Ward

1921 : For her Father's Sake, de Alexander Butler

1922 : A Debt of Honour, de Maurice Elvey

1922 : The Game of Life, de G.B. Samuelson

1923 : The Harbour Lights, de Tom Terriss

1923 : The Wandering Jew, de Maurice Elvey.

1924 : Who is the Man ?, de Walter Summers

1924 : The Love Story of Aliette Brunton, de Maurice Elvey

1925 : The Last Witness, de Fred Paul

1925 : Le Réveil, de Jacques de Baroncelli

1926 : The Tower of London, de Maurice Elvey

1927 : Tragödie einer Ehe, de Maurice Elvey

1927 : Dance Magic, de Victor Halperin

1931 : The Other Woman, de G.B. Samuelson

1932 : The Crooked Lady, de Leslie S. Hiscott

1933 : The Thirteenth Candle, de John Daumery

1934 : The Primrose Path, de Reginald Denham

1941 : Ladies in Retirement (El misterio de Fiske Manor), de Charles Vidor

1942 : Eagle Squadron, de Arthur Lubin

1942 : Laugh your Blues away, de Charles Barton

1942 : Seven Sweethearts, de Frank Borzage

1942 : You were never Lovelier (Bailando nace el amor), de William A. Seiter

1943 : Forever and a Day (Siempre y un día), de Edmund Goulding y Cedric Hardwicke

1944 : Between two Worlds (Entre dos mundos), de Edward A. Blatt

1944 : Casanova Brown, de Sam Wood

1945 : The Unseen (Misterio en la noche), de Lewis Allen

1946 : Two Sisters from Boston, de Henry Koster

1946 : Of Human Bondage, de Edmund Goulding

1947 : Addio Mimi !, de Carmine Gallone

1947 : The Two Mrs. Carrolls (Las dos señoras Carroll), de Peter Godfrey

1947 : Monsieur Verdoux, de Charlie Chaplin

1947 : El fantasma y la señora Muir, de Joseph L. Mankiewicz

1947 : Ivy, de Sam Wood

1947 : Escape Me Never, de Peter Godfrey y LeRoy Prinz

1947 : The Paradine Case, de Alfred Hitchcock

1948 : Smart Woman, de Edward E. Blatt

1949 : The Secret Garden, de Fred M. Wilcox

1954 : Desirée, de Henry Koster

1954 : Deep in my Heart, de Stanley Donen

1955 : The King's Thief, de Robert Z. Leonard

1955 : La colina del adiós, de Henry King

1956 : Over-exposed, de Lewis Seiler

1956 : 23 Paces to Baker Street (A 23 pasos de Baker Street), de Henry Hathaway

1956 : El loco del pelo rojo, de Vincente Minnelli

1957 : The Guns of Fort Petticoat, de George Marshall

1958 : Rock-a-bye Baby (Yo soy el padre y la madre), de Frank Tashlin

1959 : The Young Philadelphians (La ciudad frente a mi), de Vincent Sherman

1959 : The Miracle (Promesa rota), de Irving Rapper

1960 : The Bellboy, de Jerry Lewis

1961 : The Errand Boy.

1961 : The Second Time Around (Sola ante el peligro), de Vincent Sherman

1963 : Who's minding the Store ? (Lío en los grandes almacenes), de Frank Tashlin

1964 : My Fair Lady, de George Cukor

1964 : The Pleasure Seekers, de Jean Negulesco.

Créditos: Tomado de Wikipedia

https://es.wikipedia.org/wiki/Isobel_Elsom

#HONDURASQUEDATEENCASA

#ELCINELATELEYMICKYANDONIE

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snezhana-mirnaya9vdd2f · 5 years ago

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Chenoa Maxwell husband Photos Info and their life details Movie Actress

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About

At first celebrated for her job as Havilland Savage in the 1997 film Hav Plenty, she later showed up as Lena Turner on the UPN satire arrangement Girlfriends. Additionally a picture taker, she mounted a performance presentation titled Introspection: India.

Prior to Fame

She propelled her screen acting vocation in her late…

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#Chenoa Maxwell Husband #Chenoa Maxwell Husband and information #Chenoa Maxwell Husband photo

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dweemeister · 8 years ago

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Captain Blood (1935)

The Hollywood swashbuckler is among the oldest subgenres of action/adventure cinema around. With its humble beginnings in the silent era to its modern, self-serious incarnations, there has always been a degree of heroic grinning as the protagonist leaps into danger, a languid season of newfound romance between dissimilar individuals who happen to find themselves in peculiar predicaments. As the senior Douglas Fairbanks (1920′s The Mark of Zorro and 1924′s The Thief of Bagdad) encountered difficulties in the transition from the silent to talkie eras, in came Warner Bros.’ Errol Flynn. The Australian actor had just signed a contract with Warner Bros. in 1934, and the Warners had little clue what to do with the inexperienced actor.

Thus, for sheer experimentation, Warner Bros. placed Flynn as the titular Captain Blood and would never regret that fortuitous decision. For what followed for Warner Bros., for Flynn, co-stars Olivia de Havilland and Basil Rathbone, and numerous craftspersons behind the camera was a film and subsequent swashbucklers that launched some of the most illustrious careers in Studio System Hollywood. With Michael Curtiz directing – a star-making director – Captain Blood represents film as a wonderful piece of entertainment.

It is 1685 in England, Irish Doctor Peter Blood (Flynn) is accused and arrested for treason for treating a patient that has been participating in the Monmouth Rebellion against King James II. The punishment for Dr. Blood and the rebels is to be bound and shackled in a slave galley sailing for Port Royal in Jamaica. In Jamaica, Blood is spotted by Arabella Bishop (Olivia de Havilland), whose attraction for the outspoken Blood is instantaneous – you can see it in her eyes and devilish smile. Arabella purchases Blood, protecting him from the influence of her uncle, Colonel Bishop (Lionel Atwill). Blood is allowed to treat a governor’s gout instead of toiling in the mines, but he loathes slavery and concocts a daring, impromptu escape with his fellow slaves when a Spanish ship attacks the city. This motley band of slaves captures the Spanish ship, sets sail, outlines a pirate’s code with Blood as captain, and proceeds to pillage and plunder European settlements in the Caribbean. But Blood has left Arabella behind at Port Royal. He had only just begun to realize her feelings for her.

Also starring in this film is Basil Rathbone as a French privateer named Levasseur. Rathbone embarrasses himself with a disastrous French accent, but it establishes a brief period of villainous typecasting before he would later be typecast as Sherlock Holmes-like characters in the late 1930s-40s. Ross Alexander is also here as Blood’s best friend, Jeremy Pitt; Guy Kibbee is crewman Henry Hagthorpe; and J. Carrol Naish is Cahusac, Levasseur’s crony.

Before Curtiz would establish the likes of Doris Day and Bette Davis as marquee, top-billed movie stars, he would do just that for Errol Flynn and Olivia de Havilland. For Flynn, that combination of a beautiful, wide smile and an aura of bent-armed, hands-to-hips aura of self-confidence can never fail to charm audiences even when the characters in the film are struggling to make sense of cinematic chaos. Like in so many of his later swashbucklers – especially in the career-defining The Adventures of Robin Hood (1938) – that personality lifts the performances surrounding Flynn. Many more technically gifted actors worked in Hollywood in the mid-1930s, but no one could combine raw physicality and cornball optimism and moral purity like Flynn. A ridiculous script with a risible ending requires a ridiculous, risible performance. And it takes specific skills to make an audience care in such a scenario – Flynn achieves this brilliantly (and this is not even his greatest performance).

For stage-trained Olivia de Havilland, she too had signed a contract for Warner Bros. in 1934. But, according to the late Turner Classic Movies (TCM) host Robert Osborne, this did not serve her long-term career well as Warner Bros. concentrated on making darker, grittier motion pictures rather than stage-based and prestige productions de Havilland yearned for. Despite these later frustrations, de Havilland prospered in her early swashbuckling works with Flynn. Here, a 19-year-old de Havilland is allowed to demonstrate a sexuality uncommon in post-Hays Code Hollywood. Her character’s freedom of decision – thanks to Rafael Sabatini’s novel and Casey Robinson’s adapted screenplay – is an immense contribution to the chemistry between her and Flynn. More substantial roles would come, but it is an assured performance by de Havilland in this, her fourth film and first starring role.

Did I mention that Captain Blood is incredible fun? Though it might lack the savage wit of The Adventures of Robin Hood and rely too heavily on coincidence at times, but its action scenes are downright thrilling. The first duel between Flynn and Rathbone – they would spar again down the years – is a beautiful piece of swordsmanship and tropical scenery. Okay, that scenery was shot at the picturesque Three Arch Bay in Laguna Beach, California, but it looks anything but a public beach for that scene where crashing, foamy waves elevate the stakes of this swordfight. And that first Flynn-Rathbone bout, built upon the mass one-versus-dozens swordfights Douglas Fairbanks was familiar with, established swashbuckling precedents to be followed by later Warner Bros. swashbucklers and the multitudes of movies following it.

The climactic battle sequence employed over 2,500 extras with zero real sailing ships used during filming. This final scene, along with the earlier skirmish where the Spanish attack Port Royal – which is almost an hour in, but it never feels like that – employed process shots, numerous miniatures, and archived footage from 1924′s The Sea Hawk. Though some of the models are obvious if one has seen enough action films employing miniatures, there are some split-seconds where things are far more artificial than they appear. From the wooden chunks blown off these ships, with ropes and pulleys and masts tumbling after cannon fire, this is some of the most convincing visual effects work in films during the mid-1930s.

Composer Erich Wolfgang Korngold had never worked on a film before. The Austrian immigrant was a youth sensation in Europe, having composed for ballets, concerts, and operas. Convinced by his friend Max Reinhardt’s (a theatrical and film director) stories of working in America and considering the dangers an insurgent Nazi Party posed, Korngold came to the United States to compose an adaptation score for A Midsummer Night’s Dream (1935) for Warner Bros. Soon after, Warner Bros. asked Korngold if he would like to compose for a swashbuckler. He initially declined, believing that such a job would be beneath him, but changed his mind when he was attracted to Flynn and de Havilland’s performances and the filmmaking.

With only three weeks to finish the composition, the final product is not as technically complex as Korngold’s future scores for The Adventures of Robin Hood or The Sea Hawk (1940). There is a lack of character-driven motifs that would become more developed in those later works; instead, the motivic structure is action- and film-driven. However, Korngold’s work on Captain Blood – along with the contemporary works of Alfred Newman at the 20th Century Fox and fellow Warner Bros. contractee max Steiner – established the precedent of original film scores influenced by the later romantic period of classical music. Where earlier 1930s films might incorporate existing classical pieces to respond to what is on screen, Korngold’s music is implicit, reinforcing adventure or intimacy rather than distracting from it or being a dramatic redundancy. Trained listeners will notice that about five or ten percent of the score include Franz Liszt’s symphonic poem, Prometheus – Korngold, who only learned of his rapidly-approaching deadline only after he accepted the job was forced to borrow out of necessity. Korngold also, at first, rejected Hugo Friedhofer’s assistance as orchestrator (orchestration is the process in choosing the instrumentation that will play a piece), but soon realized that Friedhofer’s help was necessary, and the two became close colleagues. Their work becames one of the great original scores to come from early Hollywood.

Captain Blood is unsure how to balance its tones in the first half, and it never settles on a primary antagonist. But as a star-making vehicle for its two central actors and for being a platform for further, greater success for other artisans never appearing on-screen, it is an essential for those looking into this era of Hollywood. For being a swashbuckler film shot on a scale never associated with such films, it is as rollicking a time as you might have on the open seas.

My rating: 9.5/10

^ Based on my personal imdb rating. Half-points are always rounded down.

#Captain Blood #Michael Curtiz #Errol Flynn #Olivia de Havilland #Basil Rathbone #Ross Alexander #Lionel Atwill #Guy Kibbee #Henry Stephenson #Robert Barrat #J. Carrol Naish #Casey Robinson #Erich Wolfgang Korngold #Hugo Friedhofer #Ernest Haller #Hal Mohr #TCM #My Movie Odyssey

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savetopnow · 7 years ago

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2018-03-22 01 TV now

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andyfliz · 4 years ago

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Hav Plenty

Lee Plenty is an almost broke would-be novelist and Havilland Savage is rich and very beautiful woman and his friend. When she invites him to her home for New Year’s Eve, they start to build up a romance.

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#Hav Plenty

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romeyramshey · 4 years ago

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secondsightcinema · 7 years ago

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Marsha Hunt: Living Well Is the Best Revenge

Last month, in October of 2017, Marsha Hunt began her 101st transit around the sun. She continues to grace our increasingly graceless planet, and while we were always lucky to have her, she seems even more precious now, when we are really in the soup.

Marsha Hunt in 2007, radiant at 90. (AP Photo/Nick Ut)

Miss Hunt is legendary among serious classic movie fans, but is largely unknown beyond our geeky precincts. Why is that, do you suppose? There are so many reasons that one artist is beloved, even iconic, while another with the same amount of talent and accomplishment is known only to the most devout movie lovers. Why is Bogart the most recognizable star of the classic movie era, while James Cagney, whose career was longer than Bogart’s and equally lustrous, is not equally venerated? Why do fantastic actors like, say, Eleanor Parker or Richard Widmark, who were big stars in their day, now languish in relative obscurity?

The most obvious answer in Miss Hunt’s case is the blacklist. Her career was thriving, and not just in film: In the summer of 1950 she had an offer to host a TV talk show and was starring in a hit on Broadway when she returned from France, where she had dined with Eleanor Roosevelt (they had met in January, 1937, when Hunt, along with Jean Harlow and Robert Taylor, visited the White House). She called her agent to check in, and the offers had dried up. That was it—poof! All gone.

While Marsha Hunt is more than worthy of celebrating for her acting, beauty and impeccable style, it’s bigger than that—that doesn’t get at the unique person she is. Hollywood has always been awash in talent and beauty. It’s the totality of her being being and her generous life that are so compelling.

The Human Comedy (1943), here with James Craig and Mickey Rooney.

That life, she acknowledges, has been extremely lucky, and I am inclined to agree with her despite the fact that her career got trampled along with so many others during the Red Scare that began in the late 1940s and spiraled into a crisis that took a sledgehammer to the American values she believed in. McCarthyism stained virtually everything it touched, with a few notable exceptions. Marsha Hunt is one of these. Her long, beautiful life is a refutation of the industry’s moral collapse under the pressure of the fear and betrayal that roiled America starting about 70 years ago, when she was 30.

All she did was refuse to compromise her ideals to save her career. All she did was let go of what she could not hold onto. After her film work dried up, she and Presnell did some international travel, and Hunt found a new focus. What she saw of hunger and homelessness challenged her to become active with the United Nations, and she became an activist. The commitment to making things better, which had not been gratified in her time at SAG as it sank into political madness, found expression in her new work. And she continued to find ways to help, not just internationally but in her own community of Sherman Oaks, California. She had never been interested in communism, and was not accused of being a member of the Communist Party. But that wasn’t a prerequisite for blacklisting. In that paranoid time, the zealous began demanding loyalty oaths and denunciations, and anything short of a blanket condemnation of communism—not just current or previous Communist Party members but anyone who had ever gone to a meeting or signed a petition that had now come under scrutiny—and loud vows to oppose it to the death were insufficient to clear oneself of suspicion.

Hunt’s great luck includes an excellent gene pool, a happy childhood with loving parents, as well as striking beauty and natural elegance, a keen mind, a good sense of humor, a long, devoted second marriage, and a deep love of and great gift for acting. And that’s not all: her passion for helping others, which found expression in the activism that absorbed her abundant energy when she could no longer work in movies, is a gift to the world. It’s truly an embarrassment of riches, and she has squandered nothing, made the most of everything. It’s no wonder that, at 100, she is still winning new fans and friends.

Hunt’s figure was perfect for fashion—her waist was 22 inches.

In the summer of 1950, Hunt’s name appeared on the infamous Red Channels list of 150 people in broadcasting who supposedly had dangerous political sympathies. Decades later the actor George Murphy, who started his career in politics as the president of the Screen Actors Guild and eventually served as U.S. Senator for California, said that there was no such thing as the blacklist. Murphy had been a passionate commie hunter during the HUAC years. Poison of this sort grows stronger when it’s denied. What did Murphy’s denial even mean, and what was he saying—was he denying his own role in this disastrous chapter in American history?

Miss Hunt does something for hats…

Whispering campaigns by their nature grow in darkness, which makes them difficult to counter—there’s nobody on the record who can be challenged on the facts. In the years after Red Channels, Hunt continued to work on the stage, and eventually she was again able to find sporadic film work, but she had lost the momentum built over 15 years in the business, and there was no way to regain it.

She’s actually better known now than she was 20 years ago thanks to TCM, which shows her films occasionally, as well as to her continuing presence on the classic movie scene, and to strong advocacy by the Film Noir Foundation. Just this past April she turned up unannounced at a TCM Film Festival screening, to the delight of everyone lucky enough to be in the theater. She’s still doing interviews, telling stories about the Hollywood she knew, the blacklist era, and her wonderful, lucky life. I would be thrilled to be as lucid at 60 as she is at 100, but you can’t have everything.

Marsha Hunt entertaining soldiers.

Hunt had made more than 50 movies in 15 years, and while she was not a top star, she was in demand and had appeared in some prestige pictures like Pride and Prejudice (1940), Cry Havoc (1943), and The Human Comedy (1943), as well as a number of less prominent movies well worth discovering, like Kid Glove Killer (1942) and Seven Sweethearts (1942), both with her friend Van Heflin (sigh), A Letter for Evie (1944), Carnegie Hall (194?), Lost Angel (1943), The Affairs of Martha (1941), and more famously Raw Deal (1947), considered one of the greatest of noirs. In Raw Deal she has the unenviable task of playing the good girl, a particular challenge playing opposite the great Claire Trevor’s vulnerable bad girl. But Hunt makes the good girl believable and attractive. She says, “All I want is a little decency!” And when she witnesses Dennis O’Keefe being savagely beaten by two thugs, she has to make an agonizing choice: Shoot one of them, or watch O’Keefe being murdered. We see her face that conflict, in those few seconds. She shows it all to us without being obvious or looking contrived.

From what I’ve seen, she is never less than excellent. She is a pleasure to watch; her sensitivity to tone and nuance are always evident. As Mary Bennet, the bookish daughter whose inability to hit the high note in “Flow Gently, Sweet Afton” is a running gag in Pride and Prejudice, she spends most of her screen time in the back of group shots, but even there her reactions are perfectly calibrated to add to the sum of the dramatic effect without distracting from the more prominent characters. And her few scenes showcase her flair for comedy. If you know Hunt for other movies it takes a few seconds to register that gawky, geeky Mary is the same impeccably turned out Miss Hunt who was a costume designer’s dream. But Hunt’s ambition was never to be the biggest star, but the very best actress. She took pride in being called “Hollywood’s youngest character actress,” and did her best to live up to it.

Pride and Prejudice (1940): Maureen O’Sullivan, Hunt, Mary Boland

Marsha Hunt had been 17, already a successful New York fashion model with her sights set on becoming an actress, when her film career began in 1935. That’s when Paramount signed her to a seven-year contract, followed by a long, happy period at MGM in the 1940s that produced most of her best-known work.

in 1947, Hunt and her husband, writer Robert Presnell Jr., didn’t think twice about joining the Committee for the First Amendment in support of the Hollywood Ten, the group of prominent writers and directors who defied the House Committee on Un-American Activities and refused to answer the infamous question “Are you now or have you ever been a member of the Communist Party?” Today, Dalton Trumbo is the best known of the Ten, but Hunt didn’t know him until decades later when he hired her to play the mother in his film adaptation of his book Johnny Got His Gun. In 1947, Hunt only knew one of the Ten: screenwriter/producer Adrian Scott, who she says is one of the finest people she has ever known. Standing in support of Scott was a no-brainer for Hunt.

Raw Deal (1947)

She recalls, in her interview in Patrick McGilligan’s and Paul Buhle’s Tender Comrades: A Backstory of the Hollywood Blacklist, that when she served on the Screen Actors Guild’s board in 1946-47, she was a political innocent. Her father was an extremely conservative Republican, and at first she had been uncertain about even the idea of labor unions because he so disliked them. But her interest and concern in the lives of others was stirred by the meetings, where at first she just listened, but then she began to speak up. She wanted to address the serious issues affecting the membership, including Olivia de Havilland’s suspension by Warner Bros, and stereotyping in casting—not just the very narrow restrictions on the kinds of roles offered to minorities, but how those all-too-rare characters were written. But increasingly, the union’s leadership was focused not on these issues but on what they believed to be the threat of communist infiltration of the industry.

“Flow Gently, Sweet Afton”: Hunt’s dodgy intonation is the movie’s running gag.

Director Sam Wood was among those who in 1944 founded the Motion Picture Alliance [for the Preservation of American Ideals], a single-issue organization dedicated to rooting out supposed industry infiltration by communists. The politically conservative membership included Ayn Rand, Ronald Reagan, Barbara Stanwyck, Robert Taylor, George Murphy, Ward Bond, Walter Brennan, Clarence Brown, Leo McCarey, Irene Dunne, Laraine Day, Dick Powell, and Ginger Rogers, and many of HUAC’s friendly witnesses were drawn from its ranks. These were the people eager to “name names,” though given their political sympathies, the idea that they would know who was batting for the other side seems ridiculous.

Their eagerness to protect America from what they perceived as a real danger was evident, and despite a paucity of evidence regarding communist messages being smuggled into Hollywood movies, the advent of the Cold War provided fertile soil for what it’s now clear was their paranoia. The relationship between HUAC and Hollywood—the studios, the unions, and the Motion Picture Alliance—further confused issues for those accused of being commies. How could you find out who had named you, and how did you fight back? Who did you see to restore your reputation, to regain your position in the industry and community?

Pride and Prejudice (1940): She finally hits that high note when she meets her match.

But that was a few years later. In 1947, nobody could yet see where things were headed. Hunt and Presnell joined other prominent Hollywood liberals like John Huston, William Wyler, Edward G. Robinson, Paul Henreid, Humphrey Bogart, and Lauren Bacall who formed an organization of their own, the Committee for the First Amendment. They only knew that American values, starting with the freedoms enshrined in the First Amendment, were under siege, and they believed that standing in support of the Constitution, as well as their friends and colleagues, was the right thing to do.

The group chartered a plane and flew to Washington in support of the Ten, to attend the HUAC hearings where their testimony had been subpoenaed. Hunt recalls the overnight flight from Los Angeles as cheerful and optimistic, with friendly groups greeting them at the airports they stopped at on the way. Nobody on that flight, and none of the Ten, had any idea what they were about to face. They were about to get their first taste of the ferocity, power, and intractability of the forces arrayed against them, and the mood was altogether different on the flight back home—the contagion of fear had infected them, and their group dissolved soon after.

Marsha Hunt (at front) with the Committee for the First Amendment, on their way to Washington to attend HUAC hearings in 1947. They were confident and optimistic on the way to Washington; the mood was very different on the way home.

Hunt says that they faced immediate hostility, including from the press. Some sources quoted her as saying things she not only did not but would never say, just as her listing in Red Channels a few years later would list political affiliations she never had. Where did the damning information come from? We will probably never know.

Hunt believes she fell under suspicion from her SAG work, from her attempts to refocus the union on what she saw as its core issues, but more specifically because she contradicted previous SAG president Robert Montgomery’s account of an attempt to merge SAG with the Directors Guild of America and the Screen Writers Guild. He was the venerated insider; she was the earnest newbie who lacked political sophistication. And, though she doesn’t say this, perhaps misogyny also played a part—that is, perhaps her account was discounted before she opened her mouth.

Raw Deal (1947): Director Anthony Mann and cinematographer John Alton shoot Hunt with great delicacy

In any case, after their Washington excursion, those who defended freedom of speech were told they needed to distance themselves from their now-tainted colleagues. Hunt heard that Bogart and Bacall had been called on the carpet at Warner Bros and told in no uncertain terms that their careers were on the line, which shows you how out of whack things already were—usually if you’re making money for the company, they will allow you some leeway in these matters, and Bogart and Bacall were huge stars. But what had been concern over eroding civil rights began to bleed into panic, and Bogart released a statement to square himself with his bosses and the suspicious minds of the Motion Picture Alliance. He was among the first of what would become a flood of artists who would fold under the pressure and compromise their ideals to avoid ruin. It’s hard to overstate the power of seeing the Ten lose everything—not just their power and lucrative careers, but their houses, their marriages. And some of them did prison time. The chilling effect on Hollywood’s liberals permeated everything. Hunt says she waved hi to a friend at the supermarket, and the friend looked away. As she says, it was a cowardly time in Hollywood.

As Victor Navasky writes in Naming Names, his study of the political and ethical disaster that was taking shape:

“The talent blamed their agents, and the agents blamed the studios, and the studios blamed HUAC, and HUAC blamed the pressure groups. The pressure groups blamed their members, said their hands were tied. (However, when the national commander of the American Legion told Martin Gang that the Legion helped to circulate the names of subversives only because their members insisted on it, his fellow attorney Milton Rudin made a tour of Legion posts across the country, only to find that few of the members really cared.) Lawyers blamed their clients, and clients blamed their lawyers. Blacks blamed The Man.

Thirty years after the documented fact, George Murphy asserts that there never was a blacklist. Denial of fact can always be disproved by evidence; not so denial of responsibility.”

* * *

Marsha was lucky again, among the victims of the blacklist: Her husband, bafflingly but fortunately, was not blacklisted, so he continued to work, and they were able to keep their home. While movies, TV, and radio were closed to her, she was able to work in stock and on Broadway. The money was in no way comparable to what she had made in movies—and she says that while she was never among the high earners, she did well enough—but she got to keep doing the work she loved and contributing something to the family coffers.

Raw Deal (1947), with Dennis O’Keefe

In the plague time of the blacklist, panic drove out decency—that word that finally struck at Joseph McCarthy, the Grand Inquisitor, when Joseph Welch spoke for the nation and denounced the great denouncer, saying “Have you no sense of decency, sir, at long last? Have you left no sense of decency?” (And remember Marsha Hunt’s character in Raw Deal saying, “All I want is a little decency!”) Those with a will to power, as they always do, exploited the situation to become judges and executioners as well as fixers who could save you if you’d just follow their instructions and say what they told you to say, denounce who they told you to, condemn your own past, your own ideals, your friends and colleagues.

So there is something particularly surprising and lovely about Marsha Hunt being pretty much the last (wo)man standing from the blacklist era. Miss Hunt somehow evaded the taint. She sold no one out, including herself. She suffered the loss of a career that was developing solidly, and that she loved with all her heart. We lost all the movies she would have made had her life in the movies not been cut off suddenly and irrevocably. It is a serious loss because she was an excellent actress with a unique screen presence and a look all her own, suffused with inner radiance. But in the end it is the radiance that has prevailed. Perhaps Marsha Hunt is still here to remind us that, no matter how dark things may be, in the long run, decency will prevail.

This post was written for the CMBA 2017 fall blogathon. Head on over to see the other entries; you’ll be glad you did…

from Second Sight Cinema | http://ift.tt/2jERcmw via http://ift.tt/1om9FS6

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sbrown82 · 3 years ago

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Chenoa Maxwell as Havilland Savage in Hav Plenty (1997)

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maybeang · 10 years ago

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I watched Hav Plenty for the 100th time the other day.

#lee plenty #Havilland savage

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elcinelateleymickyandonie · 3 years ago

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ISOBEL ELSOM.

Filmography

Theater

1917-1918 : The Freaks, by Arthur Wing Pinero, with C.V. France and Leslie Howard (London)

1920-1921 : Up in Mabel's Room, by Wilson Collison (London)

1922-1923 : Sweet Lavender, by Arthur Wing Pinero (London)

1923-1924 : The Green Goddess, by William Archer, with George Arliss, Ivan F. Simpson (London)

1926: The Ghost Train, by Arnold Ridley, with Eric Blore, Claudette Colbert

1927: The Mulberry Bush, by Edward Knoblauch, with Claudette Colbert

1927 : People don't do such Things, by Lyon Mearson and Edgard M. Schoenberg, with Stanley Logan

1928: The Silver Box, by John Galsworthy, with Mary Forbes

1928: Harry Segall's The Behavior of Mrs. Crane with Walter Connolly and Charles Trowbridge

1928: The Outsider, by Dorothy Brandon

1938-1939 : American Landscape, by Elmer Rice, with Charles Dingle and Charles Waldron

1940: Ladies in Retirement, by Reginald Denham and Edward Percy, with Flora Robson

1942: The Flowers of Virtue, by Marc Connelly, with Frank Craven, Thomas Gomez and Vladimir Sokoloff

1944-1945 : Hand in Glove, by Charles K. Freeman and Gerald Savory, directed by James Whale

1950: The Innocents, by William Archibald, with music by Alex North

1950: The Curious Savage, by John Patrick, with Lillian Gish

1951: Romeo and Juliet, by William Shakespeare, with Olivia de Havilland and Jack Hawkins

1952: The Climate of Eden, by Moss Hart

1954m : The Burning Glass, by Charles Langbridge Morgan, with Cedric Hardwicke and Walter Matthau

1957: Hide and Seek, by Roger McDougall and Stanley Mann, with Barry Morse and Basil Rathbone

1957: The First Gentleman, by Norman Ginsbury, with Walter Slezak.

Movies

1915: A Prehistoric Love Story, by Leedham Bantock (short)

1916: Milestones, by Thomas Bentley

1918: The Man Who Won, by Rex Wilson

1918 : The Way of an Eagle, by G.B. Samuelson

1918: The Elder Miss Blossom, by Percy Nash

1919: Hope, by Rex Wilson

1919: Quinneys, by Maurice Elvey and Herbert Brenon

1920: Aunt Rachel, by Albert Ward

1921: For her Father's Sake, by Alexander Butler

1922: A Debt of Honour, by Maurice Elvey

1922 : The Game of Life, by G.B. Samuelson

1923: The Harbor Lights, by Tom Terriss

1923: The Wandering Jew, by Maurice Elvey.

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sbrown82 · 5 years ago

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This movie is so slept on! 🤣🙌🏿

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