#her fortunate face 1924

[kwebtv]

Character Actress

Paula Raymond (born Paula Ramona Wright; November 23, 1924 – December 31, 2003) Model and actress who played the leading lady in numerous movies and television series including Crisis (1950) with Cary Grant.

In the late 1950s and 1960s, Raymond appeared in many television shows including Perry Mason (five episodes), Maverick, Hawaiian Eye (five episodes), M Squad (three episodes) with Lee Marvin, 77 Sunset Strip (four episodes), as Martha Harrington in Peter Gunn season 1, episode 11, in 1958. She turned down the role of saloon keeper Kitty Russell in the long-running western classic series Gunsmoke  and the role went instead to Amanda Blake. She was noted as saying of this: "I didn't want to play a woman who worked in a saloon, week after week. I have a freckle on my face, and I sometimes put a beauty mark over it. They even put it on Amanda Blake, who finally got the part—although it was put on the opposite side from mine. I wanted them to soften the character but didn't think they’d do it. As it turned out, the character wasn't a trashy woman at all. She was just the type I would have liked to have played".

Raymond appeared in a 1959 episode "The Paymaster" of the ABC/Desilu western series The Life and Legend of Wyatt Earp. In Have Gun - Will Travel, "Lady with a Gun", season 3, episode 30, she played Eve McIntosh, a woman seeking revenge for her brother's killing. In 1960, she appeared in two episodes of Bat Masterson, once as Angie in “Last of the Night Raiders” and as Linda Wells in “Mr. Fourpaws”. In 1961, she also played opposite Jack Kelly as Bart Maverick in an episode from the final season of the Western comedy television series Maverick titled "The Golden Fleecing."

She also appeared in the third episode of the first season, initially broadcast on February 3, 1959, in the science fiction series Alcoa Presents: One Step Beyond titled "Emergency Only," which also memorably featured Jocelyn Brando as a screaming fortune teller at a party.

In 1962, she portrayed the role of Franny Wells in the episode "House of the Hunter" on Rawhide.

Raymond was cast as former Union Army spy Pauline Cushman in the 1964 episode "The Wooing of Perilous Pauline" of the syndicated series Death Valley Days.  (Wikipedia)

[byneddiedingo]

Ronald Colman and Constance Talmadge in Her Night of Romance (Sidney Franklin, 1924)

Cast: Constance Talmadge, Ronald Colman, Jean Hersholt, Albert Gran, Robert Rendel, Sidney Bracey, Joseph J. Dowling, Templar Saxe. Screenplay: Hanns Kräly. Cinematography: Ray Binger, Victor Milner. Art direction: William Cameron Menzies. Film editing: Hal C. Kern.

They had faces then, as the saying goes. And they needed them because they didn't have voices. Constance Talmadge was not beautiful -- her heart-shaped face was too long, and the profile shots in Her Night of Romance reveal the beginnings of a double chin. It's suggestive that when we first see her in the movie, she is pretending to be ugly -- and succeeding in a hilarious way: When ordered by newspaper photographers to smile and show her teeth, she comes up with a grimace that looks like she's just bitten into a lemon. But she had huge eyes and knew how to act with them, showing what she was thinking -- and often what she was saying. The ugly duckling masquerade is prescribed by the plot, in which she is an American heiress arriving in England and trying to duck fortune-hunters. Naturally the first person who sees through her disguise is an impoverished lord (Ronald Colman), who has just put his mansion up for sale, so the plot (by Hanns Kräly) becomes a series of complications after her father (Albert Gran) buys the mansion. The rest is a series of mistaken identities and misunderstood motives common to romantic comedy. Colman was nearing the peak of the first phase of his career as a movie star, relying on his suave handsomeness and good comic timing. It was a career that lasted 40 years because, unlike many silent stars, he had a speaking voice that was as handsome as his face. Talmadge and her sister Norma, who was also a major silent star, were not so lucky: Neither had received vocal training that would have helped them lose their Brooklyn accents, so they left movies when sound arrived.

[myedwardianman]

Her Fortunate Face (1924, Edward Ludwig)

[all-fandoms-rise]

Merely A Dream

Morpheus x Reader

Summary: You were an assistant to the Lord Morpheus and one fateful day he disappears from the dreaming leaving all to wonder of his presence. Only time could tell of what happened and what the future would hold whenever he returned.

Word Count: 1924

A/N: Here is the first chapter!!! The second chapter will be posted in a couple of days please let me know how you like the story so far! <3

Some things in the universe are unforeseeable and often leave those who are forced to encounter it to be left in anguish.

This is what has caused your current predicament, the dreaming deteriorating at the disappearance of your Lord Morpheus, some time ago the king of dreams went missing yet to return with no clues as to where he could be. Leaving the realm to rumor that he simply abandoned the kingdom causing most to escape to the human world. Yet here you were, the assistant to Morpheus trying to keep the remaining shambles of the kingdom together with the much needed help of your good friend and librarian of the dreaming, Lucien.

“ Do you believe the rumors y/n? That Lord Morpheus just left the dreaming?” Lucien asked as the two of you looked through the remaining journals in the library.

You contemplated what you wanted to say back, everyone knew the king would be gone for long periods of time trying to create and control things to send into the human world and that is precisely why you had known the king didn't just leave, it was because of control and that was something he would have never just let go.

“No Lucien I believe even though Morpheus could be harsh he did care about the dreaming and he would have never let it fall to shambles like it has, and no matter how hard we try we cannot keep it from falling apart even more”.

Your friend looked down at the apparent frown forming on her face, even though it had been years since his disappearance the two of you never spoke negatively about the situation, only about how problems could be fixed even when those solutions would go up flames. The kingdom needed its ruler even when most had found solace among the human world, as the years passed in your spare time you spent most all of it searching through the human world hunting for any indication of where Morpheus could be. Of course every time you left the dreaming you would come up with an excuse to Lucien about your whereabouts, the last thing you wanted them to worry about was if you would leave them alone in the dreaming, reassuring to always come back soon. For years there was no hint or trace of the lord until one day you heard talk among the mortals of an Englishman who had nothing but grief from the loss of a son to riches nearly overnight.

The evening had come to where you disguise yourself as one of the so called fortunate who could attend his festivities, winding through the halls you associate yourself with other guests to blend in with the crowd. You see a young man whom you recognize as Roderick Burgess' son, Alex Burgess sneaking through one of the back staircases that none of the other guests ventured towards. Giving it some time you wait until the young man comes back looking uneasy, maybe a hint of guilt behind those timid eyes. This was an emotion you were used to seeing a lot whether it did have anything to do with Morpheus or not you were still curious as to what had the young man shaken. Waiting until most of the attendees of the gathering had left or passed out on the nearing furniture you sneak over to the back staircase and find yourself at some sort of basement, a table near the entrance of what were supposed to be guard sits empty as they most likely joined the crowd upstairs early in the evening, that's whenever you see it… a giant glass dome.. No, it was a cage that was holding Lord Morpheus' capture.

You see the eyes of the being staring at you with what appears to be a small barely noticeable smile. Running to the side of the glass you can’t contain the wild beating of your heart as you have the confirmation that he had never abandoned his kingdom but the guilt that he had been encaptured for so long. “y/n how did you get here?” he asks. “I’ve been using the enchanted sand you gave me to go back and forth to search for you my lord but now that i’ve found you how can I get you out of this hell” you say forcing the words out as fast as you can. He taps on the glass saying how it just needed to be broken or the seal on the floor needed to be broken, but that's when you heard the heavy footsteps descending down the stairs to the basement. You start to panic and you can see the contemplation and pain on his face, he looks down whispering, telling you to take the dust now and to leave before they see you and capture you. You shake your head no it wouldn't end like this not after how long you spent searching for him, sighing you know at the end of the day it will do no good if you get taken alongside Morpheus and there's no telling if they would even do that, they would probably just kill you on the spot so you take the dust out sending yourself back to the dreaming.

Being transported to the gates of the dreaming you fall into charred grass with no energy left to move. All there is to do is to stare at the sky, you should’ve waited to go back out to the human world again so soon after your last quest but you were too desperate to find the king, and you did and let him slip through your hands. You didn't have anywhere near the power of Morpheus, you actually had very little, you could only go back and forth because of the enchanted sand. Trying to manage to stay alert, your eyes start to flutter close and you eventually stop trying to fight against the exhaustion, passing out in the grass. Waking up the sky is still dark, noticing you can finally move again you run through the gates into the village in the dreaming where you knew Lucien resided. Banging on the door she opens it moments later clearly being woken up from your random appearance, she sees the panic on your face and you finally decide to fill her in on all of the searching you’ve done but that's when you see the tears forming in her eyes before you could even speak. She embraces you in a tight hug asking where you had been, you pull back looking at her in confusion you had only been gone a few months like how you normally are and that's when she shakes her head no. “y/n you’ve been gone nearly 3 years”.

You stand there in shock because you didn’t just go to sleep, your body had shut itself down for over two years just beyond the gates so no one had ever looked there. You should have known this was gonna happen, your body isn't meant to go back and forth between the dreaming and the human world but you were willing to risk it to find Lord Morpheus. That meant that it had been that much longer that the king had to endure that prison he was in. Wiping your tears you get Lucien to sit down and tell her every detail about what had happened and how you found the king. Now you just needed to go back to the human world to get him and bring him home. Lucien shook your shoulders calling you insane, wondering how you could possibly think about immediately going back after just waking up from a near coma. No matter how bad Lucien wished the king could just be back in the dreaming it wasn’t worth it if you could barely make it back to the human world to begin with, the two of you needed to come up with a real plan while you rested more.

Not only were you having to come up with a plan to save the king of dreams, the two of you were also fighting to save things in the realm. There were journals that Lucien kept track of, recordings of all of the events that happened after Morpheus’ disappearance. One day when the two of you were searching for more information about the burgess family, the same library that had been visited thousands of times was now desolate. The only thing that now remained were the journals Lucien had kept up with, the problem was now that whenever you opened the pages were blank like it was erasing its own history.

Time had passed and you were finally able to transport yourself between worlds, hiding it from Lucien but you had felt much guilt since it had taken years since you had woken up outside of the kingdom's gates to be able to transport again. You had overworked yourself for too long and your body forced you to pay the price, you weren’t made for this and it showed, you were weak. But now was the time you could redeem all of the time that you had caused to pass by saving the king of dreams.

Teleporting back to the human world, specifically to the house that haunted your dreams for years you find yourself with more adrenaline. It is night time here, finding the easiest window to get to you slowly open it hoping no one would come in. It seems as if luck were on your side as the halls were empty, you followed the halls that you had walked so many years ago down to the basement that held Morpheus. Hiding behind one of the pillars whenever you see the two new guards sitting at an updated post talking about some vacation that one would go on soon. As you stand there waiting for the perfect moment to act out the plan that had been created you hear what sounded like wheels? There he was Alex Burgess being wheeled in by his husband offering Morpheus one last chance to do as he had asked for so many years, and Morpheus once again just sat in silence. Alex's husband wheeled him out of the room and as he did he scrapes part of the seal breaking it, not realizing what he had done he leaves the room for the last time.

Well that was one last thing you had to do for your plan, at this point you know Morpheus has already noticed your presence but isn’t doing anything to give away your position. Taking some of the enchanted sand into your hand you blow it towards one of the guards so he falls into a slumber, now you wait and it didn’t take long before you start to see the man in the glass eyes start to glow and the guard starts shooting at the glass in fear breaking the dome prison.  Now was your chance, running out you blow more sand onto the female guard, as she falls to the floor you run over to Morpheus and help him up and before you can pull out your bag of enchanted sand, you look down to see he already has a hand full of sand then looking back up he has a small grin on his face.

 “It’s good to finally have you back my lord” you say as he finally takes you both back to the dreaming lifting a giant weight off of your chest. 

A/N: In the next chapter we will be discovering new information about the reader and how she came about in the dreaming and so much more!! Can't wait for ya'll to read it <3

[lgbtqiahistoricalromance]

LGBTQIA+ Historical Romance Novels with Ghosts, Sorcerers, and Gothic themes 2021 - Updated Oct 8, 2021

A Haunting at Hartwell Hall by Rachel Bowdler (sapphic)

- It’s 1924 in Cheshire, England, and the grand estate of Hartwell Hall has had some strange complaints from its guests. With suspicions of ghosts and hauntings arising, Hartwell’s owner, Vincent, does the only thing he can think of to salvage his family-inherited business before the guests are scared away for good: enlist the help of a paranormal investigator. However, his daughter, Felicity, has no reason to believe in the supernatural and can’t stand the thought of throwing well-earned money away on an obvious con-woman like Blair Nelson, who claims to have been able to feel the presence of the dearly departed all her life. A stubborn, money-minded sceptic and barmy ghost-hunter in the same room is hardly a good idea, then, and the only thing worse is them being forced to work together to explain Hartwell’s peculiar occurrences. But when Felicity faces something she can’t explain or dismiss in the middle of a storm-induced blackout, only Blair can help her uncover the truth about the mysteries of her centuries-old home and the shadow lurking around it. Can Felicity trust Blair enough to unravel her family’s secrets and open her heart to a new and unexpected love, or will Hartwell Hall always remain haunted and destined to run itself into the ground, Felicity along with it?

Strong Wine (Sword Dance #3) by AJ Demas (Ancient-Greek-Flavoured)

- Retired soldier Damiskos and his lover Varazda have been living together in Boukos for a month, and their future is beginning to look bright. Then Damiskos receives a letter summoning him home to Pheme—where his parents are deeply in debt, his brother is being hunted by loan sharks, and an unwanted arranged marriage looms.

And that’s before Damiskos is charged with murder.

Fortunately, he’s not alone. Old friends are back in Pheme. And Varazda—eunuch, sword-dancer, and spy—has solved mysteries before. But saving his lover from execution and from marriage will take time, and with only days until Dami’s trial, time is running out.

Strong Wine is the third book in the Sword Dance trilogy, the conclusion of Dami and Varazda’s story from Sword Dance and Saffron Alley. This time with fake fortunetellers, real courtroom drama, and … fertilizer?

Foxen Bloom by Parker Foye (alt world)

- Season after season, hunters have attempted to capture the white-tailed stag. Local legend holds that its capture promises prosperity, and in a land that is dying—to hunger, to war; to a magical curse, some say—even a whisper of hope is a powerful lure. Yet every hunter who tries fails, never to leave the forest. Fenton, god of the forest, yet imprisoned within its borders, watches from his place in the trees as the hunters first despoil and then fall to his land, dispassionate as his deadwood heart.

Prior doesn't hope to capture the stag or secure prosperity. He has a far bolder hunt in mind: to entreat the god of the forest to save his sister from the sickness sweeping the land. It's a desperate attempt without much hope of success. He doesn't imagine he'll meet the god in person, much less that he'll find himself agreeing to a favour in turn: his sister's life will be spared, and in exchange, Prior will kill the god's sibling. And he certainly hadn't imagined that a god would be so... human.

When Fenton leaves the forest, he has little but revenge on his mind. As he spends more time with Prior, though, he discovers that the world isn't as simple as the hunt, and he's not the only hunter with teeth—but sometimes the chase is worth the risk of being caught.

Pyotra and the Wolf by Elna Holst (f/f - Siberia)

- For the space of a breath or two, that wolf had entranced her, mesmerised her, made her believe—the impossible. And that was all it took. Nothing about this wolf was as it should be. Pyotra Nikolayevna Kulakova lives in a small Russian settlement in the northern Siberian taiga, where the polar night lasts for a good month out of the year and the temperature rarely reaches above freezing point. Pyotra’s days, too, seem congealed and unchanging, laden with grief, until her baby brother’s close encounter with a tundra wolf upends the lives of the three members of the Kulakov family in one fell swoop. Pyotra and the Wolf is a queer retelling of Sergei Prokofiev’s symphonic fairy tale, structurally influenced by matryoshka dolls and memory castles. This is a story of darkness and light, love and loss, beast and human. Whichever way the spinning kopek falls.

Manchester Lake by Joshua Ian (Darkly Enchanted Romance #3)

- England, 1910 Monty, along with his best friend Bishop, investigates an odd seal-like creature swimming in Manchester Lake. The pair soon realize they've found a selkie when the magnificent animal transforms into the most gorgeous man either of them has ever seen. Determined to discover the origins of the mystical man, they bundle him into Bishop's brand-new electric automobile and whisk him off to London. There they find a host of distractions: a tastefully debauched house party hosted by silver-tongued aristocrats, and a queerly European-inspired novelty called the night club. Both are filled with a cast of characters sometimes amusing and sometimes frightening. And as the night unfolds, Monty comes face-to-face with ghoulish agents of the occult as well as revelations from the past. Most surprisingly of all, Monty finds himself falling for the beautiful creature from the lake, who seems equally interested in him. Can he really find himself in love with a man he has only just met? Or do they have a deeper connection which goes much further back? And what does it all have to do with the memories of his trip to Paris three years prior? The mystery of the selkie from Manchester Lake is only the beginning, and before their adventure is finished Monty will see the culmination of long suppressed secrets explode in a firestorm of magic and passion!

A Bargain of Blood and Gold (Midnight Guardians Book 1) by Kristin Jacques

- A novice hunter with a mission. A five-hundred-year-old vampire with a strong sense of irony. A town plagued by creatures in need of saving.

When Johnathan Newman arrives in Cress Haven, the last thing he expects is for his life to be irrevocably changed. Sent by a clandestine league of vampire hunters to investigate a string of murders, signs point to a vampire lurking amid the townsfolk. Johnathan’s attempt to enlist the locals leads him to an unlikely partnership with Vic, the town's most eligible, enigmatic bachelor.

As the pair work to solve the mystery, Vic’s secrets come back to bite him. Revealed, the vampire fights his attraction to a man trained to destroy him, while Johnathan’s emotions land him in the middle of forbidden desires. Even if Vic isn’t the murderer, how can Johnathan yearn for his natural enemy?

As Vic leads Johnathan into encounters with terrifying beings straight from children’s nightmares, Johnathan learns that not only is the world stranger than he knew, but that those he once trusted have far darker intentions that will place hunter and vampire at the center of a conflict between realms.

Cress Haven holds more sinister secrets than its resident vampire, a secret so great, it could unleash Hell itself.

The Wife in the Attic by Rose Lerner (Rye Bay #1) (sapphic retelling of Jane Eyre)

- Goldengrove’s towers and twisted chimneys rose at the very edge of the peaceful Weald, a stone’s throw from the poisonous marshes and merciless waters of Rye Bay. Young Tabby Palethorp had been running wild there ever since her mother grew too ill to leave her room. I was the perfect choice to give Tabby a good English education: thoroughly respectable and far too plain to tempt her lonely father, Sir Kit, to indiscretion. I knew better than to trust my new employer with the truth about my past. But knowing better couldn’t stop me from yearning for impossible things: to be Tabby’s mother, Sir Kit’s companion, and Goldengrove’s new mistress. All that belonged to poor Lady Palethorp. Most of all, I burned to finally catch a glimpse of her. Surely she could tell me who cut the strings on my guitar, why all the doors inside the house were locked after dark, and whose footsteps I heard in the night…

Much more under the cut, plus links to the lists from 2018-2020!!!

The Fog of War by AL Lester (sapphic 1920's)

- The quiet village of Bradfield should offer Dr Sylvia Marks the refuge she seeks when she returns home from her time in a field hospital in France in 1918. However, she is still haunted by the disappearance of her lover, ambulance driver Anna Masters, two years previously. Settling back in as the village doctor alone in her large family house is more difficult than she realised it would be after the excitement of front-line medicine. Then curious events at a local farm, mysterious lights, and a hallucinating patient’s strange illness make her revisit her assessment of Anna’s death on the battlefield. Lucille Hall-Bridges is at a loose end now her nursing work is finished. Her Mama and Papa are perfectly happy for her to pursue any or no career or social round; but she felt useful as a nurse and now she really doesn’t know what to do with her life. She hopes going to stay with her friend Sylvia for a while will help her find a way forward. And if that involves staying at Bradfield with Sylvia ... then that’s fine with her. But Sylvia is still focused on finding out what happened to her very good friend Anna three years ago; and the unbelievable events at a local farm over the course of the last year don’t seem to have helped her let that go. Will the arrival of Lucy in Bradfield be the catalyst that allows both women to put their wartime stresses to rest? Can Sylvia move on from her love affair with Anna and find happiness again with Lucy, or is she still too entwined in the unresolved endings of the past?

Inheritance of Shadows: A Paranormal Historical Gay Romance (Border Magic) by AL Lester

- It’s 1919. Rob and Matty both return to Webber’s Farm from the trenches only to find Matty’s brother dying of an unknown illness. And Matty’s looking sicker and sicker. The answer seems to be in the esoteric books Arthur left strewn around the house.

It’s taken a decade and a war to admit they have feelings for each other. They are determined that nothing will part them. What is Rob prepared to sacrifice to save Matty’s life?

A stand-alone 35k word novella set in the Border Magic Universe (previously the Lost in Time universe). Gay, paranormal, historical, romantic suspense. Set in rural England in 1919.

Blood Pact (Youkai Bloodlines #2) by Courtney Maguire

- In Hiro’s world, youkai are a supernatural story used to scare children into obedience, and to keep men out of back alleys and brothels. Until Sakurai Hideyoshi walks through his door with a fantastical tale of a samurai who had killed a thousand men and drank the blood of his enemies, a man that lived in darkness but sought beauty to keep it at bay.

A story both terrifying and romantic…and completely ridiculous.

Unless it is true.

Convinced something softer lurks behind Hideyoshi’s hard mask, Hiro follows him home. And discovers the story is real.

Only instead of the blood of his enemies, it is innocent blood taken.

Hideyoshi tells him never to return. Yet after Hiro’s mother is mortally wounded, Hiro runs back to the one being he knows with the power to save her. When Hideyoshi can’t, Hiro begs him for the next best thing: the power to avenge her.

As Hiro becomes youkai, he faces a new threat, something darker, older, and far more dangerous. With Hideyoshi at his side, Hiro must decide what he’s willing to sacrifice--and what he’s willing to do--to protect this new life before he loses everything for a second time.

Mirror Monster On My Wall: A Steamy Reverse Harem Regency Monster Romance (Shadows & Glass #1) by Tam Nicnevin (f/m/m - Biracial and Autistic MC - Regency England)

- In a battle of wills against her wicked stepmother and a cruel earl intent on her dowry, Alice Blanchard is positive she has no one to turn to...

Regency England is a hostile place for twenty-five-year-old Alice Blanchard: half-Black, autistic, and wholly uninterested in the romantic company of men, her current plan in life is to endure the tyrannical abuse of her stepmother until the racist old woman dies of an apoplexy. That plan goes out the window when the cruel Madame Blanchard informs Alice that she's been betrothed to the equally cruel Lord Matthew Hillborough, Earl of Pennwood.

The Featherbed Puzzle by KL Noone (m/m retelling of the Princess and the Pea)

- Prince Arthur needs to get married. He’s the only heir, he’s twenty-five years old, and his mother keeps sending eligible princes and princesses his direction. Arthur’s not opposed to the idea, but so far every suitor’s been awful, and he’d like to at least like a prospective future spouse. But on one dark and stormy night, a mysterious young man in need of rescue just might be the answer Arthur’s looking for ... Alan never intended to join the ranks of Prince Arthur’s suitors. After all, Alan might technically be a prince himself, but he doesn’t use the title and he works for a living. But when a carriage accident leaves him stranded in the rain at the castle door, Alan can’t help falling for Arthur’s kind heart and lonely eyes. It's just too bad he’s not an acceptable match ...

The Bachelor's Valet (Flos Magicae Book #2) by Arden Powell

- Alphonse Hollyhock is blessed with wealth, class, and more beauty than brains. Though he hasn't got a lick of wit or magic to his name, he's perfectly content living life as an airheaded bachelor with his valet—the clever, unflappable Jacobi—by his side to ensure everything runs smoothly. All he lacks, according to his mother, is a wife. Despite Alphonse's protests, he's to marry Aaliyah Kaddour: a bright, headstrong young woman who would probably be charming company if she didn't threaten everything about Alphonse's way of life. Marrying means giving up his fashionable flat, his fast car, and, worst of all, it means losing Jacobi. Perhaps most distressingly, this talk of marriage is bringing all sorts of confusing feelings to the forefront. Because rather than falling for the beautiful girl being pushed into his arms, Alphonse seems to be falling for his valet. Except a man can't fall in love with another man. Can he? Meanwhile, Aaliyah has plans of her own. She's as devious as she is pretty, but if Alphonse wants to get through this marriage business in one piece, he'll have to trust her. Her and Jacobi, and, most dangerously, his own feelings. The Bachelor's Valet is a novel in the Flos Magicae series, a collection of queer romances set in an alternate 1920s universe with magic. All the stories are standalones and can be read in any order.

Fairy Tail by Rob Rosen

- Once upon a time, in a land far, far away, atop a hill up on high, there sat a massive stone castle, its lone inhabitant a handsome but imprisoned prince. But can said prince find his freedom, not to mention his happily ever after, with his winged lover?

The Dandy Medium by Dez Schwartz

- Alfred “Alfie” Hughes is a spiritual medium who has more than enough people in his social circle. Unfortunately, they're all dead. That is until Detective Sebastian Davies arrives in Nótt Haven, a tourist town known for its active nightlife, and deems Alfie's abilities—perhaps, even his company—worthy of closer inspection. A circus performer, known as The World Bender, mysteriously disappears and a slew of peculiar murders accumulate. Suspecting foul play as unusual as the crimes themselves, Sebastian enlists Alfie to guide him through the town's supernatural underbelly to find answers; and, in the process, Alfie might solve the biggest enigma of all: human connection.

Camilla and Laura by SD Simper (f/f - reissued and audio 2021)

- In the late 19th century, Laura lives a lonely life in a schloss by the forest, Styria, with only her doting father and two governesses for company. A chance accident brings a new companion, however - the eccentric and beautiful Carmilla.

With charm unparalleled and habits as mysterious as her history, Carmilla’s allure is undeniable, drawing Laura closer with every affectionate touch and word. Attraction blossoms into a temptation Laura fears to name, a tantalizing passion burning brighter than the fires of hell. But when a mysterious plague begins stealing the lives of young women in her home and the village beyond, Laura wrestles to reconcile the truth - that the gentle, fragile woman she loves may be a monster cast out of heaven.

Carmilla, the classic vampire novella written by J Sheridan LeFanu, receives new life in this gorgeous retelling, centered on the provocative, controversial leads of the original, Carmilla and Laura.

Cairo Malachi and the Adventure of the Silver Whistle Kindle Edition by Samantha SoRelle

- The first time I met the love of my life, he died in my arms.” Cairo Malachi, Conduit to the Spirits, is a liar, a thief, and a fraud. He may be building a reputation as one of the most fashionable mediums in London, but he doesn’t even believe in ghosts and has certainly never conjured one. Which is why, after he witnesses the brutal slaying of a handsome young constable, he’s shocked when the man’s spirit appears in his home, begging for his help. Constable Noah Bell is everything Mal can never be—honest, funny, and kind. But it’s ridiculous to be attracted to a man he can’t even touch, especially when every step they take towards solving Noah’s murder is one step closer to bringing him the justice he needs to move on—and out of Mal’s life forever. As their investigation brings unexpected enemies to light, the secrets they’re keeping from each other may prove even more dangerous. Mal and Noah will have to work together... or risk a fate worse than death.

Wonderstruck: A Paranormal Historical Romance (Magic in Manhattan Book #3) by Allie Therin

- New York, 1925 Arthur Kenzie is on a mission: to destroy the powerful supernatural relic that threatens Manhattan—and all the nonmagical minds in the world. So far his search has been fruitless. All it has done is keep him from the man he loves. But he’ll do anything to keep Rory safe and free, even if that means leaving him behind. Psychometric Rory Brodigan knows his uncontrolled magic is a liability, but he’s determined to gain power over it. He can take care of himself—and maybe even Arthur, too, if Arthur will let him. An auction at the Paris world’s fair offers the perfect opportunity to destroy the relic, if a group of power-hungry supernaturals don’t destroy Rory and Arthur first. As the magical world converges on Paris, Arthur and Rory have to decide who they can trust. Guessing wrong could spell destruction for their bond—and for the world as they know it.

A Tricky Situation by Ellie Thomas

- At night in the seamy port of 18th century Bristol, close to Halloween, wealthy merchant’s son Christopher Holloway finds himself under attack from a gang of robbers.

His rescue by Edmund Hall, a working man of colour, seems almost miraculous. But their mutual attraction turns Kit’s world upside down. Will his feelings for Edmund cause a crisis of the soul?

A Castle for Rowena by Hayden Thorne

- Edgar Cushing is a young man who has lost much until a kind and grieving widower adopts him and raises him in a loving and happy home. A fire destroys lives and hopes for the future while Edgar is in school, however, forcing him to abandon his education and seek employment to help his badly injured father. A surprisingly generous job opening draws him to an isolated house and its strange and mercurial mistress, her fiercely devoted housekeeper, and an enigmatic young artist whose connection to Bridewater House goes back two generations. For all its dreamlike and excessive splendor, however, Bridewater House has a secret of its own -- a dark, tragic one echoed in soft and creeping footfalls, a small child's calls for its mother, and the lonely grasp of a cold, invisible hand in the dark.

Of the Wild by E. Wambhein

- Aeris, a shapeshifter of the Wild, steals children from unloving homes and raises them as his own in an enchanted grove deep in the Woods. Under the protective eye of their new guardian, the children absorb the forest's magic and grow more fey-like than human: some of them sprout mushrooms or flowers while others develop scales or wings. But the reserve of magic that keeps Aeris and his forest home alive is inexplicably running dry. With his life waning and the dangers of the Wild creeping closer and closer, Aeris will do anything to protect his family, even set his hopes on an unlikely new arrival in the Woods: a human stranger.

Seducing the Sorcerer by Lee Welch

- Homeless and jobless, Fenn Todd has nearly run out of hope. All he has left is his longing for horses and the strength of his own two hands. But when he’s cheated into accepting a very ugly sackcloth horse, he’s catapulted into a world of magic, politics and desire.

Fenn’s invited to stay at the black tower, home of the most terrifying man in the realm: Morgrim, the court sorcerer. Morgrim has a reputation as a scheming villain, but he seems surprisingly charming—and sexy—and Fenn falls hard for him.

However, nothing is as it seems and everyone at the tower is lying about something. Beset by evil hexes, violent political intrigue and a horse that eats eiderdowns, Fenn must make the hardest choices of his life.

Can a plain man like Fenn ever find true love with a scheming sorcerer?

Carillon’s Curse by Sionnach Wintergreen (Texas, 1888 - trans author) - Coming 12/10/21 so add it to your Winter holiday list!

I decided to add the links for the lists from previous years as well!

Extensive List from 2018

Even more for 2019

List for 2020

[yuppie-devil]

Yuppie Psycho Timeline

This has remained a draft in Google Docs for like a month now and have played the game multiple times to make sure I got everything. These are all events that happen before Brian is hired at Sintracorp. Most of the stuff here is copied directly from the game itself unless stated otherwise. If I am missing any important events and you know any details I missed, please let me know!

(Notes from myself will look like this.)

(1918) João Sintra is born

(1924) Xiu Ying is born

(?)Hugo’s notes (Who is the witch?): “Witches are supposed to possess other women’s bodies. This fact, when added to the company’s existing secrecy, has made knowing their real identity a challenge. But we already know the whole truth. The Witch is a girl named Domori. The Sintra family bought her on the black market before they even formed the company, and kept her locked up in one of the rooms in their house. They could not control their enormous power and it turned against them, cursing the whole family and this building.”

( Joao and Xiu wanted children, but were unable to conceive. João and Xiu buy Domori, who is said to be thousands of years old and if kept happy, would bring good luck and fortune to the Sintra Family. Domori is the reason why Sintracorp succeeded and how João and Xiu conceived Rei with no issues. )

(1951) Sintracorp is created

(1961) Rei Sintra is born, sometime between October and November due to her birth sign being Scorpio

Article (1961): International banks recommend buying shares of the Sintracorp group in the face of forecasts of higher stock market growth. Support the miracle of a small family business that is now at the top of the economy. A statement from J. Sintra, founder and president of the company: ‘I do not believe in luck, I’m not superstitious. The key is knowing how to take advantage of opportunities.’

Letter (1968) : The Cornucopia project will be carried out monthly starting next December. The procedure must be carried out in a highly confidential manner. Rei will be sedated at 03:00 A.M. for transfer after confirmation that both she and Ms.Ying are asleep. The transfer to the sixth floor facilities and the copying process cannot exceed 2 hours. Likewise, we confirm the installation of the electronic device to lock the door to Rei’s bedroom.

( What Project Cornucopia is and its purpose are still unclear, but it seems to be the reason why Rei’s memories are stored in Sintranet. It seems like the only one aware of the experiment in the Sintra family was João at the time )

( Internal Report )Project Cornucopia (April 14, 1971) : Backup copy updated. Observations: The subject does not seem to suffer or remember anything from the procedure. Future experiments could study whether we modify one of these copies and integrate one into part of our network.

Last Photo of the Sintra Family is taken (May 2nd, 1971)

Financial Article (May 1971): The swift and unexpected fluctuation of the shares of Sintracorp, one of the most reliable companies of the last decade, has called into question the world’s major stock exchanges . Experts predict that if the situation continues until the end of the year, the international community could enter into an unprecedented recession.

( Domori starts acting out because she feels neglected by the Sintra family and starts causing chaos to the family and company )

Handwritten Letter (May 5th, 1971): “I thought being a ‘nanny’ would be more comfortable than working in the offices, especially if I’m taking care of a dumb girl. But I’m going to have to give up for the sake of my mental health.I understand the stress the family is going through and that it’s a bad time to leave my position, but that witch has not stopped crying in the last three days and her crying gives me goosebumps.”

Xiu’s Letter: “She is now the fourth babysitter to resign. And this only reassured me of what I told you months ago: I feel an evil force in here. I don’t want our daughter to see her again.”

(1971) Rei Sintra goes missing, presumed dead

( Domori switches bodies with Rei, causing Rei to go missing and hide in “the depths” while Rei is trapped in Domori’s body. In desperation, the Sintra family takes drastic measures to end the curse that Domori started. Rei’s soul along with Domori’s body are burned at the stake )

( This scene is why I believe that the reason why Rei and Domori to some degree associate their father with the devil, as one of the last things Rei saw was her father before being engulfed in flames. I believe that Rei’s memories were still uploaded to Sintranet, and she seemed aware of what happened to her. Maybe this is the reason why the system became corrupted?)

Magazine Clipping (Undated): Was the recent funeral of the heiress of the Sintra fortune part of a cover-up? Unofficial sources seem to believe so, as they’ve been unable to access the autopsy report so far

(February 4th, 1972) ( Blank Save File ) João Sintra commits suicide, seemingly haunted by loss of both of his daughters.

Record [5-10-73] A new stage begins in my life and Sintracorp’s. No more wasting tears on ghosts of the past, it’s time to turn the page and take the Cornucopia project to the next level.

Company Magazine (1973): Sintracorp returns with their new development plan in robotics and computing”

( Xiu is now aware of the Cornucopia Project and knows that Rei’s memories were still there. Perhaps she wanted to bring her daughter back by creating the androids? )

Doshi’s Computer (1973): “According to the records I found, Sintracorp renewed its corporate image in 1973, creating a state-of-the-art android in the likeness of the daughter of the Sintra family. Nine functional models of Sintra were running across the company, guiding new employees. Would this be the mysterious Cornucopia Project? After gathering information from various sources, it can be assumed that the unexpected destruction of all Sintra models led the company to close the project definitively. The AI they had developed became part of the corporate intranet: Sintranet. Who destroyed all the models and why? Is this related to the fact that Sintranet is corrupt.”

Xiu Ying (1981) “As General Director, I have established a protocol in the case that Rei Sintra is found, allowing her identification to grant her immediate powers of succession over my position, with priority to any other under which Sintracorp is found.

( Around this time is when Xiu starts hiring witch hunters, since burning Domori didn’t seem to end the curse )

( Xiu) Record [03-17-82] The AI experiments on the sixth floor are paying off. The additions of Ms.Atia and Mr.Corvo are promising, and I have already given the order to bring Mr.Nazari to join them as soon as possible. I’m aware that my life is leaving me and I’m afraid of what the future of the company will be when that happens. But at least I want to make one last effort to end this plague that has cursed everything around me

(1982 on her gravestone, although Sintra says 1983) Xiu Ying passes away.

Note in the archives (1983): “…I’m very lucky that the old man pulled me off the sixth floor to help him in the Archives. Some people say he’s a bit strange. They don’t have any idea of the things I had to do before this.”

Undated letter in the archives that I do believe is related to the note before this: “Everything is computerized now, nobody works at the Archives anymore. I’ve not seen the old owl man for years. Since then, this has stopped being a safe place. Nobody believes me, but I have seen something sinister roaming the bookcases…”

I believe the old owl man they are mentioning is Nazari

Report in a Magazine (December 1983): “The unexpected failure of the S-2 models has been compounded by the temporary closure of the sixth floor R&D Department. After the death of President Xiu Ying, it has not been announced who will make the decisions on the challenges ahead.”

Circular for all employees (April 4, 1984): “EmPLoyEsss##. Are. required. to. usssSE. new. computerssss###. tHE. previoussss. ##—-versions. of. sSSSssintranet. are. corrupt. and. vuLnerable. to. comPuter. wormssssss****”

( If you take all of the capital letters written in the Circular, it spells out “PLEASEHELP”)

(?)Hugo’s notes (Where is she hiding?): “After several years of wandering around the building, Corvo is convinced that the key is in the Sintra family home. Although it has always been the most obvious place, no one so far has been able to find anything strange in the residence. It seems the only explanation is that the way to the lair is protected by a very powerful illusion spell. Voodoo magic is based on contact with the invisible world. It can break some of these spells, but not the most powerful ones. That would only be possible with a tool of great magical power.”

( The Witchhunters Letters, most of which are undated but seem to take place between 1982 - 1989 )

E.N: I know you are usually guided by intuition, but at this critical time I would trust no one but yourself. Remember what I told you about her familiar spirits.

E.N (?): After reviewing several non official studies on the Hexenhammer, I begin to think we are missing the key role of the Familiar spirits: Spider, Bat, Cat, Rat, White Wolf, Owl, Raven, Toad, and the most important of all…The Snake

A.M: My friend, I would not trust any member of this company; moreso now, as it slowly destroys itself. Anyone may be one of Her children and there is no way to know. We three are all who can be trusted

A.M: With the Dagger in the hands of the Crow, I pray that this nightmare ends. Now I leave in your hands the report of his progress

A.M: Great news you tell me, dear friend. Now that we know where She’s hiding and we have the Dagger in our possession, it’s only a matter of time before we can break the seal on the secret entrance.

(?)Hugo’s notes (How to kill her?): “Corvo has obtained the Athame Dagger. The joint work with Moeta and Nazari has been crucial. His contacts abroad have found the exact dagger that can end this witch. Corvo is convinced he can also break the powerful illusion spell that blocks the way to the lair.”

Corvo’s Letter ( November 1989): “I shouldn’t get too close to the Witch’s cauldron. It seems to emanate an ancient resentment. If I want to explore further, I will do so from here and carry the Dagger with me for protection, but I should start storing things in the hidden floor. I’ll leave the Tadpole out of it, I don’t want anything to happen to him.”

( it is implied that Hugo lured Corvo into the cauldron, which caused his death. I believe that A.M.’s letter here is in response of Corvo’s death )

A.M: You could not have sent worse news. We must hide as soon as possible and delete any record of our names. If She discovers our identities, we are lost.

(December 2nd, 1996) Brian receives his job offer

[musing-and-music]

Her story through her hair - part I/III: Early years

I present humbly this story, kind like a character study of Riza Hawkeye, but with hair in it, and some angst, romance, hurt/comfort, friendship, lots of Royai.

Each chapter is long, so I’ll drop one excerpt each time.

From 1898 to 1924, follow Riza through her story with her hair and the people she loves.

Chapter 1 can be triggering (1904) because of Berthold tattooing Riza’s back and her feeling of betrayal.

Word count: 10711

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

December 1898

Riza took her hairbrush. She was staring at it for ten minutes now, unable to make her mind. With trembling hands, she began to brush her waist-long blond hair. She stopped mid-way, frozen. It was too hard, too painful. Her memories were too fresh. The hairbrush fell from her hand and landed on the floor with a loud thud, although the girl didn't care. Her eyes in the mirror were red and full of tears that flowed on her cheeks.

She couldn't make it through. Two months ago, doing her hair was the best moment of her day. She was speaking happily with Mom, telling her what she would do at school, promising she would bring her the best grades so she could be proud of her. And Mom was laughing, her eyes were shining while the sun was lighting her long blond hair. Riza liked Mom's hair. She was always styling it into a long braid. Her dream was to have the same hair, and Grandad had laughed when she'd told him last summer.

Now all of this was over. Riza tightened her fists and tried to stop her tears from running down her cheeks. She had come back from school, and Dad was waiting for her. The house was dark and cold had pierced her body as his words had done to her soul. "Your mother… she had an accident on her way to Grumman's. She won't come back."

Her life had become dark and joyless. Riza remembered the cold wind blowing in her hair that day she'd seen the coffin sink into the hole. Her strands flying around her face had hidden her grief. Grandad wasn't there and Dad hadn't uttered a word before locking himself in his study. He'd come out only after nightfall. Fortunately, nice neighbors had stopped by to bring food. Riza had nibbled something, then had gone in her room. She'd stayed prostrate for long hours and hadn't gone to school the following day. She was positive that Dad hadn't realized it.

For two months she had neglected her hair. The memories it brought back had become too painful. She tied them carelessly and when they were too dirty, she washed them, let them dry and tied them back.

Today, she'd tried to brush her hair herself and grief lurking in her had spurted out, stronger than she though it would. She couldn't stop crying. Mom wouldn't come back, she wouldn't laugh with her anymore as she brushed her hair, combing them and styling them into overloaded coiffures just for fun, she wouldn't wait for her after school to give her a smile and a toast with honey or homemade marmalade.

And Dad… she'd barely seen Dad out of his study. He only came down for dinner when she knocked timidly on his door. Riza had never seen him so silent, so self-enclosed. Before, even if he didn't say a lot, he would always listen to Mom and her speaking, smile when they laughed and serve them food at dinner. He'd loved Mom, Riza knew it. She'd seen them cuddling on the sofa during cold winter days, she'd heard their muffled voices when she passed next to their room at night.

Since Mom's death he'd become a stranger. He intimidated her. Riza didn't dare to make noise when she climbed the stairs. Knocking pans when she tried to cook sounded like deafening noise. What if he sprang out of his lair, shouting at her? Anxiety became a familiar knot in her stomach, and she stayed silent when he was eating the meal she'd prepared. She only hoped it wasn't disgusting.

Riza was only ten and had to learn how to cook, buy groceries and manage a budget. It was a burden. She was a schoolgirl, and when she saw her classmate walking with their parents, her heart would clench painfully.

Dad couldn't do her hair. Before, it was because she was afraid to make a fool of herself with a bad hairstyle. Now it was because she didn't dare to ask him.

A rough and tight strand stroked her cheek.

Riza rose her head and met her distraught face in the mirror. However, a new light shone in her brown eyes, faint but determined.

She exited her room and walked to the kitchen. In the drawer of the big dresser, she took the scissors. In front of the stove, she cut her hair, tuft by tuft, throwing them in the fire she'd lit to warm the room and the house during this freezing night. She threw with her hair her memories from a happy time when she only dreamt of having beautiful hair and a loving family.

Read on AO3 / Read on FFnet / Read in French

[yungidreamer]

Fragile

Summary: It’s fall in Paris and the jazz club Le Chat Noir is bored immortal vampire Yunho’s favorite hunting grounds. Among the crush of bodies, there to see the show and dance the night away, San takes a seat at his table. Will San get more than he bargained for when he accepts a drink and a dance with the handsome stranger at the hottest place in town?

Wordcount: 5.9k

Content warnings: very much NSFW, vampire bites and blood drinking, references to casual sex with multiple partners, slightly subby San, slightly dom Yunho, oral sex, hand job, the risk of death, and two hedonists seeking pleasure with each other. It is heavily implied that both San and Yunho are bi/pan in orientation.

La Chat Noir, Paris France, 1924

Music flowed through the air of the club, moving languorously as if the smoke in the air slowed its passage. A faint buzzing sound hid behind it thanks to the low light of the new fangled bulbs that were tucked into sconces on the walls that mimicked the old gas lights that had been in use a mere decade or so ago. Such a small amount of time, Yunho sighed. Some days he missed their constant hiss, that sound just felt...calming. Like a constant whisper, telling the secrets of the nightowls and scoundrels who stayed out in the city during those hours that belonged to people like him.

Still, the place was as good a hunting ground as he had ever found. People didn’t change. They were always chasing that moment of pleasure that made their short existence worthwhile. Always drinking, gorging and *ahem* loving their way through life as much as their status and circumstances would allow. So small, so finite, so… fragile. It was sad really. They seemed to struggle, at odds with the desire to live like they only had today while, nearly simultaneously, trying to live those mere 100 years some of them might have. If they were lucky. Though why they would want to live so long as their bodies deteriorated with each passing day was beyond him.

Eternity was bad enough with eternal youth. When you had to age. Yunho shuddered.

Pushing through the crush of youth, Yunho made his way towards the bar. The smell of bodies, sweat and skin, mixed with the tobacco of cigars and thin cigarettes all of the liberated women kept between their manicured fingers as they drank and laughed. Over that drifted the smell of whiskey, wine, and whatever spirits the bartenders were deciding to experiment with tonight.

Perfumes swam by on the air that surrounded their wearers. Musk, ambergris, vetiver, and hints of the sharp floral notes of women who still wore the classic rose or jasmine. With each one that passed Yunho couldn’t help but pause for half a second to see how well it matched the wearer. Was it a scent that accentuated the character of whoever it was on, or was it a mask; something false they put on as they tried to pretend, just for tonight they weren’t some nameless bookkeeper on the third floor of one of the new steel and glass monstrosities that reached vainly for the sky?

In the back of the last room he found a small round table, flicking over the little card that said Reserved as he took his seat. It was his table, it was always his table. From here he could watch the throngs kick and sway on the open dance floor, or the beautiful dancers as they performed their numbers to the music of the band. He absolutely loved their outfits, all silk and beading, showing so much of their delicate skin.

Maybe some things are improving with time, he reflected, sipping his Southside. Little of the taste came through to his taste buds, but the chill of the mint slid down his throat and the sharp tannin of the lime was tacky on his tongue. Plus, his trifles seemed to enjoy the freshness it brought to his lips and who was he to deny them that last… little… pleasure.

On the floor in the glare of the spotlight two sisters danced in unison in their feathers and silk. The rhinestones on their belts and cloche hats glinted as they moved to the music, flashing lushous stretches of their shapely legs. This was their third night performing at the club and word had gotten around. The club had filled just a little more with each passing night with everyone who wanted to catch the appropriately risque performance. Gentlemen brought their friends, and occasionally, the lady they hoped to sway with the low lights, the free music of the jazz, and the sensual movements of the dancers.

The more free spirited women came in small groups, and very occasionally, alone. Finally they were allowed to go out as they pleased, they could have jobs, smoke, and support themselves. The freedom was well deserved, if not always well or wisely used. Then again, who was he, or anyone else frankly, to tell them what to do with that freedom. Over the centuries he had certainly seen plenty of men squander that precious thing called freedom. Perhaps, if fate had changed by just a hair, he would have been one of the poor souls, living and dying in a flash, leaving barely a trace of his existence. But, fate had chosen a different path for him and instead he had seen centuries pass before him, time flowing like a rushing river. It was all much the same even if he could never step into the same stream twice.

“Do you mind if I sit here?” A voice asked, rising just high enough over the hum of the room to reach his ear. Yunho looked up to find a young man with sharp features standing near the back of the chair on the other side of the table. A quirk turned the corner of Yunho’s lips as he gave him an assessing look. It was brave of him to come and ask to share the table; it reeked of a confidence that Yunho liked.

“Please,” Yunho gestured to the chair, sitting up just a shade straighter. The young man nodded, gracefully slipping into the black lacquer chair. He was dressed in a fashionable suit in crisp black and white, perhaps stylish but not rich. Yunho didn’t think he had seen him before; he seemed like the sort he would have remembered. His hair was dark and glossy, almost like the chair he had taken a seat in. It was cut in a clean, modern style that made him look like he belonged in a place like this. His face was lovely, high cheekbones and smooth creamy skin that seemed to shine from the inside out with that warm glow that only health and youth could bestow.

“Are they as good as they have been hyped up to be?” The young man asked, keeping his narrow, dark eyes on the ladies in the spotlight.

“They are good,” Yunho agreed, leaning in so he didn’t have to raise his voice to be heard. He sipped from his glass, held with a blase confidence using only two fingers, eyes staying on his table companion.

“They’re beautiful,” He commented, sparing a glance for Yunho as he too leaned in towards the table.

“They’re pretty enough, and lovely in their shape,” Yunho agreed, though his eyes seemed unwilling to look back at the subjects of whom he spoke.

“The music is quite good as well, isn’t it?” He asked, trying not to look like he had noticed the gaze on him.

“It’s… intoxicating,” Yunho agreed. “Can I ask your name?”

“San,” the young man answered. “Choi San.”

“Hello San,” Yunho extended his free hand over the table to him. “I’m Yunho.”

“Nice to meet you,” San took the extended hand, giving it a firm, confident shake. Yunho held onto the warm hand just a couple of seconds longer than he ought to, enjoying the dry warmth of the other man’s palm in his. San let him, only drawing his hand back when Yunho let go.

“Are you new around here?” Yunho asked, curious about the man across from him for a number of reasons.

“Just moved here a few months ago,” San nodded. “Got my first job as a law clerk. The money is good enough and if I do well enough the prospects for promotion are good.”

“How fortunate you are,” Yunho smiled, tipping his glass to him encouragingly.

“My parents were happy enough,” San gave a small chuckle. “After all they spent on my education, they feel like I owe them nothing less.”

“Such dullards aren’t they,” Yunho commiserated. “Stuck in the past along with all of their ideas and mores.”

“Well, they certainly wouldn’t think a place like this is where I ought to be spending my time or money,” San agreed, happy to have found a comrade in arms.

“What’s the point in youth if you waste it shut in offices and school rooms,” Yunho asked rhetorically, a hand under his chin.

“Exactly,” San gave a single nod. “I work hard. I can spend my free time doing something fun, whatever that may be.”

“Is this your idea of fun?” There was a teasing edge to Yunho’s voice, like the cool touch of a blade as it brushed flesh without cutting it.

“Not sure yet,” San sat forward, giving Yunho an assessing look as he moved his chin to rest on the heel of his hand. “It’s my first time here, but at least the company seems promising.”

“Would you like something; a drink?” Yunho questioned, emptying the last of his drink from his glass.

“I can--” San started to stand before Yunho stopped him, simply raising a hand and, a moment later, almost as if she had been conjured from nothingness, a waitress appeared beside them.

“Two more,” Yunho said, passing her the empty glass. Without a word she nodded and walked away to do as she had been bid. It didn’t take long for their drinks to appear and Yunho picked his up, offering a silent toast to San before taking a sip. San followed suit, bringing the drink to his lips.

“This is quite good,” San said, looking at the drink again, after having had a taste.

“Isn’t it?” Yunho agreed. “Refreshing.”

“Yes,” San nodded, taking another sip as he noticed the light dim as the spotlight was snuffed. As the dancers left the floor he observed, “They were decent but maybe they didn’t quite live up to the hype.”

“Life rarely does,” a jadedness filled Yunho’s tone.

“Do you really find life here so dreary?” San felt a sympathy for him, slightly sad that the other man seemed to feel the world was so dull.

“Often,” Yunho admitted. “But sometimes there is a glimmer of intrigue to things.”

“I hope I won’t find myself so easily bored by the attractions of life here,” San chuckled.

“Don’t worry,” Yunho promised. “I’m a bit of a special case. I have perhaps seen too much to find fascination so easily anymore.” The band struck up again and the lights raised enough to allow people to get up and make their way onto the dance floor. Couples made their way out onto the floor that had been the platform for the performance. The low light and the slow jazz made the room feel small and intimate even as the couples brushed against one another on the dance floor.

“Would you like to dance with me?” Yunho asked, leaning as close as he could to whisper the question.

“Can we?” San’s eyes widened slightly at the suggestion.

“No one judges here,” Yunho assured him. “Look.” He gestured out to the floor and San’s gaze followed. Nestled in among the pairs of men and women were a few pairs of girls, arms clinging as they danced closely, and men swaying in each other's arms. Surprise flickered across San’s face. These things, they just weren’t usually done, and yet…

“Shall we?” Yunho stood up and extended a hand to San. For a beat, he just looked at it. Did he dare? Pressing his lips into a hard line, San stood up and took Yunho’s hand. With a victorious grin, Yunho led San out onto a dim corner of the dance floor.

San hadn’t noticed just how tall Yunho was when he was just sitting across from him. It was only when the other man pulled him more tightly against his body as they squeezed in among the other pairs, that he noticed how Yunho towered over him by a decent amount. San swallowed past his nerves and snaked his arms around the other man’s waist and chest. 

Yunho held him close, pressing the side of his jaw to the other man’s temple and breathing in the smell of him. Everything about San was warm and vibrant including his scent. He wore no cologne, not trying to disguise himself or be anything more than he was. Beneath the faint smell of soap was the scent of him, of his skin. Cedar and sage with notes of grapefruit and lime, and somewhere below that was something warm and masculine… like the old leather of an armchair in a study that had taken on a hint of the cigars that had been smoked there over the years.

Yunho’s mouth practically watered, knowing that San would taste so very good. He would be warm and nourishing, bringing Yunho that little step closer to feeling alive again. It wasn’t that he missed that fragile mortality that he had lost so long ago. Rather he loved that heat. The borrowed, clandestine taste of vitality. He could have both if he chose; immortality and that feel of his heart beating in his chest. Well, for a moment at least.

One song bled into a second and a third as an hour ticked by nearly unnoticed by the pair. The couples around them came and went, getting a little more drunk and a little more boisterous as the time passed.

“Would you like to go somewhere?” Yunho murmured into the shell of San’s ear before pulling back and hooking his finger under San’s chin to bring his eyes up to meet his own. San gave a brief nod and Yunho smiled, leaning down to brush a barely there kiss to the corner of San’s mouth.

“Your place?” Yunho proposed, offering an inviting smile. San nodded again, his gaze falling hungrily to Yunho’s lips. Leading the way through the crowd, Yunho took them both out onto the street, hailing the first passing cab.

Yunho pressed San back against the door to his apartment in the dimly lit hall of his floor. He let out a small moan as he fumbled in his pocket for the key he knew was there. Yunho’s lips on his were insistent even as they moved at a leisurely pace against his own. San had always had wants, desires, but never dared to act on them. Women were pretty, they were attractive, too, but there had always been that part of him that couldn’t help but watch as a confident man walked by. That confident swagger of a guy who knew exactly how sexy he was; it just set something in his stomach tingling.

San pulled away when he finally felt the cool metal in his palm, just enough to work the key in the lock with his slightly shaking hands. The door popped open and Yunho pushed them both inside the small studio that was San’s place. It was dim, only lit at the moment by the shine of the streetlights outside the single window on the wall opposite the door. Clicking the door closed behind them, Yunho pulled San tightly against him. He was hungry for him in more way than one.

San groped for the switch on the wall, reluctant to pull away from the embrace of the other man. He was afraid if he gave them too much space, a second to think at just the wrong moment, whatever was going to happen… wouldn’t. Giving up on the switch, San guided the other man towards the small brass framed bed located towards one side of the room. He pulled him along, guiding him without pulling away until he felt the edge of the frame hit the back of his calves. Dropping to a sitting position on the bed, San started fumbling with the button at the waist of Yunho’s pants.

“There’s no rush,” Yunho chuckled, putting his long elegant fingers over San’s, stilling them.

“Sorry,” San said quietly, thankful for the darkness that would hide his blush, or it would have, to someone other than a vampire. Yunho found it charming, almost quaint, how eager and yet shy he was. This clearly wasn’t a regular thing for him, unlike Yunho. It wasn’t that any warm body was good, but almost any would do and some he felt better about leaving half drained in some dark room than others. He’d try to be careful with San, after all, it might actually be nice to see him again sometime and that couldn’t happen with a body in the morgue.

Yunho took a seat, the springs of the bed creaking under their combined weight. Leaning in, Yunho cupped San’s cheek, guiding his face back to his for another kiss. San gladly leaned in to his slightly chilled lips, something he attributed to the chill of the fall weather outside. 

Yunho’s fingers brushed over his cheek and down to hold the side of his neck, feeling the soft, warm pulse just below. Following the same path as his fingers, Yunho’s lips brushed over the flushed skin until he found the right place. He licked, his teeth gently running over it, testing the other man’s reaction. The last thing he needed was to have him pull away, rip the tender flesh of his own neck open with a careless yank. When San only moaned and tilted his head to give the other man better access, Yunho took that as permission to have just a little taste.

As he sucked in a small bit of San’s flesh into his mouth his hand traveled down over the other man’s chest to tentatively rest on the growing erection still hidden beneath the soft wool of his suit. San sucked in his breath but didn’t pull away. Yunho bit down, feeling the trickle of blood spill into his mouth as he palmed San’s member. He felt it twitch as he fed from him, pleasure slinking through him with each gulping tug of Yunho’s mouth as he drank. He needed just enough for now, enough to warm his skin and fill his aching member to fullness. Tonight he wanted to have everything. With a lick he closed the cuts on San’s neck and pulled back to look at him, still flushed, still beautiful in his youthfulness.

San took a deep breath, the ripples of pleasure still rebounding in him. He couldn’t help but wonder why he had stopped. Had he done something wrong. Feeling inexplicably tired, he had to make an effort to open his eyes and look up into the gaze of the man beside him. Yunho smiled down at him with lips that San would swear looked a little sweeter, a little fuller, a little pinker than they had a few moments ago. It’s the aphrodisiac of the pleasure, it’s all in your head, he told himself.

“Can I touch you?” San asked, his dark eyes searching Yunho’s for signs that he was having second thoughts.

“Please,” Yunho agreed, guiding San’s hand to his now full erection. San went to his knees on the oak parquet that covered the floor of his apartment. His fingers, still feeling a little shaky, went to the warm black bone button that held the waistband of Yunho’s pants closed. It only took a second for him to slip the fastening through the slit in the fine fabric. With his fly open, Yunho lifted his hips to allow San to pull the clothes on the lower half of his body down and off, letting them pool around his ankles as the other man took a moment to gather his courage. Not yet ready to look up as butterflies fluttered in his stomach, San took a moment to gently pull off Yunho’s shoes, socks, and pants, carefully placing them near the foot of the bed on the floor. He turned, finally looking up to see Yunho, his shirt half unbuttoned from his collar down, leaning back casually, his long, hard dick framed by the inverted V from the last button on the placket as it opened down to the lower hem. He had never seen anything so tempting in his life. From the muscled smoothness of his chest and the breadth of his still covered shoulders, to his thick muscular thighs, Yunho was temptation.

“Won’t you taste me?” Yunho asked, running the fingertips of one hand up the inside of his thigh. San nodded, scooting forward and sitting on his heels to bring himself just a little higher between Yunho’s legs. Using one hand for leverage, San wrapped the other around the base of Yunho’s cock and brought it to his lips. He had never tasted another man, but, having been on the other end of such a thing more than once, he had a fair idea of where to start. Taking just the head into his mouth, he swirled his tongue around the tip. Yunho let out the sweetest low, rumbling moan San had ever heard.

The hand on Yunho’s thigh dropped so that San could reach down and stroke himself lightly, needing just a little relief, a little sensation as he strained against his pants. When Yunho’s hand caressed his cheek, San opened his eyes to look at him up the plane of his body. A shock of lust pooled in his stomach and he slid his mouth further down, watching pleasure flow across the features of the other man, lit only in profile from the dim light outside. The dimness and quiet of the room somehow made every sound, every movement just that shade more intense.

“You have a wonderful mouth,” Yunho complemented, a breathlessness suffusing his voice. Part of San wanted to say thank you, but most of him just wanted to show the other man just how good his mouth was. Sinking down until the tip brushed against the back of his throat, San tested his limits. He wanted all of him, he wanted to devour him with pleasure, but Yunho was not small. He wasn’t even average, if San would have taken a guess based on himself and on peeks he had gotten of others. Yunho was big, and even when he had sunk down until he felt him fill his mouth and brush the soft skin at the back of his throat, he had barely taken 2/3rds of him in.

San bobbed up and down a few more times, practicing letting his jaw move loosely over Yunho’s length as he built up a slick of saliva that eased his movements. Trying again, San sunk down to see how far he could go, pushing past that discomfort to feel the head slide down against the back of his throat. A tickle built in his throat and tears pooled in his eyes as he pulled off to cough.

“It’s okay, sweets,” Yunho leaned forward, cradling San’s teary cheeks in his hands. “I know I’m big, it feels good even if you can’t take it all.”

“I—” San started before the tickle built back up and he had to cough again, sniffling as his nose ran slightly from the sensation and his tears. “I know, but I like the feel of you, I like the way you slide into me.”

“Just don’t force yourself,” Yunho agreed, swiping away the tears with the pads of his thumbs. “We have time and those sweet lips feel wonderful wrapped around me.” San nodded, blinking away the blur to his vision a few more times before he parted his lips and took Yunho back in his mouth, a little more cautiously this time.

Sliding his head up and down what he could take of his length, San sucked and licked and tasted the salty treat that was Yunho. As he worked him, he could taste the gooey tang of his pre-cum coating his tongue now and again as his pleasure built. Yunho watched him, eyes hooded as the sight of San throwing himself into what he was doing with near abandon added to the rising tide of pleasure that was flooding him.

San still pushed himself, diving down the length of Yunho until he couldn’t struggle past his length and gagged or had his throat spasm at the invasion. Each time Yunho groaned, often twitching at the sensation of the muscles in San’s throat stroking him. When he managed to slide him particularly far down his throat he was rewarded with the sight of Yunho throwing his head back and letting out a breathless gasp.

“Ahh, fuck,” he panted, one hand gripping the sheets and another fisting in San’s soft hair. “I’m close… I’m so close.” San took this as encouragement, moving faster, then, going as deeply as he could and pausing for as long as his body would let him. It took only a few times of San repeating this to push Yunho over the edge and he was rewarded with the feel of the pulsing gush of the other man coming down his throat. It was warm and slick and moved slowly as it slid down into him, savoring the sensation.

“You’re an angel,” Yunho praised, guiding San off him and bringing his pink, swollen lips to his own for a kiss. He licked away a little of the saliva that glistened on the lower lip of the man still kneeling between his legs. He could still taste a little of himself there as well, an enchanting addition to the sweetness of the other man’s hot lips.

“Can you touch me?” San asked, steadying himself by putting his hands on Yunho’s spread knees.

“Come sit with me,” Yunho coaxed. San nodded, wiping the dampness off his chin and he pulled himself up. He started to move to take a seat beside Yunho on the bed, but, catching him by the wrist, the other man guided him to sit between his spread legs. Yunho’s hands went to San’s chest, pressing him back against him. San relaxed in his arms enjoying just the moment of being held in the other man’s long and lean arms.

“Do you mind if I undress you?” Yunho asked, running his hand down over San’s taught stomach. San nodded, using his own hand to press Yunho’s more firmly against his own body. Yunho chuckled, pressing a kiss to the other man’s temple before he freed his hands to start working on removing the slightly rumpled looking suit. His fingers were quick and efficient with the buttons at the front of his shirt, flicking them open with barely any effort. When the shirt was completely open, Yunho slid it and the jacket off San’s muscular shoulders, bearing his smooth and muscular chest to the room. Yunho hooked them both to the nob of the headboard, letting them hang so they wouldn’t get any more wrinkled than they already were. When that was done, he brought his hands back to San’s smooth body, letting his palms run over the line of his ribs and down to his hips, before making their way forward to the fastening at the front of his pants. Yunho couldn’t stop himself from running a teasing hand over the front of his trousers to feel the tempting length just barely hidden there.

“Lift for me,” Yunho instructed when he had undone San’s pants and hooked his thumbs into the waistband of both his pants and underwear. San eagerly lifted his hips, pushing his weight onto his hands and feet to allow Yunho to slide the fabric down and let his erection spring forth. When he put his weight back down, Yunho pulled him back into the V of his thighs and against his half bared chest as San kicked off the last of his clothes.

“Can… can you take off your shirt?” San asked without turning around, having felt the abrasion of the round buttons against his shoulder blade.

“Of course,” Yunho pressed a kiss to San’s bare shoulder, then leaned back enough to finish opening the last of the buttons before taking his shirt off and tossing it onto one corner of the foot of the bed. With both of them fully naked, Yunho scooted back until he could feel the wall against his back, scooping San into the cradle of his body so that he could resume his exploration of his form.

“Please touch me,” San breathed, leaning his head back against Yunho’s broad shoulder. “It feels like I’ve been waiting so long.” San’s restless hands moved up and down the textured length of Yunho’s hard thighs.

“I will, sweet,” Yunho soothed. “I just want to get to know you.” San could feel the smile that pressed against the side of his face as Yunho spoke. He felt harder than he could ever remember feeling and his body begged for release. Yunho could sense his impatience. It was written into every squirm and the tense line of his body. “Shhhhh,” he soothed, rubbing his nose in the loose locks of San’s hair.

“Just hold me, there,” he pleaded, guiding Yunho’s hand to his length. “You don’t have to move yet, but just touch me.”

“Alright,” Yunho agreed, his hand loosely gripping San’s hot, hard erection. It was soft under his hand, like velvet or suede covered steel. San let out a tense sigh, closing his eyes and enjoying the way Yunho’s slightly cooler hand seemed to envelop him. Keeping his grip light, Yunho moved his hand up and down, letting that first hint of sensation tingle over San’s nerves, half teasing and half relief. His other hand held San to him on his chest, just the tip of one finger moving to abrade the hardened nipple it could reach. Goosebumps rose on San’s skin and he shivered under the combination of sensations. San’s fingers gripped Yunho’s thighs just above the knees with a careless strength that would have left fingermark bruises on anyone else. Luckily Yunho couldn’t bruise, not that easily at least, and he loved the feedback that was telling him he was touching him just right.

“Tilt your head a little,” Yunho coaxed. “I want to reach your neck.”

San gladly tilted his head to the side, his member twitching just at the memory of the sensation of whatever he had done to his neck before. Yunho brushed his lips over the pulse in San’s neck as he began to move his hand a little faster, his grip just a little tighter as he did so. San moaned and shifted impatiently under the touch. Everything felt so good and he wasn’t sure why. It hadn’t been that long since he had been satisfied and by more than just his own hand. And it had been good, she had been good. The faint memory of sucking a soft nipple on the soft mound of a breast fluttered through his mind, as transient and insubstantial as a leaf caught in the draft of a strong gust that dies as quickly as it rose.

The sensation of Yunho running the pad of his thumb over the slick slit of his tip brought him back to the present. San sighed, his toes curling at the sensation. Pleasure washed through him, stealing his breath and stopping his mind from focusing on anything outside of the circle of Yunho’s arms.

Yunho’s lips teased the soft skin just under San’s ear, taking in his scent as he waited for the moment to bite. He wanted to feed at the moment he came, extending that pleasure and sweetening the taste of his blood with the rush of adrenaline and delight. Slowly increasing the pace of his movements, he varied his attention between stroking the whole length and giving the tip special attention, careful to not go to the point of over stimulating it.

“I’m so close,” San brought a hand up to hold the back of Yunho’s head as his lips sucked harder at the skin of his neck. “Please, whatever you did before, I want it again.”

“Patience, sweet,” Yunho hummed against him. “Almost there. Almost.” In a moment the pleasure suddenly crested and San held his breath as that first second of pleasure shocked through him before Yunho bit down. The bite magnified the sensation, making it reverberate through him with the resonance of a pitchfork struck against a hard surface.

Yunho sucked and fed, pulling every ounce of pleasure he could from San as he did so. San seemed frozen under his touch, unable to do more than just feel the power and the delight as it danced along every nerve in his body. It only faded as his limbs grew heavy and black spots began to float in patches in his vision. 

Yunho closed the wounds and pulled away when he felt and heard that tell-tale stutter in the beat of San’s heart. He could continue. He could draw out that pleasure until the thudding stopped. It would be so easy and San was such a willing victim. He would never find it in himself in that moment to utter the word stop. It just felt too good. But Yunho did, he pulled back, holding San as he went limp, losing consciousness and falling into a blackness that was deep and quiet.

His heartbeat was slow but steady and Yunho was relatively certain that he would wake sometime tomorrow, perhaps sore and surprised to feel so hungover when he only had that one drink. Yunho gently laid him down in the bed, drawing the covers up over his beautiful naked body, making sure that he was in something that looked like a comfortable position. As he looked down, in his chest, his heart moved faintly in something that could almost be mistaken for beating. Almost.

Picking up his clothes, he carefully redressed, trying to look his best, despite a few wrinkles and creases that were too stubborn to be pulled or brushed away. He paused at a mirror, smoothing down his hair again, leaving it almost looking untouched by the events of the night. Casting a glance back at the man lying so prettily unconscious in the bed, Yunho couldn’t help but smile.

Going over to the desk, Yunho shuffled through a few drawers before he found a small pad of paper with a page he could rip out to scribble something.

I hope the morning finds you well, he wrote in a flowing hand that belied his age if someone paid enough attention. If you ever feel like a repeat performance, you know where to find me. He signed the bottom of the page with an ornate Y before picking up the page and folding it in half. Taking a moment, he neatly arranged San’s discarded clothes in the hopes it would make his morning just a little bit more pleasant. He pocketed the key taking it from San’s pocket where he had slipped it after letting them in. Taking the note, he slipped it into one of San’s shoes, sure that it would be secure there and not lost in the shuffle of papers that might belong on one of the counters in his home.

With one last caress of the other man’s cheek, Yunho stood up and quietly made his way to the front door. Slipping out into the hall, he clicked the door shut behind him, turning the key in the lock before dropping it back inside though the mail slot. With a fresh vigor and a skip in his step, and with the faint smell of cedar and sage clinging to him, Yunho made his way out of the apartment building and onto the cool, damp streets of Paris in fall. It really had been the best night he’d had in ages. With any luck, someday soon, that sweet, fragile man would step back into Le Chat Noir and back into his life. Until then, he’d have to be satisfied with other passing fancies and the memory of a very lovely night.

Masterlist

[silverplatters]

🍹

a song that my muse listens to when they’re drinking

maxine's chauffeur chuck drops her off at du ciel at 7:34 pm, where a reservation is waiting for her under the table goetsch. jonas goetsch, the co-founder of the firm and someone she considers her uncle, insists that she have dinner with his family, and she acquiesces.

the restaurant is nothing short of the definition of fine dining. grand chandeliers blanket the establishment in warm, white light, servers effortlessly glide across the floor with trays in hand, and dulcet tones fill the four walls enough to turn into pleasant white noise.

it's the end of the week, and jonas tells maxine to indulge herself. press has been good around the turnover with the firm, and their clientele is pleased with her leadership. to her face, at least.

so, she has the scharbauer ranch wagyu strip loin with 1924 blue cheese and saint-florentin potatoes on the side. she pairs it with a glass of bordeaux (premier cru classé, of course) from château lafite rothschild, and she lets the evening pass her by. listening to jonas lecture the table about stocks, having small talk with marta about fashion week…

…and then it's 8:14 pm, and she's silently giggling at jonas' twin daughters evangeline and katarina (both twelve) picking at the raspberry compote from their cheesecakes, noses wrinkled as they complain about it tasting sour.

maxine's glass of bordeaux never touches the table after it's been served to her; instead, she keeps it close to her chest, fingers gingerly wrapped around the body, in between nips and observing the goetsch family be a family.

and maybe she's had a little too much wine by 8:37. she finds herself looking into her glass, losing focus of her surroundings a little as her gaze fixes itself on the deep red, almost purple, liquid. the smell of cedar pervades her senses, and the room almost goes quiet—

—until she hears piano music.

it's romantic, saintly, and familiar.

despite herself, maxine gets lost in the melody. her eyes narrow as she rifles her mind for what the composition could be. slow at first, as if it's an introduction to a story. then, it builds and builds until it's almost frantic in its climax, displaying the pianist's high technical ability. finally, it dwindles into a slow, softly melody once again.

it sounds like what it feels to meet someone you love at a train station in the winter, and you spend your days exploring the city, cold as it may be. it feels like never once letting each other go of each other's hands, no matter how fast or slow one walks. it feels like a promise to see each other someday, even though you both know, deep down, nothing is certain—and ultimately, it's a bittersweet goodbye.

she tries to ask jonas or marta if they know who the piece might belong to, but to no avail. she ends up asking the maître d' laurence, someone who's familiar with her and the goestches, to which he responds:

"franz liszt. liebesträume, or dreams of love."

of course, it's liszt. how could she forget one of her favorite composers?

maxine asks if they can repeat the song just one more time before leaving, and laurence, fortunately, indulges her.

it starts again, this time with the table's full attention and one last pour of bordeaux in her glass. jonas and marta listen alongside her while the twins try their best to look like they are.

she lets the warmth of the melody seep into her once again, and she smiles.

[classic-laugjhing-hollywood]

Harold Clayton Lloyd Sr. (April 20, 1893 – March 8, 1971) was an American actor, comedian, and stunt performer who appeared in many silent comedy films.

Lloyd is considered alongside Charlie Chaplin and Buster Keaton as one of the most influential film comedians of the silent film era. Lloyd made nearly 200 comedy films, both silent and "talkies", between 1914 and 1947. His bespectacled "Glasses" character[2][3] was a resourceful, success-seeking go-getter who matched the zeitgeist of the 1920s-era United States.

His films frequently contained "thrill sequences" of extended chase scenes and daredevil physical feats. Lloyd hanging from the hands of a clock high above the street (in reality a trick shot) in Safety Last! (1923) is considered one of the most enduring images in all of cinema. Lloyd performed the lesser stunts himself, despite having injured himself in August 1919 while doing publicity pictures for the Roach studio. An accident with a bomb mistaken as a prop resulted in the loss of the thumb and index finger of his right hand (the injury was disguised on future films with the use of a special prosthetic glove, and was almost undetectable on the screen).

He was far more prolific than Chaplin (releasing 12 feature films in the 1920s while Chaplin released just four), and made more money overall ($15.7 million to Chaplin's $10.5 million).

Lloyd was born on April 20, 1893 in Burchard, Nebraska, the son of James Darsie Lloyd and Sarah Elisabeth Fraser. His paternal great-grandparents were Welsh.[6] In 1910, after his father had several business venture failures, Lloyd's parents divorced and his father moved with his son to San Diego, California. Lloyd had acted in theater since a child, but in California he began acting in one-reel film comedies around 1912.

Lloyd worked with Thomas Edison's motion picture company, and his first role was a small part as a Yaqui Indian in the production of The Old Monk's Tale. At the age of 20, Lloyd moved to Los Angeles, and took up roles in several Keystone Film Company comedies. He was also hired by Universal Studios as an extra and soon became friends with aspiring filmmaker Hal Roach. Lloyd began collaborating with Roach who had formed his own studio in 1913. Roach and Lloyd created "Lonesome Luke", similar to and playing off the success of Charlie Chaplin films.

Lloyd hired Bebe Daniels as a supporting actress in 1914; the two of them were involved romantically and were known as "The Boy" and "The Girl". In 1919, she left Lloyd to pursue her dramatic aspirations. Later that year, Lloyd replaced Daniels with Mildred Davis, whom he would later marry. Lloyd was tipped off by Hal Roach to watch Davis in a movie. Reportedly, the more Lloyd watched Davis the more he liked her. Lloyd's first reaction in seeing her was that "she looked like a big French doll".

By 1918, Lloyd and Roach had begun to develop his character beyond an imitation of his contemporaries. Harold Lloyd would move away from tragicomic personas, and portray an everyman with unwavering confidence and optimism. The persona Lloyd referred to as his "Glass" character (often named "Harold" in the silent films) was a much more mature comedy character with greater potential for sympathy and emotional depth, and was easy for audiences of the time to identify with. The "Glass" character is said to have been created after Roach suggested that Harold was too handsome to do comedy without some sort of disguise. To create his new character Lloyd donned a pair of lensless horn-rimmed glasses but wore normal clothing; previously, he had worn a fake mustache and ill-fitting clothes as the Chaplinesque "Lonesome Luke". "When I adopted the glasses," he recalled in a 1962 interview with Harry Reasoner, "it more or less put me in a different category because I became a human being. He was a kid that you would meet next door, across the street, but at the same time I could still do all the crazy things that we did before, but you believed them. They were natural and the romance could be believable." Unlike most silent comedy personae, "Harold" was never typecast to a social class, but he was always striving for success and recognition. Within the first few years of the character's debut, he had portrayed social ranks ranging from a starving vagrant in From Hand to Mouth to a wealthy socialite in Captain Kidd's Kids.

On Sunday, August 24, 1919, while posing for some promotional still photographs in the Los Angeles Witzel Photography Studio, he picked up what he thought was a prop bomb and lit it with a cigarette. It exploded and mangled his right hand, causing him to lose a thumb and forefinger. The blast was severe enough that the cameraman and prop director nearby were also seriously injured. Lloyd was in the act of lighting a cigarette from the fuse of the bomb when it exploded, also badly burning his face and chest and injuring his eye. Despite the proximity of the blast to his face, he retained his sight. As he recalled in 1930, "I thought I would surely be so disabled that I would never be able to work again. I didn't suppose that I would have one five-hundredth of what I have now. Still I thought, 'Life is worth while. Just to be alive.' I still think so."

Beginning in 1921, Roach and Lloyd moved from shorts to feature-length comedies. These included the acclaimed Grandma's Boy, which (along with Chaplin's The Kid) pioneered the combination of complex character development and film comedy, the highly popular Safety Last! (1923), which cemented Lloyd's stardom (and is the oldest film on the American Film Institute's List of 100 Most Thrilling Movies), and Why Worry? (1923). Although Lloyd performed many athletic stunts in his films, Harvey Parry was his stunt double for the more dangerous sequences.

Lloyd and Roach parted ways in 1924, and Lloyd became the independent producer of his own films. These included his most accomplished mature features Girl Shy, The Freshman (his highest-grossing silent feature), The Kid Brother, and Speedy, his final silent film. Welcome Danger (1929) was originally a silent film but Lloyd decided late in the production to remake it with dialogue. All of these films were enormously successful and profitable, and Lloyd would eventually become the highest paid film performer of the 1920s. They were also highly influential and still find many fans among modern audiences, a testament to the originality and film-making skill of Lloyd and his collaborators. From this success he became one of the wealthiest and most influential figures in early Hollywood.

In 1924, Lloyd formed his own independent film production company, the Harold Lloyd Film Corporation, with his films distributed by Pathé and later Paramount and Twentieth Century-Fox. Lloyd was a founding member of the Academy of Motion Picture Arts and Sciences.

Released a few weeks before the start of the Great Depression, Welcome Danger was a huge financial success, with audiences eager to hear Lloyd's voice on film. Lloyd's rate of film releases, which had been one or two a year in the 1920s, slowed to about one every two years until 1938.

The films released during this period were: Feet First, with a similar scenario to Safety Last which found him clinging to a skyscraper at the climax; Movie Crazy with Constance Cummings; The Cat's-Paw, which was a dark political comedy and a big departure for Lloyd; and The Milky Way, which was Lloyd's only attempt at the fashionable genre of the screwball comedy film.

To this point the films had been produced by Lloyd's company. However, his go-getting screen character was out of touch with Great Depression movie audiences of the 1930s. As the length of time between his film releases increased, his popularity declined, as did the fortunes of his production company. His final film of the decade, Professor Beware, was made by the Paramount staff, with Lloyd functioning only as actor and partial financier.

On March 23, 1937, Lloyd sold the land of his studio, Harold Lloyd Motion Picture Company, to The Church of Jesus Christ of Latter-day Saints. The location is now the site of the Los Angeles California Temple.

Lloyd produced a few comedies for RKO Radio Pictures in the early 1940s but otherwise retired from the screen until 1947. He returned for an additional starring appearance in The Sin of Harold Diddlebock, an ill-fated homage to Lloyd's career, directed by Preston Sturges and financed by Howard Hughes. This film had the inspired idea of following Harold's Jazz Age, optimistic character from The Freshman into the Great Depression years. Diddlebock opened with footage from The Freshman (for which Lloyd was paid a royalty of $50,000, matching his actor's fee) and Lloyd was sufficiently youthful-looking to match the older scenes quite well. Lloyd and Sturges had different conceptions of the material and fought frequently during the shoot; Lloyd was particularly concerned that while Sturges had spent three to four months on the script of the first third of the film, "the last two-thirds of it he wrote in a week or less". The finished film was released briefly in 1947, then shelved by producer Hughes. Hughes issued a recut version of the film in 1951 through RKO under the title Mad Wednesday. Such was Lloyd's disdain that he sued Howard Hughes, the California Corporation and RKO for damages to his reputation "as an outstanding motion picture star and personality", eventually accepting a $30,000 settlement.

In October 1944, Lloyd emerged as the director and host of The Old Gold Comedy Theater, an NBC radio anthology series, after Preston Sturges, who had turned the job down, recommended him for it. The show presented half-hour radio adaptations of recently successful film comedies, beginning with Palm Beach Story with Claudette Colbert and Robert Young.

Some saw The Old Gold Comedy Theater as being a lighter version of Lux Radio Theater, and it featured some of the best-known film and radio personalities of the day, including Fred Allen, June Allyson, Lucille Ball, Ralph Bellamy, Linda Darnell, Susan Hayward, Herbert Marshall, Dick Powell, Edward G. Robinson, Jane Wyman, and Alan Young. But the show's half-hour format—which meant the material might have been truncated too severely—and Lloyd's sounding somewhat ill at ease on the air for much of the season (though he spent weeks training himself to speak on radio prior to the show's premiere, and seemed more relaxed toward the end of the series run) may have worked against it.

The Old Gold Comedy Theater ended in June 1945 with an adaptation of Tom, Dick and Harry, featuring June Allyson and Reginald Gardiner and was not renewed for the following season. Many years later, acetate discs of 29 of the shows were discovered in Lloyd's home, and they now circulate among old-time radio collectors.

Lloyd remained involved in a number of other interests, including civic and charity work. Inspired by having overcome his own serious injuries and burns, he was very active as a Freemason and Shriner with the Shriners Hospital for Crippled Children. He was a Past Potentate of Al-Malaikah Shrine in Los Angeles, and was eventually selected as Imperial Potentate of the Shriners of North America for the year 1949–50. At the installation ceremony for this position on July 25, 1949, 90,000 people were present at Soldier Field, including then sitting U.S. President Harry S Truman, also a 33° Scottish Rite Mason. In recognition of his services to the nation and Freemasonry, Bro. Lloyd was invested with the Rank and Decoration of Knight Commander Court of Honour in 1955 and coroneted an Inspector General Honorary, 33°, in 1965.

He appeared as himself on several television shows during his retirement, first on Ed Sullivan's variety show Toast of the Town June 5, 1949, and again on July 6, 1958. He appeared as the Mystery Guest on What's My Line? on April 26, 1953, and twice on This Is Your Life: on March 10, 1954 for Mack Sennett, and again on December 14, 1955, on his own episode. During both appearances, Lloyd's hand injury can clearly be seen.

On November 6, 1956, The New York Times reported "Lloyd's Career Will Be Filmed." It said, as first step, Lloyd will write the story of his life for Simon and Schuster. Then, the movie to be produced by Jerry Wald for 20th Century-Fox, will limit the screenplay to Lloyd's professional career. Tentative title for both: “The Glass Character,” based on Lloyd wearing heavy, tortoise-shell glasses as a trademark. Neither project materialized.

Lloyd studied colors and microscopy, and was very involved with photography, including 3D photography and color film experiments. Some of the earliest 2-color Technicolor tests were shot at his Beverly Hills home (these are included as extra material in the Harold Lloyd Comedy Collection DVD Box Set). He became known for his nude photographs of models, such as Bettie Page and stripper Dixie Evans, for a number of men's magazines. He also took photos of Marilyn Monroe lounging at his pool in a bathing suit, which were published after her death. In 2004, his granddaughter Suzanne produced a book of selections from his photographs, Harold Lloyd's Hollywood Nudes in 3D! (ISBN 1-57912-394-5).

Lloyd also provided encouragement and support for a number of younger actors, such as Debbie Reynolds, Robert Wagner, and particularly Jack Lemmon, whom Harold declared as his own choice to play him in a movie of his life and work.

Lloyd kept copyright control of most of his films and re-released them infrequently after his retirement. Lloyd did not grant cinematic re-releases because most theaters could not accommodate an organist to play music for his films, and Lloyd did not wish his work to be accompanied by a pianist: "I just don't like pictures played with pianos. We never intended them to be played with pianos." Similarly, his features were never shown on television as Lloyd's price was high: "I want $300,000 per picture for two showings. That's a high price, but if I don't get it, I'm not going to show it. They've come close to it, but they haven't come all the way up". As a consequence, his reputation and public recognition suffered in comparison with Chaplin and Keaton, whose work has generally been more widely distributed. Lloyd's film character was so intimately associated with the 1920s era that attempts at revivals in 1940s and 1950s were poorly received, when audiences viewed the 1920s (and silent film in particular) as old-fashioned.

In the early 1960s, Lloyd produced two compilation films, featuring scenes from his old comedies, Harold Lloyd's World of Comedy and The Funny Side of Life. The first film was premiered at the 1962 Cannes Film Festival, where Lloyd was fêted as a major rediscovery. The renewed interest in Lloyd helped restore his status among film historians. Throughout his later years he screened his films for audiences at special charity and educational events, to great acclaim, and found a particularly receptive audience among college audiences: "Their whole response was tremendous because they didn't miss a gag; anything that was even a little subtle, they got it right away."

Following his death, and after extensive negotiations, most of his feature films were leased to Time-Life Films in 1974. As Tom Dardis confirms: "Time-Life prepared horrendously edited musical-sound-track versions of the silent films, which are intended to be shown on TV at sound speed [24 frames per second], and which represent everything that Harold feared would happen to his best films". Time-Life released the films as half-hour television shows, with two clips per show. These were often near-complete versions of the early two-reelers, but also included extended sequences from features such as Safety Last! (terminating at the clock sequence) and Feet First (presented silent, but with Walter Scharf's score from Lloyd's own 1960s re-release). Time-Life released several of the feature films more or less intact, also using some of Scharf's scores which had been commissioned by Lloyd. The Time-Life clips series included a narrator rather than intertitles. Various narrators were used internationally: the English-language series was narrated by Henry Corden.

The Time-Life series was frequently repeated by the BBC in the United Kingdom during the 1980s, and in 1990 a Thames Television documentary, Harold Lloyd: The Third Genius was produced by Kevin Brownlow and David Gill, following two similar series based on Charlie Chaplin and Buster Keaton. Composer Carl Davis wrote a new score for Safety Last! which he performed live during a showing of the film with the Royal Scottish National Orchestra to great acclaim in 1993.

The Brownlow and Gill documentary was shown as part of the PBS series American Masters, and created a renewed interest in Lloyd's work in the United States, but the films were largely unavailable. In 2002, the Harold Lloyd Trust re-launched Harold Lloyd with the publication of the book Harold Lloyd: Master Comedian by Jeffrey Vance and Suzanne Lloyd and a series of feature films and short subjects called "The Harold Lloyd Classic Comedies" produced by Jeffrey Vance and executive produced by Suzanne Lloyd for Harold Lloyd Entertainment. The new cable television and home video versions of Lloyd's great silent features and many shorts were remastered with new orchestral scores by Robert Israel. These versions are frequently shown on the Turner Classic Movies (TCM) cable channel. A DVD collection of these restored or remastered versions of his feature films and important short subjects was released by New Line Cinema in partnership with the Harold Lloyd Trust in 2005, along with theatrical screenings in the US, Canada, and Europe. Criterion Collection has subsequently acquired the home video rights to the Lloyd library, and have released Safety Last!, The Freshman, and Speedy.

In the June 2006 Los Angeles Chamber Orchestra Silent Film Gala program book for Safety Last!, film historian Jeffrey Vance stated that Robert A. Golden, Lloyd's assistant director, routinely doubled for Harold Lloyd between 1921 and 1927. According to Vance, Golden doubled Lloyd in the bit with Harold shimmy shaking off the building's ledge after a mouse crawls up his trousers.

Lloyd married his leading lady Mildred Davis on February 10, 1923 in Los Angeles, California. They had two children together: Gloria Lloyd (1923–2012) and Harold Clayton Lloyd Jr. (1931–1971). They also adopted Gloria Freeman (1924–1986) in September 1930, whom they renamed Marjorie Elizabeth Lloyd but was known as "Peggy" for most of her life. Lloyd discouraged Davis from continuing her acting career. He later relented but by that time her career momentum was lost. Davis died from a heart attack in 1969, two years before Lloyd's death. Though her real age was a guarded secret, a family spokesperson at the time indicated she was 66 years old. Harold Jr. died from complications of a stroke three months after his father.

In 1925, at the height of his movie career, Lloyd entered into Freemasonry at the Alexander Hamilton Lodge No. 535 of Hollywood, advancing quickly through both the York Rite and Scottish Rite, and then joined Al Malaikah Shrine in Los Angeles. He took the degrees of the Royal Arch with his father. In 1926, he became a 32° Scottish Rite Mason in the Valley of Los Angeles, California. He was vested with the Rank and Decoration of Knight Commander Court of Honor (KCCH) and eventually with the Inspector General Honorary, 33rd degree.

Lloyd's Beverly Hills home, "Greenacres", was built in 1926–1929, with 44 rooms, 26 bathrooms, 12 fountains, 12 gardens, and a nine-hole golf course. A portion of Lloyd's personal inventory of his silent films (then estimated to be worth $2 million) was destroyed in August 1943 when his film vault caught fire. Seven firemen were overcome while inhaling chlorine gas from the blaze. Lloyd himself was saved by his wife, who dragged him to safety outdoors after he collapsed at the door of the film vault. The fire spared the main house and outbuildings. After attempting to maintain the home as a museum of film history, as Lloyd had wished, the Lloyd family sold it to a developer in 1975.

The grounds were subsequently subdivided but the main house and the estate's principal gardens remain and are frequently used for civic fundraising events and as a filming location, appearing in films like Westworld and The Loved One. It is listed on the National Register of Historic Places.

Lloyd died at age 77 from prostate cancer on March 8, 1971, at his Greenacres home in Beverly Hills, California. He was interred in a crypt in the Great Mausoleum at Forest Lawn Memorial Park Cemetery in Glendale, California. His former co-star Bebe Daniels died eight days after him, and his son Harold Lloyd Jr. died three months after him.

In 1927, his was only the fourth concrete ceremony at Grauman's Chinese Theatre, preserving his handprints, footprints, and autograph, along with the outline of his famed glasses (which were actually a pair of sunglasses with the lenses removed). The ceremony took place directly in front of the Hollywood Masonic Temple, which was the meeting place of the Masonic lodge to which he belonged.

Lloyd was honored in 1960 for his contribution to motion pictures with a star on the Hollywood Walk of Fame located at 1503 Vine Street.[39] In 1994, he was honored with his image on a United States postage stamp designed by caricaturist Al Hirschfeld.

In 1953, Lloyd received an Academy Honorary Award for being a "master comedian and good citizen". The second citation was a snub to Chaplin, who at that point had fallen foul of McCarthyism and had his entry visa to the United States revoked. Regardless of the political overtones, Lloyd accepted the award in good spirit.

Lloyd's birthplace in Burchard, Nebraska is maintained as a museum and open by appointment.

[exploringbrazilianculture]

Exploring Brazilian Culture!

Below excerpts represent a virtual study of Brazilian culture by Columbia College Chicago (CCC) undergraduate students enrolled in the Humanities, History and Social Science (HHSS) Dept. online course:  HUMA121 “Latin American Art, Literature and Music” .

This virtual showing on tumblr is hosted by CCC students enrolled in this HHSS Dept. course with its instructor, Jesus Macarena Avila. This investigation began with a study on Tarsila do Amaral and her involvement with the cultural movement: Antropofagia.

Amaral with creative intellectuals like Oswald de Andrade and Anita Malfatti advocated a new ideology, the Manifesto Antropofago.

This investigation was only enhanced by the course's online contributors and guests: Dr. Roberto J. Tejada and Ariani Friedl. Dr. Tejada's expertise of Latin American art history and knowledge on Amaral's cultural production.

Dr. Tejada gave cultural and historic interpretations of Amaral's paintings like "Carnaval em Madureira" (1924, oil on canvas, 76 × 63.5 cm) showing the Afro Brazilian influence on the work. 

Below are students' comments on what was learnt from Dr. Tejada's lecture: 

"The speaker Dr. Roberto J. Tejada did an amazing job really helping me comprehend what was going on, and the different and creative ways with the European side and the afro American side were trying to solidify the culture and understanding of one another’s history."

"Amaral is also well known for creating the work of 'Anthropofagia', according to Dr. Tejada, in which its 'main intention was to create a mythic space in a language of painting through using bold colors and unusual forms, in order to create a vision specific to Brazilian history and attending to contemporary human geography/landscapes'."

"Dr. Tejada gave a great explanation of Amaral’s painting Anthropofagia. Made in 1929, its intention was to create a mythic space in painting using non-contemporary forms and vanguard themes to connect to Brazil's history of violent colonialism."

"Some background information about that Dr. Tejada touches on the fact where many Brazilians might have come from. The government encouraged immigration for the most part from Europe. Around the year 1888, the population contained many white Brazilians but also as well many black Brazilians. 

Brazil was also one of the last countries in Latin America to abolish slavery. So even from then on racism was something that was influencing many policies (specifically Immigration policies), systems created in Brazil, etc."

"Dr. Tejada made a good point when he stated 'the word itself, signifies the Tupi language and enhancement, it seems to serve the undeniable presence of indigenous people. The indigenous culture is elevated and given importance just as any other subject European painters would put forward’."

And Ariani Friedl (above) representing Chicago's annual cinematic program: Mostra Brazilian Film Series gave an insight to this year's film programming.

Friedl was recently interviewed by Illinois Latino Voice's TransLatinx artist, Jesus "Jesse" Iniguez, this is an excerpt: 

Jesus "Jesse" Iniguez: Due to the national Shelter in Place order, how has Mostra become more accessible to a wider audience this year? 

Arian Friedl: Due to the pandemic and the impossibility for us to have a MOSTRA in person, we decided, as many other organizations, to present our MOSTRA XI virtually. This has been a completely new field for us and we have had to learn a great deal of new techniques and ways of doing a festival.

JJI: As with previous festivals, What film(s) are this year’s highlights? What are the themes or concepts being featured for Mostra Brazilian Film Festival 2020?

AF: As you know, MOSTRA present Brazilian films with social conscience and every year we bring films which address different aspects of Brazilian culture, environment, social issues, history and others.  This year we will be featuring films related to our political history, environment, gender and race issues and others.

JJI: Thank you so much for your time during our “new normal”. You can find Mostra’s film listings on their official website: http://mostrafilmfestival.org/xi/

Below are student/instructor film review excerpts:

"Amazônia, o Despertar da Florestania", Dirs: Christiane Torloni & Miguel Przewodowski, Documentary/1h 46min/2018 (Portuguese w English Subtitles)

"How has Brazil dealt with nature and its natural resources in the early 20th century? What state is the Amazon Forest in? Based on interviews with specialists from the most diverse areas and the rescue of historical figures, the notion of forestry is discussed: the citizenship of the forest, a term necessary to reflect on Brazilian identity.

Although dramatic, sometimes bordering on desperate romanticism, the questions raised by the documentary Amazônia, the Awakening of Forestry are treated with the necessary urgency and a very welcoming tone by the actress, environmental activist, and now even filmmaker Christiane Torloni. 

In her directorial debut, Torloni accesses something profound, mystical, and sacred, but no less concrete or vivacious: the surreal power of the Amazon rainforest – and the risk of its disappearance.A documentary film of a conventional format like this only works with the cast's quality and constitution. 

A movie like this is only as good as the level of testimony it collects and makes available to the viewer. Fortunately, there are media personalities of weight, prestige, and intelligence, from the fields of art to sciences. All are coming together to trace and unravel the devastating panorama in which we find ourselves as a society." -- E. Reynaga

View trailer here: https://m.youtube.com/watch?v=0Dvm-VH1L8k

"Açúcar", Dirs. Renata Pinheiro & Sérgio Oliveira, Fiction/1h 30min/2020 (Portuguese w English Subtitles)

"Açúcar is a surreal but haunting portrait of an aging sugar cane plantation. It centers on the main character, Bethânia Wanderley (played by Maeve Jinkings), a last remaining family member of a historic Brazilian plantation family. She tries to repair the old mansion and thinking of new crops to revive the plantation industry.

Although this is a fictional tale, it does reference actual facts about slavery in Brazil (being the last Latin American country to abolish slave ownership). As the story progresses, Bethânia begins to see or "hallucinate" things around the old mansion, is it the Wanderley's past with slavery? Or is it the local people, descendants of slaves plotting to get the aging land back? Is it this about “revenge” or reclaiming human rights?

It's beautifully photographed against a sugar cane landscape referencing Afro Brazilian beliefs in Orixas and body possession. Directors Renata Pinheiro and Sérgio Oliveira has won awards for their own films and this feature is a collaborative work at re-looking Brazil's slavery and the history of plantation families." -- J. Macarena Avila

View trailer here: https://m.youtube.com/watch?v=rQBfzNZMags

”Mormaço", Dir: Marina Meliande, Political Drama/1h 36min/ 2018 (Portuguese w English Subtitles)

"Mormaço combines different genres, fantasy, political, drama, etc. using visuals to make social commentary about 2016 Rio de Janiero's Olympics. That year, many resident areas were displaced to create attractions for tourism for the Olympics.

This feature is a dazzling, but slow burner story using different genres based on true events surrounding the 2016 Olympics when one of the hottest summers faced Rio de Janiero's area.

It centers on a public lawyer, Ana representing residents being threaten to move. The residents have regular meetings with Ana to prepare to lobby against the city government. Then Ana develops a unknown medical condition that starts a metaphorsis that only complicates her life." -- J. Macarena Avila

"After viewing the film I did some research and learned from an article titled 'Film Mormaço Interweaves Fiction and Reality to Retell Story of Vila Autódromo Evictions' that these events in the film are based on historical events that actually occurred. 

The article also states that Mormaço 'makes use of actual footage of these events.' Many of the scenes illustrating war and protest are primary sources that I found very interesting. 

Knowing this about the film made me want to watch it a second time to catch all of these primary footages. Mostly because of how seamless the transition from historical footage to current footage. Overall, I felt the film was not only entertaining but also informational." -- J. Heflin

View trailer here: https://m.youtube.com/watch?v=FwSanEqppds

"Deslembro", Dir: Flávia Castro, Drama /1h 36min / 2018 (Portuguese w English Subtitles)

"Quickly summarizing this movie, it’s about a girl named Joanna, who lives with her mom, stepfather, and two stepbrothers in Paris. Her parents announce that they would be moving the family to Brazil and it is very clear at the beginning of the movie how Joanna feels about the decision. Of course, the move is inevitable and the rest of the movie is located in Brazil. 

The move to Brazil allows Joanna to be able to explore new things, like the world of literature, her first love, and she awakens politically. Being in Brazil seems to bring up a whole bunch of old disturbing memories from Joanna’s childhood that have something to do with her fathers’ disappearance which then leads Joanna to have a slight hope that her father may be alive.

Leaving this paragraph on a cliff hanger just in case anyone ends up wanting to watch it. I believe that this was a very well written and portrayed movie. It caught my interest because it just seemed relatable. Something realistic, unlike this other movie that I was interested in watching which seemed more fiction based." -- Y. Contreras 

View trailer here: https://m.youtube.com/watch?v=4qFP5cbmyEg

"Mulher Que Sou" (15m), Dir: Nathalia Thereza (Portuguese w English Subtitles)

"The film 'The Woman Who I Am' follows a single mother who is in search of a new beginning away from what appears to be the rural lifestyle she once lived. We immediately begin the story following our main character, Marta, who is traveling alongside a mountain by bus before abruptly switching to a highway where she continues her travel into the city. Later, as she is searching for apartments we are introduced to her daughter who she consults with during this process. 

This establishes for the audience their relationship with one another but also theimportance of and emphasis placed on the value of listening to her daughter and including her in this journey. While the prevailing theme of this film, I contend, was identity, we also can identify themes of femininity, single motherhood, modernity, and beauty all woven into the dynamic of Marta’s character. 

These intersections help us to understand and even challenge the ways in which we often place mothers in society, especially those that are single or value women past a certain age, questioning their worthiness to be called beautiful" -- G. Paredes

"Oddly enough, the Woman I am was probably my least favorite out of all the films I watched at Mostra. Don’t get me wrong I still enjoyed the film and thought it was pretty good, but it had a lot of potentials that was wasted. There were scenes where the dialogue was too rushed and others where nothing was happening for a particularly long time. 

One thing I don’t like is that they didn’t show you some things. For example, the characters would be talking about something off-screen, and the way they were talking about it, you would think it would be some, what of a big deal. They didn’t show the thing in that scene and I thought they were leaving it to be some sort of reveal later on in the film. 

But it never gets mentioned again and the audience never gets to see what the characters were talking about. In my opinion, it would’ve been fine not to show it if it was a quick mention but the character made it seemed like it was kinda important. 

A reason I did like the film’s 'secretness' is that it captured what the film was supposed to be about: a mom and daughter moving on from their past to a new beginning." -- K. Williams

View this short here: https://m.youtube.com/watch?v=05-F8PDvxdY

"Azougue Nazaré", Dir: Tiago Melo, Fiction/1h 22min/2018 (Portuguese w English Subtitles)

"The film Azougue Nazaré was a drama film released in 2018 directed and written by Tiago Melo. The film is about the start of a new destructive supernatural phenomenon and different spiritual ideologies that collide within this community.

The film touches on religious topics and events in Latin American and was very informational and entertaining. I felt that this film was well put together and although I was not used to many of the different rituals and traditions are shown in the film.

It was very easy to follow along and even relate some of these traditions to ones in my culture. I usually would never go for a film that has to do with religious topics but the film’s artistic values and images caught my eye." - J. Heflin

View trailer here: https://m.youtube.com/watch?v=NFxE51n0IQo

"Quebramar", (27m), Dir: Cris Lyra (Portuguese w English Subtitles)

"Going off of Mostra Festival’s description of the film, Breakwater (Quebramar) is a movie about a group of girls from São Paulo who takes a vacation to a remote island for the New Years. While on this vacation, the girls hang out, form a connection, build a safe space, and discuss with each other their experiences being in a part of the LGBTQ+ community. 

The things that caught my attention most about this movie and made me want to watch it were the categories 'LGBT' and 'black perspective' because those both relate to me. The movie was filmed in the style of a documentary, though I couldn’t really find any proof it was. 

If the film was scripted, then I have to give a huge round of applause to the actresses because they delivered them seamlessly and made it feel natural.One of my favorite things about the film is how casual it was. It was a feel-good film where everyone was having fun, bonding, and really supporting each other." -- K. Williams

View trailer here: https://m.youtube.com/watch?v=xNDquFNV9dQ

"Sem Asas", (20m), Dir: Renata Martins

"Sem Asas, or Wingless in its English translation, is a short film about a boy with a longtime interest in flying discovering he 'can'. I watched this movie because it was under the category 'black perspective' but I enjoyed it so much because it broke a lot of basic representation the media gives us.

The film mainly centers around the boy but also features his parents. I mention this because the movie really focuses on this family’s strong bond. That’s one thing media rarely gives movies, films, T.V, and etc that focuses on black representation. There’s always one parent (usually the dad) missing or dead and if both parents are there, the marriage is toxic and on the verge of breaking. 

This family however is very close and from what the movie showed us very healthy. They help each other out when asked, joke around, lightheartedly tease each other, and were overall worried for each other. Another thing this film didn’t do that most media does was only make it about struggle. 

I won’t lie the Black community does have a lot of struggles and situations it has to deal with but those things are usually the only thing media recognizes us for. While the representation of that is important, it starts to build an image in your head when that’s pretty much the ONLY time you see yourself and your community focused on in media. 

Yes, there is black on black violence, broken family, major poverty, and many other things but that’s not all the black community is. I think Wingless did a good job of portraying this."-- K. Williams

View trailer here: https://m.youtube.com/watch?v=ZPkWmJvC-Tc

This for educational purposes and co-hosted by

Friedl's video introduction (created/produced by Sara Vianni) to enrolled students in the HUMA 121 course, "Latin American Art, Literature and Music".

[bitter69uk]

Recently watched: Sleep, My Love (1948), a generic but entertaining and suspenseful early Douglas Sirk thriller starring Claudette Colbert as an imperiled wealthy socialite being “gaslit” by her scheming and manipulative husband (Don Ameche) – using drugs and hypnosis! - so that he can live off her fortune with his no-good trampy mistress. Said no-good trampy mistress is portrayed by statuesque Hazel Brooks (1924 - 2002), who makes an indelibly alluring impression.  Chain-smoking and sashaying around in filmy lingerie with sulky hauteur, Brooks possessed precisely the kind of flat sullen voice, flowing curtain of hair and Vampira-worthy wraith cheekbones that should have ensured her success playing film noir bad girls in the post-Veronica Lake tradition. But despite all these attributes, Brooks never achieved stardom, married well – and retired from acting in 1953. (You can watch Sleep, My Love on YouTube – just ignore the Russian subtitles!).   

Let’s face it: the puritanical, hypocritical and homophobic hellsite Tumblr has become a dying platform since it banned adult content in December 2018. I post here less and less. Follow me instead on Instagram, Twitter, Facebook or on my blog. Fuck Tumblr!      

[reviewbazaar]

10 Greatest Books Ever Written!!

Literary critics, historians, avid readers, and even casual readers will all have different opinions on which novel is truly the “greatest book ever written.” Is it a novel with beautiful, captivating figurative language? Or one with gritty realism? A novel that has had an immense social impact? Or one that has more subtly affected the world? Here is a list of 10 novels that, for various reasons, have been considered some of the greatest works of literature ever written.

1.Anna Karenina

Author :- Leo Tolstoy

Review: Any fan of stories that involve juicy subjects like adultery, gambling, marriage plots, and, well, Russian feudalism, would instantly place Anna Karenina at the peak of their “greatest novels” list. And that’s exactly the ranking that publications like Time magazine have given the novel since it was published in its entirety in 1878. Written by Russian novelist Leo Tolstoy, the eight-part towering work of fiction tells the story of two major characters: a tragic, disenchanted housewife, the titular Anna, who runs off with her young lover, and a lovestruck landowner named Konstantin Levin, who struggles in faith and philosophy. The novel was especially revolutionary in its treatment of women, depicting prejudices and social hardships of the time with vivid emotion. 

Save time, Buy here: https://www.amazon.in/gp/product/B00A7369M8/ref=as_li_tl?ie=UTF8&camp=3638&creative=24630&creativeASIN=B00A7369M8&linkCode=as2&tag=reviewbazaa0f-21&linkId=7ee06531a28c42e03bbcdb12c25981ba

2. One Hundred Years of Solitude

Author :- Gabriel Garcia Márquez

Review :- The late Colombian author Gabriel García Márquez published his most-famous work, One Hundred Years of Solitude, in 1967. The novel tells the story of seven generations of the Buendía family and follows the establishment of their town Macondo until its destruction along with the last of the family’s descendents. In fantastical form, the novel explores the genre of magic realism by emphasizing the extraordinary nature of commonplace things while mystical things are shown to be common. Márquez highlights the prevalence and power of myth and folktale in relating history and Latin American culture. The novel won many awards for Márquez, leading the way to his eventual honor of the Nobel Prize for Literature in 1982 for his entire body of work.

Save time, Buy here: https://www.amazon.in/gp/product/B00HVPSXNS/ref=as_li_tl?ie=UTF8&camp=3638&creative=24630&creativeASIN=B00HVPSXNS&linkCode=as2&tag=reviewbazaa0f-21&linkId=536466fc64f196107cb544bae95c677b

3. A Passage to India

Author :- E.M.Forster

Review: E.M. Forster wrote his novel A Passage to India after multiple trips to the country throughout his early life. The book was published in 1924 and follows a Muslim Indian doctor named Aziz and his relationships with an English professor, Cyril Fielding, and a visiting English schoolteacher named Adela Quested. When Adela believes that Aziz has assaulted her while on a trip to the Marabar caves near the fictional city of Chandrapore, where the story is set, tensions between the Indian community and the colonial British community rise. The possibility of friendship and connection between English and Indian people, despite their cultural differences and imperial tensions, is explored in the conflict. The novel’s colorful descriptions of nature and the landscape of India.

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4. Invisible Man

Author :- Ralph Ellison

Review :- Ralph Ellison’s Invisible Man is a groundbreaking novel in the expression of identity for the African American male. The narrator of the novel, a man who is never named but believes he is “invisible” to others socially, tells the story of his move from the South to college and then to New York City. In each location he faces extreme adversity and discrimination, falling into and out of work, relationships, and questionable social movements in a wayward and ethereal mindset.

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5. Don Quixote

Author :- Miguel de Cervantes

Review: Miguel de Cervantes’s Don Quixote, perhaps the most influential and well-known work of Spanish literature, was first published in full in 1615. The novel, which is very regularly regarded as one of the best literary works of all time, tells the story of a man who takes the name “Don Quixote de la Mancha” and sets off in a fit of obsession over romantic novels about chivalry to revive the custom and become a hero himself. The character of Don Quixote has become an idol and somewhat of an archetypal character, influencing many major works of art, music, and literature since the novel’s publication.

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6. Beloved

Author :- Toni Morrison

Review: Toni Morrison’s 1987 spiritual and haunting novel Beloved tells the story of an escaped slave named Sethe who has fled to Cincinnati, Ohio, in the year 1873. The novel investigates the trauma of slavery even after freedom has been gained, depicting Sethe’s guilt and emotional pain after having killed her own child, whom she named Beloved, to keep her from living life as a slave. A spectral figure appears in the lives of the characters and goes by the same name as the child, embodying the family’s anguish and hardship and making their feelings and past unavoidable.

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7. Mrs. Dalloway

Author :- Virginia Woolf 

Review: Possibly the most idiosyncratic novel of this list, Virginia Woolf’s Mrs. Dalloway describes exactly one day in the life of a British socialite named Clarissa Dalloway. Using a combination of a third-person narration and the thoughts of various characters, the novel uses a stream-of-consciousness style all the way through. The result of this style is a deeply personal and revealing look into the characters’ minds, with the novel relying heavily on character rather than plot to tell its story. The thoughts of the characters include constant regrets and thoughts of the past, their struggles with mental illness and post-traumatic stress from World War I, and the effect of social pressures.

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8. Things Fall Apart

Author :- Chinua Achebe

Review: The Western canon of “great literature” often focuses on writers who come from North America or Europe and often ignores accomplished writers and amazing works of literature from other parts of the world. Chinua Achebe’s Things Fall Apart, published in 1958, is one such work of African literature that had to overcome the bias of some literary circles and one that has been able to gain recognition worldwide despite it. The novel follows an Igbo man named Okonkwo, describing his family, the village in Nigeria where he lives, and the effects of British colonialism on his native country.

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9. Jane Eyre

Author :- Charlotte Brontë

Review: Jane Eyre, another novel often assigned for reading in school, was initially published in 1847 under the pseudonym Currer Bell to disguise the fact that the writer was a woman. Fortunately, a lot has changed with regard to women in literature since 1847, and Brontë now receives the credit she deserves for one of the most-groundbreaking novels about women in history. At a time when the author felt compelled to hide her true identity, Jane Eyre provided a story of individualism for women.

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10. The Color Purple

Author :- Alice Walker

Review :- Though the epistolary novel (a novel in the form of letters written by one or more characters) was most popular before the 19th century, Alice Walker became a champion of the style with her 1982 Pulitzer Prize- and National Book Award-winning novel The Color Purple. Set in the post-Civil War American South, the novel follows a young African American girl named Celie into adulthood in letters she writes to God and to her sister Nettie.

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[imaginesforthosewhoseekthem]

Updated Age chart

So after doing some of my own research, I came to my theories as to how old everyone in Roots is. I’m going to start with James and Mary and work my way down. You’ll know which ones I had to speculate when I explain how I went about figuring it out. Keep in mind, this is still complete speculation when it comes to James, Mary, Leonard and Frank. These are the ages I’ll go be in my own imagines, but you should not consider them cannon unless the Devs say so. SPOILERS FOR ROOTS UP AHEAD!

The Grandparents

James:

(To figure out James’ death, it was kind of hand in hand with Mary’s. While calculating how old Mary was at time of her death, I speculated he was older by by even just a year, while still keeping in mind he was a fairly young man at the start of the game. After punching in the numbers and considering how old he would’ve been when HE dies, here are my results)

1860:-(Age:29) James Vanderboom comes to Rusty Lake and plants the seed after inheriting his Uncle William’s house. He unlocks the front door and falls asleep by the fire while dreaming of Mary.

1865:-(Age:34) James invites Mary to the house where he proposes to her.

1867-(Age:36) James and Mary become the parents of Albert, Samuel and Emma Vanderboom.

1870-(Age:39) Ten years after arriving at Rusty Lake, James discovers his uncle’s books and opens the secret passage to the Alchemy Lab. There, he tries to re-create the Elixir of Life that his Uncle William tried to create before his death. He feeds it to the family dog and the dog is fine. James drinks it, dies upon consumption and at his wake, his tongue it cut out as a sacrifice.

Mary:

(Mary was a tricky one, but when she dies in the game, you can’t tell how she died, whether Albert killed her or if it was old age. Keeping that in mind, I researched the average lifespan of the human females ((Don’t panic, you likely won’t actually die at this age. The oldest woman in the world was over 100 years old)) and I went backwards from there.)

1865-(Age: 33) Mary is invited to James’ home and he proposes to her to which she accepts.

1867-(Age:35) Mary gives birth to Samuel, Emma and Albert

1895-(Age 63) Mary attends Samuel and Ida’s wedding and poses for the photo with her children, daughter-in-law and grandson.

1896-(Age: 64) Plays the Lying game with her sons and daughter-in-law. Is given the Chariot as she only lied once

1904-(Age: 72) Listens to her family members play music, mysteriously dies when the lights go out and her teeth are taken as a sacrifice. (I personally think she died of shock)

The Triplets (and Ida):

Samuel:

1867- (Age: Newborn) Samuel is the first child born to Mary and James Vanderboom and fed breast milk in a bottle

1876-(Age: 9) Samuel is in the garden with his brother and sister. He knocks the butterfly out of the tree with a slingshot he made from a twig from the tree and Emma’s ribbon. He knocks a beehive onto his brother’s head, scarring him both physically and mentally for life.

1889-(Age: 22) Samuel fixes his family’s grandfather clock and gets a visit from Ida Reiziger, his future wife.

1895-(Age: 28) He and Ida are married and pose for their wedding photo with Albert, Emma, Mary and their son, Leonard.

1896-(Age: 29) He plays the Lying game with his wife, brother and mother. He is given the High Priestess as all his cards were true.

1904-(Age: 37) Plays the violin in the family band before he and Ida are kidnapped and murdered by Albert. Both of their eyes are taken as sacrifices.

Ida:

1866-(Age: Newborn) Ida is born as Ida Reiziger.

1889-(Age: 23) Ida visits Samuel when he’s fixing the family clock and a romantic relationship with him at some point, as she is pregnant with their son, Leonard. She also predicts the future of events to come in her crystal ball.

1895-(Age: 29) Ida and Samuel get married and pose for their wedding photo with their son Leonard, Mary, Emma and Albert

1896-(Age: 30) Plays The Lying game with her husband, brother-in-law and mother-in-law. Is given The Empress card as she only told the truth once, that Albert has her photo in his pocket.

1904-(Age 38) Plays the tambourine in the family band before she and Samuel are kidnapped and murdered by Albert. Both of their eyes are taken as sacrifices.

Emma:

1867- (Age: Newborn) Emma is the middle child born to Mary and James Vanderboom and fed rainwater in a bottle

1876-(Age: 9) Emma is in the garden with her brothers and knocks her brother Albert into a tree when she refused to give him the butterfly, resulting in a beehive being dropped on his head and leaving him permanently scarred.

1884-(Age: 17) Emma creates a magical flower by combining 4 of them and it impregnates her with her son, Frank.

1891-(Age: 24) Frank goes missing and Emma attaches a letter to Harvey in hopes of finding him

1895-(Age: 28) She appears in her brother, Samuel’s wedding photo as well as her mother, Samuel’s wife Ida, her nephew Leonard and her brother Albert.

1896-(Age: 29) Emma paints a portrait outside, thinking her son is dead and hangs herself out of grief. Her tears taken as a sacrifice.

Albert:

1867- (Age: Newborn) Albert is the youngest and last born of the triplets. Born with a birthmark on his face and is fed wine in a bottle

1876-(Age: 9) Albert is trying to catch a butterfly with his sister in the garden. After his sister pushes him over and he wishes both of his siblings were dead, his brother Samuel knocks a beehive onto his head, leaving Albert with permanent scar on his face.

1885-(Age: 18) Albert tries on masks in his room and stabs a butterfly to death. (The wiki says its the one from this childhood, but somehow I don’t think it would’ve been in tact in a box for 12 years. I don’t know. I don’t collect butterflies)

1891-(Age: 24) Albert pushes his nephew Frank down the family well

1895-(Age: 28) Albert joins his newly-wed brother and the rest of the family at the time for the Wedding photo of Samuel and Ida.

1896-(Age: 29) He plays the Lying game with his brother, sister-in-law and mother. Albert is given The Devil card, as he lies throughout the game. We find out he had an obsession with his brother’s wife Ida and he dons a deer skull as a mask.

1904-(Age: 37) Plays the tuba in the family band and kidnaps Samuel and Ida. (Possibly murdered Mary too, idk) Uses voodoo to torture and kill them by removing their eyes.

1909-(Age: 42) Uses alchemy to artificially have a child with Ida. After mixing water, Ida’s ovarian egg that he kept, his semen and a green potion, his daughter Rose is born.

1924- (Age: 57) Taunts his nephew, Frank with berries though the storm drain and proceeds to laugh at him after getting his hand stabbed

1926- (Age: 59) Re-unites with Frank and plays chess with him while planning to kill his nephew. Frank beats him and strangles Albert to death. His brain is removed as a sacrifice.

The Grandchildren:

Leonard:

(If the wiki was right and the baby crying was INDEED telling us that Ida was pregnant with Leonard, I counted 9 mouths after each month in Summer and speculated Leonard was born early the next year after the events of “The Fortune Teller” where we meet Ida)

1890- (Age: Newborn) Leonard is born to Samuel and Ida

1895- (Age: 5) Leonard poses for his parents wedding photo with his parents, grandmother, uncle and aunt

1904-(Age: 14) Leonard plays the clarinet in the family band. When the room blacks out and becomes covered in blood, his grandmother is dead and his parents are missing. Leonard wonders if they died too.

1914-(Age: 24) Leonard heads off to join the army and fight in World War I ten years after the deaths of his parents. He uses pigeons to retrieve bike parts and assembles his motorbike to head off to war.

1918-(Age: 28) Not long after World War 1 ends, Leonard is sent home after missing his foot in the trenches. As bullets are pulled out of him and he’s fitted with a pegged leg, Leonard has flashbacks of his times in the trenches. While he wished to go home, a grenade blew off his leg. In the haze of the explosion, he saw figures of a Corrupted Soul, his parents in their wedding clothes, his Uncle Albert holding the voodoo dolls he killed them with and Mr Crow. Leonard managed to don a gas mask in time, so he survived with his foot gone. That same foot is taken as a sacrifice.

1929-(Age: 39) Leonard follows instructions to a treasure Mr Crow mentioned and digs up the bronze timepiece.

1935-(Age: 45) Visits the Alchemy Lab with his cousins, Frank and Rose and places the timepieces to open the gate. He is wrapped in Roots the last time we see him, his fate left unknown.

Frank:

(How I figured this put isn’t as interesting as the others. Emma looked heavily pregnant when the flower flew up her skirt, so I pretty much speculated he was born within that year as it was only Spring when Emma got pregnant)

1884: (Age: Newborn) Frank Vanderboom is born

1891: (Age: 7) Frank swings too hard on the swing set and hangs on with both hands on the windlass of the well. After being given his Teddy Bear, his Uncle Albert turns the crank, making him fall in.

1909: (Age: 25) Frank is fed a potato in exchange for flints in the storm drain when his cousin, Rose is born.

1924: (Age: 40) Escapes from the well with the help of his cousin Rose after being trapped for 33 years

1926: (Age: 42) Re-unites with Albert in a chess match while planning to kill him. Beats Albert and strangles him to death as revenge for pushing down the well and driving his mother to suicide.

1927: (Age: 43) Has a hot bath and cuts his long hair and beard off. His hair is taken as a sacrifice.

1930: (Age: 46) Goes to the attic and finds the letter his mother Emma sent when looking for him 39 years prior. After seeing his mother and Mr Crow in the stars, he unlocks a box with the code “LOVE”. Frank receives the silver timepiece.

1933: (Age: 49) Shares a dance with his cousin, Rose.

1935-(Age: 51) Visits the Alchemy Lab with his cousins, Leonard and Rose and places the timepieces to open the gate. He is wrapped in Roots the last time we see him, his fate left unknown.

Rose:

1909- (Age: Newborn) Is artificially created by her father, Albert in the Alchemy Lab.

1919- (Age: 10) Communicated with her great-great-uncle, William and promises to help him live again.

1924-(Age: 15) Helps her cousin Frank to escape from the well.

1932-(Age: 23) Visits her family graveyard and digs up the bones of her deceased relatives to complete a skeleton. She receives the gold timepiece.

1933- (Age: 24) Shares a dance with her cousin, Frank and pricks her finger on a broken record. Her blood is taken as a sacrifice.

1935-(Age: 26) Visits the Alchemy lab with her cousins Leonard and Frank. Places the time pieces and sacrifices to open the gate and re-incarnates William as Laura, the woman

[scotianostra]

Scottish Serial killer Archibald Thomson Hall was born on Jun 17th 1924 in Glasgow.

The second brutal Scot to feature today, and make no mistake, this guy was a cold bloodied murderer.

Growing up in Glasgow, he began stealing at the age of 15. At 17, he was seduced by an older neighbour and he got involved in high life; later that year he received his first prison sentence and was on the road to a violent life. Hall, upon his release from prison changed his name to Roy Fontaine - which was inspired by Joan Fontaine, the star of Alfred Hitchcock film Rebecca.He used money from burglaries to relocate himself to London where he  had a  very short lived marriage  he came out as bisexual and , starting affairs with men infiltrated the gay scene in the English capital. He used his new identity to become a butler that would mix with the rich and famous of the time. Hall was able to swindle vast sums of cash as he was able to gain entry to some of the oldest and grandest houses in the country under his new persona. The butler was able to mingle with the rich and famous, including composer Ivor Novello, Lord Mountbatten and playwright Terence Rattigan. As his confidence continued to grow under his new life, Hall’s ability to switch into a different identity became easier. On one occasion he managed to convince others that he was a  Sheikh named Mutlak Medinah by wearing an Arab headdress. Hall was able to make off with thousands of pounds worth of jewellery after he lured jewellers into his hotel room using his new identity. In 1977, he became a butler at Kirtleton House in Dumfrieshire for Lady Margaret Hudson. It was here that, one of Hall’s ex cell mates, David Wright came to visit, Hall shot Wright in the head during a rabbit hunting trip over fears his ability to steal high valued goods and money would be exposed to his employer. He fled the scene of the crime before ending up back in London where he continued his dodgy butler work, this time he worked for ex MP Walter Scott-Elliot. and his wife Dorothy, who were also wealthy antique collectors, at their posh Chelsea home. On one occasion he invited fellow crook Michael Kitto However, the pair were caught by Mrs Scott-Elliot before Kitto was suffocated her to death. Another acquaintance, Mary Coggle, dressed as the dead woman - using this opportunity to loot the couple’s funds from banks in the city. They kept Mr Scott-Elliot sedated with sleeping pills and said that his wife had gone to visit friends in Scotland, where he was to join her later.  They all drove north with the body in the boot. When they reached Braco, in Perthshire, the still sedated ex MP was left in the car as his wife was buried at the side of a road.Scott-Elliot was then taken to a lonely spot near Glen Affric and beaten to death with a spade after Hall’s failed attempt to strangle him. They returned once more to London and cleared the flat but Coggle was enjoying the trappings of wealth and refused to lower her profile. Eventually, the two men decided to rid themselves of the problem. Hall hit her over the head and suffocated her with a plastic bag before dumping her in a stream between Glasgow and Carlisle. The two men spent a quiet Christmas at Hall’s family’s house among the family members was  Hall’s half-brother Donald, a child molester who Hall despised but seemed to tail along with the pair. In January 1978 when they were in Cumbria, Donald started asking too many questions. The only solution for the pair of now seasoned killers was to get rid of him. A chloroformed rag was held over his face and he was drowned in a bath. Hall and Kitto put his body in their boot and drove north but were forced to stop at a hotel in North Berwick because of a snowstorm. The suspicious proprietor called the police and Donald’s body was found in the boot of the car. The car was traced back to London, where police discovered the stripped bare apartment and bloodstained scene, Hall tried and failed to commit suicide while in custody, before revealing the whereabouts of the three buried victims. In deep snow and bitterly cold weather, and with the media watching, police teams dug up the bodies of David Wright and Walter and Dorothy Scott-Elliot. They charged Hall and Kitto with five murders.

The pair were convicted of four murders, for some reason the first, Dorothy Scott-Elliot was ordered to lie on file. Hall had life sentences handed out with 15 years recommendation in Scotland and full life term in England.

  Kitto was given life imprisonment for three murders, with no recommended minimum in Scotland and a 15-year minimum in England. Police said in evidence that Kitto was, in a perverted way, fortunate to be able to go on trial, as Hall was planning to kill him too.

When the European courts judged whole life tariffs against the law Hall remained in custody and was never given a parole date. In 1995 a newspaper published a letter from Hall in which he requested the right to die. He made numerous unsuccessful suicide attempts.

He died in Prison Kingston, Portsmouth in 2002, by this date, he was one of the oldest of more than 70,000 prisoners in British prisons, and the oldest to be serving a full life term.

There were plans for a film with Malcolm MacDowell in the lead role, called Monster Butler, after some production work had taken place, the film was cancelled because of lack of funding, leaving some crew members unpaid.

[citizenscreen]

It was 85 years ago this week, in October 1934, that Mark Sandrich’s The Gay Divorcee was released in theaters across the country. That occasion would normally have been just another movie release except it marks a significant moment in movie history. The Gay Divorcee, you see, was the first starring picture for Fred Astaire and Ginger Rogers. While cinema has given us many memorable romantic movie couples, only one was so memorably romantic in dance.

The Gay Divorcee is my favorite of the Astaire Rogers pictures thanks in large part to its hilarious supporting cast including Alice Brady, Edward Everett Horton, Erik Rhodes, and Eric Blore who supply laughs galore in a story we’d see over and over again later in the 1930s as the Astaire and Rogers film canon picked up speed. Here we see Mimi Glossop (Rogers) trying to get a divorce from her estranged husband. Her Aunt Hortense (Brady) suggests she consult with attorney Egbert Fitzgerald (Horton) with whom Hortense has a romantic history. The fumbling lawyer suggests a great way for Mimi to get a quick divorce is for her to spend the night with a professional co-respondent and get caught being unfaithful by the private detectives hired for the task. Except, Egbert forgets to hire the detectives. As the co-respondent Egbert hires Rodolfo Tonetti (Rhodes) who is supposed to introduce himself to Mimi by saying “Chance is a fool’s name for fate,” but the Italian can’t keep the line straight, which never fails to make this fan roar with laughter.

“Fate is the foolish thing. Take a chance.”

In the meantime, staying in the same hotel is dancer Guy Holden (Astaire) who falls for Mimi the moment they had an uncomfortable meeting on the ship from England. Guy is determined to make Mimi his while she mistakes him for the co-respondent. It’s quite the confusing premise that serves the talent of the cast and Astaire-Rogers pairings on the dance floor, which made the trip to the movies the magical experience these movies surely were.

Fred Astaire reprised his role from the stage play The Gay Divorce for The Gay Divorcee. Censors insisted that The Gay Divorce be changed to The Gay Divorcee, because a gay divorce was no laughing matter. Erik Rhodes and Eric Blore, who played the waiter in typical snooty fashion, also reprised their roles from the stage version. Cole Porter wrote the music for the stage production, but only one of his songs, “Night and Day” was retained for the movie.

The Gay Divorcee won one Academy Award, the first ever Best Original Song for “The Continental” with music and lyrics by Con Conrad and Herb Magidson respectively. The film was also nominated for Best Picture, Best Art Direction, Best Sound, Recording, and Best Music Score for Max Steiner, then head of the sound department at RKO. While award recognition is great, the place The Gay Divorcee holds in history is much more important. As mentioned, this was the first movie where Fred Astaire’s and Ginger Rogers’ names appear above the title. This film also sets the stage quite nicely for subsequent Astaire-Rogers movies, which often followed the same formula. First, Fred’s character usually falls for Ginger’s at first sight and he is often annoying to her. In The Gay Divorcee, for example, she has her dress caught in a trunk while he attempts to flirt. In Top Hat (1935) he wakes her up with his tap dancing in the room above hers. In Swing Time (1936) he asks her for change of a quarter only to ask for the quarter back a bit later.

Most Fred and Ginger movies also have mistaken identity central to the plot and some are set in lavish surroundings, extravagant art deco sets, “Big White Sets” as they are called, and include travel to exotic places. The world in these pictures is rich and cultured and never fail to offer an escape from reality.

More importantly, most of the Astaire-Rogers movies feature dances that further the characters’ story together, all are supremely executed, beautifully orchestrated, and emoted to a tee. Through dance Fred and Ginger express love, love lost, anger, giddiness, joy, despair, tragedy. The movies usually feature at least two main routines for the couple, one a fun, lighthearted affair and the other a serious, dramatic turn, depending on where in the story the dance takes place. These dance routines take precedence in the films above all other elements and are, ultimately, what create the Astaire-Rogers legend, each its own priceless gem. For this dance through history the focus is on the dance routines, which were born out of the RKO story.

RKO was born RKO Radio Pictures in October 1928 as the first motion picture studio created solely for the production of talking pictures by David Sarnoff and Joseph Kennedy as they met in a Manhattan oyster bar. Radio-Keith-Orpheum (RKO) resulted from the merger of the Radio Corporation of America, the Film Booking Offices of America, and the Keith-Albee-Orpheum circuit of vaudeville houses.

In its first year, RKO did well by producing about a dozen pictures, mostly film versions of stage plays. The studio doubled that number the following year and was established as a major studio with the Academy Award-winning Cimarron (1931) directed by Wesley Ruggles. Unfortunately, that film’s success did not result in money for the studio. That year RKO lost more than $5 million, which resulted in the hiring of David O. Selznick to head production. Selznick immediately looked to stars to bring audiences into theaters. The first place he looked was the New York stage where he found and contracted Katharine Hepburn whom he placed in the hands of George Cukor for Bill of Divorcement (1932) opposite John Barrymore. Hepburn became a star and the movie was a hit, but RKO’s fortunes did not improve making 1932 another difficult year. Enter Merian C. Cooper and a giant ape. David O. Selznick had made Cooper his assistant at RKO.

The idea of King Kong had lived in Cooper’s imagination since he was a child, but he never thought it could come to fruition until his time at RKO. It was there that Cooper met Willis O’Brien, a special effects wizard who was experimenting with stop motion animation.

King Kong premiered in March 1933 to enthusiastic audiences and reviews. RKO’s financial troubles were such, however, that even the eighth wonder of the world could not save it. David O. Selznick left RKO for MGM and Merian Cooper took over as head of production tasked with saving the studio. Cooper tried releasing a picture a week and employing directors like Mark Sandrich and George Stevens. Of the two Sandrich made an important splash early with So This Is Harris! (1933), a musical comedy short that won the Academy Award for Best Short Subject. This short paved the way for RKO’s memorable musicals of the decade, the first of which introduced future megastars Fred Astaire and Ginger Rogers as a dancing duo.

“I’d like to try this thing just once” he says as he pulls her to the dance floor.

“We’ll show them a thing or three,” she responds.

And they did. For the movie studio permanently on the verge of bankruptcy Fred Astaire and Ginger Rogers proved saving graces. Pandro S. Berman, who produced several of the Astaire-Rogers movies, said “we were very fortunate we came up with the Astaire-Rogers series when we did.”

Fred Astaire was born Frederick Austerlitz II on May 10, 1899 in Omaha, Nebraska. Fred began performing at about the age of four with his older sister Adele. Their mother took them to New York in 1903 where they began performing in vaudeville as a specialty act. Of the two it was Adele, by all accounts a charmer on stage and off, who got the better reviews and was seen as the natural talent.

By the time Fred was ten years old, he and his sister were making about $50 a week on the famed Orpheum Circuit. As they traveled the country, their reputation grew and by 14 Fred had taken over the responsibility of creating steps and routines for their act. He also hunted for new songs as he was able, which led to a chance meeting in 1916 with then song plugger George Gershwin. Although the two did not work together then, they’d have profound effects on each other’s careers in the future, including the Astaires headlining George and Ira Gershwin’s first full-length New York musical, Lady, Be Good! in 1924.

Unlike her driven brother, Adele did not even like to rehearse. For Fred’s constant badgering to rehearse she ascribed him the nickname “Moaning Minnie.” Fred later admitted the nickname fit because he worried about everything. Between Fred’s attention to detail and Adele’s charm for an audience, the Astaire’s reviews usually read like this, “Nothing like them since the flood!”

Fred and Adele made it to Broadway in 1917 with Over the Top, a musical revue in two acts, and never looked back. Their other hits in New York and London included the Gershwin smash, Funny Face (1927), where Adele got to introduce “‘S Wonderful” and the Schwartz-Dietz production of The Band Wagon (1931), Adele’s final show before retiring to marry Lord Charles Cavendish in 1932. At the time she and her brother Fred were the toast of Broadway.

The Astaires, Adele and Fred

After his sister retired, Fred starred in Cole Porter’s A Gay Divorce, his last Broadway show before heading west to Hollywood where he was signed by David O. Selznick at RKO. Legend goes that of Fred Astaire someone in Hollywood said after watching his screen tests, “Can’t act; slightly bald; can dance a little.” If true, those are words by someone who had a terrible eye for talent, but I doubt they are true because at the time Fred Astaire was a huge international star. The likelihood that someone in Hollywood didn’t know that is slim. David O. Selznick had seen Fred Astaire on Broadway and described him as “next to Leslie Howard, the most charming man on the American stage.” What was true is that Fred Astaire did not look like the typical movie star. He was 34 years old at the time, an age considered old for movie stardom. In fact, Astaire’s mother insisted he should just retire since he’d been in the business from such a young age. We can only be thankful he ignored her request.

Not sure what to do with him, or perhaps to see what he could do, Selznick lent Astaire to MGM where he made his first picture dancing with Joan Crawford in Robert Z. Leonard’s Dancing Lady (1933). Flying Down to Rio experienced some delays, but it was ready to go after Dancing Lady so Fred returned to RKO to do “The Carioca” with a contract player named Ginger Rogers.

By the time Fred Astaire made his first picture, Ginger Rogers had made about 20. She was under contract with RKO and excelled at sassy, down-to-Earth types. In 1933 Ginger had gotten lots of attention singing “We’re in the money” in Gold Diggers of 1933 (1933) and in 42nd Street. She did not have top billing in either of those, but the public noticed her.

Ginger Rogers was born Virginia Katherine McMath in Independence, Missouri on July 16, 1911. Her first few years of life were confusing ones. Her parents were divorced and Ginger was kidnapped by her father until her mother, Lelee (or Lela), took him to court. In need of a job, Ginger’s mother left her with her grandparents while looking for a job as a scriptwriter.

Lelee met and married John Rogers in 1920 and, for all intents and purposes, he became Ginger’s father. The family moved to Dallas where, at the age of 14, Ginger won a Charleston contest, going on to become Charleston champion dancer of Texas. The prize was a 4-week contract on the Vaudeville Interstate circuit. Lela took management of her daughter and put together an act called “Ginger and Her Redheads.” Ginger continued to perform on her own after the Redheads were disbanded eventually going to New York where she was seen by the owner of the Mocambo night club who recommended her to friends for the Broadway show Top Speed. 

Ginger was making two-reelers in New York when she was offered a Paramount contract making her feature appearance in Monta Bell’s Young Man of Manhattan (1930) starring Claudette Colbert. At about that time, she was cast as the lead in the Gershwin musical Girl Crazy, which – by happenstance one afternoon – offered her the opportunity to dance with Fred Astaire for the first time ever. Astaire had been brought in to the Girl Crazy production to see if he could offer suggestions for the routines. Ginger was asked to show him one of the main numbers to which he said, “Here Ginger, try it with me.”

After that Ginger and Lela headed to Hollywood and the picture business in earnest. Ginger made a few forgettable pictures for Pathé before being cast as Anytime Annie in 42nd Street and singing that number about money in Golddiggers of 1933. Both of those gave Ginger Rogers ample opportunity to show off her comedic skills. These types of parts, funny flappers, were definitely in the cards for Ginger Rogers until fate intervened when Dorothy Jordan, who was scheduled to dance “The Carioca” with Fred Astaire in Flying Down to Rio, married Merian C. Cooper instead. Ginger was by now under contract with RKO and was rushed onto the set of Flying Down to Rio three days after shooting had started.

“They get up and dance” in 1933

The stage direction in the original screenplay for Flying Down to Rio simply read, “they get up and dance.” Ginger Rogers was billed fourth and Fred Astaire fifth showing she was the bigger star at the time. In looking at Astaire and Rogers doing “The Carioca” in Flying Down to Rio one doesn’t get the impression that these are legends in the making. Ginger agreed as she wrote in her memoir that she never would have imagined what was to come from that dance. “The Carioca” is exuberant, youthful, and fun, but certainly lesser than most of the routines the couple would perform in subsequent films. I say that because we can now make a comparison. At the time audiences went crazy for “The Carioca” and the dancers who performed it, their only number together in the Flying Down to Rio and only role aside from the comic relief they provide. The picture was, after all, a Dolores Del Rio and Gene Raymond vehicle.

Doing the Carioca in Flying Down to Rio

Hermes Pan’s first assignment at RKO was to find Fred Astaire on stage 8 to see if he could offer assistance. Fred showed him a routine and explained he was stuck in a part for the tap solo in Flying Down to Rio. Hermes offered a suggestion and another legendary movie pairing was made. Pan worked on 17 Astaire musicals thus playing a key role is making Fred Astaire the most famous dancer in the world.

Pan explained that he went to early previews of Flying Down to Rio and was surprised to see the audience cheer and applaud after “The Carioca” number. The studio knew they had something big here and decided to capitalize on the Astaire-Rogers pairing.

When RKO approached Fred Astaire about making another picture paired with Ginger Rogers, Astaire refused. After years being part of a duo with Adele, the last thing he wanted was to be paired permanently with another dancer. If he was to do another picture he wanted an English dancer as his partner, they were more refined. Pandro Berman told him, “the audience likes Ginger” and that was that. Astaire was at some point given a percentage of the profits from these pictures and the worries about working with Ginger subsided. Ginger’s contribution to the pairing was not considered important enough to merit a percentage of the profits.

The Gay Divorcee (1934)

The Gay Divorcee offers ample opportunity to fall in love with the Astaire-Rogers mystique. The first is a beautiful number shot against a green screen backdrop, Cole Porter’s “Night and Day.” Fred as Guy professes his love for Mimi (Ginger), mesmerizing her with dance until she is completely taken by the end. He, so satisfied, offers her a cigarette.

Later in the film the two, now reconciled after a huge mix-up, dance “The Continental.” The song is introduced by Ginger who is swept off her feet to join the crowd in the elaborate production number. Needless to say Fred and Ginger clear the floor with outstanding choreography. “The Continental” sequence lasts over 17 minutes, the longest ever in a musical holding that record until Gene Kelly’s 18-minute ballet in An American in Paris in 1951. “The Continental” was clearly intended to capture the excitement of “The Carioca” and exceeds that by eons with enthusiasm and gorgeous execution by these two people whose chemistry is palpable. No one could have known if either Fred or Ginger could carry a movie, but The Gay Divorcee proved they were stars of unique magnitude. For 85 years dance on film has never been bettered and that’s why I celebrate this anniversary with all the enthusiasm I could muster as my contribution to The Anniversary Blogathon sponsored by the Classic Movie Blog Association (CMBA), which is celebrating its tenth year of classic love.

Doing The Continental in The Gay Divorcee

Fred always gets a solo number in these pictures, by the way and, as you’d expect, they’re wonderful. Many times these take place in hotel rooms all of which – luckily – have fantastic floors for tap dancing. In addition, The Gay Divorcee has the added attraction of a routine with Edward Everett Horton and Betty Grable, who has a small part in the picture.

Fred Astaire and Hermes Pan would begin work on the routines up to six weeks before the principal photography was scheduled to start on the pictures. Pan played Ginger’s part and would teach her the routines once she arrived to start rehearsals. Her part was long and arduous and Fred Astaire always said he admired her work ethic as she gave everything she had to make those routines memorable and match him move for move. Fred was also impressed by Ginger being the only one of his female partners who never cried. As they say, she did everything he did “backwards and in heels,” which by the way, is a phrase born in the following Frank and Ernest cartoon.

The unfailing result of their work together is absolute beauty in human form. Ginger Rogers completely gave herself to Fred Astaire, was entirely pliable to his every whim in dance. This is why they became legend. Fred may have partnered with better dancers and I certainly cannot say whether that’s true or not, but what he had with Ginger Rogers was special. The Gay Divorcee was only the beginning.

As for working with Fred again, Ginger had no worries. She enjoyed the partnership and the dancing and was fulfilled by doing various other parts at the same time. While Fred and Hermes worked on the routines she was able to make small pictures for different studios appearing in seven in 1934 alone.

Roberta (1935)

Fred and Ginger’s next movie together is William Seiter’s Roberta where they share billing with one of RKO’s biggest stars and greatest talents, Irene Dunne. Here, Fred and Ginger have the secondary love affair as old friends who fall in love in the end. As they do in most of their movies, Fred and Ginger also provide much of the laughs. The primary romantic pairing in Roberta is between Dunne and Randolph Scott.

The film’s title, Roberta is the name of a fashionable Paris dress shop owned by John Kent’s (Scott) aunt and where Stephanie (Dunne) works as the owner’s secretary, assistant, and head designer. The two instantly fall for each other.

Huck Haines (Astaire) is a musician and John’s friend who runs into the hateful Countess Scharwenka at the dress shop. Except Scharwenka is really Huck’s childhood friend and old love, Lizzie Gatz (Rogers). Fred and Ginger are wonderful in this movie, which strays from the formula of most of their other movies except for the plot between Irene Dunne and Randolph Scott, which is actually similar to that of other Astaire-Rogers movies. Again, aside from the dancing Fred and Ginger offer the movie’s comic relief and do so in memorable style with Ginger the standout in that regard.

There are quite a few enjoyable musical numbers in Roberta. Huck’s band performs a couple and Irene Dunne sings several songs including the gorgeous “When Smoke Gets in Your Eyes” and a beautiful sequence on stairs during a fashion show to “Lovely to Look At,” which received the film’s only Academy Award nomination for Best Music, Original Song. That number transitions into a Fred and Ginger duet and dance to “Smoke Gets in Your Eyes” followed closely by an exuberant finale number.

Fred and Ginger in Roberta

Early in Roberta, at the Cafe Russe, Ginger is delightful singing “I’ll be Hard to Handle” with the band. She and Fred follow with a supremely enjoyable duet with their feet, a routine where each answers the other with taps. I believe there were requests for them to re-record the taps after the live taping as you can hear Ginger laughing during the routine, but Fred insisted to leave it as is. The result is a relaxed, wonderfully entertaining sequence I hadn’t seen in years. The pantsuit Ginger wears during this number is fabulous.

I’ll Be Hard to Handle routine in Roberta

Later, Ginger and Fred sing a duet to “I Won’t Dance” with Fred following with an extraordinary solo routine. This may be my favorite of his solo sequences, which includes an unbelievably fast ending.

Astaire in Roberta

Fred Astaire was perfection on the dance floor and, as many have said, seemed to dance on air. None of it came without excruciating hard work, however. Astaire was known for rehearsing and losing sleep until he felt every movement in every sequence was perfect. He stated he would lose up to 15 pounds during the rehearsals for these films. Clearly, nothing had changed since his days preparing for the stage with his sister.

Fred Astaire fretted over routines constantly. He could not even stand looking at the rushes himself so he would send Hermes Pan to look and report back. Astaire admitted that even looking at these routines decades later caused him angst. Of course, his absolute dedication to perfection, pre-planning even the smallest detail of every dance number, resulted in much of the legend of Fred and Ginger. Fred’s demands on set also made the pictures epic among musicals. Astaire insisted, for instance, to shoot every single sequence in one shot, with no edits. He also insisted that their entire bodies be filmed for every dance number and that taps be recorded live. He was known to say that either the camera moved or he moved. One of the cameramen at RKO who worked on the Astaire-Rogers pictures said that keeping Fred and Ginger’s feet in the frame was the biggest challenge. All of these Fred Astaire stipulations ensured that the performances are still moving many decades after they were filmed and all of them are as much a statement in endurance as they are in artistry.

Top Hat 

Directed by Mark Sandrich, Top Hat is the first film written expressly for Fred Astaire and Ginger Rogers by Deight Taylor and Alan Scott and feels bigger from its catchy opening sequence on forward than the other movies in the series to this point. This is perhaps the most well regarded of the Astaire-Rogers movie pairings and it’s no wonder because it’s delightful even though it shares several similarities with The Gay Divorcee. Joining Fred and Ginger once again are Edward Everett Horton in the second of three Fred and Ginger pictures he made, Eric Blore in the third of five, and Erik Rhodes in his second. To my delight Rhodes dons that wonderful, hilarious Italian accent, which by the way, got him barred by Mussolini. Joining the group in this picture is Helen Broderick as Madge Hardwick, Horton’s wife.

The story in Top Hat begins when Fred as Jerry Travers meets Ginger as Dale Tremont when he wakes her up by tap dancing in the hotel room above hers. She is naturally annoyed, but warms up to him fairly quickly the next day as he seeks her favor with Irving Berlin’s “Isn’t This a Lovely Day?” when the two are in a gazebo during a rainstorm. The song ends in a wonderful dance sequence that starts off as a challenge, but warms to affection. I should add we see here what we see in many Astaire-Rogers routines that is so darn exciting – when they don’t touch. The gazebo number is not as emotionally charged as others the couple executes because it is the lighthearted one in the picture, the one during which he woos her with dance. By the end of this number she is sold on him and what prospects may lay ahead.

It’s a lovely day to be caught in the rain from Top Hat

Unfortunately, after the gazebo number some confusion ensues as Dale believes Jerry is married to one of her friends. This is the requisite mistaken identity. It is Horace Hardwick (Horton) who’s married, not Jerry. Some innocent games and trickery take place before Dale is hurt and Jerry has to win her over once again. Then heaven appears.

“Heaven, I’m in heaven And the cares that hung around me through the week Seem to vanish like a gambler’s lucky streak When we’re out together dancing cheek to cheek”

These songs are standards for a reason. It just does not get better than that.

To continue the story – at the insistence of Madge Hardwick, Dale and Jerry dance as he sings those lyrics to her. She is mesmerized, wanting to believe him wearing that famous feather dress. They move onto a terrace in each other’s arms as the music swells.

A gorgeous, sexy backbend during Cheek to Cheek in Top Hat

Once again, the song is over and her heart is stolen. She’s seduced. And so are we.

One of the few times Ginger seriously disagreed with Fred concerning a routine was her stance on the feather dress for the “Cheek to Cheek” sequence. Fred hated it. During the number feathers went everywhere, including in his face and on his tuxedo. Ginger designed the dress and insisted she wear it, despite the cost of $1,500 worth of ostrich feathers. She was right. While you can see feathers coming off the dress during the number, none are seen on Fred’s tuxedo, but it doesn’t matter because it moves beautifully and adds immeasurably to the routine.

The feather dress didn’t stay there. In fact, it stayed with Ginger for some time as thereafter, Astaire nicknamed her “Feathers.” After what Ginger described as a difficult few days following the feather dress uproar, she was in her dressing room when a plain white box was delivered. Inside was a note that read, “Dear Feathers. I love ya! Fred”

Fred Astaire has two solo routines in Top Hat, “No Strings” at the beginning of the movie, the tap dance that wakes Dale, and “Top Hat, White Tie and Tails,” a signature production number considered one of his best.

Following in the tradition of “The Carioca” and “The Continental,” Top Hat features “The Piccolino,” an extravagant production number with song introduced by Ginger who said that Fred was supposed to sing the tune and hated it so he told Sandrich to give it to Ginger. In any case, she and Fred join the festivities with only their feet visible heading toward the dance floor, reminiscent of the movie’s opening sequence. It’s quite the rush as you see their feet advancing toward the dance floor, I must say.

“The Piccolino” is lively and fun, a terrific routine with a fun ending as the two end the number by sitting back at their table with Ginger having to fix her dress, a beautiful dress that made it to the Smithsonian.

Fred and Ginger doing The Piccolino

Top Hat premiered at New York’s Radio City Music Hall to record crowds. Added security had to be sent to the venue to ensure order. The movie went on to gross $3 million on its initial release, and became RKO’s most profitable film of the 1930s. 

Follow the Fleet (1936)

Mark Sandrich was back to direct Follow the Fleet, which I have a huge affection for. The Irving Berlin score in this film is superb with songs that take me back to my childhood and the memory of watching them on Saturday nights on our local PBS station. Fred, Ginger, Sandrich and the crew of Follow the Fleet heard about the record numbers of moviegoers attending Top Hat as they gathered to begin shooting this movie. The excitement certainly inspired them to make Follow the Fleet the cheerful, energetic movie it is. Although, Ginger hoped that by this, their third movie together, Mark Sandrich would recognize her worth it was not to be. She discusses his dislike of her a lot in her book.

Like in Roberta, Fred and Ginger’s relationship in Follow the Fleet is that of the secondary romantic couple supplying the laughs in the film despite the fact that they get top billing. The primary romance here is the one between Harriet Hilliard (in her first feature film) and Randolph Scott. The story is simple, Bake Baker (Astaire) and Bilge (Scott) visit the Paradise Ballroom in San Francisco while on Navy leave. At the ballroom are Connie Martin (Hilliard), who is immediately taken with Bilge, and her sister Sherry (Rogers), the dance hostess at the ballroom who also happens to be the ex-girlfriend of Bake’s. Sherry and Bake reunite by joining a dance contest and winning (of course), but it costs Sherry her job.

In the meantime, Connie starts talking about marriage to Bilge who is instantly spooked sending him into the arms of a party girl. Bake tries to get Sherry a job in a show, which entails a mistaken identity amid more confusion until things clear up and the two are successful, heading toward the Broadway stage. The confusion here comes by way of some bicarbonate of soda, in case you’re wondering.

Follow the Fleet is a hoot with several aspects straying from the usual Fred-Ginger formula. To begin, Fred Astaire puts aside his debonair self and replaces him with a much more informal, smoking, gum-chewing average guy. It’s enjoyable seeing him try to be common. Fred opens the movie with Berlin’s wonderful “We Saw the Sea,” the words to which I remembered during the last viewing, quite the surprise since I had not seen Follow the Fleet in decades. Later in the movie he gets another solo tap routine on deck of his ship with fellow seamen as accompaniment. Both instances are supremely enjoyable as one would expect.

Fred during one of his solo routines in Follow the Fleet

Ginger does a great rendition of “Let Yourself Go” with Betty Grable as a back-up singer. A bit later there’s a reprise of the fabulous song during the contest, the dance reunion of Bake and Sherry. According to Ginger, a search through all of Hollywood took place in hopes of finding other couples who could compete with Fred and her. This may already be getting old, but here you have another energetic, enjoyable routine by these two masters. The whistles from the crowd at the Paradise Ballroom show the audience enjoy it as well.

The Let Yourself Go routine during the dance contest in Follow the Fleet

As part of an audition, Ginger gets to do a solo tap routine, a rarity in these movies and it’s particularly enjoyable to watch. Unfortunately, Sherry doesn’t get the job as a result of the audition even though she’s the best the producer has seen. Thinking that he’s getting rid of her competition (mistaken identity), Bake prepares a bicarbonate of soda drink, which renders the singer incapable of singing. Sherry drinks it and burps her way through the audition.

Sherry during the rehearsal, a solo tap for Ginger in Follow the Fleet

Now rehearsing for a show, Bake and Sherry sing “I’m Putting All My Eggs in One Basket” followed by a wonderfully amusing routine where Ginger gets caught up in steps leaving Fred to constantly try to get her to move along. During the number the music also changes constantly and they have fun trying to stay in step be in a waltz or jazz or any number of music moods. This routine is a rare one for Fred and Ginger whose dance sequences are usually step perfect. It looks like they have a blast with this including a few falls and a fight instigated by Ginger.

“Eggs in One Basket” routine from Follow the Fleet

Fred and Ginger follow the comical exchange in “I’m Putting All My Eggs in One Basket,” with one of their greatest sequences, another rarity in that this one happens out of character for both in the movie. The wonderful “Let’s Face the Music and Dance” and the routine to it make as iconic an Astaire-Rogers sequence as has ever put on film. The song and the performance tell a mini story outside of the confines of the plot. This is a grim tale executed with extraordinary beauty as we see two suicidal people happen upon each other and are saved from despair through dance. Again, kudos to Berlin’s genius because the lyrics of this song are sublime.

“There may be trouble ahead But while there’s moonlight and music And love and romance Let’s face the music and dance”

Ginger is a vision as Fred guides her across the dance floor. The dance starts off with a sway, they are not touching, he’s leading her, but she’s despondent at first, unable to react to his urging that there is something to live for. As that beautiful music advances she responds and in the process conquers demons. The routine ends as the music dictates in dramatic fashion with a lunge, they are both now victorious and strong. Magnificent. The movie concludes minutes later because…what more is there to say?

“Let’s Face the Music and Dance” Fred and Ginger

Ginger in beaded dress for “Let’s Face the Music and Dance”

Ginger is wearing another legendary dress in the “Let’s Face the Music and Dance” routine. Created by one of her favorite designers, Bernard Newman, the dress weighed somewhere between 25 and 35 pounds. The entire thing was beaded and moved beautifully along with Ginger. Fred Astaire told the story of how one of the heavy sleeves hit him in the face hard during the first spin in the dance. They did the routine about 12 times and Sandrich decided on the first. If you look closely you can see Fred flinch a bit as Ginger twirls with heavy sleeves near his face at the beginning of the dance, which is affecting, beautifully acted by both, but particularly Ginger in the arms of Fred Astaire.

Lucille Ball plays a small role in Follow the Fleet and can be seen throughout the film and a couple of times during the “Let’s Face the Music and Dance” sequence. Also, Betty Grable makes an appearance in a supporting role. Harriet Hilliard sings two songs in Follow the Fleet as well, but to little fanfare.

By Follow the Fleet Fred Astaire and Ginger Rogers were top box office draws as a team. America was in love with Fred and Ginger. And they still hadn’t reached the apex of dance.

Swing Time (1936)

Swing Time was directed by George Stevens, his first musical, made when he was the top director at RKO Pictures. As I watched these films in succession I noticed something I never had before, Fred and Ginger’s dancing in Swing Time is more mature than in previous films. The emotionally-charged “Never Gonna Dance” sequence has always been my favorite, but I had never considered that it is because Astaire and Rogers are at their peak. This, they’re fifth starring outing as a pair, is their best.

The plot of Swing Time is similar to that of Top Hat to include the ever-present mistaken identity theme, but this movie is wittier and more inventive and clever surrounding memorable songs by Dorothy Fields and Jerome Kern. The story here begins as dancer and gambler, Lucky Garnett (Astaire) arrives late for his own wedding to Margaret Watson (Betty Furness). Angry at the young man’s audacity, the father of the bride tells Lucky that the only way he can marry his daughter is to go to New York and become a success. Lucky heads East with his lucky quarter and constant companion Pop Cardetti (Victor Moore).

Once in New York the stage is set for a chance meeting between Lucky and Penny Carroll (Rogers). The encounter leads to the first routine in the movie to the glorious “Pick Yourself Up” at the dance academy where Penny works as an instructor. The exchange leading up to the dance sequence is quite enjoyable as Lucky makes believe he can’t dance as Penny tries in vain to teach him. His fumbling on his feet causes her to be fired by the furious head of the dance studio, Mr. Gordon (Eric Blore). To make it up to Penny, Lucky pulls her to the dance floor to show Gordon how much she has taught him and she delights in seeing his amazing dancing ability. The routine that ensues is energetic, fun, and the movie’s acquaintance dance after which Penny is completely taken with Lucky.

During the “Pick Yourself Up” routine in Swing Time

Watching Ginger transition from angry to incredulous to gloriously surprised to such confidence that the dance floor can’t even contain them is simply wonderful. As the dance progresses her joy grows naturally illustrated by such details as throwing her head back or giggling as Fred, who’s the wiser, wows her. And she, in turn, gives Gordon a few hard looks as he sits there making memorable Eric Blore faces. At the end of the dance their relationship is different and Gordon is so impressed he gets them an audition at the Silver Sandal Nightclub where they enchant the patrons and are hired. Incidentally, since Fred’s mood, shall we say, is what initiates and dictates these routines he has little emotional change through these mini stories. The journey is mostly all hers.

Before they do the nightclub act, Lucky sings “The Way You Look Tonight” to Penny while her hair is full of shampoo. The song won the Academy Award for Best Music, Original Song. Penny and Lucky are now in love. That night at the nightclub, Penny tells Lucky that bandleader Ricardo Romero (Georges Metaxa) has asked her to marry him many times so it’s no surprise when Romero squashes their chance to perform. That is until Lucky wins Romero’s contract gambling and sets the stage for the “Waltz in Swing Time”

“The Waltz in Swing Time” seems to me to be one of the most complex of the Astaire-Rogers dance sequences. Performed at the gorgeous art deco club, this routine is as airy as it is masterful. Fred and Ginger lovingly looking at each other throughout as twists and turns and light taps happen around them. Gosh, they are awe-inspiring.

The Waltz in Swing Time

The next day Lucky does all he can to avoid a love-making scene with Penny. He’s in love with her, but remembers he’s engaged to another woman and hasn’t told her. Meanwhile Pop spills the beans to Mabel (Helen Broderick, the fourth wheel in this ensemble.) A kissless Penny and a frustrated Lucky sing “A Fine Romance” out in the country and Ginger once again gives a lesson in acting. I’ve noted in other posts about how acting in song is never taken too seriously by people and this is another example. Ginger Roger’s reviews in these films were often mediocre with the praise usually going entirely Astaire’s way. Admittedly, Astaire-Rogers films are not dramatic landscapes that allow for much range, but the fact that Ginger manages believable turns in the routines and in all of the sung performances should be noted. She had an air of not taking the films and roles too seriously, but still managed a wide range of emotion, particularly when the time came to emote in dance. That only made her all the better and often the best thing in the movies aside from the dancing.

Fred Astaire has a wonderful production number, “The Bojangles of Harlem,” in Swing Time even though he performs in blackface. The number is intended to honor dancers like Bill ‘Bojangles’ Robinson who were influential to Fred Astaire. Aside from Fred’s indelible dancing in the sequence, the number is memorable for introducing special effects into Fred Astaire dance routines as he dances with huge shadows of himself. The effect was achieved by shooting the routine twice under different lighting. “Bojangles of Harlem” earned Hermes Pan an Academy Award nomination for Best Dance Direction.

As our story continues – Penny and Lucky are definitely into each other and Ricardo is still wooing Penny when Margaret shows up to spoil the festivities. Actually, she comes to tell Lucky she’s in love with someone else, but doesn’t have a chance to say it before Penny is heartbroken.

And so here we are…we see Penny and Ricardo talking. Given the situation with Lucky – his impending marriage and his losing their contract while gambling – she feels she has no choice but to marry Ricardo. Lucky walks in. Two heartbroken people stand at the foot of majestic stairs as he begins to tell her he’ll never dance again. Imagine that tragedy. The music shifts to “The Way You Look Tonight” and “The Waltz in Swing Time” throughout. Ginger, who had gone up the stairs, descends and the two walk dejectedly across the floor holding hands. The walks gathers a quiet rhythm until they are in each other’s arms dancing. Still, she resists, attempts to walk away, but he refuses to let her go until she succumbs, joining him in energetic rhythm, two people in perfect sync as the music shifts to past moments in their lives together – shifts between loud and quiet, fast and slow, together and apart – mimicking the turmoil of the characters in that time and place.

Ginger’s dress here is elegantly simple as if not to detract from the emotion of the piece, which is intense. Everything about this routine is absolutely gorgeous.

Fred and Ginger split toward the end of the number, each going up an opposite staircase on the elaborate set. They reach the top where the music reaches its crescendo. The two dance, a flurry of turbulent spins. Until she runs off leaving him shattered. And me.

To my knowledge, the “Never Gonna Dance” sequence in the only one where a cut had to happen during the dance in order to get the cameras to the top of the stairs. This is the famous routine that made Ginger’s feet bleed. One of the crew noticed her shoes were pink and it turned out to be that they were blood-soaked. Also notable is that the number was shot over 60 times according to Ginger and several other people there. At one point George Stevens told them all to go home for the night, but Fred and Ginger insisted on giving it one more try. That was the take that’s in the movie. Once done the crew responded enthusiastically.

In the end of Swing Time, as is supposed to happen, Lucky manages to interrupt Penny’s marriage to Ricardo and makes her all his own.

Ginger looks stunning in Swing Time. For details on her Bernard Newman designs in the film I suggest you visit the Glam Amor’s Style Essentials entry on this film.

Despite the many wonderful things about Swing Time, the movie marked the beginning of audience response to Fred and Ginger movies declining. The movie was still a hit, but receipts came in slower than expected. The Fred Astaire-Ginger Rogers partnership never quite gained the same momentum as it did up to this point in their careers together. Although the pair was still an asset for RKO and they had many more memorable on-screen moments to share.

Shall We Dance (1937)

In 1937 Astaire and Rogers made Shall We Dance with Mark Sandrich at the helm once again. Edward Everett Horton and Eric Blore are also on hand for the film that featured the first Hollywood film score by George and Ira Gershwin.

The plot of Shall We Dance is a bit convoluted, but still enjoyable. Fred plays Peter P. Peters a famous ballet dancer billed as “Petrov” who yearns to do modern dance. One day he sees a picture of famous tap dancer Linda Keene (Ginger) and sees a great opportunity to blend their styles. Similar to their other movies, Fred falls in love with Ginger at first sight. It takes her longer to recognize his graces, but eventually falls hard for him too. That is, after many shenanigans and much confusion when she gets angry and hurt and then he has to win her over again.

Fred has a terrific solo routine here with “Slap That Base,” which takes place in an engine room using the varied engine and steam sounds to tap to. Ginger later does an enjoyable rendition of the Gershwin classic, “They All Laughed (at Christopher Columbus),” which leads to a fun tap routine for the duo. For this Ginger is wearing that memorable flowered dress by Irene who dressed her for this movie. This “They All Laughed” sequence is where he woos her and where she cannot help falling for him.

Soon after “They All Laughed” Fred and Ginger call the whole thing off in the classic sequence that takes place in New York’s Central Park on roller skates. At this point in the story the tabloids have reported the two are married and, having fallen for each other, they don’t know what to do. “Let’s Call the Whole Thing Off” was written by the Gershwins in New York prior to the making of Swing Time. The brothers brought the song with them to Hollywood and it works perfectly in the comedic scene with both Astaire and Rogers taking turns with verses of the catchy tune before starting the roller skating tap routine.

Unable to stop the rumors that they are married, Pete and Linda decide to actually marry in order to later divorce. The problem is that they’re both crazy about each other, which he demonstrates with one of the most romantic songs ever written, “They Can’t Take that Away From Me.” This song was a personal favorite of both Fred and Ginger. So much so, in fact, that the song was used again in their final film together, their 1949 reunion movie, The Barkleys of Broadway. “They Can’t Take That Away From Me” remains the only occasion on film when Fred Astaire permitted the repeat of a song previously performed in another movie.

George Gershwin died two months after Shall We Dance was released in May 1937. He was posthumously nominated for an Academy Award, along with his brother Ira, for Best Original Song for “They Can’t Take That Away From Me.”

The finale of Shall We Dance is an odd production number. Fred dances in front of dozens of women donning Ginger Rogers masks. Pete Peters decided if he can’t dance with Linda Keene then he’ll dance with many of the next best thing. The real Linda joins him for the final act, touched by his attempt to clone her. The end.

Carefree (1938)

Carefree is probably the Astaire-Rogers movie I’ve seen least and it was refreshing to take a new and improved look at it for this tribute. Mark Sandrich directs Fred and Ginger for the last time in this romantic comedy, the shortest of their films, which attempts a new story flavor for our stars with Irving Berlin tunes.

Stephen Arden (Ralph Bellamy) asks his Psychiatrist friend Dr. Tony Flagg (Astaire) to meet with his fiancée  Amanda Cooper (Rogers). Immediately we know Arden’s in trouble because Ralph Bellamy never gets the girl, but anyway… Amanda is having trouble committing to marrying Stephen and agrees to see Tony who immediately decides she needs to dream in order for him to decipher her unconscious. After having all sorts of odd foods for dinner Amanda dreams, but of Dr. Tony Flagg, not Stephen. Embarrassed by her dream, Amanda makes up a weird tale, which leads Tony to think she has serious psychological issues that only hypnosis can fix. In slapstick style, Stephen comes by Tony’s office to pick up Amanda and without realizing she’s hypnotized lets her run free on the streets causing all sorts of havoc.

Fed Astaire does a terrific routine early in Carefree where he hits golf balls to music. I know nothing about golf, but recognize this is quite astounding. In a 1970s interview, Fred commented on the scene with some affection saying it was not easy and couldn’t believe he was asked to do another take when the balls were ending off camera.

Amanda’s dream allows for a beautiful, fantasy-like routine to Irving Berlin’s “I Used to Be Color Blind” made famous because Fred and Ginger share the longest kiss here than in any other one of their movies. It happens at the end of the sequence done in slow motion, which definitely causes swooning. About the kiss Fred Astaire said, “Yes, they kept complaining about me not kissing her. So we kissed to make up for all the kisses I had not given Ginger for all those years.” Fred was not a fan of mushy love scenes and preferred to let his kissing with Ginger in movies be alluded to or simple pecks, but he gave in partly to quell the rumors that circulated about he and Ginger not getting along. As Ginger told the story, Fred squirmed and hid as the two reviewed the dance and she delighted in his torture. She explained that neither of them expected the long kiss as it was actually a peck elongated by the slow motion. That day she stopped being the “kissless leading lady.”

The longest kiss Fred and Ginger ever shared on-screen from Carefree

By the way, Ginger is wonderful in the sequence when she’s hypnotized. She gets an opportunity to showcase her comedic skills in similar fashion than she does in Howard Hawks’ Monkey Business (1952) opposite Cary Grant.

At the club one evening Ginger kicks off “The Yam” festivities. According to Ginger this is another instance where Fred didn’t like the song so he pawned it off on her. Who could blame him? Silly at best, “The Yam” is a dance craze that never actually catches fire as it doesn’t have the panache of “The Continental.” These people give it all they have, however, and the evening looks like an enjoyable one. Or, at least I would have loved to be there. Of course Tony joins Amanda in doing “The Yam” before the crowd joins in. As an aside, Life Magazine thought Fred and Ginger doing “The Yam” was worthy of a cover on August 22, 1938.

After yamming it up, Amanda is determined to tell Stephen she’s in love with Tony, but he misunderstands and thinks she professes her love for him. Suddenly Stephen announces their engagement. It’s a total mess that Tony tries to fix through hypnosis, which backfires supremely. Thank goodness everything straightens itself out in the end.

Before getting to the final, exceptional routine in Carefree the supporting cast deserves a mention. Louella Gear joins the fun in Carefree as Aunt Cora, in the same vein as Alice Brady and Helen Broderick in Fred and Ginger movies before her. Hattie McDaniel makes a brief appearance albeit as a maid, but it’s better to see her than not and Jack Carson has a few enjoyable scenes as a brute who works at the psychiatrist’s office.

After Amanda tells Tony she’s in love with him, he hypnotizes her to hate him because he doesn’t want to betray Stephen. When Tony realizes he loves Amanda it’s too late, she’s left his office to be happy with Stephen, avoiding Tony at all costs. But at the club one evening, Tony manages to find a few moments alone with her outside and what results is a sexy number during which she’s completely under his spell. In fact, this may be Fred and Ginger’s sexiest routine. “Change Partners and Dance With Me,” which begins inside as she dances with Stephen, is another beautiful song from Irving Berlin, which received one of the three Academy Award nominations for Carefree for Best Music, Original Song. The other two Oscar nods were for Best Art Direction and Best Music, Scoring.

Howard Greer designed Ginger’s gowns for Carefree and the one she wears in the impassioned “Change Partners and Dance With Me” dance is absolutely stunning.

Ginger is under Fred’s Spell in Carefree

The Story of Vernon and Irene Castle (1939)

The Story of Vernon and Irene Castle directed by H. C. Potter is the ninth of ten dancing partnership films of Fred Astaire and Ginger Rogers, the last of their musicals in the 1930s and for RKO, and the only one of their films based on a true story and real people.

Vernon and Irene Castle were a husband-and-wife team of ballroom dancers and dance teachers who appeared on Broadway and in silent films in the early 20th century. Hugely popular, the Castles were credited with popularizing ballroom dance with a special brand of elegance and style. Their most popular dance was the Castle Walk, which Fred and Ginger do in the movie. In fact, they replicate most of the Castle’s dances as closely to the original as possible. As you’d expect from Fred Astaire.

Irene Castle served as a Technical Advisor on The Story of Vernon and Irene Castle and the story goes that she eventually disowned the film because of the film’s lack of authenticity. In defense of some of the changes though, 1934 censorship restrictions were quite different than those in the 1910s. The differences affected costuming and casting at every level of the film. That said, Variety��gave The Story of Vernon and Irene Castle a glowing review and the public received it warmly.

Ginger and Fred as Irene and Vernon Castle

It must be mentioned that The Story of Vernon and Irene Castle features two of the greatest character actors who ever lived. Edna May Oliver plays the Castle’s manager Maggie Sutton and Walter Brennan plays Walter, Irene’s majordomo, for lack of a better word, since she was a child. Both of these characters were changed dramatically for the film due to production code restrictions. The real Maggie Sutton (real name Elizabeth Marbury) was openly a lesbian and the real-life Walter was a black man. Neither of those suited the production code mind for broad appeal across the country.

Fred and Ginger do a fine job in this movie. The dances are pretty if not as elaborate as those Astaire and Rogers performed in their other movies. It is exciting to see them do a Tango, a dance I am particularly fond of. However, there is one other dance sequence in particular that moves me immensely, “The Missouri Waltz” at the Paris Cafe when Vernon returns from the war. The acting in the sequence is superb as you can feel the emotion jumping off of her as he picks her up in a gorgeous move during which she wraps herself around him. It’s stunning.

Ginger wrote in her book about the day they shot “The Missouri Waltz,” the last filmed in the movie and, to everyone’s mind, likely the last number she and Fred would ever do together. RKO was abuzz with rumors and people came from far and wide to watch them shoot it. They came from all around RKO, from Paramount and from Columbia to see this last dance. “This was a very dignified way to end our musical marriage at RKO.”

In 1939, after completing The Story of Vernon and Irene Castle, Astaire and Rogers split as you know. Astaire’s salary demands proved too much for RKO pictures. Fred Astaire went on to make movie musical magic in all manner of ways, both alone and with other outstanding talents, leaving a rich legacy of treasures. Ginger Rogers went on to prove herself a true quadruple threat. We knew by 1939 that she could sing, dance and be funny but now, determined to go into straight drama she reaches the pinnacle with an Academy Award-winning performance in Sam Wood’s, Kitty Foyle in 1940. I recognize Ginger’s dramatic talent in the time I spent watching the many dance routines she did with Fred Astaire, but in a time when movies were seen just once it’s difficult to think of other actors who make the transition from film genre to film genre so seamlessly as she did. Hers was a rare talent.

Since I already dedicated an entire entry to Fred and Ginger as The Barkleys of Broadway, Josh and Dinah Barkley, I will forego a full summary here. For now let’s relive the reunion.

Ten years after she made her last appearance on-screen with Astaire, Ginger Rogers walked onto the set of The Barkleys of Broadway. The cast and crew had tears in their eyes. This was special. She said her “hellos”, kissed Fred Astaire and they got to work.  At first Ginger explained that Fred seemed disappointed. Judy Garland was scheduled to make the picture with him, but was replaced by Ginger. All of that doesn’t matter though because as a fan, I cannot fathom what it must have been like for audiences in 1949. If people are out of their minds excited about the release of a superhero film today, if audiences drool over a new and rehashed installment of Spiderman, imagine seeing legends together again after a ten-year sabbatical. I would have had to take a Valium. I get chills just thinking about it, and admit a bit of that happens when I watch The Barkleys of Broadway in my own living room. From the moment I see the opening credits, which are shown while the couple is dancing, quite happily – she in a gold gown and he in a tux, I mean, seriously, I’m verklempt right now. We are all happy to be together again.

Despite their great individual careers the magic of Fred Astaire and Ginger Rogers together cannot be replicated. And it wasn’t necessarily the dancing, or not the dancing alone, that made them a perfect pair. It was the glances, the touch, and the feel that made them magic. The spell of romance, real for the length of a composition, entranced. We all know Katharine Hepburn’s famous quote, “she gave him sex and he gave her class.” Well, Kate was not wrong. Fred Astaire was never as romantic as when he danced with Ginger. And Ginger, a down-to-Earth beauty, was never as sophisticated as when she danced with Fred.

Fred Astaire and Ginger Rogers brought prestige to RKO when it was in desperate need of it and joy to a nation hungry for respite from tough times. In a six-year span they established themselves as the best known, best loved dancing partners in the history of movies and have remained there for 85 years. I’ll end with these words by Roger Ebert, “of all of the places the movies have created, one of the most magical and enduring is the universe of Fred Astaire and Ginger Rogers.”

Sources:

The RKO Story

Ginger: My Story by Ginger Rogers

The Astaires: Fred & Adele by Kathleen Riley

As many Fred Astaire interviews as I could find.

Be sure to visit the Classic Movie Blog Association (CMBA) and The Anniversary Blogathon. There are many fantastic film anniversaries honored for this prestigious event.

85 Years of Fred Astaire and Ginger Rogers It was 85 years ago this week, in October 1934, that Mark Sandrich’s The Gay Divorcee…