#jerome cowan

[alfred-st-john]

Deadline at Dawn (1946)

[citizenscreen]

Afternoon tea with Ginger Rogers, Jerome Cowan, and Mark Sandrich on set of SHALL WE DANCE (1937)

[letterboxd-loggd]

Moontide (1942) Archie Mayo

September 25th 2024

[howardhawkshollywoodannex]

Jerome Cowan is one of the on-lookers to Joe E Brown's Adolph Hitler impression in Joan of Ozark (1942), filmed by Republic Pictures in North Hollywood. Republic was the elite of all the low budget second tier Hollywood studios, best known for their westerns.

[graceandfamily]

ACCENT ON YOUTH, from left, Jerome Cowan, Grace Kelly, Bucks County Playhouse, August 18-23, 1952

[kwebtv]

From the Golden Age of Television

Season 1 Episode 8

My Hero - Model of Blossom (aka The Lady Editor) - NBC - December 27, 1952

Sitcom

Running Time: 30 minutes

Written by Robert Cummings, Jack Elinson and Norman Paul

Produced by Edmund Beloin, Robert Cummings and Mort Greene

Directed by Leslie Goodwins and Oscar Rudolph

Stars:

Bob Cummings as Robert Beanblossom

John Litel as Willis Thackery

Julie Bishop as Julie Marshall

Dolores Moran as Rosalind Turner

Jerome Cowan as Mr. Norman

Fritz Feld as Maitre d'

[gracie-bird]

A 21 years old Grace Kelly and Jerome Cowan during the play "Accent of Youth" at the Bucks County Playhouse in New Hope, P.A.. This was Grace's second play at Bucks, which ran from August 17 to 23, 1952.

[gatutor]

Raymond Massey-Mary Astor-Jerome Cowan "Huracán sobre la isla" (The hurricane) 1937, de John Ford.

[twittercomfrnklin2001-blog]

The Unfaithful

Warner Bros. tried to pass off Vincent Sherman’s THE UNFAITHFUL (1947, TCM) as an original script, but anybody with half an ounce of film literacy can spot it as a remake of William Wyler’s THE LETTER (1940), albeit one made by people who didn’t understand the original very well. That’s not to fault the cast, who do what they can with the reimagined material. Both films deal with a woman who kills a man and lies about the circumstances. In 1940, that gave Bette Davis the opportunity to deliver one of her greatest and most restrained performances, a burning portrait of sexual hypocrisy. Ann Sheridan plays a nicer lady, who strayed while the husband (Zachary Scott) she wed quickly was off fighting World War II. Nonetheless, when she kills her former lover in self-defense, she lies to protect her husband’s feelings, even when lawyer Lew Ayres advises her to tell the truth. In place of the original’s depiction of racism and the colonial mentality, this film offers some cursory considerations of class and a more persuasive comment on the war’s effect on marital relations. By the time the script gets to Sheridan’s trial, it’s almost persuasive, though the last scene twists itself into pretzels trying to shoehorn its plot within the confines of the Production Code. Sheridan has some very good moments until the final scene, which I don’t think even Davis could have saved. Scott is OK as the husband, though playing a decent man robs him of a lot of his sexual mojo. Ayres works well, though you may wish they’d dropped the other shoe and made his character gay (forbidden under the Production Code, of course). You also get John Hoyt as the police detective on the case, Jerome Cowan as the apoplectic prosecutor, Steven Geray as a blackmailer (in this version instead of an incriminating letter it’s a bust of Sheridan made by the dead man) and some great views of Los Angeles in the late 1940s. The real performance honors, however, go to Eve Arden, whose role as Scott’s cousin has the most intriguing character arc in the film. I’m tempted to say she’s the only one with an arc. She starts out as a flighty society type, dropping one-liners as she tries to pick up all the dirt she can on the crime at her cousin’s house. But the case changes her and reveals a serious, reflective side Arden rarely got to play on screen. If they’d really wanted to transform the material, they’d have made a film about a wise-cracking gossip who grows up when her cousin’s wife is accused of murder. That’s a movie I’d like to see.

[erstwhile-punk-guerito]

[badmovieihave]

Bad movie I have Miracle on 34TH Street 1947

[bkenber]

'The Maltese Falcon' Movie and 4K Review

The following review was written by Ultimate Rabbit correspondent, Tony Farinella. “The Maltese Falcon” is a film I imagine I will enjoy a lot more on a second viewing, as this was my first time watching it. The reason I say this is because there are a lot of moving pieces in this film, and it is never boring.  However, at times, I found myself trying to follow the story and the plot instead of…

[adamwatchesmovies]

Miracle on 34th Street (1947)

Miracle on 34th Street will have the most influence during the Christmas season but even a bright summer day couldn't hinder this story’s impact, its lush characters, infectious sentiments of joy and hope, or its pitch-perfect ending. This movie effortlessly washes away any kind of cynicism you may have about Christmas without using any cheap sentiments.

When the actor hired to play Santa Claus during the annual Macy’s Thanksgiving Day Parade is found drunk, Doris Walker (Maureen O’Hara) persuades a jolly old man (Edmund Gwenn) to replace him. He does such an outstanding job that he is hired to play Santa at Macy’s flagship New York City store on 34th street. His performance is in every way exemplary but when Kris claims to be the real Santa Claus, eyebrows are raised.

The heart of the story concerns Doris, her daughter Susan (Natalie Wood), their neighbor Fred (John Payne) and Kris. Their tale is a microcosm of everything else we see. Working in a field almost entirely governed by men, combined with her divorce from Susan's father (never seen in the film) has made her cynical. Her daughter has followed suit. Even if you never believed in Santa, Susan's lack of faith breaks your heart. In this story, that belief is more than a childhood fantasy. It's a stand-in for hope, kindness and love. It’s clear that Fred loves Susan like a daughter and that he and Doris are attracted to each other. As long as Susan doesn’t believe that Kris is the real deal, as long as the people at Macy’s think he’s a loon, and as long as we don’t believe he is the real Santa Clause, then the family-to-be will not happen. If they can’t get together, then there is no room for happiness in this world.

What begins as an amusing tale about the holidays becomes so much more. In a completely organic and earnest fashion, the movie goes on to ask some profound questions about belief. In a higher power, yes, but mostly about how much we can accept something without physical proof. When the question of Kris’ identity blows up and the whole world begins looking for a concrete answer, you don’t know what’ll happen next. You want with all your heart for something to prove that Kris is the real thing. There’s no way it’ll happen because you and I both know there is no such thing as Santa Clause... but what if? It would mean so much if by some miracle things went the way we want them to. He’s such a kind of man. He’s so good at what he does. What’s the harm in indulging in a bit of fantasy?

On paper, Miracle on 34th Street does not sound possible. Explaining to someone why this film feels so important is a struggle. It makes the results that much more special. I'll credit the success to the pitch-perfect ending, script and most importantly, the cast. All the actors work off each other so well. The romantic leads have excellent chemistry - and it’s obvious from their first scene together, which makes you extra excited to see where things will grow with them. Edmund Gwenn is simply perfect as Kris. Every actor who ever chooses to play Santa Claus will be compared to him. All of the side characters are given little moments that make them feel alive. Everyone feels real, even the people who seek to burst the bubble.

Even if you know how Miracle on 34th Street ends, the film enchants you, it sweeps you into its emotions. This is a wonderful film.  There is no one I wouldn’t recommend it to, particularly around the Holiday season. (On Blu-ray, December 21, 2019)

[letterboxd-loggd]

Street of Chance (1942) Jack Hively

September 29th 2024

[howardhawkshollywoodannex]

Joe E Brown and Jerome Cowan in a publicity still for Joan of Ozark (1942). This is Jerome's third honorable mention, after The Goldwyn Follies and Torrid Zone.

[citizenscreen]

THE GOLDWYN FOLLIES (1938)

Starring Adolphe Menjou, The Ritz Brothers, Edgar Bergen, Charlie McCarthy, Andrea Leeds, Vera Zorina, Kenny Baker, Phil Baker, and Jerome Cowan. Directed by George Marshall.