#virginia dale

[citizenscreen]

Remembering Virginia Dale (July 1, 1917 – October 3, 1994)

[fitesorko]

Virginia Dale

[erstwhile-punk-guerito]

[adamwatchesmovies]

Holiday Inn (1942)

For many reasons, Holiday Inn is a classic but one particular scene prevents it from being a film you'd happily watch over and over. It makes me uncomfortable for multiple reasons but I can kinda-sorta defend it in this movie because of the context in which it's used. It sounds like a weak argument but hold on, listen to what I’ve got to say before you judge. Even if the scene in particular is a deal-breaker, there's a solution.

Jim Hardy (Bing Crosby), his fiancé Lila Dixon (Virginia Dale) and Ted Hanover (Fred Astaire) are a trio of successful singer-dancers. As Jim prepares to retire from the hustle-and-bustle of non-stop performances to live on a farm with his future wife… his partners announce they have no intention of stopping and ditch him. Finding the farm life back-breaking, he converts his home into “Holiday Inn”, an entertainment venue open only on holidays and featuring elaborate dance and musical numbers. The first performer to join Jim's new troupe is Linda Mason (Marjorie Reynolds), whom he quickly falls for but is afraid to show his feelings to due to a broken heart.

Plot-wise, there’s plenty going on. After Holiday Inn is up and running, Linda catches the eye of Ted and his agent, Danny Reed (Walter Abel). They don’t know what her name is, which prompts Jim to hide her from the two and try to keep her “for himself”. It creates all sorts of drama and comedic situations between the whopping twelve original numbers featured throughout this musical. The best and most well-known is White Christmas - yes, this is where that tune comes from. It's never been better than here. The song is romantic and beautiful. Seeing it in its original context fills your heart with warmth. Overall, this is a charming, romantic story filled with sometimes insecure and often messy characters. This is one of those movies that on paper would look awful but in action, works. Big credit goes to Marjorie Reynolds, Bing Crosby and Fred Astaire, who are great together.

Now let’s address the giant stain at the center of this story; the reason why you’ll probably wind up seeing an edited version of it on TV. Once Jim realizes that Ted is searching for Linda, he is desperate to find a way to hide her from his former partner. Unfortunately, he also needs to keep his clients happy with a stage number for Lincoln’s Birthday (February 12, for those who don’t know). His solution is to run the minstrel show number Abraham. This means Crosby and Reynolds (along with the band) appear in blackface so that no one watching will recognize them. It makes your skin crawl and isn’t helped by the limited amount of dialogue given to the black actors in the film (other than Louise Beavers, there aren't any other people of colour in significant roles) but as far as uses of a racist, offensive and disrespectful form of theatrical make-up, it’s probably the least offensive version you’ll see because it's less of a "let's make fun of Black people/find a way to avoid hiring Black actors in our movie" and more of a "hey, it's ok to use this as a costume/disguise, right?". It's still not ideal, but it could've been much worse.

A standout moment in Holiday Inn has aged so poorly that it threatens to derail the entire film. The rest is a funny, romantic and entertaining holiday story. The dance numbers are outstandingly shot, staged and performed. It’s extra exciting to watch because of how few edits break up the footwork and because you know the people making those moves were really doing them. No wires or backgrounds were removed via computer effects. As for the songs, they range from pretty good to instant classics. In the end, I choose not to judge Holiday Inn for its worst scene and would rather focus on its strongest moments. If you don’t think you can, this is one instance where I would break my usual policy and recommend you view the edited-for-TV version. (On DVD, November 30, 2019)

[dimepicture]

[gatutor]

Virginia Dale (Charlotte, North Carolina, 1/07/1917-Burbank, California, 3/10/1994).

[duranduratulsa]

Up next on my Christmas 🎄 movie 🎥 marathon...Holiday Inn (1942) on classic DVD 📀! #movie #movies #drama #christmas #holidayinn #bingcrosby #fredastaire #marjoriereynolds #VirginiaDale #louisebeavers #walterabel #40s #dvd #merrychristmas #merrychristmas2023

[letterboxd-loggd]

Danger Zone (1951) William Berke

July 23rd 2023

[rosalie-starfall]

Happy Birthday Ginger

July 16 1911

[triplefool]

Has this been done yet?

[citizenscreen]

Bing Crosby, Marjorie Reynolds, Fred Astaire, and Virginia Dale at the HOLIDAY INN (1942)

[haggishlyhagging]

Virginia Woolf's politics are not (male) party politics, but feminist politics, and I think that there are few areas of feminist thought to which she has not made a contribution. Her fundamental thesis that those who are in power perceive the world differently (and determine the scale of values) from those outside the power structure (and whose values are therefore decreed to be deviant, eccentric, neurotic, irrational, inexplicable) is for me one of the touchstones of feminism, and helps to explain the way she has been treated, removed from the realms of philosopher or political analyst, and cast into the mould of delicate and elaborate artist. (There is even a jarring of images if one tries to visualise Virginia Woolf as a tough political thinker - which indicates how pervasive the portrayal has been - yet in Three Guineas, which she carefully planned in order to 'strike very sharp and clear on a hot iron' (Carroll, 1978, p. 103), her avowed intention was - as is the title of Carroll's essay - ‘To Crush Him In Our Own Country’, which is a tough stand in the face of the drift to war.)

Woolf herself would not have been surprised at the treatment she has received, consigned to a separate and acceptable women's sphere outside the mainstream of intellectual recognition, for after all, were women not literally locked out of men's libraries? She understood this process and it was precisely the one she was attempting to subvert with the documentation of women's heritage - and possibilities - in A Room of One's Own. She tried to construct a coherent context in which women's values were meaningful and invested with layers of symbolism, and celebration - no mean feat in a society in which the symbolism of the phallus is so pervasive and where men consistently celebrate their own achievements, but where women's imagery and celebration is invisible. And she tried to do this because she recognised the political nature and the significance of the act of creating a different and autonomous women's culture outside the control of men, although still rooted in the culture of men, and in opposition to it.

When Florence Howe asserts that women's studies is not a ghetto but the centre of the construction of knowledge, based on the experience of half the population (with the implication that it is men's studies which is on a side-track), she is doing nothing less than Virginia Woolf, who made it a virtue to be an outsider in an exploitative and oppressive society. Women can best help society, can best serve the interests of achieving freedom, equality and peace, by not helping men, argues Woolf, in Three Guineas, by not imitating them or supporting them in their aggression, violence, and war. She urges women to stay out of patriarchal institutions, to find their own critical and creative means of promoting change (1938, p. 206), and to remain free from unreal loyalties, to remain outside that ‘loyalty to old schools, old colleges, old churches, old ceremonies, old countries’ (ibid., p. 142).

This was the book Leonard Woolf decreed as not very good, indeed to which he was hostile: ‘“Maynard Keynes was both angry and contemptuous: it was, he declared, a silly argument and not very well written.” E.M. Forster thought it "the worst of her books." Quentin Bell perhaps best displayed the depth of incomprehension of the book in reporting his own reactions: “What really seemed wrong . . . was the attempt to involve a discussion of women's rights with the far more agonising and immediate question of what we were to do in order to meet the ever growing menace of Fascism and War. The connection between the two questions seemed tenuous and the positive suggestions wholly inadequate”’ (Carroll, 1978, p. 119). Bell missed Virginia Woolf’s thesis that tyranny begins at home; Adrienne Rich (1980) did not. In her appeal to women to be 'Disloyal to Civilization' she quotes and builds upon Woolf's concept of ‘freedom from unreal loyalties’. To Rich, as to Woolf, it was the values of a society controlled by men which women must disown, and challenge, in the interest of freedom, equality and peace.

-Dale Spender, Women of Ideas and What Men Have Done to Them

[visforvictini13]

Name: Dale the Virginia Possum

Trainer Card Number: 680

Gender: Nonbinary

Series of Origin: Real Life

Type Specialty: None

This is a gift for my friend @2jaunty2fool he had a hand in picking most of the Pokemon, the only one I picked was Tatsugiri because he loves sushi

[flowsmetropolitancleaning]

Elevate Your Airbnb with Expert Cleaning Services in Manassas

Discover top-notch Professional Airbnb cleaning in Manassas with our professional team. We specialize in maintaining high standards of cleanliness and hygiene, ensuring your property is always guest-ready. Our thorough cleaning process includes everything from dusting and vacuuming to deep sanitation. Trust us to enhance your Airbnb’s appeal and keep your guests coming back. Contact us for reliable and efficient cleaning solutions.

Call us - (571) 207-9546

[dimepicture]

[gatutor]

Virginia Dale-Fred Astaire "Quince días de placer" (Holiday Inn) 1942, de Mark Sandrich.