VINTAGE: Fred and Ginger

The Barkley's of Broadway, released in 1949 was the film that reunited Fred Astaire and Ginger Rogers after 10 years, but it was also their last film together. You could say these two sparkled my interest in vintage, especially the 1930's era, I loved watching their black and white dance moves as a child and I still continue to rewatch and love them. 

Hunting through a box of vintage (original) advertisements at the Royal Oak garage sale yesterday, I was hoping against hope their might just be a Fred and Ginger one. And there it was, the very last advert. The Barkley's of Broadway was actually the only film they did together that was filmed in colour and it was original intended that Judy Garland would be performing alongside Fred as she had done in Easter Parade, however her health wouldn't permit her to be the star of this movie which follows the drama of husband-and-wife musical comedy team Josh and Dinah Barkley.

All it needs is a frame and place on the wall!

METRO DETROIT: Drive-Ins and Popcorn

This summer the all American drive-in movie theatre celebrates it's 80th birthday. How cool would it have been growing up going to movies in your car, ordering food or perhaps laying and watching from the roof? 

With their origin in the early 1930's, the first opening in Detroit in 1938, it wasn't until the 1950s and 1960s that they reached their peak popularity and by this stage there were over four thousand drive-in's across America. They were especially a hit with teenagers, becoming a popular destination place for dates. Inclement weather, color TV, video rentals and upgrading costs eventually led to the decline in the drive-in movie theatre and very few remain today.

Michigan Radio aired an interview earlier this week about this American invention which got me thinking about a now closed drive-in that we'd passed the other week. Opening in 1956, the Commerce Township drive-in had a capacity of over 1,000 until it's closure in 1990. Now only the sign remains, a modern car wash sign stuck right next to it, but behind the sign is where the screen originally would have stood. It's been interesting reading old comment forums about this particular drive-in, while it had a huge screen, bigger then neighbouring drive-in's, it's out of the way location was it's apparent downfall but it was great finding some vintage film advertisements mentioning the drive-in.

Original movie advertisements for the Commerce Drive-In (Source)

While predominately most drive-ins are closed across America a couple do still run, wouldn't it be so fun to go to one?

LIFE: Our long weekend

A rather belated weekend post, but a post all the same and I really need to catch up with everyones comments on my blog over the past couple of days. With Joe's birthday being on Monday he took a couple of days off work so we got to be lazy together but on my side it was rather crafty. I finished off a bookmark of cross stitched Matroyshka's and began sewing the dragonfly [I mentioned here] whilst remembering just how darn hard it is to sew with metallic thread. We've also started playing with drinks in trying to make cocktails - this weekend fully experiencing the Manhattan - a whiskey and vermouth mixture - love and strong indeed.

Not only is Joe a huge Transformer fan as you might have seen yesterday, he's also a HUGE comic book geek so on Friday we went to see the long awaited Avengers film. Going by his reactions it was a big hit. Aside from that we enjoyed more of the May sunshine with a long walk spying gorgeous forest wildlife and the peace and quiet. We also treated ourselves to a pair of tickets to see System of a Down in August which I'm so excited about. SOAD are one of those bands I got into late but I just love their style and its always good to catch a metal fix [I will always be a metal girl at heart].

And what topped off the weekend even more was receiving my winnings from Em who blogs over at a Vintage Sweetheart which included an apron, vintage crochet patterns and some gorgeous necklaces - they really made my day!

The Redford Theatre

On Friday night we went to the Redford Threatre to see the 1947 version of Miracle on 34th Street. Detroit's Redford Theatre originally opened in 1927 as a neighborhood cinema and now remains as Detroit's only theatre with its orginal pipe organ. Along with the organ, the three storey theater is fully decorated in an ornate Japanese style, although during WWII this was removed. The national downward trend of declining cinema goers which hit during the mid 1960s and 1970s led to many of Redford's contemporaries being demolished, yet the Redford somehow managed to survive. Today the theatre is a haven to those of us who adore old films with their biweekly showings of films from the 1930s to the 1960s. 

I was expecting the theatre to be half full if that - I was wildly surprised when it was at least three quarters full [Redford has 1,571 seats] but it was good to see that many people of all ages were interested in watching such an old film on a Friday night. The night started off with a half hour slot of live organ music - mostly film scores [Sound of Music, Hello Dolly] and the odd Christmas song, even the American national anthem. Yet to be able to see an original black and white film as it was intended to be seen was incredible, and for $4 (about £2.50) you really can't go wrong and to have a couple of hours without having to think, slot out or plan wedding things was very much welcome. Saying that it's four sleeps till the big day! 

FILM: The Prime of Miss Jean Brodie

One of my favourite films (although originally a book by Muriel Spark) happens to be the 1969 adaptation of The Prime of Miss Jean Brodie a story based around a charismatic, independent spirited teacher at Edinburgh's Marcia Bland private school for girls.While she considers her subject to be history, Miss Brodie  (played by Maggie Smith) uses any opportunity give lessons; tales of life to deviate her teaching towards love, lust, passion and fulfilment of the self, especially towards the group of girls (four in the film, six in the book) which become the subject of her infatuation , otherwise known as Brodie's girls.

Nothing comes near to standing in her way, side passing comments from fellow staff of her unconventional teaching manners and personal views as merely being in her prime. Miss Brodie's life and purpose becomes to mould and reproduce her life and her wants through her girls with each expressing and dramatising elements of her own personality, from the dependable Sandy, the pretty Jenny; the girl who will be known for her beauty, Monica the academic of the group and lastly Mary McGregor the orphan soul searching for a place and a meaning to belong. 

But her own life and desires tangles up with the reality and life of her girls. Her prime begins to fade and loyal friends can turn as Miss Brodie finds out to her disadvantage.

 I love Maggie Smith in this film, to be honest I love her in most, but there's something extra special in this film, maybe it's what all the other characters bring out in her, especially her "girls" all of which perform especially well. While in some element it is of it's era it does make us recognise how much we sometimes try and live our life through others and to who's detriment, their own or ours too? 

I'd love to read the book too, although like many the plots, the personalities and the characters I know are said to be a lot different between the two mediums but it's on my amazon wish list all the same. 

The vintage film kiss

Sorry i've been utterly neglectful of my blog this week - its a mixture of totally hitting a brick wall with inspiration and just trying to relax and getting my body into some kinda of normality.

But anyway ...

They say, well The Times says that a death of the big screen death as occurred. Apparently it died in the 1970s due to the cult of the indie film, so why has nobody noticed or commented on it before. I guess we all want sex sex sex, so the simple yet passionate kiss disappearance has gone unnoticed. That is until you remember the kisses of;

Breakfast at Tiffany'sGone with the WindBetty Grable and Victor Mature - Footlight Sernade

Kiss of Death

From Here to Eternity.

So do you think the classic kiss is lacking in the films of today? Or are they just as noteworthy?

Books, books, books

For those of you like myself who enjoy a good read of a biography of movie oriented literature the top books of "stage and screen" from 2009 within the Sunday Times Culture magazine featured three of my all time favourite films/actors. So, while its perhaps a very late Christmas list its additionally a mental "to do" reading list!

Presenting "an appreciation of Bogart that sometimes reads like a long prose". Humphrey Bogart by David Thompson.

"A near-perfect example of how cinema ought to be written about". Frankly, My Dear: Gone With The Wind Revisited by Molly Haskell

"A huge book with terrific commentary" Bette Davis by Richard Schickel

Also the Christmas table cloth challenged is now completed [as of yesterday!] I have a load of pictures lined up now just need to find the time to blog and tell you allll about it!

Every girl needs a secret garden

One key film which reminds me of my childhood is the 1993 film version of The Secret Garden. Filmed in and around the Yorkshire Moors and Allerton Park, its a film which still retains its childlike mystery, ambiance and jovial fun yet dealing with death, disability and childhood experiences. Focusing around the journey of the ten year old Mary battling becoming and orphan and trying to change the love and longing of her cousin and uncle through the magic of a secret garden one hidden and locked away out of sight and mind.

What a perfect way of watching and spending a cold, rainy winters afternoon then by re-watching this delightful film [that and the 1947 version of A Mircle of 34th Street]. Sometimes period dramas can hit very wide of the mark they are aiming for, but this publication captures the plot and the meaning of the noval right on the nail. I think the best way of trying to replay and demonstrate the magical ability of this version is to just finish off with some film captures. Sometimes films from your childhood really are some of the best!
Images have been taken from The Guardian, Houseofmirthandmovies, Fish_Bear,

Let Yourself Go

"If you get into your dance you'll forget your woe"

In 1936 Fred Astaire and Ginger Rogers appeared side by side in the RKO Mark Sandrich directed movie Follow the Fleet. With songs and music credited to Irvin Berlin it was sure to be a success. With many of it's songs still known and acknowledged within contemporary society - especially "Lets face the music and dance", this film is most often noted for featuring some of Astaire and Rogers most known and appreciated dancing, and in their career spanning ten films together, is the only to feature Rogers in an individual tap routine. Yet it was a troubled film with Rogers walking out midway in 1935 rehearsals claiming exhaustion and unequal treatment, with her return only coming are a resettlement of wages.

It is a plot following the separated dancing partners of "Bake" Baker (Astaire) and Sherry (Rogers) with a nautical theme throughout. It's songs, its dancing and its acting have led to to always be my favourite and most cherished Astaire and Ginger film, it's the film I probably go around singing the most because the songs are not only memorable, but funny.

And it is "Let yourself go" a song sung by Ms Rogers featuring a backing trio with a very young Betty Grable, it's big band style and power has always excited me. While I haven't sat and watched the film for months this song always appears in my head, and currently it's been stuck on replay for the past two days.

Ginger

When life gets crazy or I want to hide from the world I turn to old films, I loose myself in them through their simplicity and their glamour. Most often then not it's a film with Ginger Rogers. It was this all singing, dancing and gorgeous actress who, when dancing alongside Fred Astaire really got me in to the oldies, her dancing and style was, and remains as mesmerising over 70 years since the steps were captured on film. She was as talented as she was beautiful.

Born Virginia Katherine McMath on July 16th 1911, it was through her mothers love of Hollywood which sparked Ginger's (a nickname gained after her younger cousins couldn't say her first name) interest in theatre spending her time dancing and singing to on-stage performances while waiting for her mother. Becoming the stand in for the travelling vaudeville act of Eddie Foy, Ginger later went on to win a six month touring contract. While her first marriage to Jack Pepper with whom she began her own vaudeville touring act failed, when Ginger and her mother arrived in New York she stayed, earning a radio contract and her Broadway début.

At the age of 19 she became the newest Hollywood star after being snapped up by George and Ira Gershwin to star in Broadway's Crazy Girl (1929) a production were Fred Astaire (her later dancing partner) was hired to choreograph the dancing. Yet it wasn't until her casting in her breakthrough film 42nd Street (1933) and later staring alongside Astaire in Flying Down to Rio (1933) that her name and status grew.

Fred became her greatest dancing partner, although their working relationship is said to have been rocky, they produced nine musical films across the six years to 1939 and the later reuniting for a final time to star in Barkley's of Broadway in 1949. By the 1940's however Ginger wanted to turn to more serious acting, and while winning the Academy Award of Best Actress in Kitty Foyle (1940) by the end of the decade her career was in steady decline. Her concluding work was often in minor supporting roles, featuring alongside Marilyn Monroe and Cary Grant in Monkey Business (1952).

Marrying five times, Ginger died in 1995 at the 83.

Images taken from Life magazine online

Old School Hollywood

Advert for the Palace Cinema in Slough 1930

The boy meets girl, they teasingly fall in love with one another, some invertible misunderstanding occurs, boy and girl finally get together after upset and tears, with the film ending in their engagement or on the verge of their marriage. This could only happen in a Hollywood musical. Although overtly simplistic in my gernalisation, this plot generally captures the story of a traditional musical film with music and narratives intertwining with song and dance.

Developing from the success of Hollywood theatre, the first short musical films were produced in the 1920s including The Jazz Singer (1927) and continuing into the 1930s with 42nd Street (1933) . These films and its stars grew in fame during the original credit crunch of the 1930s - that of the Great Depression. During this era these films became the light hearted and fun seeking pleasurable place to escape reality into a happy sing along.

This success of the film and its stars would not have been possible without RKO films, most particularly with the all singing, and all dancing Ginger Rogers and Fred Astaire during the 1930s. Hollywood would see the rising fortunes of Marilyn Monroe, Judy Garland, Gene Kelly, Audrey Hepburn and Julie Andrews to name but a few. And this success of the musical was to continue well into the 1960s with the production of West Side Story (1961), My Fair Lady (1964), and The Sound of Music (1965). But these films hit the box office during the same period of creative and imaginative directors and films. Finally the glamour of all singing and all dancing began to finally fade, its backdrops, its genre and its stars falling into history.

And to be honest, at the end of the 1960s is were my passion for the musical ends. Although more recently since the continuing success of Grease (1978) the musical as a film goes in and out of fashion. A small revival of musicals has occurred through the production of Moulin Rogue (2001), Chicago (2002) and Hairspray (1988) and most particularly Mamma Mia (2007) now credited as being the biggest selling DVD in British history. This suggesting therefore that the success and long-standing reputation of the musical still lingers in popularity. However, this "modern" films are ones I personally put aside over their forefathers.

It would be misguided to suggest that I know why and how I became interested in old films - to blame Fred and Ginger would be on the right path. Yet to explain further and then I come to a standstill. Gone With the Wind was a film I always grew up around - although its colour and length made it a rarity in its time, it is one which drew me into the possibilities of the film. Most of the time I feel like I have to defend my love of old movies, as if its wrong, I'm abnormal or merely rather confused to prefer older films to the more high-tec, effect filled contemporary movies, don't get me wrong there are some modern films I love, but I prefer and believe i'm more suited to the movie of a long ago era.

But they are all in black and white, I hear you cry. Yes they are, yet that adds to the enjoyment, yes it is a shame you can't see the vivid colours of the dresses, the suits and the backdrops, but with a little creative imagination and you more then half way there with picturing and creating your own version of the film. And that is half the beauty of the older films - they let you play and use your imagination - something we seem to use so little of within the get everything now kinda society we inhabit. These films let you become and play and active part in defining how you interpret the scene being performed before you.

Moreover the turn over of golden era films is more then impressive in itself. Take for example Gene Tierney, who in 1941 featured within five films. This is a turnover that is far from matched within contemporary publications. With musicals having lively, emotional and dramatic scores by George and Ira Gershwin or Rogers and Hammerstein they expand their narratives and plots far into the musical atmosphere, rather then weighing down their plots with contemporary, "bands" and songs. These songs linger today, and are more recognisable then we give credit for. Lines of songs such as "there may be trouble ahead" ... "they all laughed at Christopher Columbus" ... "and all that jazz" are all embedded and developed from musicals. Musicals that we as a society probably don't give enough credit to.

Old films have become my passion, but this is not limited merely to musical films. My obsession has it most frequently referred to by myself welcomes any old film, their simplicity, their true and deep narratives are embedded with a passion and a honest storyline. They are not showcased or down trodden in special effects or actors who are mainly two dimensional in their abilities.

Mind you I write this knowing and openly admitting to never watching Singing in the Rain. That does need to change.

Gene Tierney

"The woman with the Mona Lisa smile who left us haunting images of her presence on screen forever remembered as 'the face in the misty light.'" Neil Doyle

With my obsession and passion for old films, I was pleasantly surprised when I stumbled upon not only a semi decent old film on Film 4 this Sunday afternoon, but that the female holding the staring role was an actress who's name I'd somehow failed to have come across before. Her penetrating stare and wavy deep brown curls jumped from the blackness of the screen , enchanting me into the movie. Watching Laura - an American noir film released in 1944 is plotted around the hunt for the murderer of Laura Hunt - a highly glamorous and beautiful advertising executive, I was welcomed into the dark allure and the glamour of the face of Gene Tierney.

Hereby starting an afternoon in search of drawing out any possible information regarding his starlet. Born in New York into a privileged family, Gene Tierney (1920-1991) was told by Ukrainian Director Anatole Litvak, to become an actress after a visit to the Warner Brothers Studios at the age of seventeen. Nevertheless due to her parents dissatisfaction at her projected contracted studio wage, Tierney instead became a society Débutante. It was only after growing tried of high society that she chose to start her acting career against her fathers wishes.

Ranted 71st in Premiere Magazine's 100 Sexiest Movie Stars of All Time, Tierney began her career with a run of Broadway shows starting with 1938's What a Life! Signing with 20th Century Fox in 1940, Tierney made her movie debut in the western The Return of Frank James. With numerous leading roles under her silk stockings, the noir film Laura became her most famous leading role. Moreover, like Betty Grable she became a famous pin up girl during World War II for the American army.

While appearing in 37 films, her personal life came to overshadow her talents, her life many believe became the narrative within Agatha Christie's thriller The Mirror Crack'd From Side to Side. Married twice, after contracting Rubella from a fan during her pregnancy, her first daughter was born prematurely with severe mental and physical disabilities. It this is event which is rumoured to have triggered Tierney's bipolar disease, which during the 1953 filming of The Left Hand of God with Humphrey Bogart, Tierney was forced to face her problems. Admitted for severe treatment, she was subjected to 27 shock treatments - a procedure she spoke out radically against, blaming it for her significant memory loss.

While many critise her persona for her aloof and cold acting mannerisms, her unspoken, unknown problems calls through her eyes, they are dark, enchanting yet dangerous, although her often stares at us so directly they are glazed and hidden. A troubled and tortured mind this radiates through into her brooding melancholy roles heightening them through her personalised troubled life.

"Life is a little like a message in a bottle, to be carried by the winds and the tides." Gene Tierney

Selected Filmography: The Return of Frank James (1940), Tobacco Road (1941), Bella Starr (1941), Sundown (1941), The Shanghi Gesture (1941), China Girl (1942), Laura (1944), Dragonwyck (1946), The Ghost and Mrs Muir (1947), That Wonderful Urge (1948), Whirlpool (1949), Night and City (1950), Where the Sidewalk Ends (1950), Black Widow (1954), The Left Hand of God (1955), See Imbd for more films.