Classic Movie Beginner’s Guide: Joan Fontaine

Although she probably wouldn’t like it one bit, with the recent passing of Olivia de Havilland, it seems necessary to acknowledge her sister and fellow actress Joan Fontaine.

Their sibling rivalry became the stuff of legend when they were vying for the same Oscars throughout the 1940s. What Fontaine portrayed on camera was this kind of alluring timidity, and her early work with Alfred Hitchcock remains one of the lasting creative partnerships of her career.

Her life off screen is more difficult to reconcile with her image, but regardless, here are  a handful of her films worthy of searching out:

Rewind: Rebecca (1940) | The Medium

Rebecca (1940)

Joan Fontaine was a part of a couple epic ensembles with The Women & Gunga Din, but it was the early American classic from Hitchcock the following year that cemented her stature. Opposite the gail force of Laurence and Olivier and Judith Anderson’s ghostly Mrs. Danvers, she gets positively blown over. But part of the brilliance is how Fontaine plays the breathless young bride so effectively haunted by her husband’s past.

Suspicion. 1941. Directed by Alfred Hitchcock | MoMA

Suspicion (1941)

Hitchcock exploits Fontaine’s persona beautifully in this home thriller where her docile wife suspects her dashing husband — played by none other than Cary Grant — is out to murder her! It’s a tense set-up fraught with romance and peril. Both performers carry their assignments with impeccable aplomb although the ending might ruffle some feathers.

Jane Eyre spotlights Orson Welles' perfect romantic antihero

Jane Eyre (1943)

Joan Fontaine once again establishes a role pulled out a literary adaptation, and the parallels to Rebecca are quite strong. Orson Welles give the kind of brooding giant performance easily overpowering Fontaine. But it’s in her very reticence onscreen where she attains power and builds a sympathy with her audience, despite all the trials thrust upon her in Charlotte Bronte’s novel — adapted by none other than Aldous Huxley.

Letter From an Unknown Woman (1948)

Within the spiraling pirouettes of Max Ophuls and the tragic loves story of Stefan Zweig Joan Fontaine and Louis Jourdan take up their posts amicably. Fontaine’s performance runs the gamut of youth to adulthood as she falls in love with a famed pianist from afar and finds herself entwined in one of the most piercing love stories of the era. It’s a heartbreaker.

Worth Watching

You Gotta Stay Happy, The Bigamist, Othello, Island in the Sun, Beyond Reasonable Doubt

 

Classic Movie Beginner’s Guide: Olivia de Havilland

With the recent passing of Olivia de Havilland — one of the last living ties to some of the Golden Age of Hollywood’s hallowed classics — it seemed fitting  to acknowledge her talents in our latest classic movie beginner’s guide.

Her most visible role was that of Melanie in Gone With The Wind (1939) a film that has been the subject of a lot of important conversations of late about representation and censorship.

However, Ms. de Havilland’s career had many other facets. Two that will most likely be remembered are her sibling rivalry with fellow actress Joan Fontaine, and then her famed court case against Warner Bros., which was a landmark decision for actor’s rights. Here are a handful of her most memorable films you should search out showcasing her civility and grace.

The Adventures of Robin Hood (1938)

The Adventures of Robin Hood (1938)

Olivia de Havilland’s most illustrious on-screen partnerships was with Errol Flynn as she and the dashing Tasmanian actor starred in 8 films together. Captain Blood was their first foray together and began an auspicious screen romance bursting with chemistry (and conflict). The pinnacle was The Adventures of Robin Hood followed by other beloved classics like Dodge City and They Died With Their Boots On.

Charles Boyer and Olivia de Havilland - HOLD BACK THE DAWN ...

Hold Back The Dawn (1941)

On the prowl for more challenging and gratifying work other than a pretty damsel, Mitchell Leisen’s film scripted by Billy Wilder and Charles Brackett was a fine step forward for de Havilland. Her sympathetic schoolteacher opposite Charles Boyer took hold of a story of an immigrant’s purgatory and imbued it with swelling sentiment, heartbreak, and warmth.

To Each His Own (1946): Olivia de Havilland Does Melodrama Well ...

To Each His Own (1946)

At first, it doesn’t seem like a prestigious part, but Olivia de Havilland proved her talents spectacularly in this quintessential melodrama. She plays a middle-aged woman, who made the ultimate sacrifice for her son, charting her own course from youth in a small-town, war-time romance, and private tragedy. It’s ending is perfectly orchestrated for emotional impact.

The Snake Pit' Review: 1948 Movie | Hollywood Reporter

The Snake Pit (1948)

The Heiress is, rightfully so, a hallmark of de Havilland’s career, exhibiting her immense dramatic talents, but equally emblematic is The Snake Pit. It becomes a harrowing portrait of a woman battling the voices in her head as she navigates a life in a psych ward. Far from being solely melodramatic, she grounds the performance making it as sympathetic as it is terrifying.

Worth Watching

The Charge of The Light Brigade, It’s Love I’m After, Strawberry Blonde, Dark Mirror, In This Our Life, Hush Hush Sweet Charlotte

Classic Movie Beginner’s Guide: Beach Party Movies

In our ongoing series, we’ve turned our focus to a specific person or genre we want to try and shine a light on. Today our topic is summer-themed.

While it’s not exactly a venerated subgenre, the beach party movies are enjoyable nonetheless for evoking the surf craze and the teen beach culture of the 1960s. What they brought together was youth trends of the era from fashion to music and heartthrobs like Frankie Avalon and Annette Funicello.

Although there are too many knockoffs and offshoots even to begin cataloging them all, here are 4 titles to consider if you want to dip your toe in.

Where The Boys Are (1960)

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While there were earlier pictures like Gidget (1959) and there were plenty of copy cat films like Palm Springs Weekend, Where The Boys Are bottles up a lot of the charm that makes these classics a guilty pleasure. The cast is packed with the likes of Dolores Hart, George Hamilton, Paula Prentiss, Jim Hutton, and Frank Gorshin. And with Connie Francis singing the title tune it’s too much fun to refuse.

Ride The Wild Surf (1964)

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It doesn’t get much better than the title track sung by surf sound icons Jan & Dean. The cast is another ensemble of teen idol who’s who, including Tab Hunter, Shelley Fabares, Fabian, and Barbara Eden. The exploits of real-time shredding pro Miki Dora were also featured in the place of corny back projection.

Beach Blanket Bingo (1965)

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There would be no sub-genre without AIP’s series including the likes of Beach Party and the highly original follow-up Muscle Beach Party. While they stuck to much of the same formula (and essentially the same plotline), the charisma of Frankie and Annette, buoyed by hip music, campy antics, and crazy adults, provides more than enough diversions for a summer night shindig.

Don’t Make Waves (1967)

don't make waves

While it’s not as well-remembered and near the tail-end of the cycle, the cast is quite spectacular. Tony Curtis. Claudia Cardinale. And Sharon Tate appears in her first prominent film role. It’s got more than enough in the form of landslides, bodybuilding, sky diving, and most certainly romantic entanglement to easily fit the bill of a Beach Party movie.

Classic Movie Beginner’s Guide: Gene Kelly

As the site takes a look at some of Classic Hollywood’s most prominent musicals, it seemed like an auspicious occasion to focus on some of the most well-regarded performers of the era.

For our latest beginner’s guide, we look at Gene Kelly, the man who combined his muscular athleticism with graceful hoofing to transform the movie musical like never before. He would become the greatest hoofer since Fred Astaire and then ultimately enter movie immortality alongside his idol. Here are some of his greatest films well-worth checking out.

On The Town (1949)

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While Gene Kelly isn’t quite calling the shots, he’s front and center in this MGM extravaganza alongside the likes of Frank Sinatra, Vera-Ellen, and Ann Miller, just to name a few. Regardless, it’s an exuberant offering showcasing much of the magic and music that made the studio’s musicals so popular.

An American in Paris (1951)

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Paired with the glorious mise en scene of Vincente Minnelli, Gene Kelly tapped his affections for France and showcased the waifish talents of Leslie Caron to envision one of the finest achievements of his career. Between the music of the Gershwins and his top-class dancing, he makes the dreamy final third of An American in Paris into pure cinema.

Singin in The Rain (1952)

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If there was ever a benchmark for what the Hollywood movie musical could be, it’s encapsulated by Singin’ in the Rain. It boasts so much quality from Debbie Reynolds and Donald O’Connor to commentary on the silent era to sterling direction by Stanley Donen. All you need is Kelly’s tour de force in the rain to understand what makes this movie transcendent. It’s emotion personified.

Always Fair Weather (1955)

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This one is a bit of an oddity reflecting signs of the changing film landscape. Yet Gene Kelly still shows his prowess with a particularly thrilling dance on roller skates. Likewise, the story blends a post-war commentary with a satire of modern media which proves surprisingly lucid. Regardless, it was the beginning of the end of the musical’s golden years.

Worth Watching

For Me and My Gal, Cover Girl, Anchors Aweigh, The Three Musketeers, Take Me Out To The Ballgame, Summer Stock, Brigadoon, Les Girls, Inherit The Wind, The Young Girls of Rochefort, and more.

Classic Movie Beginner’s Guide: Fred Astaire

In our ongoing series of Classic Movie Beginner’s Guides, we focus on a single person from Classic Hollywood for those who want an overview.

This week let’s look at one of the preeminent film dancers of all-time: Fred Astaire! After starting out on the stage with his sister Adele, during the 1930s Astaire tapped his way toward cinematic immortality thanks to his coruscating partnership with Ginger Rogers.

They were paired in a number of screwball-infused musicals that still rank among the best pictures the Hollywood dream factory put out during the 1940s. What set Astaire apart was his tireless choreography, the graceful elegance of his figure, and his often underrated singing voice introducing the world to a bevy of classics.

Top Hat (1935)

The Movie Projector: Top Hat (1935)

The romantic rebuttals are only a pretense for this glorious extravaganza replete with Art Deco stylings and a stupendous screwball cast loaded with the likes of Edward Everett Horton and Eric Blore. Astaire introduced a pair of Irving Berlin classics in “Cheek-to-Cheek” and “Top Hat, White Tie, and Tails” as he and Ginger dance away off toward perfection.

Swing Time (1936)

Swing Time (1936) directed by George Stevens • Reviews, film + ...

A worthy successor to Top Hat, Swing Time assembled the talents of George Stevens and Jerome Kerns offering Astaire yet another immortal classic, “The Way You Look Tonight.” However, the splendor of Fred & Ginger together is magic with number after number feeling like an absolute knockout including the likes of “Pick Yourself Up” and “Waltz in Swing Time.” They balance charm with elegance divinely.

Easter Parade (1948)

Easter Parade (1948) directed by Charles Walters • Reviews, film + ...

Fred Astaire finally got paired with Judy Garland in this Holiday-themed looker blooming with glorious Springtime Technicolor and luscious costuming. “Happy Easter” and “Drum Crazy” start him off on a particularly jovial note, and he never looks back. The compositions of Irving Berlin are swell as is the easy-going rapport of Astaire and Garland carrying the picture away into loveliness.

The Band Wagon (1953)

Howard Hampton on Vincente Minnelli's The Band Wagon (1953 ...

As his finest late-period work and an impeccable companion to Singin’ in The Rain, Fred is partnered with the always elegant Cyd Charisse as they dance their way through the sartorial splendor of Vincent Minnelli’s picture. Astaire gets one of his peppiest numbers with “A Shine on Your Shoes.” The real showstoppers are “That’s Entertainment as well as an epic film noir finale.

Worth Watching

Flying Down to Rio, The Gay Divorcee, Roberta, Follow The Fleet, Shall We Dance, Broadway Melody of 1940, You’ll Never Get Rich, You Were Never Lovelier, Three Little Words,  Royal Wedding, Funny Face, Silk Stockings, On The Beach, Santa Claus is Coming to Town, etc.

Classic Movie Beginner’s Guide: Ginger Rogers

As we continue to look at musicals our recent beginner’s guides have been focusing on stars at the center of some of the best films of the era. Today let’s focus on Ginger Rogers.

Aside from being part of the incomparable dance partnership with Fred Astaire, Ginger Rogers was also an accomplished comedienne and a tested dramatic actress who showed surprising elasticity throughout her varied career. Here are just a handful of her best movies.

Gold Diggers of 1933

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Some might forget Busby Berkeley started to choreograph a new syntax for the movie musical and crucial to one of the industry’s most successful Depression_era backstage dramas was Ginger Rogers. Joining forces with Joan Blondell and Aline Macmahon, among others, they build on the success of 42nd Street.

Top Hat (1935)

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For some people, this is the ultimate Astaire and Rogers movie featuring some of the most extravagant sets and career-defining numbers together. The cast is rounded out by old favorites like Edward Everett Horton and Eric Blore. However, of course, the main attraction amid the screwball foibles are our shimmering leads, Rogers sporting her iconic feathery ensemble.

Swing Time (1936)

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Others will say this George Stevens-directed feature is actually the greatest Astaire-Rogers pairing and who would blame them? The dancing is phenomenal and the songs equally amicable including standards like “The Way You Look Tonight.” Surprise, surprise, Ginger and Fred are magical together yet again.

Vivacious Lady (1938)

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So many films could earn this spot but Vivacious Lady is buoyed by the real-life chemistry and friendship of Ginger Rogers and James Stewart. The material is fairly light, but they handle it with ease. In a turning of the tables, Stewart was yet to be a big star and Ginger Rogers vouched for him. Greater things were yet to come for both of them.

Worth Watching

Flying Down to Rio, The Gay Divorcee, Roberta, Follow The Fleet, Shall We Dance, Stage Door, Bachelor Mother, Kitty Foyle, Major and The Minor, I’ll Be Seeing You, Monkey Business, etc.

Classic Movie Beginner’s Guide: John Huston

In our ongoing series of beginner’s guides for up-and-coming classic movie enthusiasts, we thought it would be well worth it to acknowledge one of Hollywood’s larger-than-life directors in John Huston.

Before starting out as a screenwriter, he galvanized his reputation collaborating with Humphrey Bogart and simultaneously helping shape the genre that would ultimately be labeled “film noir” by the French. His own career proved the film industry could be a family affair as he worked with both his father, Walter Huston and then his daughter, Angelica Huston, at the bookend of his own career.

Here are 4 of his most iconic films:

The Maltese Falcon (1941) - Images - IMDb

The Maltese Falcon (1941)

Based on Dashiell Hammett’s indelible private eye, Huston’s Maltese Falcon is singular in its own right and it had to be. Not only was there the source material, but also an earlier film version. While Humphrey Bogart has none of the protagonist’s written characteristics, it’s immaterial. In a perceptive stroke, Huston pulled prose from the novel while creating taut, atmospheric, highly choreographed visuals to augment the performances. Consider Key Largo or The Asphalt Jungle for more noir thrills.

The Treasure of the Sierra Madre

The Treasure of The Sierra Madre (1948)

One could easily argue it was John Huston who helped usher in a groundbreaking generation of on-location shooting in a more mobile post-war Hollywood. Armed with two dynamic performances from Bogart and his chipper father Walter Huston, this epochal story of greed is an absorbing drama about the souring of humanity. It’s doesn’t need no stinkin’ badge to prove it either.

New on DVD: 'The African Queen' - The New York Times

The African Queen (1951)

Whether or not it feels like a departure for John Huston (Beat the Devil or Heaven Knowns, Mr. Allision could be considered the same), The African Queen is a stellar adventure piece bolstered by two of the most inimitable players: Humphrey Bogart and Katharine Hepburn. Carving through the jungles makes fast friends of the two great giants of Classic Hollywood, and Huston makes it a gripping time at the movies.

Will🧙‍♂️Menaker on Twitter: "Basically everything about America ...

Chinatown (1974)

Many will probably note John Huston did not direct Chinatown. For some of his contemporary work behind the camera, consider Fat City or The Man Who Would Be King. However, his beguiling performance as Noah Cross, in one of the preeminent neo-noirs, is too good a turn to pass up in this acknowledgment. Despite the palpable charm, he undermines it with a deliciously despicable underbelly — much like 1930s Los Angeles.

Worth Watching

Jezebel, High Sierra, Sergeant York, The Killers, The Red Badge of Courage, Moby Dick, The Misfits, Night of the Iguana, **The Other Side of The Wind, Wise Blood, Prizzi’s Honor, The Dead, etc.

 

Classic Movie Beginner’s Guide: Montgomery Clift

In our ongoing series, we continue shining a light on classic actors we think more people should get to know. This week our focus is none other than Montgomery Clift!

Monty Clift was one of the unsung champions of a new brand of acting that bridged the gap between the New York stage and the soundstages of Hollywood. Before Marlon Brando, James Dean, and others, Montgomery Clift introduced moviegoing audiences to a new form of intense masculinity paired with a striking vulnerability.

His life was marred by tragedy but instead of dwelling on that let’s celebrate the extraordinary career he forged for himself with some of the great directors of his generation. Here are 4 of his greatest movies with performances to match. 

Red River (1948)

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What’s immediately apparent about Monty Clift is how particular he was about his roles. Because his film debut was nothing short of an instant classic. In this iconic sagebrusher from Howard Hawks, Clift went toe-to-toe with a vengeful John Wayne, playing an adopted son and his father who vie for control of the family herd with startling outcomes. 

The Search (1948)

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Once more Clift aligned himself with an esteemed director — this time Fred Zinnemann — and invested himself in a story with real-world urgency. He plays an American soldier who takes in a young boy orphaned by the war. They strike up a relationship while racing against the clock to reunite him with his kin. The chemistry between the two is beautiful to watch.

A Place in The Sun (1951)

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This is the film that will forever define Clift’s career slotting him opposite a dazzling Elizabeth Taylor in one of her first adult roles. The adaptation of Theodore Dreiser’s An American Tragedy, directed by George Stevens, captures the emotional weight Clift was able to channel into many of his greatest roles. It’s one of the most devastating romances of American film thanks in part to Clift and Taylor.

From Here to Eternity (1953)

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Although I’m led to believe the film is slightly overrated, there’s nothing wrong with Monty who brings his continual range as a troubled soldier on the eve of Pearl Harbor. Though it’s easy for him to get overshadowed by kisses in the waves between Burt Lancaster and Deborah Kerr or the gutsy performance of Frank Sinatra, there’s no question Clift is front and center playing opposite Donna Reed.

Worth Watching

The Heiress, I Confess, The Young Lions, Wild River, Judgement at Nuremberg, The Misfits, Freud: The Secret Passion.

Classic Movie Beginner’s Guide: Paul Newman

Here is the latest in our ongoing series of, hopefully, manageable beginner’s guides to classic movie stars by curating 4 films to watch, while slipping in innumerable more to consider for future reference.

This week our figure of note is Paul Newman actor extraordinaire who became a much-loved icon and remained married to Joanne Woodward for over 50 years! He got his start coming out of the same New York stage-driven scene that revolutionized Hollywood with the likes of Marlon Brando and James Dean.

However, his career evolved with the times and one of his greatest attributes was a winsome charisma to go along with his baby blues that led to staggering longevity in Hollywood for decades.

Let’s talk about where to start with Paul Newman.

The Hustler (1961)

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Paul Newman was forever rueful about The Silver Calice, his first major onscreen credit. Some early successes to consider are Somebody Up There Likes Me, Cat on a Hot Tin Roof, and The Long Hot Summer. However, this is one of his emblematic roles as up-and-coming hotshot Fast Eddie Felson. His pool table battles with Jackie Gleason became the stuff of cinematic legend.

Hud (1963)

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Paul Newman’s career was laden with H-titled films including the previous entry, Harper (1966), and Hombre (1967). However, his turn as Hud is in a league of its own as he plays the carouser with the barb-wired soul in a western world slowly falling apart at the seams in the face of modernity. It’s a blistering turn by Newman as he fully commits to his unsavory part.

Cool Hand Luke (1967)

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Paul Newman and Luke Jackson are almost interchangeable. He’s a mythical hero both dashing and anti-establishment. A social outcast and a leader of men who captures their imaginations with his casually confident, indefatigable spirit. It’s rare to find such a fitting hero for a generation and a state of being. “Nothing” is a cool hand indeed.

Butch Cassidy and The Sundance Kid (1969)

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It’s the ultimate buddy film. Paul Newman and Robert Redford would forever be linked and immortalized thanks in part to William Goldman’s comical mythology of Old West outlaws. They helped make the anti-hero amusing while redefining the West fading away in the modern age of civilization. The boys had so much fun they came back together for a double-dose with the widely successful The Sting. Still, it’s difficult to top the original.

Worth Watching:

The Left-Handed Gun, The Young Philadelphians, Paris Blues, Sweet Bird of Youth, Slap Shot, The Verdict, The Color of Money, Nobody’s Fool, Road to Perdition, Cars, etc.

Classic Movie Beginner’s Guide: Kirk Douglas

With this ongoing series, our goal is to help people who are new to classic movies, get a foothold. To make it easy, we give you 4 representative choices and then some supplementary options.

Sadly, with the passing of Kirk Douglas earlier this week at 103 years of age, it seemed apropos to tackle his career for those who might be interested. There are so many great movies to choose from, spanning the decades, but we’ll give it our best shot.

Champion (1949)

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Kirk Douglas had so many stellar early supporting roles in noir: Strange Love Martha Ivers, Out of The Past, I Walk Alone are all memorable. However, Champion was Kirk Douglas’s big break channeling his trademark intensity into the ring as an overzealous fighter. It would set the tone and help shape his growing reputation in Hollywood.

The Bad and The Beautiful (1952)

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Despite all the glitz and glam to go with a Hollywood storyline, Kirk Douglas is as blistering as ever. Like Sunset Boulevard or In a Lonely Place, it shows another side of the industry and Douglas and Lana Turner deliver some of the most memorable performances of their careers in this Vincente Minnelli drama. That’s saying something if you consider Kirk’s work in Detective Story and Ace in The Hole around the same time.

Paths of Glory (1957)

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Paths of Glory stands as one of the great wars films for the very reason it runs counter to many of the narratives we know well. At the core of this Stanley Kubrick WWI piece is Douglas as a man caught in the middle of the insanity of war, in this case, perpetrated by his own superiors. If you want more conventional entertainment there’s also Gunfight at The O.K. Corral (1957) highlighting Douglas’s longtime screen partnership with Burt Lancaster.

Spartacus (1960)

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Spartacus is arguably the tentpole of Kirk Douglas’s entire career, and it has the epic spectacle of sword and sandal epics of the era with Douglas anchoring the action with his typical dimpled charisma opposite Jean Simmons. Behind the scenes, the picture would prove to be a watershed for unofficially ending the Hollywood Blacklist by openly crediting ostracized writer Dalton Trumbo. It’s one of Douglas’s great moral triumphs as a Hollywood producer.

Worth Watching

A Letter to Three Wives, 20,000 Leagues Under the Sea, Man Without a Star, Lust for Life, Last Train from Gun Hill, Lonely are The Brave, Seven Days in May, etc.