Classic Movie Recall

The Philadelphia Story(1940) by James Moll & Lara Scott

What did the film CHICKEN EVERY SUNDAY have to do with the making of MIRACLE ON 34TH STREET? Did Santa actually play himself? And why was Maureen O’Hara so mad when she got the call to head to New York to make this movie? Put on your favorite ugly Christmas sweater, grab some hot cocoa, and join James and Lara as they discuss this beloved 1947 holiday classic, which got its start in a crowded Los Angeles department store on Christmas Eve…

James and Lara recorded this episode (there is an audio and a video version) at the historic King Vidor/John Barrymore/Tony Scott estate in Beverly Hills. John was actually living there while he made DINNER AT EIGHT (1933), which was filmed just down the hill at the MGM studios in Culver City. In our discussion, we cover the scene-stealing Marie Dressler, who was in her sixties when she made this film and is a name you need to know; what famous director—known as “the women’s director”—and other legendary Hollywood players were behind the camera; and the kind gesture screenwriter Frances Marion did for one of the stars that effectively brought her back from obscurity. Put on your finest jewels and don’t be late for the adultery, scandal, backstabbing, and wit of Old Hollywood at its finest in DINNER AT EIGHT.

"I shall never forget the weekend Laura died." Clifton Webb's infamous dialogue opens LAURA (1944) with the revelation that the main character is dead, and it is the perfect beginning to a perfect film noir. James and Lara dive into director Otto Preminger replacing director Rouben Mamoulian AFTER filming had already begun, Gene Tierney's romance with a U.S. President, and the awesomeness of Dana Andrews' chin. Was the famous portrait of Laura REALLY a portrait? Is young Vincent Price a killer? And why didn't the studio fix Gene's cute little overbite? Join us,and prepare to be captivated by Laura, the face in the misty light.

EPISODE # 48: Our podcast about THE CHEAT (1915) is actually a welcome excuse to talk about the art of silent film. Find out why film historian and motion picture preservationist Randy Haberkamp’s choice of THE CHEAT turned out to be a perfect springboard for a discussion about the great silents. This episode was recorded at the Hollywood Heritage Museum on Highland Avenue, just across the street from the Hollywood Bowl in Los Angeles. Visit them in person or at: www.hollywoodheritage.org

THE HEIRESS (1949) brought Olivia de Havilland her second Best Actress Oscar for her portrayal of Catherine Sloper, a single, dowdy young woman who just happens to be loaded. In this episode, James and Lara are joined by vintage fashion expert Annamarie von Firley (www.RevampVintage.com) to talk about costumes for black and white film vs. color, why Montgomery Clift's clothing looked 1940s-ish in the film (which was set in the 19th century), and how the fashions in films move the story along. We also get into Livvy's astonishing performance ten years after GONE WITH THE WIND, which actor in the film was so unhappy with their performance that they walked out of the premiere, and which beloved actor who is practically an official national treasure proposed to Olivia...but she turned him down. Is it all about love? Or all about the benjamins? Join us as we break down one of William Wyler's finest films, which was based on WASHINGTON SQUARE by Henry James.

No one writes and directs a film quite like the immortal Billy Wilder. In this episode we discuss THE APARTMENT (1960) with our guest Bob Bookman, a film fanatic and longtime Hollywood agent. Bob tells us about his unique encounter with Wilder, and then shares a surprising theory about the film. Also: what did Wilder really think of Jack Lemmon? Did Shirley MacLaine act in a past life? How did this film impact Cameron Crowe’s life and work?

Say "Hello, gorgeous!" to Barbra Streisand in FUNNY GIRL. This podcast episode was recorded at the famed Egyptian Theatre in Hollywood. Theater historian Margot Gerber joins us to talk about how the theatre not only hosted the FUNNY GIRL premiere, but also hosted the FIRST Hollywood movie premiere in 1922. Then, singer, actress, and filmmaker Tamela D'Amico hops on the mic to reveal which famous crooner almost played Nicky Arnstein (Omar Sharif got the part) and how the real-life Fanny Brice (played to perfection by Barbra Streisand in her film debut) differed from movie Fanny Brice. And what did legendary director William Wyler have to say about working with Barbra? Join us and find out!

In this episode, James and Lara discuss the famous, rapid-fire, overlapping dialogue in HIS GIRL FRIDAY, which was clocked at 240 words per MINUTE! We also get into how director Howard Hawks allowed the actors to ad-lib, the fact that Rosalind Russell's character used to be a guy, and our friend Larry Morgan of the Snarkmonkey podcast joins us to to talk about the new HIS GIRL FRIDAY release from the Criterion Collection that features a restoration of the film's source material, 1931's THE FRONT PAGE. Plus, there's a Six Degrees of Kevin Bacon moment where Lara tries to connect Ralph Bellamy to Kevin Bacon. Can she do it? Can YOU? Grab some coffee and join us for one of the finest examples of screwball comedy on film!

Could it actually be true that leading up to ALL ABOUT EVE, Bette Davis was considered box office poison? And why was her voice so raspy in this film, anyway? James and Lara break it all down, including how Bette was friends with an onscreen nemesis, the Oscar race of Bette vs. Anne vs. Gloria Swanson for SUNSET BOULEVARD, which two co-stars got married, Marilyn Monroe’s role in all of this, and the true story the film is based on. Fasten your seatbelt…it’s going to be a BUMPY episode.

This is the audio track from our very first VIDEO podcast. If you’d like to see the video version of this episode, you can find it on YouTube or on our website at www.ClassicMovieRecall.com. In this episode, James and Lara discuss THE CHAMP (1931) while on location at the legendary Beverly Hills estate built in the 1920s by the film’s director, King Vidor. We get a glimpse inside this ultra-exclusive home (later owned by actor John Barrymore and director Tony Scott), and also a drone’s-eye view of the beautiful grounds. We praise Jackie Cooper’s astonishing performance, Wallace Beery’s plan to become the highest paid actor in Hollywood, and the innovative way that King Vidor moved the camera to capture some exciting boxing sequences in the early days of “talkies.” We also discuss Frances Marion’s terrific script, and the power that women had as Hollywood was just becoming Hollywood. (Our regular audio podcast will continue, but from time to time we’ll post a video version too.)

Rudolph Valentino stars in THE SHEIK, the silent epic from 1921 that made him a superstar. In this episode of CMR, James and Lara are joined by film historian Karie Bible, who leads tours at Hollywood Forever Cemetery (www.CemeteryTour.com), to talk about THE SHEIK in the mausoleum where Valentino’s crypt is located. We discuss the enduring appeal of Valentino, how his chest size changed the course of his future, and the surprisingly touching story behind “The Woman in Black,” who leaves a single rose at his grave every year. We also touch on what an achievement an epic film like THE SHEIK was in 1921, and how silent films were never really silent. Join us on location and see if you, too, fall under Valentino’s spell!

IT’S A WONDERFUL LIFE (1946) is a film about a good man, George Bailey (Jimmy Stewart), living in a modern world of greed and corruption. George has big dreams for his life, but one thing after another prevents him from leaving his quaint hometown of Bedford Falls, where he lives an honest life with his wife (Donna Reed) and children and often puts the needs of others above his own. Things go from bad to worse for George, and when the town’s ruthless tycoon (Lionel Barrymore) sets out to destroy him his thoughts turn to suicide. However, that’s when an angel from Heaven intervenes to help George, and also hopefully earn a pair of wings… Michael Wright, CEO of Amblin Partners and former president and head of programming for TCM (Turner Classic Movies), is our Audience of One as James and Lara discuss this beloved Christmas classic. But how did a film with some very dark themes end up as a holiday favorite? Is it true that Cary Grant almost played George? Why is Jimmy Stewart sweating throughout the film? And

NORTH BY NORTHWEST (1959) is a classic Alfred Hitchcock suspense thriller about a case of mistaken identity. Cary Grant stars as tanned and tailored NYC ad exec Roger Thornhill, who is mistaken for a government agent by bad guy James Mason. Mason's men pursue Cary across the country as they attempt to stop him from stopping their plan to smuggle out microfilm containing government secrets. Along the way, Cary meets a cool Hitchcock blonde in the form of Eva Marie Saint, who may be dangerous as well as mysterious. In this episode, Lara admits that she was confused by the plot, but it turns out she's not the only one--one of the stars admitted that they couldn't make "head or tail" of the script after they'd filmed a third of it! James and Lara also talk about the rumor of a rare SECOND Hitchcock cameo in NORTH BY NORTHWEST, the beloved Hollywood legend who wanted to play Roger, and where the famous crop duster scene was filmed (NOT Indiana). Join us and find out why this is only the SECOND film that's receiv

In BORN YESTERDAY (1950), Harry Brock (Broderick Crawford) is a wealthy, corrupt junk dealer with a "dumb blonde" girlfriend, Billie Dawn (Judy Holliday). Harry is embarrassed by her crassness and lack of social skills, so he hires journalist Paul (William Holden, serious in glasses) to give her a crash course in culture. As Paul and Billie spend time together and get closer, Billie begins to understand how Harry has been using her in his corrupt deals, and refuses to cooperate any longer. Judy Holliday's performance as Billie Dawn is a must-see; you can't take your eyes off of her and it is easy to see why she won a Best Actress Oscar for the role. But even though she was so terrific and played the same role on Broadway, she was not even considered for the film version at first; the studio wanted Rita Hayworth! In this episode, James and Lara talk about what Katharine Hepburn had to do with Judy landing the role in the film, Director George Cukor's unique method for perfecting the comedic timing, and Bill

FRANKENSTEIN is nothing less than a horror masterpiece. Dr. Frankenstein (Colin Clive) digs up corpses and uses their body parts to construct a human being, using electricity to inject life into his “monster” creation. After spouting lines like, "Now I know what it feels like to be God," he realizes that the brain he implanted into his creation...was the brain of a murderer! Even though he was originally credited as "?" for playing the monster, Boris Karloff became a horror icon after playing this role. James and Lara talk about his surprisingly touching performance and his most famous NON-horror role. We also get into the incredible work of makeup artist Jack Pierce to create the iconic monster look, and the spooky trip through Germany and Switzerland that FRANKENSTEIN author Mary Shelley took as a teen that inspired a competition that inspired a dream that inspired the novel.

In THE MALTESE FALCON, Humphrey Bogart plays Sam Spade, a San Francisco detective who is visited by Brigid O’Shaunessy (Mary Astor), who says she needs help finding her missing sister. Sam soon learns that all is not as it appears in Brigid’s life, and things get even more complicated when a dangerous rich man (Sydney Greenstreet, nominated for a Best Supporting Actor Oscar for this role) and his accomplice (Peter Lorre) show up. As a few murders stir things up, Brigid seeks Sam’s protection while employing some impressive film noir femme fatale feminine wiles…as everyone chases after one of the most famous MacGuffins in cinematic history, the bejeweled bird known as The Maltese Falcon. This is THE film that made Humphrey Bogart a superstar, and established the “Bogie character” of a flawed tough-guy hero who ultimately turns out to have a good heart. But who did Bogie have to thank for this role? In this episode, we get into which big star kept turning down parts that became iconic roles for Bogie, why the

HIGH NOON stars Oscar-winner Gary Cooper as Will Kane, a small town marshal who is getting married to Grace Kelly and planning to retire and leave town. However, just as he is saying his vows, Will receives word that Frank Miller, a bad guy who Will sent away to jail, has been released and is returning on the train at noon to get his revenge on Will and take over the town. Everyone urges Will to flee, but to the horror of his new bride he decides to stay and fight, hoping that many men from the town he had protected for years will join him. Cut to the famous scene of Will standing all alone in the middle of a deserted Old West town... HIGH NOON, with its enduring message of doing the right thing even when it comes at great personal cost, is the most-requested film by U.S. presidents, with a certain former POTUS showing it 17 times while in office! We get into that, along with the iconic theme song by Tex Ritter, and the connections that Gregory Peck and musician David Crosby have to the film. Larry Morgan of

In REAR WINDOW, Jimmy Stewart plays a photographer who is in a wheelchair in his New York City apartment with a broken leg. To pass the time, he spends his days looking out the window at his neighbors with a telephoto lens on his camera. His imagination starts to run wild, and he suspects murder when he notices that a man’s bedridden wife has disappeared. Grace Kelly plays Jimmy’s neglected girlfriend who wishes he would focus on HER instead of all his neighbors. REAR WINDOW is one of the most iconic mystery thrillers of all time from the master of suspense himself, Alfred Hitchcock. In this episode, James and Lara talk about what screenwriter John Michael Hayes did to capture the essence of who Grace Kelly really was, Hitch’s silent film roots, and how a shirtless Jimmy Stewart getting a massage left Lara feeling confused. We also discuss REAR WINDOW’s Oscar nominations, Alfred Hitchcock’s cameo, and the effectiveness of the sound design. Open up your windows and blinds, uncap your telephoto lens, and get r

GILDA takes place in a glamorous nightclub/casino in South America, where everyone appears to be running away from something and on their way somewhere else. George Macready plays the sinister boss Ballin Mundson, who rescues a down-and-out Johnny Farrell, played by Glenn Ford, from gambling on the docks. Johnny becomes his right-hand man at the casino, and everything is going great for Johnny until Ballin shows up with a wife, the hair-tossing, guitar-strumming Gilda, played by love goddess Rita Hayworth. Things get sticky very quickly, as Ballin comes to realize that although both Johnny and Gilda claim to be all future and no past, they knew each other before… GILDA is a must-see film for Rita’s iconic character, who is an intoxicating mix of innocence and sin. In this episode, we talk about the love triangle and subplot, which may help you to understand the film if you found it confusing when you first watched it. Writer, speaker, and expert on THE HISTORY OF FASHION IN FILM Kimberly Truhler (www.Glamamo