Thursday, October 20, 2016

Cartoons Caricature Hollywood

There are two aspects that immediately grab the viewer: first, the sometimes extreme ugliness of the caricatured images of stars who were otherwise celebrated for glamour; second, that these stars were marketed like products and brands of the studio based on their physical "type."  Nowhere is this more glaringly apparent than in their animated cartoon likenesses. 

Today we join the Classic Movie Blog Association's Hollywood on Hollywood blogathon.  Have a look here for more entries.

The cartoons we discuss today that lampooned the stars were produced by every studio.  One of the earliest, Mickey's Gala Primier (1933) was a black and white cartoon put out by Disney.  Mickey and Minnie Mouse attend a Hollywood premiere of one of Mickey's cartoons, and all the stars are there, emerging from a single limousine, as klieg lights arch into the sky.  Wallace Beery and Marie Dressler, the three Barrymores in their Rasputin guises (a movie we covered here), Laurel and Hardy, the Marx Brothers, Eddie Cantor, Jimmy Durante, Joan Crawford--a huge list of greats. Some like George Arliss would not be as identifiable possibly even ten years later, that is to say he would not have been worthy of parody in popular culture.  Greta Garbo, however, who was much parodied in these cartoons (in particularly unflattering jibes), was a star whose greatness can be measured by the fact that her name was still identifiable long after she stopped making films, and was therefore still the butt of jokes.

The Hollywood Bowl (1938) was put out by Universal under Walter Lantz, known for Woody Woodpecker, which, again in black and white, showed all the major stars of the day attending a performance at the Hollywood Bowl.  Bing Crosby, W.C. Fields are among the most well-known here--and Garbo is again skewered, invariably portrayed as a somewhat somnolent stooge--but Jean Hersholt is on hand, and the Ritz Brothers, all probably less identifiable to later audiences.

Ned Sparks seems to pop up with great regularity in these cartoons too.  For film buffs, trying to name the actors flashing on screen for only seconds at a time is great fun and quite challenging.

Katharine Hepburn's angular features and distinctive voice always make her a good target for caricaturists and she appears in this cartoon, as well as others in the 1940s.  Joe E. Brown, the enormous mouth that devours the entire screen is another regular, but in this cartoon, Benny Goodman, Cab Calloway, Rudy Vallee, and Leopold Stokowski, his  long hair in a snood, also get the works.  What may be surprising to young fans of classic films and cartoons today was that conductor Stokowski was actually something of a "rock star" in his day. 

He also appears in Hollywood Steps Out (1941), which, as you can see by the screen caps here, has some of the best drawn, and least offensive, caricatures of the stars.

Included in this one are Ann Sheridan, Sonja Henie on skates, Cesar Romero, Mickey and Judy, Henry Fonda, but I'd have to say my favorite is of C. Aubrey Smith. 

The Golden State (1948) is a travelogue type cartoon (that ends in a singalong of "California Here I Come") with cameos of Dorothy Lamour, who is of course, in a sarong, as well as Johnny Weismuller in Tarzan garb. 

Hollywood Picnic (1937) gives us, along with Garbo and Joe E. Brown, without whom no cartoon lampoon of the stars is complete, a brief glimpse at Edward Arnold, which seems surprisingly without any exaggeration, and a stereotyped Stepin Fetchit.  Young audiences today will justly be offended at the racism, however they will likely be ignorant that this portrayal of Fetchit was on the mark: this was his act.  This was his brand.  Joe E. Lewis had a great career on Broadway, but in Hollywood, his brand was his large mouth.  James Stewart was a terrific stage and screen actor: to Hollywood, he was a lanky, stammering twit.

Edna May Oliver, likewise, an esteemed stage actress whose screen roles were exquisitely nuanced, had her value to Hollywood, especially the publicity departments that pushed these cartoons, reduced to an ugly old lady.

Hollywood Detour (1942) brings the gang back for a bus tour of the town.  This one was Columbia.  Garbo is back with her large feet and sleepy affect.  Fred Astaire and Rita Hayworth, however, get off without being cruelty teased.

Mother Goose Goes Hollywood (1938), another Walt Disney offering, gives comic sendups of Hepburn, Spencer Tracy and Freddie Bartholomew, Edward G. Robinson, Martha Raye, and most of the others mentioned above.

There seemed to be less cartoon parodies of the stars by the mid 1940s--though Humphrey Bogart and Lauren Bacall would pop up in Slick Hare (1947) and in Eight Ball Bunny (1950).  Here the caricatures are not unkind.

When the studio system began to break up and the actors were free agents, they were less likely to be marketed according to their branded caricature. 

Did audiences of the day discover through these cartoons what brilliantly blue eyes William Powell had, an actor they normally saw only in black and white films?

Take a look at the other swell blogs participating in the Hollywood on Hollywood blogathon.

The audio book for Ann Blyth: Actress. Singer. Star. is now for sale on, and on Amazon and iTunes.

Also in paperback and eBook from Amazon.

Thursday, October 13, 2016

News of Current Events...

Just a brief update today on some current events:

First, for those who prefer to buy their books in bookstores and not online, a new independently owned bookstore has opened in Westfield, Massachusetts, in the heart of the historic district right on the town's beautiful common.  It's called Blue Umbrella Books, and they now carry all my books.  In fact, I'll be doing an author signing with them in December -- more on that later. 

So for those of you in western Massachusetts and northern Connecticut -- or any of you folks across the country who'll be up in New England this month doing your leaf peeping (what we call being on fall foliage tours or driving out to look at the leaves) -- stop in to Blue Umbrella Books and say hi.  (Westfield has some mighty nice other stores too.)


Next week, I'll be participating in the Classic Film Bloggers Association annual fall blogathon -- this year the subject is "Hollywood on Hollywood."  My post will be up next Thursday the 20, and I'll be covering how some classic cartoon caricatured the Hollywood stars. Have a look here at the CMBA website for a roster and links of terrific blogs and their topics for this blogathon.

See you next week.

Thursday, October 6, 2016

A Canadian's Perspective: A Visit from Paddy Nolan-Hall

Today we discuss an aspect of the inclusiveness of the classic film fan community which sometimes amazes me in the face of—what all classic film fans know—is an art and culture that was often very skewed in the diversity it embraced.  Racial and ethnic stereotypes are at the forefront of this skewed diversity, obviously, but consider another facet of the Hollywood film industry:  a fair number of actors were Canadian.  However, we never hear of a “Canadian Colony” in Hollywood the same way we hear of the “English Colony” actors, or the large number of refugees from Europe during the war who made up a community in Hollywood. 

Is it because of the seamless way Canadians have always integrated with the U.S., or is it because of a way Americans have of taking Canadians for granted, considering them cousins—and as such, we don’t think about them very much unless they’re coming for Thanksgiving.  Oh, which Thanksgiving?  October or November?  Eh, skip it.

By the way, Happy Thanksgiving this coming Monday to our Canadian cousins. What time is dinner, and should I bring anything?

This post, after I get done yapping, will eventually be turned over to our friend and colleague, Patricia Nolan–Hall, aka, Caftan Woman, who blogs on classic films at her excellent site: Caftan Woman.   Also a member of the Classic Movie Blog Association, she recently swept the annual CMBA awards in the following categories: BEST FILM REVIEW: DRAMA - Charlie Chan at the Opera (1936); BEST CLASSIC MOVIE ARTICLE - Hal Roach and the "Lot" of Fun; BEST PROFILE OF A CLASSIC MOVIE PERFORMER OR FILMMAKER - Harry Carey and Harry Carey, Jr.

Her knowledge of classic films is extensive, and she is a perceptive and articulate writer; and as she happens also to be Canadian, we are fortunate to have her take on the issues discussed here.  This is the tenth installment of our year-long series on the current state of the classic film fan.

What does a Canadian classic film fan think of old Hollywood’s U.S.-centric popular culture?  The settings of most of the films is in U.S.—either a big city, or “Anytown, U.S.A.”  What is there for a Canadian fan to identify with in Hollywood’s “dream factory” movies?

Also, sometimes in a classic film with an American actor playing in an English setting, he is, as a matter of convenience to the story, portrayed as a Canadian – as if to give him a pass for being there – such as Humphrey Bogart’s character in The African Queen.  That character was originally written as Cockney English in the book.  Canada has a – “close enough” stamp on it for old Hollywood, which cracks me up, but I have to wonder if to a Canadian this seems absurd.

When Canada actually is the setting and focus of a Hollywood-made movie, what does a Canadian classic film fan think about it?   What are some classic Canadian films would they like to introduce to movie fans in the U.S.?

With our shared cultural and movie heritage, not only with Canadian actors and filmmakers, but also with Mexican as well—Hollywood benefited from a large number of actors originally from Mexico--maybe we should not call them American films, but North American films?

And so, I leave the lectern and invite Paddy to step up to the mic to give us her take on the matter.  My SpellCheck insists on changing her Canadian spelling, but I won’t let it. 


Paddy Nolan-Hall:

Sitting in my grade school classroom with the map of Canada on one wall and a larger map of Nova Scotia on another, I felt that I resided in the centre of the universe.  The books I read, the television and movies I enjoyed let me know that there were other places and other people out there in the wide world.  I never felt apart from that other world, only excited that it was all there for me to enjoy.

Focusing on film, we all can relate to that marvelous experience of attending the cinema, getting our treats, settling in our seat and joyously anticipating the lights going down.  A Saturday matinee western or Bowery Boys or Beach Party flick, a rare trip to an evening viewing of the latest Disney release.  Movies on television, even when my small town only properly received one channel - musicals with wonderful songs and appealing characters, dramas with adults behaving mysteriously.  I would soak it all in not really comprehending the timeline; that some of these movies were created decades before I was born.  It was enough that the movie was there and I was on the other side of the screen.

The year I turned 11 (1968) our family moved to Freeport in Grand Bahama for my dad's business.  It was eye-opening to have more than one TV channel and so much content that an entire magazine was needed to let you know what was going on instead of half a page in the local paper.  I was not only bombarded with movies, but with the experience of leaving the centre of the universe and being identified by that universe and meeting those people from those other places.  My time in Freeport introduced me to the world and a grudging look at my place in it, plus my first Charlie Chan movie.

Learning and deciding what it meant to be a Canadian led to a fresh look at some of my favourite Hollywood movies.  While often avoiding what may seem like bragging, we are always pleased to be acknowledged by our louder cousins south of the border, even if it can seem rather far out.  Randolph Scott as a Canadian Naval Officer in Corvette K-225?  Well, they gave him a Scottish name.  Bogie's Charlie Allnut is a Canuck?  I can't say it doesn't totally work, but he still sounds like Bogie.  Eddie Robinson as a Quebec police inspector in A Bullet for Joey?  Little Caesar?!  The Happy Time at least cast French actors as the French-Canadian family in the story, and who doesn't enjoy watching Charles Boyer, Louis Jourdan and Marcel Dalio?  Kudos to Jeanette Nolan for her decent Quebecois accent.  Canadian characters on film are a mixed lot.

We are always pleased to point out with pride the Canadian born stars of the silver screen from Fay Wray to Walter Huston to Raymond Massey to Alexis Smith.  Was there a Canadian colony like the British one in Hollywood in the classic era?  It does not appear to be so.  Did Andy Hardy's sister Marian played by Cecilia Parker and Andy Hardy's girlfriend Polly played by Ann Rutherford compare their Fort William, Ontario, and Vancouver, British Columbia, upbringings? 

Did Lucile Watson (Watch on the Rhine) and Maude Eburne (Ruggles of Red Gap) trade maple syrup recipes?  Did George Cleveland (TV’s Lassie) from New Brunswick and Joe Sawyer (TV’s The Adventures of Rin Tin Tin) from Ontario greet each other with a secret handshake?  I understand many Canadian actors working in the States get together for hockey games and to remind themselves of their roots.  In that earlier time it was simply a question of going where you could work.  Nowadays there seems to be a certain appreciation for our country and our culture of self-deprecating humour.  Our sense of self is truly wrapped up in our humour which borrows from our British founders and our American neighbours.  We've taken the best from both and made it our own.

Canada's National Film Board has created may Academy Award winning shorts and is a great resource for chronicling the growth of our country.  Box office films have been harder to come by, but the industry is experiencing a burst of creativity and recognition.  We have never minded coming from behind.  Here is a cross-section of Canadian films through the years which will tell you something about this vast land mass with a sparse population:  1949’s Beyond Dull Care, 1941’s Neighbour, 1970’s Goin' down the Road, 1971’s Mon Oncle Antoine, 1972’s The Rowdyman, 1975’s Lies My Father Told Me, 1977’s Outrageous!,  1977’s Who Has Seen the Wind, 1982’s The Grey Fox, 1985’s My American Cousin, 1992’s The Boys of St. Vincent's, 2002’s Men with Brooms, 2008’s Passchendaele and 2010’s Barney's Version.

During my teen years the film fans of Southern Ontario and Western New York were truly blessed with TVOntario's (our provinces PBS, if you will) Saturday Night at the Movies produced by Rise Shulman and hosted by Elwy Yost.  Every Saturday night a double bill of uncut classic Hollywood films with an education component hosted by former teacher Elwy.  Hollywood notables including actors and those behind the scenes were interviewed by the enthusiastic Elwy for our edification and entertainment.  Single-handedly Elwy Yost created generations of classic film fans.  Upon his death, Mr. Yost trended on Twitter with the heartfelt appreciation of thousands for making being a movie buff "okay".

Canadians and Americans share a continent and enjoyment of much of the same entertainment.  The difference is that we know when the music or entertainers are from the States, but you don't always know when it comes from Canada.  A lot of us share the same experience of the four seasons and relatives who ended up on the other side of the border.  The experience of characters in classic films is not foreign to us (well, maybe those Southern states, but the food looks good and we get used to the accent).  Hey, if you guys hadn't gotten all cranky and had a revolution we might be one big country.  I don't think that would be much fun though, do you?  The differences between our two countries may be the gentlest example of diversity on the planet.

Speaking of diversity, my daughter Janet is a filmmaker in her final year in Sheridan College's Bachelor of Animation Program.  Her peers include students from all over the world, from varied backgrounds and ethnicities.  How do classic films fit into their lives and careers?

Along with a history of animation course taught by Kaj Pindal, Janet relates that all of her professors use classic films as a way to teach aspects of cinematography and storyboarding.  These were the films that inspired the teachers in their youth and they want to share it with their students.  Some of the titles used include Lean's Oliver Twist and Lawrence of Arabia, Ford's The Searchers and How Green Was My Valley, a lot of Hitchcock and the films of Jacques Tati.  Students are encouraged to watch silent film comedies for the facial expressions.

The majority of the students were not previously exposed to classic film and their expectation was that they would be old-fashioned and unrelatable.  They were surprised and open to experience the older films.  Janet feels that the students who are the most serious about learning and growing in their art will continue to watch classic films.  I am optimistic about the future place of classic film and the expansion of classic film fans.

My sincere thanks to Paddy for helping out on this installment of the series.  Please have a look at her Caftan Woman blog for more great thoughts and great writing on classic films

Past posts in this series here:

Part 1 of the year-long series on the current state of the classic film buff is here: A Classic Film Manifesto. 

Part 2 is here: Cliff Aliperti’s new book on Helen Twelvetrees.

Part 3 is here: An interview with Kay Noske of Movie Star Makeover.

Part 4 is here: Evolution of the Classic Film Fan.

Part 5 is here: Gathering of the Clan at Classic Film Festivals.

Part 6 is here: John Greco’s new book of film criticism: Lessons in the Dark.

Part 7 is here: Tiffany Vazquez, new TCM host.

Part 8 is here:  Planet of the Apes at the Cineplex.

Part 9 is here:  Aurora & Classic Movies and More Interview.


The audio book for Ann Blyth: Actress. Singer. Star. is now for sale on, and on Amazon and iTunes.

Also in paperback and eBook from Amazon.

Thursday, September 29, 2016

Vaudeville - No Applause, Please, Just Throw Money by Trav S.D.

Vaudeville gave us many performers whose careers we've come to know from their eventual migration to Hollywood and the movies.  In turn, some movies managed to chronicle vaudeville performances and preserve them on film so we can enjoy them today.  It's a special relationship.

I've mentioned before on this blog the other points on the "star" that comprise the universe of the twentieth century actor: movies, of course, but also the stage, radio, and television.  The fifth point on the star is vaudeville.  I consider this separate from "the stage" because it was a unique world apart from full-length dramas, comedies, or musicals. 

Cary Grant started in vaudeville. Those simple acrobatics he performed in Holiday (1938) were learned when he was a youth, when he was Archie Leach, in vaudeville.

W.C. Fields, sure, and Mae West, and the Marx Brothers, but they essentially brought their vaudeville acts to the screen.  Mr. Grant, or we should say, Mr. Leach, morphed into something and someone altogether completely new.  The movies created many "personas" for many actors whose images, not to say talents, were a work in progress. Vaudeville was the training ground.

This post is just to point you in the direction of a swell book that is a terrific survey of vaudeville if you know little about it and want to know more:  No Applause - Just Throw Money, by Trav S. D. 

A few years ago I reviewed his book on silent film comedy, Chain of Fools, here.  He also writes the blog Travalanche, a wealth of information on classic films and vaudeville.  He's one of my favorite writers.

As I've mentioned in this post a few weeks ago, I'm currently working on a book about a summer stock playhouse on Mt. Tom in Holyoke, Massachusetts.  Vaudeville played an important part in the early days of this theater, and Trav's book has been a most enjoyable part of my research.

His knowledge on this art form and era is impressive, and you will be hard pressed to find a guide to this fascinating world more articulate and funny.  It really is a very enjoyable book, and I recommend it to anybody interested not only in vaudeville, but in classic films.  Exploring the history of vaudeville will enhance your appreciation of classic films. 
Next week we continue our series on the current state of the classic film fan with a discussion with Patricia Nolan Hall, aka Caftan Woman.

Thursday, September 22, 2016


The blogger is busy.  See you next week.


The audio book for Ann Blyth: Actress. Singer. Star. is now for sale on, and on Amazon and iTunes.

Also in paperback and eBook from Amazon.

Thursday, September 15, 2016

Marie Dressler

This is Marie Dressler.  You can see her sense of humor, the very devil in her eyes.  I don't know when the photo was taken, but it's another in a collection of photos in a book called Stars of the Photoplay, published in 1930.

She would have been 62 in 1930 (reportedly born in 1868), but the brief bio that accompanies the pic says she was born three years later in 1871.  If, as was a lady's privilege, she lied about her age, she probably did not bother to relate to the publisher that this was not a current picture.

Or perhaps the studio photographer's magic was just at work here.  I particularly love that all the photos in the book - big, page-sized portraits - are done in sepia tone.  I think of the Thirties more as sepia than as black-and-white, and I'm not sure why.  Perhaps all the sepia family photos, or the brown paper sleeves that held the 78 rpm records passed down to me, or the fact that my mother, in her Depression-era teens had a pair of saddle shoes that were brown and white, not black and white as in the 1950s.

Marie Dressler, who had a string of bad luck in middle age when stage parts dried up, was in financial difficulty when suddenly in 1927, a return to silent movies gave her career a lift and made her famous.  It was a glorious end to the Jazz Age for her (a decade which, earlier, she had lamented was youth-obsessed), and the Great Depression and the coming of talkies seemed no great threat to the likes of this enormously talented actress.  On the contrary, she could sling lines with the best of them.

But we were not long into the sepia decade when Dressler died in 1934.  Being a woman in her early sixties did not keep her from being a star, successful in an industry where that was unusual.  It took cancer to beat her.

I'm sorry I missed commenting on Miss Dressler when TCM programmed her movies in June when she was Star of the Month.  I've always felt a special affinity to Marie Dressler when my mother told me that my grandmother, who was an immigrant to this country and did not speak English, loved Miss Dressler.  She was my grandmother's favorite movie star.  She didn't need to understand English for silent films, when pantomime told the story very nicely, thank you. 

I wonder if she felt a sense of loss when her favorite movie star began to speak, and she couldn't understand her?  Was it almost as great a sense of loss as when she died?


The audio book for Ann Blyth: Actress. Singer. Star. is now for sale on, and on Amazon and iTunes.

Also in paperback and eBook from Amazon.

Thursday, September 8, 2016

Work in Progress - Stars on Stage on Mt. Tom

This is a playhouse within an amusement park, up on a mountain, at the edge of a New England factory town.  You may not find a more unlikely place for a summer theater than this, but it was a giant in its day.  Some great actors--before they were famous, and some after they became famous--performed here.

I am currently writing a book on this place and the companies which performed on Mt. Tom in Holyoke, Massachusetts, from 1895 to 1965.  I hope to have it available in December.

Hal Holbrook debuted his the full-length version of his one-man show here: Mark Twain Tonight!  He was a member of The Valley Players here long before he won his Tony award, and his fame, for playing that role that he created.

A generation earlier, George Brent, before he came to Hollywood (and before he was George Brent -- he still used the surname Nolan) was the leading man here for a couple summers. 

Betsy Drake, before her film career, and her marriage to Cary Grant, performed here as a young ingĂ©nue.  James Coco was a member of the company here, and Mary Jackson, long before you knew her as Miss Emily Baldwin on The Waltons, played here.

Others performed at this playhouse, long called The Casino, and in later years, The Mt. Tom Playhouse, after they had achieved their fame:  Walter Pidgeon, Van Johnson, Alexis Smith and her husband, Craig Stevens, Kathryn Crosby, Eve Arden, Dana Andrews, and Tallulah Bankhead, to name a few.

You may have never heard of Jackson Perkins, or Lauren Gilbert, Jean Guild, or Anne Follmann, Hugh Franklin, or John O'Connor.  Maybe some of you will remember Joseph Foley only from his turn as the principal on the Mr. Peepers TV show in the 1950s.  I am equally excited to be presenting their stories.

We've discussed in these previous posts the summer theatre work of Ann Blyth, and film stars on stage at the La Jolla Playhouse, and at the Storrowton in West Springfield, Massachusetts.  Theatre is such an exciting art form, and it enriches any community lucky enough to have live theatre.

Those who love classic films often follow their favorite stars' career paths into television.  Theatre is another world, one that required enormously hard work, self-discipline, and for which they did not always receive a great deal of money.  It was done for the love of it.  I would encourage all classic film fans to explore the dual heritage of the history of theatre as it may relate to your favorite film stars.


The audio book for Ann Blyth: Actress. Singer. Star. is now for sale on, and on Amazon and iTunes.

Also in paperback and eBook from Amazon.

Thursday, September 1, 2016

Aurora & Classic Movies and More Interview

Time for Part Nine in our monthly series on the current state of the classic film fan.  

Today, we visit with Aurora Bugallo, whose blog Once Upon a Screen is a delightful gallery of info and photos on our favorite classic films and TV.  A prolific contributor to social media (who takes my favorite photos -- of the top of her head below some famous tourist attractions or at some event -- I really think she should put out a coffee table book on these hysterical pics), and whose latest venture is a dynamic and entertaining series of podcasts on YouTube called Classic Movies and More, which she hosts with Annmarie Gatti and Robert Medaska.  

Here’s our discussion on classic movies…and more:

JTL:  How did you, Annmarie Gatti, and Robert Medaska come to know each other, and then come together to plan this venture and to facilitate it?

AB:  Well, let’s see…I first “met” Annmarie on Twitter.  She was one of the first people I connected with on the platform.  After I visited her site I was blown away by its scope and we had plenty to discuss there so it was a seamless connection. She’s also always been incredibly supportive of my blog.  When we met in person at the 2013 Turner Classic Movie Film Festival it was as though we knew each other.  Among the things we’d discussed almost since we met is the possibility of collaborating in some way on a classic movie-related project, but we couldn’t quite put our finger on what. 

Rob and I met at a faculty meeting about three years ago.  We both teach at the same university and the program director couldn’t wait to introduce us knowing we had classic movies in common.  Soon after we met Rob stated mentioning the possibility of collaborating on something classic movie related.  About a year later I thought it would be a great idea to introduce Annmarie and Rob knowing they had similar interests.  I knew I could only benefit from being around the two of them.  As a filmmaker Rob has impressive technical knowledge and Annmarie is a master of all things social media.  It really took no time for the three of us to decide on the YouTube show idea.

JTL:  In one article on my series this year of the current state of the classic film fan, I mention how technology has allowed us to move beyond the movie theater, the home viewing, and extend our classic film viewing onto the Internet. Here, we not only watch movies, but we connect with other fans. In a do-it-yourself world of self-publishing of music and of books, it seems a natural that classic film fans would want to also move to a do-it-yourself realm of programming. From my post in April:

There are also some intriguing home-grown programming—such as Dana Hersey, who hosted The Movie Loft on Boston-area TV-38 in the 1980s is launching an Internet classic movie streaming channel. Other hosts of online podcasts demonstrate that being a classic film fan is continually evolving according to the technology that allows us to appreciate old movies.  No longer content to be “programmed to”, the classic film fan is now taking the reins and doing the programming. 

Do you see CLASSIC MOVIES AND MORE as a part of this trend? And what do you hope to accomplish with the project?

AB:  I absolutely do.  That trend is the primary reason why Rob insisted on this type of show.  I’m a big fan of classic movie podcasts and subscribe to several that I enjoy immensely, but – mostly thanks to Rob – we wanted something a little different where we can offer the sights as well as the sounds of people and places that mean something to our classic film community.

As far as what we would like to accomplish – as we mention in the pilot episode of “Classic Movies and More” we have lofty goals.  We’d like to go everywhere and talk to everybody.  We base everything that we’ve laid out so far on our own interests as fans and the show being “by fans, for fans” is central to why we decided to do it.  We want to talk to the fans that play a role in keeping the movies and stars alive.  We want to promote authors (like you) and others who put in extraordinary time and effort to ensure the people whose work we admire stay relevant.  Aside from allowing the three of us a new way to express how much we love these movies we want to have a forum for all fans to do so as well.  Of course that includes historians, projectionists, accompanists, theater owners, bloggers and what have you because at the core of most of their work is a fan. 

JTL:  It's terrific that you've covered the small but significant stories that I think are not given much play elsewhere - the Biograph episode, the Bob Furmanek interview.  I especially enjoyed the three-part series with Meredith Ponedel on her father and aunt, Dottie Ponedel, who had such an impact on the industry and such warm connections with so many stars as a makeup artist. (From a technical aspect, I also would like to mention that I thought the camera, the editing, and the patter of the interview was extremely well done.)  I would love to see some of your episodes broadcast on TCM to achieve a wider audience.  How do you investigate these story ideas, or how do they come to you?

Also, in the pilot episode, the possibility of future podcasts on visiting classic film-related museums was mentioned. I'd love to see that.

AB:  I’m so glad to know you enjoyed those episodes.  Meredith Ponedel was a happy accident who came to our attention thanks to Kelly Kitchens who runs the “Going to TCMFF” Facebook page.  Meredith was excited to talk to us and we were riveted by her stories. Naturally we thought other fans would be as well.  I agree that Annmarie did a fantastic job with that interview.  As for Bob Furmanek – he’s a tireless advocate for classics particularly true in his efforts to save 3-D films.  Bob and I have become friends and I love what he’s doing.  I’m hoping we can promote any and all projects he has on the horizon.  Finally, the Biograph segment came about because Professor Ultan who’s the Bronx Borough Historian also happens to teach at the same university that I do.  He’ll be featured in another piece soon where we visit Woodlawn Cemetery in The Bronx.  All I can say about him is that if I lived five lifetimes I wouldn’t know what he knows so it’s thrilling to be in his presence.

We’ve been lucky so far with the people we’ve been exposed to through the classic film connections we’ve made.  I expect that these connections can only get deeper and larger in scope.  We come up with ideas in a variety of ways, but consult on an overall plan that focuses on what we can do locally first and branch out from there.  We have so much film history in our own backyard so to speak that there’s no rush to travel the world - although eventually we want to.  We’ll soon be incorporating Skype interviews/discussions as part of the programming, which will certainly increase the number of people we can talk to and topics we cover.  Rather than covering “newsy” topics we prefer (perhaps) more obscure things that are not necessarily found in other places and museums are definitely in the cards.  That said, we loved doing the pre-TCMFF review and a pre-Capitolfest commentary was also released prior to that festival, which enables us to stay topical in some ways.  As for our content ever appearing on TCM – well, we’d love that!!  Who knows?

JTL:  The Holy Cross Cemetery episode was poignant, not only for its tribute to the stars, but to see that tribute expressed by classic film fans and bloggers Laura Grieve and Kellee Pratt.  Classic film fans themselves taking respectful ownership of the chronicling of classic films is a huge aspect of the advent of blogs.  Watching favorite films is our main activity as old movie fans, but it is a passive participation.  Blogging -- and producing your CLASSIC MOVIES AND MORE series  -- is an active, and proactive response to the love of old movies. Do you see fans as becoming more proactive in their love of old movies -- supporting restoration, etc.?  What is your mission in producing this series?

AB:  It’s difficult to gauge fandom in general, but as far as our community of classic film fans goes there’s no doubt that we are active participants when it comes to lauding the movies, people and eras we dedicate time to.  Of course being proactive has been facilitated by social media and I’m constantly taken aback by how passionate fans are or how much time they dedicate to what may be a small part of their lives.  Our connecting en masse across mediums definitely tends to make us even more prone to reaching out and taking part in classic movie related activities, donate to restoration projects and many other ways of spreading the word well beyond simply watching a film.  In the same fashion those who have projects related to film restoration, special screenings, new book releases and so forth can reach out to a targeted audience immediately and often.  That was my long-winded way of saying yes, by virtue of the connections I think fans are definitely taking a proactive approach to fandom in a variety of ways. 

We have a few specific goals for ‘Classic Movies and More,’ but in reality the world of classic movies is our oyster.  As I mentioned, the “for fans, by fans” is important to us, but beyond that spreading the word about something we care about deeply is our primary focus.  The people we want to talk to are legion and the places we want to visit are numerous.  I feel like we’re kids in a candy store thanks to the many passionate, knowledgeable people we know about thanks to the active roles they now take across social media.

If you don’t mind, I’ll circle back to the idea of connections with regard to the Holy Cross Cemetery episode we did.  What makes that special for us and certainly has a lot to do with our decision to do this show is the fact that we were there together and were able to express our appreciation for these people who we never met, but who have nonetheless touched our lives in significant ways.  Knowing others share these feelings makes it all that much more rewarding.

JTL:  You and Annmarie did a preview of the TCM festival this year. Will you cover other classic film festivals in future episodes?

AB:  The pre-TCM festival was hilarious because we couldn’t decide on anything, which is what most TCMFF attendees go through.  It was loads of fun to do as well.  The answer is yes we will do as much festival coverage as possible, which may come slowly given current time restrictions with regard to traveling to different parts of the country. We also did a pre-Capitolfest commentary and hopefully many more are coming in the future.

JTL:  What are some challenges of producing a video series like this?

AB:  Oh, challenges!  I don’t want to speak for either Annmarie or Rob so these are challenges as I see them.  The first would be technology.  Rob runs circles around Annmarie and me on the technology front so it hasn’t been easy to ensure that I hold up my end in that regard.  I’m working on it and will get better, but it’s a slow process.  The other challenge is finding the time to spend together.  We are all juggling many things including full-time jobs, other projects and Rob has two young sons so putting other things aside to concentrate on ‘Classic Movies and More’ is not always easy.  This endeavor is fairly new and I think we’re still finding our footing in some ways, but the major plus is that we all want the same things and are equally excited about the possibilities.

JTL:  Will you have more interviews with fans in future? Or, have you approached others, like Meredith Ponedel, who are connected with the film industry, or TCM?

AB:  We will absolutely do more fan interviews in the future and have a few almost ready for release.  The fan interviews are what I’m most excited about.  We have a long list of people we want to reach out to and will be doing so as soon as we figure out the logistics and timing.  These include bloggers, podcasters, authors and several others with classic movie connections on many levels.  We have not reached out to TCM, but needless to say we’d enjoy interviewing a number of people at the network.

JTL:  What do you have planned for future episodes?

AB:  There’s a variety of topics coming up.  Rob and “little” Rob just started a monthly Svengoolie review series, we have several interviews with fans/bloggers already “in the can” (aren’t you impressed with my movie lingo?), an interview with accompanist Gary Lucas, another classics related historical tour with Lloyd Ultan and several other things that I think will be fun for people to see.  You’ll also like additional footage we taped with Meredith Ponedel, which will be released as supplemental material in the coming weeks.

JTL:  If I could take a step back from your series for a moment, I mentioned Tiffany Vazquez, the new TCM host in a recent blog post, and I'd love to know your opinion on the following excerpt:

It has been noted that she is the first woman to be hired as a regular TCM host, and her Puerto Rican heritage has been commented on as setting her apart as representing a new demographic. But before we skew this into some Madison Avenue pie chart of something up-market, we should remember that  the classic film fan “demographic” has little to do with age, gender, race, or ethnicity, and is remarkably diverse.

AB:  I agree with you as far as how I think things should be.  I’m not sure it’s how things are. 

In my opinion the vast majority of classic movie fans – using the widely accepted definition of “classic” meaning “old” in this instance - are not twenty-something years old.  And I don’t think they will ever be in numbers that make a huge difference.  We have several extremely dedicated, passionate, knowledgeable younger fans in our community who live for classics in every sense of the word.  I marvel at their passion for classic movies, which by the way is most consistently for early talkies and pre-codes, but those fans are exceptions.  The vast majority of classic movie fans are, shall we say, not twenty-something.  They’re the ones who make up the core TCM audience who have been with the network since it went on the air.  They are made up of a varied ethnicity, but their average age is a tad above twenty-something.  I’ll add this because it’s been discussed throughout social media – many have noticed that TCM is skewing toward a younger audience, and while I may not necessarily like it I understand it.  TCM is a for-profit network and commercial-free programming has to cost a pretty penny so ensuring longevity should be a goal.  That said there is always the danger of watering down a brand that has become the network everyone believes is the primary arbiter for classic movies.

About Tiffany – There’s no doubt your Madison Avenue pie-chart had something to do with TCM’s decision to hire her as should be the case.  I am both a woman and a Latina so the fact that Tiffany is both of those thrills me.  I imagine that her age also played a factor in her becoming a TCM host.  That said I like to think that Tiffany also being a classic movie fan had a lot to do with it.  Yes, she is not a film historian or author like Robert Osborne was when he became TCM host and her last name is not Mankiewicz, which Ben himself has stated played some role is his becoming a host.  But, as I assume is the case with many others, I didn’t fall in love with Robert Osborne because he was a film historian and I couldn’t care less what Ben’s last name is.  I have been happy to welcome them both into my home for over two decades because they speak to me like fellow classic movie fans.  I’ve met Tiffany and I know she has that in spades.  If she’s able to convey that love of movies to an audience who is passionate and loyal I think she’ll have a long, successful career on the network. 

JTL:  There are many aspects of classic films which are difficult for younger people to swallow because they are so obviously out of tune with today's concepts of race and gender.  Even for those of us who are more familiar with the eras in which the classic films were made, we still cringe at many scenes, even if we are able to process them in context.  Your thoughts?

AB:  There’s no doubt that classic movie fans make a decision to ignore the offensive material inherent in those movies in order to appreciate them.  We accept that they are products of their time and therefore put aside what we would normally have issue with.  I think it’s a requisite to watch them, in fact, so anyone – younger or older – who is not familiar with what to expect to a certain degree would have a difficult time with what was being served.  And, for that matter, understanding how the rest of us could enjoy entries that so blatantly insult women and minorities. 

JTL:  With respect to the above passage, who is your audience?  Younger fans more in tune to looking for info in the Internet? Diehard fans who can't get the stories you present anywhere else? What has your response been to the series so far?

AB:  I’d like to think our audience is the classic movie fan of any age.  Or hopefully will be.  Fans of classic movies or anything retro, for that matter, are more predisposed to search for classic material on the internet because we have limited outlets that offer it.  I don’t think that practice is limited to younger audiences in our community. Or at least that’s true in regards to major social media platforms like YouTube, Twitter and Facebook.

We hope to be able to offer those fans an outlet to promote their blogs, tell their classic movie stories and so forth in a way other outlets don’t do.  In that way we’ll be a connection to classics not offered anywhere else.  If we are successful in presenting topics and people with professional connections to classic movies that offer unique insight or we take people to a place where others have not been then I think people will tune in.  Original content is important and we’ll try our best to provide it. 
My sincere thanks to Aurora for taking the time to participate in this interview, and for her always thoughtful and intelligent perspective on classic film.  Please visit her blog, and also Classic Movies and More on YouTube, you’ll love them both.

Past posts in this series here:

Part 1 of the year-long series on the current state of the classic film buff is here: A Classic Film Manifesto. 

Part 2 is here: Cliff Aliperti’s new book on Helen Twelvetrees.

Part 3 is here: An interview with Kay Noske of Movie Star Makeover.

Part 4 is here: Evolution of the Classic Film Fan.

Part 5 is here: Gathering of the Clan at Classic Film Festivals.

Part 6 is here: John Greco’s new book of film criticism: Lessons in the Dark.

Part 7 is here: Tiffany Vazquez, new TCM host.

Part 8 is here:  Planet of the Apes at the Cineplex.


The audio book for Ann Blyth: Actress. Singer. Star. is now for sale on, and on Amazon and iTunes.

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