Gone, But Not Forgotten

"Baby Doll": Our first glimpse of legendary character actor, Eli Wallach

For my first official GCB blog entry, I would like to pay tribute to Hollywood legend, Eli Wallach, who passed away last week, at the age of 89. His screen debut in Baby Doll (1956) showed us all a glimpse of the talent that would ultimately make him one of the greatest character actors of our time. Below is the link to a beautiful video produced by Turner Classic Movies, featuring many of the highlights of his career. Knowing the kind of movie buff that Paco Malo was, it is highly unlikely that he would have let the opportunity to recognize Eli's contributions to the silver screen slip by.

TCM Remembers Eli Wallach

"A Streetcar Named Desire" (1951): Brando Breaks Out

Tennessee Williams

Marlon Brando, 1947

I just finished rewatching director Elia Kazan's 1951 film of Tennessee Williams' A Streetcar Named Desire, the breakout film role for Marlon Brando combining his raw talent and "method" acting style in creating his character Stanley Kowalski. While the story clearly revolves around Vivien Leigh's character Blanche, one can't help but notice Brando's dominating presence.

As for Blanche, she gets to go first. flustered upon arrival, the last leg of the trip done by steetcar -- Blanche notes, "Daylight never exposed so total a ruin." She is clearly in a mental state or ruin.

The Wikipedia contributors, discussing Tennessee Williams' 1947 Pulitzer prize winning play and it's acclaimed screen adaptation discussed here, put it this way:

Tennessee Williams plotted out a narrative of powerful allegory. The story line unfolds as the drama of life primed by two divergent forces on an unavoidable collision course. It is the dreamscape world of culture and refinement represented by Blanche DuBois in conflict with harsh, unadorned reality epitomized by the character of Stanley Kowalski.

When all the money was gone, when Belle Reeve, the family mansion in Auriol, Mississippi, has been recklessly mortgaged into oblivion, sisters Blanche (Vivien Leigh) and Stella Kowalski (Kim Hunter) were faced with a dilemma. Blanche, failing to save either Belle Reeve, or her virtue, comes to"visit" Stella and Stanley living in the back end of the New Orleans French Quarter. Blanche is in very fragile condition. Stanley, on the other hand, is as a raw force of nature, contemptible of the airs of wealth and refinement Blanche displays.

Stanley is also suspicious of why Blanche left her family home in Mississippi, which in turn is breaking up his sensual paradise with Stella. Stella is forced to choose her allegiance -- no simple matter. But as the play evolves, Stella stays neurtral but sympathic to Blanche's situation.

The longer Blanche stays, the bolder Stella becomes, leading to dangerous arguments, the result of Stanley's growing frustration. After one violent fight between Stella and Stanley, Brando enters American film culture histroy with this passion-driven scene.

It's a credit to Williams and Kazan that, once the forces of the Production Code got through toning down the film, the carnal lust between Stella and Stanley remains apparent. Moreover, the conflict Blanche's presence brings to the small Kowalski apartment, and Stanley's disdain for all Blanche represents, remain forcefully intact.

Marlon Brando, building on his starring role in the original Broadway production of the play, began changing screen acting permanently, bringing his own style of method acting, 'whereby actors create in themselves the thoughts and feelings of their characters, developing lifelike performances.' (For more, see Method Acting.)

Brando, here and in subsequent roles such as Terry Malloy in Kazan's 1953 On the Waterfront, paves the way for such talents as Robert DeNiro, Jack Nicholson, Al Pachino, and this year's Academy award winner for best actor, Daniel Day-Lewis. But in Streetcar, as Stanley Kowalski, Brando is himself an emerging talent, bringing a raw, brooding, lustful intensity to his performance that made Stanley the perfect foil to Blanche's delicate, fragile and fading refinement.

When these forces collide, Tennessee Williams' and Elia Kazan's solid craftsmanship shape a successful powerhouse drama starring the multi-talented combination of Vivien Leigh, Brando, Kim Hunter and Karl Malden, giving us a rarely equaled work of art on film.

All I will say beyond that is see the Kazan film. If I haven't convinced you, the trailer below just might.

"Money's Tight, Nothin's Free, Won't Somebody Come and Rescue Me; I am Stranded, Out in the Crossfire"

"Everyday takes figuring out all over again how to fuckin' live."

-- Calamity Jane

Stevie Ray Vaughn
(sings the title quote like he understands what it means)

Sullivan's Travels (1941; dir. Preston Sturges)

(film the Coen Bros. tipped their hat to with O Brother Where Art Thou)

[Written May 2012 through November 2012]

In the place where you are born and grow up, you begin to learn the things all men must know. Although they are the simplest things, it take a man's life to really know them. And if you are to be a writer, the stories you [tell] will be true in proportion to this knowledge of life that you have ... [of] the good and the bad, the ecstasy, the remorse, the people, the places, and how the weather was. (Except from narrative introduction in the 1963 film Ernest Hemingway's Adventures of a Young Man (dir., Martin Ritt) (Introduction by E. A. Hotchner -- 1968).

 When, despite your best efforts to keep things in balance, the money runs out and your Seven Spanish Angels are away for an audience with the Man with the thunder, changes simply must come.

My offline financial exile shattered my attempt to keep things fresh over the past five years of writing and editing Gold Coast Bluenote.

Here are of few of the treasures I've enjoyed during my break from the online life:

- Steve Earle Live From Austin TX (DVD of an Austin City Limits gig from 1986, New West Records, 2004) .... [with The Dukes]. Steve and his band turn in a crack performance that made one friend of mine wonder why he "didn't make it big." Whatever the answer to that question, the full Austin City Limits concert is first class -- what Gram Parsons would call "cosmic American music."

- The Dixie Chicks, Taking the Long Way (CD, 2006). I've written about this album here before, so I'm going to reprint part of one of two GCB posts on the record:

A friend of mine put on an album the other night, one I hadn't written about since it took home five Grammys and tore up the charts in 2006. The Dixie Chicks' Taking the Long Way still sounds great these five years later.

As an aging hippie, the idea that a band would stir up so much controversy by exercising an artist's right to criticize American foreign policy from overseas is more than a little disconcerting. I grew up at the height of the era where protest music and musicians speaking their minds were badges of honor. But judging on the first decade of this century, a band now puts its future on the line by stepping out of line. As I think about it, I guess its always been risky to oppose those in authority.

The Dixie Chicks are still thriving with a smaller fan base, having lost many of their more conservative, mainstream country fans. But they are still going strong, and their cathartic album Taking the Long Way stands as one of the decade's most important protest records.

- Paul Newman, Jackie Gleason, Piper Laurie and George C. Scott in The Hustler (DVD, 1961; dir. Robert Rossen). You will find a full post on this film here.

- Joel McCrea and Veronica Lake in Sullivan's Travels (1941; dir. Preston Sturges)

- White Shadow by Ace Atkins (historical novel, 2006). It's a vast over-simplification to say that White Shadow is Tampa, Florida's The Godfather. This noir novel is drenched in local color and the Mafia-drenched world of Tampa and Havana, Cuba in the mid-1950s. 

I was born in '57. Nobody talks anymore about the history this book is filled with, from the Latin and Sicilian mobsters who ran the city's underworld to the task faced by honest Tampa cops of trying to chip away at a granite mountain of corruption and decadence. Atkins takes the Pulitzer Prize nominated research on an unsolved mob murder in the fifties and spins an accurate, engaging tale of the darker side of life in my hometown. It's one of the finest historical novels I've found since discovering Hemingway's For Whom the Bell Tolls.

Deadwood: The Complete Series (DVD set, copyright 2004, 2006, 2007; created by David Milch)

 As reader's of Gold Coast Bluenote would expect, there was a good deal of rock 'n' roll that matters on the home jukebox while I was offline. Let me mention a few of these classics that were in heavy rotation:

Layla and Other Assorted Love Songs, Derek and the Dominoes (1970; produced by Tom Dowd)

Exile on Main St, The Rolling Stones (1972, produced by Jimmy Miller)

The Chess Box: Chuck Berry, (3 DVD compilation, 1988)

The Bootleg Series, Vol. IV, The Royal Albert Hall Concert, Bob Dylan (the acoustic side, 1966). Especially Dylan's live version of, arguably, one of the greatest songs ever written, Visions of Johanna.

 If these albums, DVDs, or books are gathering dust in your collection or you haven't acquired the more recently released archival material, well, double clutch your mojo back into gear and let the good times roll. A little time offline did me a world of good. To quote Chuck Berry:

"C'est la vie, say the old folks, it goes to show you never can tell."

Katharine Hepburn, flying Howard's plane, "Howard, there's a rather alarming mountain heading our way."

(l to r) Howard Hughes (Leonardo DiCaprio), Hughes Press Agent Johnny Meyer (Adam Scott),

Errol Flynn (Jude Law) and Kathrarine Hepburn (Kate Blachett) 
at Hollywood's Coconut Grove circa 1927

Martin Scorsese's The Aviator (2004) is a real triumph from many perspectives, but Kate Blanchett's superb portrayal of Katharine Hepburn alone makes this a "must see" film for fans of early Hollywood.

Primarily, The Aviator is the story of the sides of Howard Hughes (Leonardo DiCaprio) we should know, and by and large, don't. Hughes started out as the renegade heir to the tool bit fortune behind the oil drill bit that revolutionized production in the Texas Boom era. Hughes takes his whiz kid business talent, considerable capital and fearless hubris to California, combining one passion, aviation, with a very expensive hobby, making films.

Hughes and Chief Lieutenant Noah Dietrich (John C. Reilly)

As aviation innovator, he helped steer the course of modern aviation. In making the films Hell's Angels (1930) (his aerial war epic), Scarface (1932) (his classic gangster film) and The Outlaw (1943) (his guilty pleasure effort), Hughes showed Hollywood and the Breen Office that he wouldn't be intimidated.

Though not understood at the time, all Hughes' manic bluster -- thrown primarily at commercial aviation, with plenty left for Hollywood and his splashy love life -- would ultimately cost the mogul his sanity. As he became more accomplished -- and challenged -- a combination of obsessive compulsive disorder with paranoiac fear of disease crippled Hughes' interpersonal and home life.


The hand of director Scorsese is easy to see in the attention to detail and quality of the production. Take this montage of flying sequences from the film set to a great piece of music,

Between the Roaring Twenties and the post-war 40s, Hughes helped shaped the direction and look of modern aviation. And the story well told makes one hell of a ride on film.

Kathrarine Hepburn (Kate Blachett)

Hughes defending himself before a Senate committee accusing him of being a war profiteer
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"The Hustler" (1961, dir. Robert Rossen): "The Ability of Character to Triumph Over Talent"

Jackie Gleason and Paul Newman lag for the break in The Hustler

Paul Newman and Piper Laurie Share a Cigarette,

as well as Their Hopes and Insecurities

O so much more than a fine film about the life of a professional pool hustler who wants to prove he's the best player Straight pool player there ever was, Robert Rossen's film also explores the fragile, easily shatterable, relationship between Fast Eddie Nelson (Newman) and the woman he becomes involved with, Sarah (Piper Laurie). This relationship is further strained when professional gambler Bert Gordon (George C. Scott) enters the picture, taking over as the quite Machiavellian manager for Fast Eddie. To reveal more of the plot here would simply spoil the subtle and powerful developments throughout this fine drama, based on Sidney Carroll's 1959 novel of the same name.

(left to right) George C. Scott and Paul Newman

Jackie Gleason's performance as "Minnesota Fats", the Man, the best there is in the game, is truly inspiring. So much so that as a youngster growing up the 60's, I thought, incorrectly, that "Minnesota Fats" was in fact the best pool player in world. I learned recently that, at that time, another player was ranked number one back then. A heavy set fellow by another name, adopted the name "Minnesota Fats" to embellish his own reputation, drawing of Gleason's stellar performance here. And the trick worked.

But that alludes to the most important aspects of competitive sports, making the other player or team think you are the best, as well as having the well-honed skill to back that up. What makes this film even more engrossing than a good sports drama is the tragic psychological triangle that develops when the Newman/Laurie couple encounter George C. Scott's tragic meddling in both their lives. But as I note in the title of this post, character, strength of will, ultimately prevail.

Rossen's film is not only a great sports drama, but also an exploration of human frailty and the ultimate survival of those strong enough to weather the storm of life.

(Note: Check out part of the soundtrack, with more great stills from the film, in the jukebox atop the left column.)

"I'm Back in The Saddle Again" - Gene Autry

Home from a long trip through the Carolinas searching for imspiration and respite. Now, dear readers, I'm back in the saddle, again.

See you very soon with a brand new post.

For now pards, "Happy Trails!"

Mattie, Rooster and LaBoeuf Have Got "True Grit" (2010)

U. S. Marshall "Rooster" Cogburn (Jeff Bridges) and Mattie Ross (Hailee Steinfeld) on the Trail

There's a theory that while primarily men settled the American west, it was women that civilized the new territories. If films are any evidence at all for this theory -- which most classic westerns aren't -- the Coen Brothers' remake of True Grit (2010) certainly is.

A discussion of this film broke out recently among the Classic Westerns group members at The Golden Age of Hollywood networking site, comparing this new version to the 1969 original starring John Wayne, here's part of my contribution to the discussion.

Maybe it's a generational thing, but The Coen Brothers' 2010 True Grit is the one for me. The dialog is so crisp, the locations so real -- even the soundtrack built out of old English church hymns -- and "Leaning" as Mattie's theme -- are great. I love this movie. And I think Jeff Bridges does a fine job. But never let it be said that the Duke (John Wayne) doesn't deserve the respect that [another commenter] shows him. I think we can agree, it's one great story.

And here's another commenter, a little younger than I, who knows both films and also the book.

It was a fun film to see in the theater, the crowd just loved it, they were eatin' it up and it's a WESTERN by golly! I thought the dialog crackled along pretty good and you could sense people's recognition of repeated lines from the book and earlier film...The 3 leads on the trail played off each other really well -- the girl was the best thing. ... The locations were better this time. I travel the very same area of Oklahoma and Arkansas where the story is set twice a year so I know. [Another commenter noted that the film was shot in New Mexico and parts of Texas.]

Let me close by giving the film my strongest recommendation and, to paraphrase my colleague above, it's a classic modern western by golly -- a rare thing indeed.

Here's the trailer with one note: the great Johnny Cash song used in the trailer is not in the film.

Nobody Can Sit Still When "Oye Como Va" is Playing

Great Youtube mining by a friend gave me a little more "evidence" for my theory that nobody can sit still when I'd play Oye Como Va by Santana -- or the original by Tito Puente -- at parties. See what you think when "Laurel and Hardy Meet Santana".

(Note: For anyone who wants to avoid the years that I spent finding a translation of the lyrics to English, see here.)

An Album of (Mostly) Film Images

Here are a few film-related photos and movie posters -- with several music and miscellaneous wild cards included -- in my album at Golden Age of Hollywood. Click on any image for more information.

"Open the pod bay doors, Hal."

In 1968, when Stanley Kubrick's masterwork 2001: A Space Odyssey was released, I was 11 and my grandfather was 55. The pre-release hype on the film had been so big that he took me to the Tampa premiere of the film. He and I had never been to a film together before, but he thought this would be a culturally significant event and he didn't want me to miss it.

When we emerged from the theater after viewing the film, I distinctly remember the two of us looking at each other with expressions of "What the hell was that?" I'm sure it was the last Kubrick film he ever saw, but for me it was the beginning of a journey of exploration.

I'm 53 now and I'd guess I've seen the film 20 times since its release, each time comprehending a little bit more of what Kubrick was saying. It's been a slow, hard road, but well worth the investment of time and mental energy. Now, as I've, somewhat, come to piece the puzzle of the film together, one of the things I love most about it is that 2001 leaves so many questions unanswered.

It's been a mind blower for 40 years and I see no reason it will stop being a mind blower anytime soon.

So thanks, Granddad. I know you didn't have much fun that summer afternoon back in 1968, but you achieved your primary goal: getting me started early on exploring this historic film.

Readers who recognized the reference in this post's title will know this little taste I'm throwin' in above. But realistically, this is a film you have to study as a whole to get what it has to give. And it has plenty to give.

Tennessee Williams' "A Street Car Named Desire" (the 1951 film)

They won't let me show you a scene from this Hollywood masterpiece, though a great many are posted on YouTube, some listed at the end of the re-release trailer above. But A Streetcar Named Desire is playing in a few minutes on TCM and I couldn't think of a better topic to cover here.

This is the film that made Marlon Brando a star. This is the film where Vivien Leigh somehow embraces her own mental instability and channels it into her Oscar-winning performance. This film is one of the very best adaptations of a Tennessee Williams play brought to the screen.

So by all means, check it out on TCM tonight or see it at your first opportunity. Or if you're like me, see it again, just because you've got the chance. Elia Kazan's 1951 film is timeless; it just doesn't wear out.

Gotta go, it's almost showtime.

Equal Justice in the American South: "Intruder in the Dust" (1949)

Recently I watched TCM's airing of a film I knew absolutely nothing about, an adaptation of William Faulkner's novel Intruder in the Dust. I gave the film a chance because my cable provider has a relatively reliable rating system for films and gave it 4 of 4 stars. As soon as I saw in the opening credits the film was based on a Faulkner novel I was persuaded.

I made a good decision. This 1949 film documents the real life racial conditions in rural Mississippi in the 1940's. I'll make just two minor additions to TCM's own summary of the film: "Only a young [white] boy and an [elderly white] woman stand between an innocent black man and a lynch mob." The film, with a few small flaws, is excellent.

The film was made on location in Faulkner's home town of Oxford, Mississippi, using the local residents as extras. This adds a raw, authentic quality to the townspeople and the sequences shot in the surrounding woodlands. The film weaves an thrilling crime story with a tale of, to paraphrase one of Faulkner's letters, the responsibilities whites owed blacks in the south -- one part of the United States where equal protection of the law for blacks was no where to be found.

While this film does not have the star power or depth of To Kill a Mockingbird, Juano Hernandez turns in a timeless performance as proud black farmer Lucas Beauchamp.

One side note in closing: I spent the entire film and a good bit of time afterward trying to understand the meaning of the film and the novel's title: Intruder in the Dust. For those of you who might have seen or will see the film, I've got a theory: lumber mill sawdust.

Data on Gold Coast Bluenote: An Apparently Popular Post on the Film "To Kill a Mockingkingbird"

The post that, far and away gets the most hits here at Gold Coast Bluenote (GCB), is a discussion of the film made from Horton Foote's screenplay -- based on Harper Lee's Pulitzer Prize-winning novel -- for the 1962 film starring Gregory Peck, To Kill a Mockingbird. My hypothesis is that a substantial number of students assigned to read the book or see the film may find my 2007 GCB post, 'It's a Sin to Kill a Mockingbird', because the post's title is a line directly from the film. Image and article searches, therefore, using primarily but not exclusively Google search engines, hit home here.

I find it a good time, to repost this modest effort up front for those who might otherwise miss it.

Now, 'to play it again, Sam' so to speak, let's revisit my discussion of director Robert Mullingan's inspirational film:

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The one place where a man ought to get a square deal is in a courtroom, be he any color of the rainbow, but people have a way of carrying their resentments right into a jury box. As you grow older, you'll see white men cheat black men every day of your life, but let me tell you something and don't you forget it - whenever a white man does that to a black man, no matter who he is, how rich he is, or how fine a family he comes from, that white man is trash.
(- Harper Lee, To Kill a Mockingbird, Chapter 23, spoken by the character Atticus)

Gregory Peck's performance as Atticus Finch in the 1962 film adaptation of Harper Lee's novel To Kill A Mockingbird inspired many a young social activist and prospective lawyer to follow Atticus' example and seek social justice, whatever the personal cost. These young idealists would drop like flies as the realities of the real world closed around them. But a few survived to carry the torch for the equality of all men and women under the law.

And the film's impact stretches even further.

The Story of Movies Foundation uses the film To Kill A Mockingbird in the The Story of Movies as a way to provide middle school children a ".... guide to [the] students in learning how to read moving images. Although teachers frequently use films in the classroom, film as language and as historical and cultural documents is not widely taught. ...."

Lovers of great books -- me, I plead guilty -- are becoming fewer and farther between as the electronic media age progresses and instant visual and audio gratification becomes the status quo. But Harper Lee's novel survives as assigned classroom reading and Robert Mulligan's 1962 film adaptation still inspires idealists young and old to this day.

A large part of the credit goes to Gregory Peck for his performance in the role of Atticus Finch. Peck brings a sense of moral certainty, legal ethics and talent, as well as compassionate single-parent wisdom to the role that is truly astonishing.

Thanks Ms. Lee, Mr. Peck, and everyone who contributed to the creation of this film; I am re-inspired and given hope for humanity every time I see this film masterwork.

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"No Doubt": Jean Harlow was 'Just A Girl'

*****

*****

One of my web buddies at The Golden Age of Hollywood, Jennifer, turned me on to a video on her YouTube channel the other day. As of this writing, at the top of her channel is a video that just knocked me out. Jennifer combines clips from Jean Harlow films with the song Just a Girl from No Doubt's 1995 Tragic Kingdom album. The combination of Jean Harlow and Gwen Stefani and Co. works amazingly well.

First class rock 'n' roll, with visuals from a classic film fan's perspective that will blow you back in your chair. Great job Jennifer -- keep 'em comin'.

(Editor's note: there is a pop-up ad embedded across the lower part of the screen that one may close by clicking on the x in the ad's upper right corner.)