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Post by topbilled on Feb 20, 2024 16:08:08 GMT
Day 20. George O'Brien Day. George O’Brien had already been in the Navy during the first World War, and he’d been a renowned boxer, when he arrived in Hollywood in the early 1920s. It didn’t take long to find work as an extra or jobs doing stunts, especially in western films.
Within two years, he’d worked his way up to lead roles. Some of it was luck, some of it was being in the right place at the right time. John Ford was a fan and cast O’Brien in his first starring role, in Ford's epic THE IRON HORSE in 1924. The picture was a hit, a massive hit, and the studio (Fox) signed O’Brien to a long-term contract.
During the mid-to-late ‘20s, O’Brien appeared in several more films that were commercial successes and critical favorites, with a variety of popular leading ladies. The most important project came his way in 1927, when he was cast opposite Janet Gaynor in F.W. Murnau’s poignant melodrama SUNRISE. Of all O’Brien’s films, this would be his most remembered one.
His good looks and pleasing voice made his ability to transition to sound films easy. His career continued nicely throughout the 1930s. A precode western he made in 1931 at Fox paired him with starlet Marguerite Churchill. It was the first sound version of RIDERS OF THE PURPLE SAGE. He and Churchill would marry in 1933 and have three children.
Other precode westerns followed, which of course would typecast him as a heroic figure in the genre. There was a version of ROBBERS’ ROOST in 1932 with Maureen O’Sullivan. Then THE LAST TRAIL (1933) with Claire Trevor.
Followed by Fox’s first version of FRONTIER MARSHAL in 1934.
When he was not making pictures, he was hanging out with his pal Spencer Tracy.
But after ten years at the studio, O’Brien left Fox and moved over to RKO. At RKO, he was quickly placed in action adventure films like DANIEL BOONE (1935).
Plus there were more westerns for the actor. In fact, he was so successful in the western format, he ended up making about a dozen modestly budgeted oaters for RKO from 1938 to 1940. These included PAINTED DESERT (1938) with Laraine Day.
And THE RENEGADE RANGER, also 1938, with Rita Hayworth and Tim Holt.
Interestingly, Holt would take over RKO’s B-western series in 1940 after O’Brien ended up re-enlisting in the Navy as WWII broke out. O’Brien’s last RKO western was STAGE TO CHICO, which was released in mid-1940 and costarred Virginia Vale.
It wasn’t until after the war that O’Brien returned to films in 1947. He would make two pictures for his old friend, director John Ford, during this period. He was no longer the star, but still had plenty to do in FORT APACHE and SHE WORE A YELLOW RIBBON.
There would be one last starring role for O’Brien, in a western comedy called GOLD RAIDERS in 1951. O’Brien handled sheriff duties, while comical routines were done by The Three Stooges.
He might have continued to make B western films in the 1950s, but he joined the Naval Reserve as the Korean War began. I think you get the idea…ongoing military service took precedent over his motion picture career. He continued to be active in the military into the 1960s, when the early days of the Vietnam conflict occurred.
One last film, again for Ford, would occur in 1964 with a minor role in CHEYENNE AUTUMN…after which he settled into retirement.
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Post by topbilled on Feb 21, 2024 16:25:00 GMT
Day 21. Claudette Colbert. Though she was born in France, Claudette Colbert’s family moved to the U.S. when she was three, and she was raised as an American. She was fluent in both English and French. She made films in both languages; most were Hollywood productions in English.
She appeared in 63 feature films and was top-billed in 48 of them, which is remarkable when you consider that in the 1930s, 1940s and 1950s it was the leading men who were often billed over female costars. But she was usually billed over her most frequent male costars, such as Fredric March and Fred MacMurray.
She only appeared in one silent film in 1928 and found the experience so distasteful, she planned to go right back to Broadway. But the crash of ’29 meant theaters were failing in New York, so stay busy and generate an income she stuck with movies. In 1929, she had her first major hit film called THE HOLE IN THE WALL, with Edward G. Robinson.
Colbert spent the next 15 years appearing in successful pictures at Paramount. She worked with some of the best directors around. There were productions with Ernst Lubitsch like THE SMILING LIEUTENANT (1931).
Productions with Cecil DeMille like THE SIGN OF THE CROSS (1932).
And CLEOPATRA (1934).
There was a production with John Stahl on loan to Universal-- the original version of IMITATION OF LIFE (1934).
Another loan out occurred in 1934 when she went to Columbia. That time she worked with Frank Capra and Clark Gable on the screwball comedy IT HAPPENED ONE NIGHT. The picture became a runaway hit with audiences and critics alike, resulting in an Oscar award as best actress.
The following year she was nominated again for her thoughtful performance as a doctor in Paramount’s PRIVATE WORLDS (1935).
Most of Claudette Colbert’s films in the 1930s and 1940s were prestige pictures. She was such a box office draw, that anything cast with her in the lead was sure to do well financially.
In 1935, she paired up for the first time with Fred MacMurray in THE GILDED LILY. Ironically, her family’s nickname for her was Lily. Her work with MacMurray struck a chord with moviegoers. They were teamed a half dozen more times, appearing on screen until 1949.
Most of the Colbert-MacMurray collaborations were romantic comedies, but one serious period drama was produced— 1937’s MAID OF SALEM.
Sometimes she was loaned out to other studios. She made UNDER TWO FLAGS at Fox with Ronald Colman.
And her first Technicolor film was at Fox, 1939’s DRUMS ALONG THE MOHAWK. The film was directed by John Ford and costarred Henry Fonda. She gives one of her very best performances as a strong colonial wife.
In 1940 she reunited on screen with Gable at his home studio MGM for the adventure drama BOOM TOWN. It was a massive hit.
Back at Paramount she had more success with MacMurray, as well as hits with Ray Milland and Joel McCrea. She is particularly funny in Preston Sturges’ spastic comedy THE PALM BEACH STORY:
After ending her contract with Paramount in 1944, she snagged her first freelance role in David Selznick’s popular wartime drama SINCE YOU WENT AWAY. She received her final Oscar nomination and it signaled her transition to more matronly roles, though he was also quite chic on screen.
Important hits followed, like the romance drama TOMORROW IS FOREVER in 1946 for RKO.
There was a suspense thriller, SLEEP MY LOVE in 1948 for United Artists.
And she played a devout nun in the mystery drama THUNDER ON THE HILL (1951) for Universal.
By the mid-1950s she was appearing on television. And she did return to the stage, which kept her busy.
She had her last feature film assignment in Warner Brothers’ PARRISH (1961) portraying the mother of Troy Donahue.
During the 60s and 70s she stayed away from the screen and occupied herself entertaining friends with lavish get-togethers. She had a ranch in northern California, a house in Beverly Hills, a country home in Palm Springs, an apartment in Manhattan, and she also owned a 200 year old plantation along the ocean in Barbados.
The public never forgot Claudette Colbert. She was lured out of retirement in 1987 for the TV miniseries The Two Mrs. Grenvilles based on a bestseller by Dominick Dunne.
She was the older Mrs. Grenville, and Ann-Margret played her daughter-in-law the younger Mrs. Grenville. This production netted Claudette Colbert a Golden Globe award. A great way to cap a long and successful career as an actress.
Claudette died in Barbados in 1996. She left no children behind. Just 63 films, many of them indisputable classics.
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Post by NoShear on Feb 21, 2024 18:06:07 GMT
Day 21. Claudette Colbert. Though she was born in France, Claudette Colbert’s family moved to the U.S. when she was three, and she was raised as an American. She was fluent in both English and French. She made films in both languages; most were Hollywood productions in English.
She appeared in 63 feature films and was top-billed in 48 of them, which is remarkable when you consider that in the 1930s, 1940s and 1950s it was the leading men who were often billed over female costars. But she was usually billed over her most frequent male costars, such as Fredric March and Fred MacMurray.
She only appeared in one silent film in 1928 and found the experience so distasteful, she planned to go right back to Broadway. But the crash of ’29 meant theaters were failing in New York, so stay busy and generate an income she stuck with movies. In 1929, she had her first major hit film called THE HOLE IN THE WALL, with Edward G. Robinson.
Colbert spent the next 15 years appearing in many successful pictures at Paramount working with some of the best directors around. For example, there were productions with Ernst Lubitsch like THE SMILING LIEUTENANT (1931).
Productions with Cecil DeMille like THE SIGN OF THE CROSS (1932) with Fredric March.
And CLEOPATRA (1934).
There was a production with John Stahl on loan to Universal for the original version of IMITATION OF LIFE (1934).
Another loan out occurred in 1934 when she went to Columbia to work with Frank Capra and Clark Gable in the screwball comedy IT HAPPENED ONE NIGHT. The picture became a runaway hit with audiences and critics alike, resulting in an Oscar award as best actress.
The following year she was nominated again for her thoughtful performance as a doctor in Paramount’s PRIVATE WORLDS (1935).
Most of Claudette Colbert’s films in the 1930s and 1940s were prestige pictures, and she was such a box office draw, that anything cast with her in the lead was sure to do well financially.
In 1935, she paired up for the first time with Fred MacMurray in THE GILDED LILY. Ironically, her family’s nickname for her was Lily. Her work with MacMurray struck such a chord with moviegoers that they were teamed up a half dozen more times, appearing on screen until 1949.
Most of the Colbert-MacMurray collaborations were romantic comedies, but one serious period drama was also produced— 1937’s MAID OF SALEM.
Sometimes she did manage to get loaned out to other studios. She made UNDER TWO FLAGS at Fox with Ronald Colman.
And her first Technicolor film was at Fox, 1939’s DRUMS ALONG THE MOHAWK which was directed by John Ford and costarred Henry Fonda. She gives one of her very best performances as a strong colonial wife.
In 1940 she reunited on screen with Gable as his home studio MGM for the adventure drama BOOM TOWN. It was a massive hit.
Back at Paramount she had more hits with MacMurray, as well as hits with Ray Milland and Joel McCrea. She is particularly funny in Preston Sturges’ spastic comedy THE PALM BEACH STORY:
After ending her contract with Paramount in 1944, she snagged her first freelance role in David Selznick’s popular wartime drama SINCE YOU WENT AWAY. She received her final Oscar nomination and it signaled her transition to more matronly roles, though he was also quite chic on screen.
Important hits followed, like the romance drama TOMORROW IS FOREVER in 1946 for RKO.
There was a suspense thriller, SLEEP MY LOVE in 1948 for United Artists.
And she also did well as a devout nun in the mystery drama THUNDER ON THE HILL for Universal in 1951.
By the mid-1950s she was appearing on television. And she did return to the stage, which kept her busy.
She had her last feature film assignment in Warner Brothers’ PARRISH (1961) as the mother of Troy Donahue.
During the 60s and 70s she stayed away from the screen and occupied herself by entertaining friends with lavish get-togethers. She had a ranch in northern California, a house in Beverly Hills, a country home in Palm Springs, an apartment in Manhattan, and she also owned a 200 year old plantation along the ocean in Barbados.
The public never forgot Claudette Colbert. She was lured out of retirement in 1987 for the TV miniseries The Two Mrs. Grenvilles based on a bestseller by Dominick Dunne.
She was the older Mrs. Grenville, and Ann-Margret played her daughter-in-law the younger Mrs. Grenville. This production netted Claudette Colbert a Golden Globe award. A great way to cap a long and successful career as an actress.
Claudette died in Barbados in 1996. She left no children behind. Just 63 films, many of them indisputable classics.
Interesting to read about the distaste expressed by Claudette Colbert with her first film, TopBilled: I thought of the unwavering persistence of Norma Shearer slugging it out in all those pre-talkie trenches. I think Claudette Colbert is the prime example of the pre/post Code ethos, TopBilled: I was surprised to discover the sexuality underneath her later restrained dress with her earlier roles. |
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Post by christine on Feb 21, 2024 18:20:55 GMT
TOMORROW IS FOREVER (1946) is my favorite Colbert film. I adore Natalie Wood being so young and Orson Welles is marvelous too! One of those movies that makes me cry. I like SINCE YOU WENT AWAY (1944) also! Great cast members in both films.
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Post by topbilled on Feb 21, 2024 18:25:32 GMT
Thanks NoShear. Claudette was quoted in an interview shortly after her first film was released that she had no intention of making any more movies. She intended to return to the stage full-time...but because of the closing of some theaters due to the Depression, she reconsidered and stayed in the filmmaking business. Lucky for us.
I have to say that whoever wrote/edited sections of the material on her wiki page seemed to go out of their way to imply she was in lesbian relationships...both during and after her marriage to Dr. Joel Pressman. I don't see the point in putting that in any biography about her...unless she had been an "out" bisexual woman. Otherwise it's just speculation. And I think she valued her privacy, which explains why she spent her last years pretty much in seclusion in Barbados.
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Post by topbilled on Feb 21, 2024 18:28:55 GMT
TOMORROW IS FOREVER (1946) is my favorite Colbert film. I adore Natalie Wood being so young and Orson Welles is marvelous too! One of those movies that makes me cry. I like SINCE YOU WENT AWAY (1944) also! Great cast members in both films.
As I looked at her filmography, it was actually difficult to decide which films to spotlight. I imported 22 photos for my mini-bio on Claudette, which I think is more than I have imported for any other bio this month. There were so many Claudette Colbert films that I didn't mention, which I love...like SKYLARK (1941), REMEMBER THE DAY (1941), PRACTICALLY YOURS (1944), THE EGG AND I (1947), THE SECRET FURY (1950) and THREE CAME HOME (1950). She has such an excellent filmography. |
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Post by NoShear on Feb 21, 2024 18:30:23 GMT
TOMORROW IS FOREVER (1946) is my favorite Colbert film. I adore Natalie Wood being so young and Orson Welles is marvelous too! One of those movies that makes me cry. I like SINCE YOU WENT AWAY (1944) also! Great cast members in both films. christine, I'm confident that you recently dropped the Young Lions, and I wanted to comment but couldn't find, so I will post here: Even the title of the movie is awesome! |
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Post by NoShear on Feb 21, 2024 18:45:06 GMT
Thanks NoShear. Claudette was quoted in an interview shortly after her first film was released that she had no intention of making any more movies. She intended to return to the stage full-time...but because of the closing of some theaters due to the Depression, she reconsidered and stayed in the filmmaking business. Lucky for us.
I have to say that whoever wrote/edited sections of the material on her wiki page seemed to go out of their way to imply she was in lesbian relationships...both during and after her marriage to Dr. Joel Pressman. I don't see the point in putting that in any biography about her...unless she had been an "out" bisexual woman. Otherwise it's just speculation. And I think she valued her privacy, which explains why she spent her last years pretty much in seclusion in Barbados.
You're welcome, TopBilled, and thank you again for giving Norma Shearer one of your days. As to outing, I thought of the early period of T CM shortly after Robert Osborne had passed, and forgive me if I'm out of line here, but they seemed to offer up outing to the extent that I thought that Robert Osborne would never have partaken. (It occurred during the period that so-called Elizabeth Taylor expert mistakenly downplayed the bathing suit in Suddenly, Last Summer without correction.) |
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Post by jamesjazzguitar on Feb 21, 2024 19:07:48 GMT
TOMORROW IS FOREVER (1946) is my favorite Colbert film. I adore Natalie Wood being so young and Orson Welles is marvelous too! One of those movies that makes me cry. I like SINCE YOU WENT AWAY (1944) also! Great cast members in both films. Orson Welles really shines in Tomorrow is Forever showing he was able to do straightforward acting (verses showboating acting). |
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Post by christine on Feb 21, 2024 23:36:27 GMT
NoShear - I mentioned THE YOUNG LIONS on the April Schedule thread because Marlon Brando is Star Of The Month and it's not a Brando film that TCM has played for a number of years. It's an excellent WW II drama about the lives of three soldiers and how war changes them. Brando plays a German soldier and Montgomery Clift and Dean Martin play American soldiers. This film does an interesting twist about how each of their lives intertwine with one anothers. There's a great supporting cast also so, hopefully it will get one of the TBA slots!!! Thanks for commenting about it.
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Post by sagebrush on Feb 22, 2024 0:12:03 GMT
THREE CAME HOME is my favorite Claudette Colbert performance I think, and also SO PROUDLY WE HAIL.
I remember seeing a current photo of her in the 1980's and thinking that there was no way this woman was in her 80's. She was still as beautiful as in her 20's.
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Post by topbilled on Feb 22, 2024 13:06:23 GMT
Day 22. Anton Walbrook. From a theatrical family in Austria, Anton Walbrook (born Adolf Anton Wohlbruck) was destined to be an actor as well. His family had money, and as a child he had a governess who taught him English which he spoke fluently in addition to German. He also spoke French, and knowing these languages would come in handy when he transitioned from silent films to sound films in different countries.
He first made his mark in the German cinema of the 1920s and early 1930s. One of his hits from this period was VIKTOR UND VIKTORIA (1933) which served as the basis for FIRST A GIRL and VICTOR/VICTORIA.
There was a lead role in the operetta film MASKERADE (1934) which was remade by MGM in 1935 without him. His first Hollywood film would occur at RKO in 1937, in the English language version of THE SOLDIER AND THE LADY (1937). He’d already been in a German version and French version of the classic adventure tale by Jules Verne.
RKO had him drop his first name Adolf and just use his middle name Anton for obvious reasons. He was billed as Anton Walbrook for the rest of his career. Walbrook was Jewish and gay, which made him a target of the Nazi regime, so he was unable to return to Germany on the eve of the Second World War.
Instead, he went to England where he was cast in VICTORIA THE GREAT (1937) opposite Anna Neagle. The film was successful and led to a sequel which was filmed in Technicolor.
He also made THE RAT that same year in England with Ruth Chatterton, who was winding down her movie career. Walbrook plays a cat burglar who catches the eye of a slumming socialite (Chatterton). Only he’s such a rat, she comes to regret it.
Walbrook’s strong command of the English language, his youthful good looks (in his 40s) and his unique performance style made him a highly sought after actor in British films. Indeed, he would find plenty of work in England for the majority of his career.
A critically lauded performance occurred in 1940 in the original version of GASLIGHT, in which he played an abusive husband to poor Diana Wynyard.
After this he was a psychologically tormented artist who goes to war in DANGEROUS MOONLIGHT (1941).
While continuing in motion pictures, he found time to perform on the British stage…notably in a version of Watch on the Rhine. His next big film was THE LIFE AND DEATH OF COLONEL BLIMP (1943) in which he played a sympathetic German. It was shot in color and directed by Michael Powell and Emeric Pressburger. His costar was Deborah Kerr.
Reportedly, Winston Churchill was upset by Walbrook playing a likable German while the war was still in full swing. But Walbrook who was anti-Nazi, reasoned that there were decent Germans who could stand up to Hitler and help dismantle the Third Reich.
Another memorable movie assignment was on the horizon— THE RED SHOES (1948) in which he was back to villainous behavior.
This time he caused problems for a lovely dancer played by Moira Shearer. This was the third time Walbrook appeared in Technicolor.
A year later he earned raves for his role in a gothic thriller with Yvonne Mitchell called THE QUEEN OF SPADES (1949). He was completely unhinged that time.
During the 1950s, Walbrook found roles outside England. He made a few films for Max Ophüls in France. There was also a French picture for Julien Duvivier. And he was able to return to Germany, specifically West Germany, where he portrayed Johann Strauss in a German offering of VIENNA WALTZES (1951).
But there weren’t as many opportunities for him in German films, so he either did stage work in Germany, or else returned to Britain for more movie jobs. He had a second lead in the British musical comedy OH..ROSALINDA!! (1955). His costar was Michael Redgrave.
It was the fourth and final time he worked with Michael Powell and Emeric Pressburger.
After this, he turned up in a few more noteworthy cinematic productions, such as Otto Preminger’s SAINT JOAN (1957) which was filmed in England. He played the Bishop of Beauvais and had scenes with John Gielgud.
Walbrook’s last film was an MGM production of I ACCUSE! (1958) about the Alfred Dreyfus affair, starring and directed by Jose Ferrer. Walbrook was second billed as Major Esterhazy.
In the 1960s he found roles on German television programs. One notable gig— his portrayal of Waldo Lydecker in a German telecast of LAURA in 1962.
His last years saw him continue to act, but ill health forced him off the stage. When he died in 1967, his wish was to have his ashes sent to a cemetery in England, where he always felt most at home.
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Post by christine on Feb 23, 2024 6:25:13 GMT
Anton Walbrook's standout performance for me was in THE RED SHOES. However, I haven't seen all the movies that have been mentioned. I enjoyed THE RED SHOES also because of the beautiful color filming and Moira Shearer's dancing. Loved Moira in THE STORY OF THREE LOVES (1953). Her ballet dancing on screen was so enchantingly hypnotizing. I know that Gene Kelly and Fred Astaire were wonderful dancers on screen. Leslie Caron did a wonderful job with ballet and even Shirley MacLaine started out as a ballet dancer, but for me Moira Shearer's ballet was the best.
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Post by topbilled on Feb 23, 2024 14:39:52 GMT
Anton Walbrook's standout performance for me was in THE RED SHOES. However, I haven't seen all the movies that have been mentioned. I enjoyed THE RED SHOES also because of the beautiful color filming and Moira Shearer's dancing. Loved Moira in THE STORY OF THREE LOVES (1953). Her ballet dancing on screen was so enchantingly hypnotizing. I know that Gene Kelly and Fred Astaire were wonderful dancers on screen. Leslie Caron did a wonderful job with ballet and even Shirley MacLaine started out as a ballet dancer, but for me Moira Shearer's ballet was the best.
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Post by christine on Feb 23, 2024 16:26:58 GMT
Excellent - another film to put on my list to see! Thanks for all the information topbilled.
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