Wonderland Burlesque's Let's Go To The Movies: That Girl! Edition Part II

Wonderland Burlesque's 

Let's Go To The Movies

That Girl! Edition Part II

This week's Let's All Go To The Movies continues to be all about 'that girl'. You know the one! The one whose essence can instantly be captured with one or two words before attaching the word 'girl'. Sure, she's a full-blooded woman (in most cases), but let's keep it young and vital and grant her 'girl' status anyway. 

What makes her tick? And what sells tickets? 

We've got a lot of girls waiting in queue, so... 

Let's pop some corn, grab a seat on the aisle and take a peek at this week's selection of fine films.

--- ---

Wild Girl

(1932)

(A California mountain girl is wooed by a number of men in the nearby small town of Redwood City. Her life becomes complicated by two criminals who are being pursued by authorities - one, for killing a hypocritical mayoral candidate, and the other, for robbing a stagecoach.)

(This historical western drama, based on a play by Paul Armstrong Jr. and a short story and novel by Bret Harte, was directed by Raoul Walsh and stars Charles Farrell, Joan Bennett, Ralph Bellamy, and Eugene Pallette. It had been made into a film twice before, in 1914 and 1923.)

(It was filmed in the Sequoia National Forest and on a fabricated farm set built at picnic ground which became a brief tourist attraction. Upon the crew's return to Los Angeles on August 31st, the director told the press that he was very excited about Joan Bennett's performance: "Joan Bennett's came alive in this film... And I think I am a lucky guy to have directed her in it.")  

--- ---

Parole Girl

(1933)

"Does one mistake ruin a girl's life?"

"Hers is the story of 100,000 girls."

(A salesgirl at a department store finds herself embroiled in an extortion scheme. She's arrested, jailed and found guilty at trial. Once released on parole, she devises a plan to entrap the man who put her behind bars. After getting him blackout drunk, she convinces the man - who is married to another, though they are estranged - that the two of them got married. She threatens to expose him as a bigamist unless he lives with her, as man and wife, until her parole is through. While keeping up the appearance of man and wife, the two begin to develop feelings for one another.)

 

(This romantic drama film was directed by Edward Cline and stars Mae Clarke and Ralph Bellamy.)

(Bellamy's acting career on stage, film, and television, spanned 65 years . During his career, he played leading roles as well as supporting roles, garnering acclaim and awards, including a Tony Award for Best Dramatic Actor in Sunrise at Campobello and Oscar nomination for Best Supporting Actor for 1937's The Awful Truth. He ran around with a group known as the Irish Mafia - though Bellamy had not a trace of Irish blood in him - which included James Cagney, Pat O'Brien, Spencer Tracy, Lynne Overman, Frank Morgan and Frank McHugh. He was also good friends with Charles Farrell.)

--- ---

Ziegfeld Girl

(1941)

(During the 1920s, three women become performers in the renowned Broadway show, The Ziegfeld Follies. Here, they find love, fame, and tragedy. Intended to be a 1938 sequel to the 1936 hit The Great Ziegfeld, it features footage recycled from the earlier film.)

(This MGM musical was directed by Robert Z. Leonard and features and all-star cast, including James Stewart, Judy Garland, Hedy Lamarr, Lana Turner, Tony Martin, Jackie Cooper, Eve Arden, and Philip Dorn. Several of the musical numbers were staged by Busby Berkeley.)

(According to MGM records, the film earned $1,891,000 in the US and Canada and $1,210,000 elsewhere resulting in a profit of $532,000.)

(One of the highlights of the film is Judy Garland singing the classic, I'm Always Chasing Rainbows, written by Harry Carroll and Joseph McCarthy.)

(A musical number sung by Garland, We Must Have Music, was deleted from the final film. Today, only a fragment of it survives.)

Hedy Lamarr

--- ----

China Girl

(1942)

AKA:  A Yank In China / Burma Road / Over The Burma Road.

(A news photographer/reporter is captured by the Japanese while on assignment to record the adventures of  The Flying Tigers - a group of volunteer pilots fighting on behalf of China. He manages to escape and finds himself in Burma where he meets a beautiful woman. With a price on his head and Japanese spies closing in, he puts off filming the exploits of the The Flying Tigers, falling head over heels for the  enchanting woman. However, she suddenly disappears to Kumming, to be with her father who runs a school there. When the reporter discovers that Kumming is to be wiped off the map by the Japanese, he makes his way there, in order to rescue the love of his life.)

(This WWII drama was directed by Henry Hathaway, and stars Gene Tierney, George Montgomery, Lynn Bari and Victor McLaglen.)  

(Acquitted murderer Robert Blake, of Baretta fame, plays the boy sidekick of George Montgomery.)

(Pin-up queen Betty Grable was under consideration for the role Gene Tierney would eventually play.)

(Though Tierney plays the title role, she doesn't appear until 19 minutes into the film.)

  (Acclaimed for her great beauty, Teirney quickly established herself as a leading lady and was best known for her portrayal of the title character in 1944's Laura. She was also nominated for an Academy Award for Best Actress for her performance in 1945's Leave Her to Heaven. She remained a popular leading lady, appearing in such notable films as 1943's Heaven Can Wait, 1946's The Razor's Edge, 1947's The Ghost and Mrs. Muir, and 1950's Night and the City.)

--- ---

Party Girl

(1958)

"You'll meet her at the roughest parties... with the toughest guys in town!"

(A crooked lawyer who has made a career defending mobsters is encouraged to go straight by an alluring nightclub dancer. However, the local mob boss sees it differently, leading to danger.)

(Director Nicholas Ray insisted on employing the psychology of color throughout the film, especially when it came to costuming. Many colors were assigned, with the exception of blue, which Ray considered a scene stealer.)

(Robert Taylor's character was supposedly based on Dixie Davis, a lawyer for mob boss Dutch Schultz and later became an informant for the FBI. This has been disputed by film noir historian Eddie Muller, who claims that Louie Cuttner, a lawyer for Al Capone, was the actual model.)

 (Ray was impressed with Taylor's commitment, "He worked for me like a true Method actor." Before filming began, Taylor went to an osteologist, poring over X-rays while asking probing questions. His character had a crippled leg, so he wanted to  know precisely from which part of the body his character's pain would emanate.  After breaking his left foot heel while swimming in his pool shortly before shooting began, the actor, himself, had an actual limp throughout the shoot, necessitating the use of a cane,) 

(When co-star Lee J. Cobb was on trial during the infamous McCarthy Hearings, Robert Taylor came to testify... against him!)

(Angie Dickinson and Doris Dowling were both considered for the supporting role eventually played by Claire Kelly.)

(That's Gloria Wood providing Cyd Charisse's singing voice.) 

(The song Party Girl, which plays beneath the opening credits was written by Nicholas Brodszky and Sammy Cahn and was sung by Tony Martin, who just happened to be Cyd Charisse's husband in real life.)

(Party Girl was the final film Charisse did for MGM and the next-to-last film Taylor did for them. The pair were MGM's last two contract stars.)

(The musical did well at the box office, earning MGM a profit of $454,000 according to studio records. It pulled in a higher gross overseas than in the US and Canada, a rarity for the time.)

Cyd Charisse

(The film was dogged by a number of issues. First, it was filmed during a musician's strike. This necessitated choreographer Robert Sidney to rehears all the numbers in Mexico using stand-ins. Charisse had to film her numbers using a pre-recorded drum track, while actors mimed playing the instruments behind her. Once the strike was over, composer Andre Previn created music to match Charisse's dance moves.)

(Another problem? MGM had a policy stating that the director of the film could not interfere with or have any input when it came to the musical numbers. None. He couldn't even coach Charisse regarding her facial expressions.) 

(In addition, Charisse was ill throughout filming, which, along with the on-going musician's strike, caused many delays, resulting in the cancellation of three days worth of shooting in Chicago once the  film missed its date of completion.)

 (MGM hired Ray to direct because he had grown up and gone to college in Chicago during Prohibition. They thought he was the best choice to recreate the atmosphere of the time and place. However, Ray's choice to write the screenplay was replaced by MGM with a writer more familiar with musicals, and the director quickly discovered that his hands were tied when it came to script. Ray also wanted to use period music to help recreate the era, but that idea was rejected by MGM, who was convinced such music would limit the film's public appeal.) 

(In the end, Ray had limited input, other than his personal directorial style and the look of the film. He said, "When I couldn't contribute as much as I wanted to the script, I tried to do the next best thing in color and performance, to [capture] the kind of bizarre reality [of the time], which permitted people who lived that life to believe that theirs was the only reality.")

--- ---

Funny Girl

(1968)

("Hello, gorgeous!" This stylistic, historically inaccurate musical reimages the life of famed comedienne and entertainer Fanny Brice, tells the story of her rise to fame as a Ziegfeld girl and her relationship with Nick Arnstein. Not your typical beauty, Brice relies on her comic timing and ability to make an audience laugh in order to break into show biz. Despite defying Ziegfeld's artistic vision, an act that almost gets her fired, she quickly becomes one of Ziegfeld's most popular acts. Off-stage, she finds herself drawn into the sketchy world of rakish gambler Nick Arnstein. Can't a girl have both love and a successful career in early twentieth century New York?)

(Back in 1962, when the project was being initially developed as a musical play, Anne Bancroft was the producers' choice to star, but she withdrew because her desire to tell the story in an impressionistic vein was at odds with the production team's more straightforward approach to the material.)

(Columbia Pictures wanted to cast Shirley MacLaine as Fanny Brice. However, producer Ray Stark, who also produced the Broadway show and was Brice's son-in-law, insisted that Streisand reprise her  Broadway role. Stark said, "I just felt she was too much a part of Fanny, and Fanny was too much a part of Barbra to have it go to someone else," MacLaine and Streisand were good friends and shared a birthday; both actresses rolled their eyes at the idea. Stark insisted if Streisand were not cast, he would not allow a film to be made, and the studio agreed to his demand.)

(Columbia Pictures wanted Frank Sinatra for the role of Nick Arnstein. However, Sinatra wanted additional songs written for the character and script changes. In addition, Streisand, who, while respecting his talent, disliked Sinatra personally, vetoed his casting. In addition, Cary Grant, Marlon Brando, Gregory Peck, Sean Connery, David Janssen, Robert Culp, and James Garner were all considered for the role of Nick Arnstein. Paul Newman was approached, but declined stating in a letter to Stark and Wyler that "the truth of the matter is that I can't sing a note, and as for that monster, the dance, suffice it to say that I have no flexibility below the ass at all - I even have difficulty proving the paternity of my six children.")

(Egyptian Omar Sharif was cast to star opposite the Jewish Streisand after Wyler noticed Sharif having lunch in the studio commissary. When the Six-Day War between Israel and Egypt broke out, studio executives considered replacing Sharif, but both Wyler and Streisand threatened to quit if they did. A publicity photo of Omar Sharif and Barbra Streisand kissing was released to the newspapers. With the emotions of the Six-Day War still running high, the Egyptian press began a campaign to get Sharif's citizenship revoked over the kiss. The Egyptian headline read: "Omar Kisses Barbra, Egypt Angry." When asked to respond to the controversy, Streisand tried to make light of it. "Egypt angry!" she said. "You should hear what my Aunt Sarah said!")

(Mike Nichols, George Roy Hill, and Gene Kelly were each considered to direct the film before Sidney Lumet was signed on. Lumet, who left the picture over creative differences with producer Ray Stark and Barbra Streisand, was then replaced with William Wyler. Wyler initially declined the offer, because he felt he couldn't do a proper musical due to the fact he was deaf in one ear. However, after meeting Streisand, he changed his mind. Wyler said, "I wouldn't have done the picture without her." Her enthusiasm reminded him of Bette Davis, and he felt she "represented a challenge for me because she's never been in films, and she's not the usual glamour girl.")

(Reportedly, Streisand was constantly late to the set, would ask to reshoot scenes that were already done, and would try to control every aspect of the production; from the lighting design, to what sort of shot was needed, to who did her hair. Wyler was asked by a friend whether Barbra Streisand had been hard to work with. He replied, "No, not too hard, considering it was the first movie she ever directed.")

(At the wrap party, Wyler gave Streisand a director's megaphone in mock recognition of her devotion to every aspect of the film. Streisand gave Wyler an eighteenth century gold watch inscribed "TO MAKE UP FOR LOST TIME.")

(The screenplay bears little resemblance to Fanny Brice's actual life. In reality, Brice was never a struggling, out-of-work actress but a wealthy young girl who had attained stardom by age thirteen. She was hardly the first comedic act hired by Florenz Ziegfeld Jr., who had always insisted on featuring humorous acts in his shows. As for romance, both Brice and Arnstein were already married when they first met. Arnstein's first wife named Brice in her divorce case for alienation of affections. And, prior to the marriage of Brice and Arnstein, Arnstein was already a convicted felon who had been incarcerated at Sing Sing for wire fraud. In fact, Brice had visited him in prison. My Man, indeed!)

(Screenwriter Isobel Lennart famously described working with Barbra Streisand as "a deflating, ego-crushing experience.")

(For the Swan Lake ballet number, Barbra Streisand did her own dancing thanks to her own determination and director Herbert Ross's wife/assistant, Nora Kaye, a former ballerina, who gave Streisand over three months' of intensive rehearsal and was on set for the ten days it took to film it.)

(Anne Francis' role, which was created for the film, was considerably shortened - so much so, she sued to have her name removed from the credits. She reportedly blamed Barbra Streisand for this and was not alone: several co-stars publicly blasted Barbra Streisand and director William Wyler for much of their scenes being cut in favor of focusing on Streisand. However, contrary to popular belief, Francis, as she wrote in a letter to Streisand, never blamed her for the way her part was so drastically cut. Shortly after filming began, the powers that be realized this parallel story of a boozy showgirl was superfluous. What bothered Francis was that no one had the courtesy to be up front with her: instead she would get almost daily notes telling her yet another of her scenes had been dropped.) 

 

(Streisand - who was married to Elliott Gould, at the time - and Sharif had an affair that lasted the until filming was completed. Wyler knew about the affair and tried to take full advantage of it at every turn., channeling their real-life chemistry into their performances. For example: during the filming of the My Man number, Wyler stationed Sharif behind a nearby curtain and had the actor talk to Streisand between takes. By that point, their affair was ending and Wyler felt Sharif's presence would have a dramatic effect on the star's performance. Coincidently, Streisand also had an affair with Sydney Chaplin, who portrayed Nick opposite her on Broadway. Both affairs would contribute to the end of her marriage to Gould.)

(Streisand was, at the time of the film's release, a voting member of AMPAS. When she found out she was nominated, she, as any nominated member would, voted for herself. If she hadn't, she wouldn't have tied with Katharine Hepburn for the year's Best Actress Oscar. Hepburn, who despised such awards, never participated in the ceremonies, despite being nominated and winning a number of times, so it's doubtful she voted for herself.)

(Streisand once stated that if any of her films could be put in a time vault, she would want to be remembered for this one.)

--- ---

Black Girl

(1971)

(An aspiring dancer and her jealous, streetwise sisters grow resentful of their mother's love for a foster daughter.)

(This family drama film was adapted for the screen by J.E. Franklin, who wrote the 1969 play upon which it is based. Directed by Ossie Davis. it features Leslie Uggams - making her film debut, Ruby Dee, Claudia McNeil and Peggy Pettit. The film explores the issues and experiences of black womanhood in the 1970's, including how black women were depicted in the media and common stereotypes of the period.)

(This was not a pleasant experience for playwright Franklin. She received a very small advance to work on the screenplay. Then, the producers failed to cast or hire people she felt would be good for the project. When it came to casting, she did not want "a light-bright-damned-near-white actress" playing the main character, demanding that they use Peggy Pettit and grew dismayed when they cast Claudia McNeil, who had been 1961's A Raisin In The Sun for a pivotal role.) 

(Then there were the matters of the overall tone of the film and its marketing. "Efforts were made early in the filming to exploit material for sex and violence," she said. The playwright tried to have a scene where the young female lead character takes her clothes off in front of the camera removed, however, it remained in the film though the nudity was only implied.)

(An even bigger bone of contention was the poster for the film which "showed a blow-up of Norma Faye's face, teeth snarling in mad-dog fashion, threatening Billie Jean with a knife. A moment which had lasted only five seconds had been lifted from the film to represent the supposed essence of the entire play... This was blatant misrepresentation." When she threatened to go to the media and disavow the film, changes were promised. "In the next few days the illustration appeared without the knife. I thought that was the end of the matter; but a week later later the knife was back.") 

(The final insult came when "voice-overs had been used to erase all 'fucks' to make the film eligible for a PG rating.  I was urged not to mention to anyone that these cuts had been made, as people might think that they had missed something.")

(The theme song, Black Girl was sung by Betty Everett, backed by Sonny Stitt, with the soundtrack made available on Fantasy Records.)

  

--- ---

Gregory's Girl

(1980)

(A gangly teen and his schoolmates are are at an age where they are discovering girls. He only has eyes for soccer player who is a much better player than he.  By the time he works up the courage to finally ask his dream girl out on a date, he comes to realize that in matters of the heart, females rule, and that even includes his younger sister, for who he comes to have a whole new level of respect.)

This Scottish coming-of-age romantic comedy written and directed by Bill Forsyth and starring John Gordon Sinclair, Dee Hepburn and Clare Grogan, ranked #30 in the British Film Institute's list of the top 100 British films of the 20th century, and #29 on Entertainment Weekly's 2015 list of the 50 best high school movies.)

(All of Clare Grogan's close-up scenes were filmed from one side in order to hide the scars on her left cheek. For the longer shots of her face, her cheek was filled with mortician's wax to hide them. Tragically, several months prior to filming, the actress received horrific injuries when a broken glass was thrust into her face as she was fleeing a brawl in a Glasgow bar.)

(The entire film was dubbed using milder Scottish accents before being released in America. America. Both versions are available on DVD,)

(A person in a penguin costume is seen at various points in the film for no apparent reason. Inside the suit was Christopher Higson, son of the film's production supervisor, Paddy Higson.)

--- ---

Valley Girl

(1983)

AKA: Bad Boyz

(A girl from the valley meets a punk from the city and fall in love. They're from different worlds, a fact repeatedly brought up by the girls trendy, privileged friends. Will true love conquer all?)

(Very loosely based on Shakespeare's Romeo And Juliet, this romantic teen comedy was directed by Martha Coolidge and stars Nicolas Cage, Deborah Foreman, Michelle Meyrink, Elizabeth Daily, Cameron Dye and Michael Bowen.)

 

(Originally conceived as a teen exploitation film to capitalize on the valley girl fad inspired by the Frank and Moon Unit Zappa song Valley Girl, the script was written in ten days. Zappa had explored the possibility of making a 'Valley Girl' film and had several studios express interest , but nothing was ever finalized. Zappa later unsuccessfully sued to stop production of this film, claiming it infringed on his trademark. He lost.)

 (Coolidge was required by the producers to show female breasts at least four times during the film, feeling it would make the movie more appealing to younger men. She agreed in order to get the directing job, but quickly found a loophole: "They didn't say how long the shots had to be. Not smart of them." Thanks to judicial editing, each instance appears for mere seconds.)

(Michelle Pfeiffer was originally considered for the female lead.)

(On the iconic poster image, the girl pictured next to Cage is not Foreman, but actress Tina Theberge, who would end up playing Cage's character's 'nightclub lover' once Foreman was cast.)

 (Cage developed a real-life crush on his co-star  Foreman. He would write her poetry on set, and one poem was titled, American Girl, which Foreman still has to this day. In an interview he later admitted, "I just adored Deborah, so there was very little acting on my part." The two did begin dating and ended up finding it very difficult to do the breakup scene. It took several takes and some counseling by Martha Coolidge, who told Foreman to think of another guy she had broken up with.)

(Ever the Method actor, Cage lived in his car during the shoot in order to make his character more authentic. Also of note: this film was produced before Nicolas Cage got his teeth fixed.)

(The saga of the proposed soundtrack album is as complicated as it is compelling. The post-punk and new wave music heard throughout the film proved too expensive for the producers to license, so ultimately, it was scrapped, though several copies of it were created. They are now much sought after collectors items.) 

--- ---

China Girl

(1987)

(Another modern-day retelling of Shakespeare's Romeo And Juliet set in New York. When an Italian boy and a Chinese girl fall in love, it causes conflict between two ethnic gangs leading to tragic consequences.)

(This independent neo-noir romantic thriller, directed by Abel Ferrara and written by his longtime partner Nicholas St. John, was critically well-received and did well at the box office, though it has never been released as a Region 1 DVD.)

(Shot in 40 days, out of all of the films Ferrara has directed, this one remains the director's favorite.) 

(Robert LaSardo, David Caruso and Paul Hipp would all appear together much later in their careers in the CBS television show, CSI: Miami.)

--- ---

And that's all for now.

Tune in next week...

Same time, same channel!

Black Girl - Betty Everett