Wonderland Burlesque's Let's All Go To The Movies: She's A Lady! - Part III

Wonderland Burlesque's

Let's All Go To The Movies:

She's A Lady!

Part III

Sometimes? It takes a lady.

Or so these films would have us believe.

They promise lots of drama, the occasional comedy or musical, and a little bit of dirt!

Let's take a walk down Hollywood Blvd. and shine a light on these magnificent classic films.

This way, if you please. But remember...

Ladies first!

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The Lady

(1925)

A young woman marries the lazy, do-nothing son of a British aristocrat. Her husband, who has been disinherited by his father, loses what little money he has left gambling in casinos and then dies, leaving her penniless with an infant son. When her former father-in-law tries to get custody of the child, she leaves him with a couple she trusts, but when she later goes to reclaim her son, she can't find the people she left him with!

Based on the play of the same name, this American silent drama was directed by Frank Borzage and stars Norma Talmadge. Talmadge's own production company produced the film with distribution by First National Pictures.

An almost complete print of this film has been preserved by the Library of Congress in Washington, DC. Some scenes from the middle of the film are either lost or badly damaged due to nitrate decomposition.

Like many of Talmadge's silent films of the 1920s, The Lady is derived from a stage play. The play, The Lady, ran on Broadway from December 4, 1923 to February 1924 at Charles Frohman's Empire Theatre. It was produced by A. H. Woods. Mary Nash played Talmadge's part of Polly Pearl and Elizabeth Risdon played Fanny Le Clare which, in the film, was played by Doris Lloyd.

The Motion Picture Producers and Distributors of America, formed by the film industry in 1922, regulated the content of films using a list of subjects that were to be avoided. While Talmadge portrayed a prostitute in The Lady, this was acceptable under the rules as prostitution was not explicitly barred so long as it was not forced (i.e., white slavery) and aspects of her work was not shown in the film. To accomplish the latter, while staying at the brothel, her work is limited to being a cabaret singer.

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The Lady Who Lied

(1925)

When Fay Kennion finds her fiancé, Horace Pierpont, in an innocent but apparently compromising situation with another woman, she breaks their engagement and marries Alan Mortimer, a weak and alcoholic physician practicing in Algeria, instead. Pierpont later goes on a safari and persuades Fay and the doctor to accompany him as his guests. Despite genuine attempts to remain apart, Pierpont and Fay find themselves together more and more, and Mortimer eventually discovers them in a passionate embrace. Pierpont is later bitten by a snake, and Mortimer alone can save him. Mortimer at first refuses, but Fay, deeply in love with Pierpont, feigns love for her own husband and promises to return with him to Algeria if he will save Pierpont's life. Mortimer finally agrees and saves Pierpont's life. On the trip back, the caravan is attacked by bandits; Mortimer is killed; and Fay and Pierpont are free to find happiness together.

Based on a novel by Robert Hichens, this American silent melodrama was produced and distributed by First National Pictures, directed by Edwin Carewe, and stars Virginia Valli, Nita Naldi, and Lewis Stone. 

This is now considered a 'lost' film, as no original footage or copies exist.

The film has the distinction of being the feature attraction of the gala opening of the Uptown Theatre in Chicago, Illinois, on August 18, 1925.

Nita Naldi

Nita Naldi was an American stage performer and silent film actress. She was often cast in theatrical and screen productions as a vamp. She worked with the likes of Cecil B. DeMille, John Barrymore, Dorothy Gish and, most importantly, Valentino. For a time she served as the muse for painter Alberto Vargas. Despite having an acceptable voice, she chose to retire when sound pictures became the rage.

Due to the financial reversals caused by her retirement from films, as well as the Great Depression, Naldi filed for bankruptcy in 1932. She returned to the stage with Queer People and The Firebird in 1933. The press had been critical of her weight since 1924, but reviews of her appearances in both plays were especially harsh this time around - so harsh in fact that Naldi filed suit against one paper in 1934 for $500,000. The suit was dismissed in 1938.

In 1929, seven years after the success of Blood and Sand, Naldi was named as a party in the divorce proceedings between 54-year-old millionaire J. Searle Barclay and his wife of 16 years. Barclay and Naldi had met during her stage career a decade earlier and had lived together with her sister in New York since 1920. The pair married in France in August 1929. Naldi, alone, returned to the United States two years later and filed for bankruptcy in 1934. Naldi did not speak publicly about Barclay until after his death in 1945. He died penniless.

Despite Hollywood gossip and published rumors, Naldi denied ever being romantically involved with either Valentino or Barrymore. In 1956, she was rumored to be engaged to a Park Avenue man named Larry Hall, but no union took place. Naldi had no children.

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The Lady And The Mob

(1939)

Society-lady Hattie Leonard organizes her own band of 'gang-busters' when she discovers a garment she sent to the dry-cleaners had been taxed 25 cents to pay for gang 'protection' She sends to New York City for a reformed gangster she had befriended, Frankie O'Fallon, and he hires the manpower needed from the usual Columbia hoods. Her gang hijacks the racketeers, recovers the merchant's money and returns it to them. Lila Thorne, engaged to Hattie's son Fred, throws in with her future mother-in-law when she sees that the old lady is fighting for the American principle of freedom of choice...and action. Lila frames the gang-leader, George Watson, and Hattie's big-city vigilantes kidnap him and extract the information that the town-mayor, Johnny "J.J." Jones, is the brains behind the protection-gang and is getting the big cut of the money. But Hattie must still rob a bank before she can secure the evidence needed to convict the mayor. All in a day's work for a crusading society dame.

This American crime comedy was directed by Benjamin Stoloff, written by Richard Maibaum and Gertrude Purcell, and stars Fay Bainter, Ida Lupino, Lee Bowman, Henry Armetta, Warren Hymer, and Harold Huber.

Fay Bainter was an American film and stage actress who won the Academy Award for Best Supporting Actress for Jezebel (1938).That same year, she was also nominated for  Best Actress for her work in White Banners (1938).

 

It was released on April 3, 1939 by Columbia Pictures.

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The Lady Is Willing

(1942)

Bold, eccentric Broadway performer Liza Madden befuddles her handlers by coming home with a baby she picked up on the street. She wants to keep the baby but has to find a husband to make adoption viable. Why not her new obstetrician, Dr. McBain? She offers him help with his research on rabbits in exchange for marriage - and he accepts. The mismatched pair begin a marriage of convenience and hilarity ensues.

This American screwball comedy was produced by Columbia Pictures, directed by Mitchell Leisen, and stars Marlene Dietrich and Fred MacMurray.

Marlene Dietrich's singing voice was dubbed by Virginia Rees.

Early in the shooting, Marlene Dietrich tripped while carrying child actor David James. She twisted her body to save the baby from striking the floor, but severely injured her right ankle in the fall, and her entire right leg had to be placed in a cast. That's why film she is always shown in full-length outfits (gowns, slacks, etc.) with just one shot of her unclothed leg, and that is in shadow.

Marlene Dietrich

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The Lady Vanishes

(1979)

On a train travelling through pre-World War II Germany, American heiress Amanda Metcalfe Madvani von Hoffstetter Kelly (Cybill Shepherd) befriends Miss Froy (Dame Angela Lansbury), an older nanny. But when Miss Froy disappears, everyone Amanda asks denies ever having seen her. Eventually, Amanda persuades American photographer Robert Condon (Elliott Gould) to help her search the train, during which they discover that Miss Froy wasn't quite what she seemed!

A remake of Alfred Hitchcock's 1938 film of the same name, this British mystery comedy was directed by Anthony Page and stars Elliott Gould, Cybill Shepherd, Angela Lansbury, Herbert Lom, Arthur Lowe and Ian Carmichael. Written by George Axelrod, based on the screenplay of 1938's The Lady Vanishes by Sidney Gilliat and Frank Launder, which. in turn was based on Ethel Lina White's 1936 novel The Wheel Spins.

George Segal, and Ali MacGraw were originally announced for the leads. Tatum O'Neal was also under consideration.

The character of Amanda Metcalfe Madvani von Hoffstetter Kelly (Cybill Shepherd) was modeled on screwball comedy actress Carole Lombard.

Though Cybill Shepherd only wears one costume in the movie, (a bias-cut white satin dress), the costume department made nine identical copies to facilitate filming.

Bette Davis was offered the role of Miss Froy. Davis told biographer and friend Whitney Stine, "I loved May Whitty in the original, but I don't think the part is quite right for me. She should be a plump, sweet old lady." The part went to Dame Angela Lansbury, who had co-starred with Davis in Death on the Nile (1978).

Jean Anderson's voice was dubbed by Angela Lansbury

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And that's all for now, folks.

Tune in next time...

Same place, same channel.

The Lady Vanishes - Movie Trailer

(1979)

Wonderland Burlesque's Let's All Go To The Movies: The Oldest Profession Edition, Part II

Wonderland Burlesque's 

Let's All Go To The Movies

The Oldest Profession Edition, Part II

Hookers and Hollywood go hand in hand like Fatty Arbuckle and a Coke bottle.

Let's take a look at these additional entries to the canon, featuring some big names and lots of star power. 

And don't worry... the only social diseases on display here are the Tinsel Town regulars: racism and sexism.

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A House Is Not A Home

(Shelley Winters always amazes me, the vehicles she'd find herself starring in. And this is a good seven years before What's The Matter With Helen?)

"The underworld... the half-world... the high world...

They all meet and explode in the house that is not a home!"

(The supporting cast is quite impressive, too; Cesar Romero, Broderick Crawford and Robert Taylor all lend a hand. I wonder what future starlet can be found among the cathouse staff?)

"Based on the blushing best-seller about America's most famous house!"

"Suitable only for adults."

The Respectful Prostitute

"Shocker of the year!"

(The shocking thing here is that they put the mugs of two angry men on the poster, when what they really should have been selling the public is a little S-E-X in the form of the titular (nice pun) character. A real PR miss.)

The Hookers

"The torrid story of three gals of the trade."

"Why they make men pay  ...and pay!"

"Teasing. Taunting. Power-packed."

"Adults only."

(Barbara The Housewife probably is only in it to support her out of control Tupperware dependency.)

Holiday Hookers

"Put yourself in their place!"

"Rosanna loves money! Sandy need money! Liz loves men! Mira need men!"

(Whoever is responsible for this illustration really needs to refund the money. Poor Ernest Borgnine! Hollywood may have given him an Oscar, but then had no idea what to do with him. Sticking him in crap like this is why he ended up on television. Francoise Fabian, by the way, was a contemporary of Catherine Deneuve, and has been working steady in films to this day. Oh, and Robert Alda! )

Country Hooker

"She gave them what they wanted... and they took everything she had!

"Her sensuous body drove men wild!"

"She paid the price of love. Blood! ...hers!"

(If I saw a hooker posed as above, I would automatically think, "Oh. Crabs.")

Black Hooker

"She was lovable. She was mean. Damn mean!

"What would you do if your mama was a hooker?"

(I rather love this poster art. Back then, a great poster could make up for the crappy quality of the actual film. My only question? What is up with the 'B' in 'Black?' What is that supposed to be, imply, or represent?)

Vampire Hookers

"Warm blood isn't all they suck!"

"They're a close encounter of a different kind!"

(I love that they had the balls to reference another, much more popular film on their poster. Like a little of that magic might rub off? Not likely. Based on the stills I have seen from this film, this is more like a Hammer Film than an Amblin Entertainment feature. Though they do earn points for the whole southern gothic thing.)

Hollywood Chainsaw Hookers

"They charge and arm and a leg!"

(Great tagline. Inspired idea. Terrible film.)

The Happy Hooker

"The book. The movie"

"Don't be embarrassed to spend 90 minutes in a dark room with a hooker."

"You know about sex. Now learn about life."
"Lynn Redgrave as Xaviera Hollander. A real woman tells the truth."

(Like Ernest Borgnine, here's another star Hollywood had no idea what to do with. After being nominated for an Oscar for her turn in Georgy Girl, Redgrave drifted out of view. Maybe there were high hopes for this one. The book was a staple in homes throughout America. Well, at least she got to wear a lot of great wigs (and a lot of whipped cream.) If you want to experience just what a powerhouse performer Redgrave could be, check out her amazing work in 1998's Gods And Monsters.)

The Happy Hooker Goes To Washington

"All new."

"She served her country... the only way she knew how!"

"Joey Heatherton as Xaviera Hollander in..."

(It didn't take long for this franchise to go slumming. But never underestimate the star power of Joey Heatherton, ably assisted by George Hamilton and Ray Walston. The big suspense in this movie is whether or not Heatherton's boobs are going to flop out of her poorly designed dresses.)

The Happy Hooker Goes Hollywood

"She conquered every producer's couch in Hollywood."

(Nothing says 'death of a franchise' like  a cast led by a former Bond girl (Martine Beswoke), Adam West, Phil Silvers, Edie Adams, and Chris Lemmon. This film was so bad, they actually removed the whole 'Happy Hooker' angle and tried to remarket it as hardcore porn.)

(Also marketed as...)

Hollywood Blue

"My Pleasure Is My Business"

"You've read about her... talked about her... now see her!"

'Xaviera Hollander, authoress of The Happy Hooker."

"Starring in her first motion picture."

(Her first and (almost) her last. Apparently Xavier got tired of taking a backseat to others and decided to take a shot at playing herself. Strange that the title doesn't include the 'Happy Hooker' brand, but they do reference it on the poster. That she didn't end up taking over the franchise is probably indicative of the amount of talent she brought to the big screen.) 

The Oldest Profession

(Some big name directors and stars (Raquel Welch, Jeanne Moreau) all try their hand at shining a light on the plight of these working girls in an anthology film that I am sure runs the gamut from irreverent to tragic. Afterall... everybody in Hollywood is, at heart, either a pimp or a whore.)

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That's all we have time for this week.

Tune in next week!

Same time! Same channel!

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