Being responsible and staying inside? Think of all the movies you can watch!!!!

If we're going to be encouraged to stay inside, over the next while, think of all the Old Hollywood movie-watching we could be doing! Here's my list of recommendations (and hubby Dana helped too!!)

Sadly, NETFLIX absolutely sucks when it comes to the classics. Sorry about it! The one movie on there that's classic is Gone with the Wind, and, um, well, it's there.

For the rest of the services, and YouTube (because we're in a pandemic so are we REALLY concerned at this point about a legit copy of something)?

1) AMAZON PRIME (a lot of these are also available on YouTube)

I've grouped these by star!

Cary Grant 

Charade- the best Hitchcock film Hitchcock didn't make! Directed by Stanley Donen, this caper with Cary Grant and Audrey Hepburn is GUARANTEED to entertain you. It's in the public domain, so even if you don't have Prime, you can easily find it anywhere online.

To Catch a Thief- Grant and Grace Kelly lookin all pretty and handsome in a Hitchcock romp. This is way more "fun time" than "thriller"! And Grace Kelly in GORGEOUS Edith Head designed costumes? Yes please!

His Girl Friday- one of the best screwball comedies of all time, with two the era's best comedic actors: Grant and Rosalind Russell. Outdated? Hell yes. Funny? HELL YES.

Penny Serenade-- don't know if you're in the mood for a weepy, but this is one of Grant's best performances, with one of his best leading ladies, Irene Dunne. Also public domain so easy to find!

Fred Astaire

Royal Wedding- Fred's "dancing on the ceiling dance" is in this movie! Other than that, tis a cute lil musical! Also in the public domain.

The Belle of New York- this movie doesn't get enough love, in my opinion. The dances with Fred and partner Vera-Ellen are INCREDIBLE, even if the plot is paper-thin.

Doris Day

The Doris Day Show-- all 5 seasons are available on Prime! You betcha I've watched every episode. Is every season a totally different plot? Yup! Does it matter? Nope. Doris is so charming and so good that it doesn't matter. The trajectory of her character throughout the seasons is also a fascinating walk through women's lib of the 1970s.


Rock Hudson

Avalanche- a DISASTER of a disaster movie! If you feel like cozying up and watching one of the worst movies ever, this is it!


Frank Sinatra

The Man with the Golden Arm-- one of Sinatra's best dramatic performances, with the gorgeous Kim Novak.


Film Noir 

Detour- a low, low budget B movie that has become a classic. Definitely worth a watch.



2) GOOGLE PLAY MOVIES

These are grouped by genre and are all available for rent!


Musicals

A Star is Born- Judy Garland's crowning musical and dramatic achievement. Forget the others, watch this version.

Meet Me in St. Louis- A wholesome mid 1940s Technicolor MGM Musical-- great score, Judy being Judy, what more do you need?

The Harvey Girls- After Meet Me In St. Louis, Judy made this one. Not as classic, but just as entertaining!

Easter Parade-- One of the best musicals ever made! The only film pairing of the legendary Judy Garland and Fred Astaire.

Summer Stock-- My personal fave musical of all time, with the BEST musical pairing in film history, Judy Garland and Gene Kelly. An underrated score, and one of the FUNNIEST supporting casts in movie musical history.

In the Good Old Summertime-- Judy Garland and Van Johnson being supes cute and funny-- this is the plot of You've Got Mail in musical form.

Singin' in the Rain-- Never watched what's considered the greatest movie musical of all time? What are you waiting for?????

That's Entertainment III-- The "That's Entertainment" series is a "highlights reel" of the MGM Musicals. This third installment is arguably the best, showing you deleted scenes and rare footage from the MGM Musicals Vault.

On the Town-- one of the most joyful MGM musicals EVER made, with a STACKED cast: Gene Kelly, Frank Sinatra, Ann Miller, Vera-Ellen. The ballet to the Leonard Bernstein music is one of the BEST ever. Gene Kelly and Stanley Donen's joint directorial debut.

It's Always Fair Weather-- this movie doesn't get enough love! The last jointly directed movie of Donen and Kelly, it's a "grown-up" On the Town, and the numbers with Cyd Charisse are incredible. Gene dances on roller skates in this!

An American in Paris-- this movie won the Best Picture Oscar in 1951. Did it deserve it? Nope. But the Gershwin music is gorgeous, Gene Kelly and Leslie Caron's romantic dance to "Our Love is Here to Stay" is absolutely STUNNING, and the famous 17-minute ballet? You HAVE to watch for the choreography, the costumes!!!

Anchors Aweigh-- Gene Kelly's funniest movie? Methinks so! Also with Frank Sinatra. It also has Kathryn Grayson (sorry for anyone who hates coloratura sopranos, lol)! Also the movie where Gene dances with Jerry the Mouse. 

Cover Girl-- a landmark movie in the Gene Kelly canon. The "alter-ego" dance is what started his reinvention of the movie musical. Also his only movie pairing with the gorgeous Rita Hayworth.

The Band Wagon-- While Singin' in the Rain often gets the title for best musical, this one is not too far behind, and deservedly so (a lot of people like it more). Gene Kelly himself said that Fred Astaire and Cyd Charisse's "Dancing in the Dark" dance is the best duet on film. A must-watch!!

Three Little Words-- not the best movie, but Fred Astaire and Vera-Ellen's dance to "Thinking of You"? STUNNING.

The Barkleys of Broadway-- if not the best, the last film pairing of the legendary Fred Astaire and Ginger Rogers. Also the only one they made in Technicolor.

Love Me or Leave Me-- Doris Day's most serious movie, and it's a musical! She's magic in it.

Calamity Jane-- Doris' fave musical she ever made. Pretty adorbs and Day at her tomboy best!

Silk Stockings-- one of the last Cole Porter scores, and Cyd Charisse does an entire dance in lingerie for those interested! LOL. Her dance duets with Fred fantastic too.

High Society-- a musicalization of the classic The Philadelphia Story, how can you go wrong with Sinatra, Bing Crosby, Grace Kelly, Celeste Holm, and Louis Armstrong, all in one movie? Grace Kelly's last movie before going off to become Princess of Monaco!

Gentlemen Prefer Blondes-- Marilyn Monroe and Jane Russell at their musical best!



Comedy

Move Over Darling- Doris Day returns from being trapped on a deserted island and pandemonium ensues (a remake of Cary Grant's My Favorite Wife)

The Awful Truth-- arguably my fave screwball comedy ever, with Cary Grant and the HILARIOUS Irene Dunne

Father Goose-- my fave Cary Grant movie of his later career-- he's HILARIOUS and plays the opposite of the debonair persona in this-- a super fun change!

I Was a Male War Bride-- Dana and I quote this movie all the time, so funny. Cary Grant with the underrated Ann Sheridan.

The Philadelphia Story-- one of the all-time classics. The only time we get to see Katharine Hepburn, Cary Grant, and Jimmy Stewart work their movie magic together. Dated? Holy crap yes. But a must-watch. Also Ruth Hussey for MVP in this as the second banana!

Houseboat-- Cary Grant and Sophia Loren starred in this together after having their affair, and the chemistry is pretty explosive! But it's also a super cute comedy.

Walk, Don't Run-- Cary Grant's swan song. Super cute.

Holiday-- the BEST of the Cary Grant/Katharine Hepburn pairings in my opinion. This movie inspired me to enjoy life while you're young-- why waste the good years and wait for retirement? Watch this movie.

The Talk of the Town-- a super great blend of drama and comedy, and a hugely underrated one in the Cary Grant canon. Also with the great Jean Arthur and Ronald Colman

The Out-of-Towners-- Jack Lemmon and Sandy Dennis being HILARIOUS as they navigate the worst trip ever to NYC.

Some Like it Hot-- AFI calls it the funniest movie ever. Do I agree? No. But it's still damn funny.

The Odd Couple-- Jack Lemmon and Walter Matthau in their most iconic pairing together.

The Prince and the Showgirl-- this is the most FASCINATING Marilyn Monroe movie ever! Especially if you know the backstory-- the movie she produced with her own production company. And I can't describe it, but she is absolutely MESMERIZING in this. Can't say the same for her co-star (Laurence Olivier!!!)

Paris, When It Sizzles-- people call this movie a disaster (which it kind of is), but I love Audrey Hepburn and William Holden together so much

The Lady Eve-- one of the funniest Barbara Stanwyck movies!


Hitchcock

The Man Who Knew Too Much-- Doris Day, Jimmy Stewart, in a Hitchcock movie. What more could you want?

North by Northwest-- one of my fave Hitchcock ever-- one of the best plots ever. Cary Grant, Eva Marie Saint, and James Mason shine in this!

Rear Window-- one of the most iconic Hitchcock entries, with a wonderful Jimmy Stewart and Grace Kelly (looking as gorg as ever!!!!!!)

Vertigo-- arguably the best Hitchcock ever. Kim Novak is SO UNDERRATED and she's so good in this. So is Jimmy Stewart of course.


Romance

An Affair to Remember- The Romance of all Romances with Cary Grant and Deborah Kerr. I dare you not to cry! A masterpiece of sappy romance, but the first half is also VERY FUNNY.

Indiscreet-- You can't go wrong when Cary Grant and Ingrid Bergman share the screen. Cary Grant's dancing scene? A comedic masterpiece.

The Clock-- Judy Garland's ONLY foray into straight drama of this era, and it's FASCINATING to watch!!

Picnic-- One of my fave movies of all time, with a hunky Bill Holden and a beautiful Kim Novak.

The Apartment-- One of the best movies of all time, with Jack Lemmon, Shirley McLaine and Fred McMurray. Literally one of the best there is.

The Ghost and Mrs. Muir-- fantasy beautiful romance with Gene Tierney and Rex Harrison. Gorgeous score too.

Love is a Many Splendored Thing-- literally the sappiest movie ever made but do I love it? YES.

The World of Suzie Wong-- underrated William Holden with Nancy Kwan. Quite lovely.

Two for the Road-- arguably my fave romantic movie, and in my opinion, Audrey Hepburn's best performance. Albert Finney is incredible in it too.

Roman Holiday-- Audrey Hepburn is a princess, Gregory Peck is a reporter. They fall in love and it's gorgeous and beautiful and heartbreaking


Film Noir-ish

Gilda-- Rita Hayworth's most iconic role. You have to watch it, even though the plot makes no sense!

Affair in Trinidad-- Same stars as Gilda, and I want every outfit of Rita's in this, please and thank you!

Niagara- Fun Marilyn Monroe thriller filmed in Niagara Falls

Laura-- Gene Tierney's most famous role. Mesmerizing noir.

Double Indemnity-- the definitive noir!!


Drama 

The Catered Affair- Debbie Reynolds, Bette Davis, and Ernest Borgnine in the same movie? Yes, and it's very real and extremely moving.

Executive Suite-- this is a great mid 1950s MGM movie with a stacked cast: Barbara Stanwyck, William Holden, June Allyson, Fredric March, Shelley Winters

Carrie-- depressing but wonderful performances from Laurence Olivier and Jennifer Jones


Documentary

Bright Lights- a beautiful documentary released just after the deaths of Carrie Fisher and Debbie Reynolds. A jewel!!


3) YOUTUBE

Leave Her to Heaven-- one of my all time fave movies-- Gene Tierney is amazing and TERRIFYING in this

Notorious-- this is my favourite movie ever, I think!! Cary Grant and Ingrid Bergman are incredible. An under-loved Hitchcock. The first time I saw this, I had to watch it twice in one day. It has everything: romance, intrigue, social commentary.

HAPPY WATCHING!!! AND STAY SAFE!!!

Kim Novak in Picnic-- "The Pretty One"

Kim Novak on the set of "Picnic", getting pretty

In our continuing discussion of female characters in film that had an effect on me as a teenager, we now turn to Kim Novak's characterization of Madge in "Picnic" (1955).

So, yes, Picnic is dated, and the themes and characters are stereotypically drawn. But I was OBSESSED with "Picnic" when I first watched it, probably at the age of 16. And while I was loved it (and was particularly obsessed with a shirtless William Holden, which is a whole other topic of discussion), there was an aura to Novak's Madge that I couldn't quite crack. She complained about being identified as the "pretty one", but seemed static at the same time. I also, at 16, mind you,  couldn't understand why someone would be upset with being perceived as pretty-- I thought: "What's wrong with that? You ARE gorgeous". I was annoyed with her that she seemed so bored with her life, but not really doing anything to change it.

Longing for more

I also didn't grasp the depth of the love story plot with Holden's Hal, and what her motivations were. I was happy to see her finally navigating decisions of her own volition, but what were the reasons? To be perceived as pretty by Hal, a new man in town? Or, was she searching for something else? Either way, I was of course enchanted by the love story, by their iconic "Moonglow" dance, and when she leaves home at the end of the film to chase a life with Hal, I imagined that their life together would be beautiful and lovely and romantic. Ah, how naive 16 year old me was.

I've rewatched "Picnic" a number of times over the years. Most recently, a few weeks ago. Perhaps it's because I'm essentially double the age of when I first watched the movie, but I felt like I finally "got" Madge. Madge comes from a family where her father abandoned their family. Madge's mother Flo (Betty Field) has never gotten over that abandonment, and her primary hope for her daughter is that she land a good man, at a young age, so that he won't leave her. The most important detail? Madge must be beautiful, and she'll only be beautiful for so long, so she'd better land a dependable suitor sooner rather than later. According to her mother, Madge should maybe even consider "putting out" (not a 1950s term, I am aware) in order to clinch the deal. In other words, Flo is kind of a disaster. Madge feels an obligation to assume this identity, even though in her heart of hearts, that's not how she sees herself. She longs to be more than a sex object, she wants to be seen for who she is, not what she looks like. She wants people to look beyond her gorgeous exterior. Her dependable boyfriend Alan (Cliff Robertson) sees Madge as the woman to complete his perfect businessman image: she'll be a perfect future trophy wife. He wants to know if she "looks real in the moonlight". She's not even a real human to him, and she longs to be seen as real, as someone of substance.

In deep thought

Enter Hal. He's a drifter. He's always been perceived as a loser, as someone who will never get ahead. He's a misfit. In Madge, maybe he sees in her someone who also doesn't belong. They're kindred spirits, in an odd way. Madge is drawn to him, but cautious, too. Hal represents someone who would totally not be in line with the kind of life Flo envisions for her. Of course, the love story prevails. Hal ends up confiding in Madge about the mess of his life, the darkness of his childhood-- for Hal, Madge is someone he can talk to. Madge is finally being seen as something more than an object to stare at. (Literally the whole town stares at her when she is crowned the "Queen" at the picnic). He trusts her with his darkest thoughts. This is what Madge is drawn to: she falls for his vulnerability, but also for the fact that she is a real person that he is confiding in. I finally understood Novak's delivery of the line "I just get tired of being told I'm pretty", watching this film with that lens. She remains conflicted about her feelings for Hal, and carries guilt about cheating on Alan, but it's finally something that is her decision-- her first act of independence. Her first act of growing up.

Embarking on her own life

And now we get to what I view as the proto-feminist ending. Hal is leaving town, and Madge must decide if she will go with him. He catches the freight train and skips town, telling her where he will next be stationed. At this point of the film, watching it at 16, I ACHED for the two of them to go off together. Watching the film at 30, I ACHED for Madge to leave home and explore life for herself. Which is exactly what she does. Yes, she's heading for Hal, but we can see the writing on the wall that Hal will never change, and Hal and Madge are not destined to be forever. In my mind, and Novak plays this beautifully, Madge's real victory is gaining the independence and the courage to defy her mother. She doesn't want to live the life that Flo envisions for her. She wants to live the life that she envisions for herself. Novak beautifully builds her angsty portrayal of Madge to that final scene, where she finally lets out a genuine smile as she boards the bus to her new life.

Though at first glance, Picnic's center is Hal's story, the emotional core of the film is Madge's journey, and how Hal coming into town for one day changes the course of her life forever. How Hal gifts her with independence. How she finally finds the will to exact that agency.

Kim Novak according to Columbia

Knowing how Novak perceived her movie career, I can't help but think that there must have been a lot of Kim in Madge. She was thrust into the Columbia studio system, immediately painted as a sex symbol with lavender hair. She wasn't given many roles of substance. The Columbia studio portraits portrayed her as smoldering. I think she longed for more, just like Madge did. She has said in an interview with Robert Osborne that all she wanted was to portray her characters as honestly and vulnerably as possible. But I think she was misunderstood by Hollywood-- probably a reason why she left the business. Her form of artistic expression is now visual art. If I had to guess, she probably feels a freedom in expressing her soul, without the studio lights and glamourous makeup. For Kim and Madge, they just wanted to be real people. Watching "Picnic" now, I am struck by how many women are Madge, perceived as the "pretty one": no substance, brains, or depth. Society still dominantly prefers to salivate over if we're "real in the moonlight".

Kim Novak, the visual artist: on her own terms

Reviving the blog, resetting the focus, and let's "Pillow Talk"

Is this thing on? Wow, it's crazy to think that it's been 5 years since I've posted on here. If any of you are still here, hello! If you were around for "Classic Movie Moments", this is now the home of "The Old Hollywood Feminist"!

It appears that I attempted to write multiple drafts of posts more recently, but never published them. Turns out life as a self-employed musician is more than a full-time job! I love what I do, but I've really missed writing. I've missed having a creative outlet that isn't my work-- I love writing, because it's not something I feel judged about, or something I need to be perfect at (what's perfect, anyway)? And I love writing about movies-- movies bring so much joy and calm to my crazy life.

On an hour-long drive to a work meeting a few weeks ago, my brain finally had about an hour to think about things other than my job. And, a lightbulb went off. I realized: I'm a hardcore feminist, but I'm also a hardcore classic movie fan. Like, really hardcore-- like a DVD collection in the hundreds, a film book collection so large that my friends make fun of me for every time they help us move to a new house.

My immediate reaction was: I should write about this! Because when people first hear "feminist" and "classic film", they probably sound like drastically different terms. But, I'm here to say that isn't so. In an era where Hollywood was governed by a bunch of old white guys (hmm, sound familiar?), some of the most powerful and badass women were on the screen-- in starring roles, with top billing. (Who had top billing in "Easter Parade"? The answer isn't Fred Astaire). The "women's picture" was an entire genre unto itself-- were there problematic themes in the genre? Hell yes. Were the women portraying these characters smarter than the genre? Hell yes, again (hey Bette Davis!).

So, the long and the short of it is, I want to talk about how growing up with these films had a hand in shaping me into a feminist. I want to talk about the stars that defied the studio system, in front of and behind the camera. I want to talk about the actresses who made their characters into fully-fledged humans, even if the writing wasn't there. And, I want to talk about films that made me think: I want to be like her.

Badass, having none if it, Queen Jan Morrow

So, our first subject? An unlikely one, perhaps. A woman who never defined herself as a feminist. A woman who, on the surface, was "the girl next door", the "peppy blonde", the sometimes "tomboy", or, worst, "the eternal virgin". Yes, ladies and gentlemen, we're talking about Doris Day. Beloved, recently departed Doris Day. Even her name elicits images of sunshine and perkiness. But, I want to talk about how I first came to know her, and how, for 15-year old me, none of these above labels even entered my mind when I watched my first Doris Day movie.

As I said, I first sat down and watched a full Doris Day movie when I was 15. My mom told me I would love it, that it was charming, and adorable. The movie was "Pillow Talk" (1959). Here is how I read this movie, without knowing how this movie was defined by "film history". Doris' character? Jan Morrow. Single, lives alone in a super rad apartment, makes what seems to be a pretty damn successful living (according to her rad apartment and stunning wardrobe) as an interior decorator. Doesn't seem to be lacking for anything in her life. She's mature, likeable, and the only thorn in her side is playboy Brad Allen (gorgeous Rock Hudson) who happens to share her party line. For any youngins' who don't know what a party line is, Google it (15-year old me definitely needed a rundown on what that was). Jan is also funny-- cue some of the best facial expressions in the history of cinema whenever she listens in Brad's antics, while waiting to make her important work calls.  Anyhow, to me at 15, this woman is living the life! I want her apartment! She's living in New York City! She's making a living in New York City! She goes out on dates when she wants to! She's selective, and isn't about to settle down with the wrong man. Her life is fine as it is. She's living the dream!

When she falls for Rex Stetson (aka Brad Allen putting on a Texan accent to disguise his true identity-- just go with it, people), she doesn't hold back in her desire for intimacy (she actually asks him why he hasn't kissed her yet), and then when they go away together for the weekend, this woman is super down to go "all the way"-- in fact, I would say, this is not her first rodeo at all of this! She may be single, but she ain't a nun! The only thing that stops her is discovering Rex's true identity.

Bathtime and flirty times for Jan Morrow

So, why then, was "Pillow Talk" the film that crowned Doris Day with the term "eternal virgin"? And why is it still in the consciousness of people that "virgin" is what Doris Day's cinematic image was? Were we watching the same movie? Were we watching the same split-screen scene where Jan is in the bathtub (naked, gasp!) and flirting with Rex on the phone, who is also in a bathtub?! Jan Morrow is badass, she's not a prude! And, she's a sexy badass-- hello, I'd love to have Doris Day's body, please. It never even crossed my mind when I watched this movie as a 15 year old that Jan Morrow is in her 30s and has never had sex (which, by the way, would be fine too, but that's not how I read it). What, just because she focused on her career instead of marrying means that sex wasn't on the table, period? Come on, people. In my mind, "Pillow Talk" was ahead of its time, not behind.

For me, watching this as a teenager, of course I wanted Doris and Rock together. I mean, have you seen them together? Dream team. But what was far more resonant to me was the fact that I was pretty much in love with Jan Morrow's life. I idolized her. I wanted her wardrobe. I wanted her confidence. I wanted her flirtatiousness. She had it all. She was a modern woman wrapped up in a beautiful 1959 package, and in the early 2000s, I wanted to be her.

In short, watching this movie ignited a Doris Day obsession that continues to this day. And I've never understood the misconceptions about her screen image. Anyone who actually watches her movies should understand what she represented/represents. In "Pillow Talk", she's basically the coolest woman ever, and was living ahead of her time. End of story.

But, not the end of these blog posts! Who should I talk about next? Lemme know! Thanks for reading!

Jazz Goes to the Movies - Live at The Jazz Room

I was lucky enough to have a sold-out crowd at a recent Valentine's
Day jazz concert. Many of the songs I programmed had their beginnings or
became famous in an Old Hollywood classic. I made a compilation of some
of the movie songs in the concert for your enjoyment.

Song Selections:

-"There Will Never Be Another You" from Iceland (1942), starring ice skater Sonja Henie. The song has become a very famous jazz standard, and is a bright spot in an otherwise forgettable film.

-"Just in Time" from Bells Are Ringing (1960), starring the late, great, underrated Judy Holliday and Dean Martin. Holliday reprised her iconic Broadway role as Ella Peterson for this MGM film, and it became one of the last musicals ever to be produced by the studio.

-"Almost Like Being in Love" from Brigadoon (1954), sung and danced to memorably by Gene Kelly in the classic musical.

-"Long Ago and Far Away" from Cover Girl (1944), a Jerome Kern standard that Gene Kelly introduced to the world with his lovely Irish tenor voice, while singing to the gorgeously glamorous Rita Hayworth.

-"Love Me or Leave Me" from Love Me or Leave Me (1955), sung famously in this film by the one and only Doris Day in what may be her greatest screen role ever as singer Ruth Etting.

-"Too Late Now" from Royal Wedding (1951), introduced by Jane Powell in the film, but written for Judy Garland. She was slated to reunite with Fred Astaire in this film, but health problems forced her to drop out of the film, and rendered her unable to sing this gorgeous ballad by Burton Lane and Alan Jay Lerner. She did perform the song beautifully years later on The Judy Garland Show, and demonstrated that had she introduced the song, the song would no doubt have become a perennial standard.

Dedicated to those who do what they love

To start off, this is a very different kind of blog post than you will usually see on this site. Feel free to skip it if you wish!

I feel extremely blessed in my life to be following my chosen path, doing what I feel destined to do, and creating a life and “job” for myself by doing what I love. I am also extremely lucky to have a partner who supports my endeavours 100%, and to have my family and close friends (both musicians and non-musicians), who love me unconditionally and constantly cheer me on.

Despite the support that comes from both my own willpower and those around me, I have still had a version of the following conversation, which I have transcribed below, many times. I’m sure many of you can relate to what follows.

This is dedicated to those who have endured a conversation similar to this.

This is for those who pursue what they love, no matter the consequences or judgement from others.

THEM: So, what do you do? (The Dreaded Question)

ME: I’m a jazz singer.

THEM: (Puzzled Look) Oh! That’s cool (Still Confused). Where did you study?

ME: (Oh, Great, The Education Question). The University of Waterloo. There is a small but mighty music program there at Conrad Grebel University College.

THEM: (Really Confused) Oh, you didn’t go to Laurier?

ME: (In My Head… “Sigh”). No, I made the decision to attend UW based on the great professors there, the welcoming atmosphere, the excellent vocal training provided, etc.

THEM: Oh! So, is there enough work ‘out there’ to be a singer full time, then?

ME: Well, I perform on average 2 or 3 times a month. But, I also have a voice studio, and prepare curriculum resources for TIFF and the Reel Canada Film Festival. I supply teach as well.

THEM: (Somewhat Relieved) Oh, so you want to become a teacher?

ME: Well, no, I went to teacher’s college. I enjoy teaching in the school system, but I don’t want that to be my full-time work. I care too much about performing to make teaching my career, and feel like I would be doing students a disservice if I made a career in teaching just for the financial stability.

THEM: Oh, but supply teaching is a really good step to getting something more ‘permanent.’ That’s really smart that you’re taking the step to becoming a full time teacher. (Translation: “I’m really glad that eventually you’ll get a ‘real job.”’)

ME: But, I’m REALLY happy right now with where my life is. I get to be my own boss, make my own schedule, do a day or two of supply teaching when I want to, but not be tied to that every day. It gives me the freedom that I need and want in my life. I also can’t risk straining my voice standing in front of a classroom of students every day. I can’t take that chance as a singer. I need to protect my voice. Teaching in the school system is great for a few days a week, but it’s not my chosen career.

THEM: So, you don’t ever worry about not having something more ‘permanent,’ then?

ME: No, I do what I love, and I really love being autonomous, and being self-employed. I like that I can decide when I want to teach, but also have the ability to take time “off” to prepare for an important concert, seek additional training out of town, rehearse out of town, or have freedom to go out of the country for a week or so to travel and/or perform.

THEM: Well, you’re lucky to be in a position where you’re able to do that! (Translation: “Good thing you’re in a relationship with someone with a real job.”)

ME: Yes, I’m lucky to have such a supportive partner who believes in me and 100% understands that following my passion matters to me. But, even if I didn’t have that, I would make it work. I would follow my heart regardless of circumstances.

Here are my thoughts:

I totally get that my not having a typical 9-5 job may be difficult for somebody to comprehend. Still, I believe that we should applaud EVERYONE who pursues a vocation they love, regardless of hours worked per week, how stable a person’s job is (or how stable their job may APPEAR to other people), or how “official” one’s job may look to other people. 

Are there days I wish I made more money? Of course! But who doesn’t have those moments, regardless of their career choice and stature? Are there days I wish I could have the stability of a “real” job? Sure. But I know I wouldn’t be happy. I’d just be mad at myself for not following what my heart is telling me. 

I feel most alive making music for people. I love telling a story through beautiful lyrics. I feel honoured to interpret the art of insanely talented composers. I was born with a voice (I have no idea where it came from), but I feel I was put on this earth to use it. 

We all contribute to each other’s lives, and to our world, in different ways. Some keep our country safe. Some keep the economy afloat. Some protect the earth from the detrimental effects of humans. Some devote their lives to research (medical, environmental) to protect future generations.

And some make their mark by attempting to make the world more beautiful through their art, through whichever form they express themselves.

I dedicate this post to whoever believes in (and practices) what they do. 

Whether you’re a multimillionaire, or fighting every day to make a go of it, I salute you.

Let’s all love each other and appreciate each other’s contributions to this crazy life that we only have one shot at. 

Let’s make our one shot worth it.

2013 Holiday Picks! My Old Hollywood Faves

I spoke of some of my favourite Christmas movies on this blog back in 2011. Here are my favourites as I watch through them all this year!

White Christmas (1954)

1) White Christmas (1954): I just saw this on the big screen last night, and this quintessential Christmas musical just never loses its magic. With a wonderful cast, gorgeous Edith Head costumes, classic Irving Berlin tunes, and capable direction by Michael Curtiz, this movie just can't miss. My favourite moments: Rosemary Clooney (in a gorgeous, hip-hugging Edith Head mermaid gown) singing "Love, You Didn't Do Right by Me", Vera-Ellen's rapid tap dance to "Abraham", Bing's beautiful rendition of "White Christmas" at the beginning of the film, and any scene where Danny Kaye's voice cracks! ;) My most favourite may be Vera-Ellen and Danny Kaye's dance to "The Best Things Happen While You're Dancing", choreographed by the one and only Robert Alton.

Meet Me in St. Louis (1944)

2) Meet Me in St. Louis (1944): While this perennial Vincente Minnelli classic takes us through all the seasons in the life of a turn-of-the-century St. Louis family, the most memorable scenes are in winter. Especially memorable is when Judy Garland serenades us and introduces us to Martin and Blane's "Have Yourself a Merry Little Christmas". Who can imagine Christmastime without this holiday standard? And who better to introduce the song to the world than Garland, the greatest songbird. More special to me is the fact that this song was introduced to the world in World War Two. Imagine all those who were fighting and got to hear this over the radio, hearing that "someday soon, we all will be together". Brings tears to my eyes just thinking about it!

Christmas in Connecticut (1945)

3) Christmas in Connecticut (1945): I love Barbara Stanwyck in a comedic role, and this may be one of her best. Teamed up with a great cast including Dennis Morgan, S.Z. "Cuddles" Sakall, Sydney Greenstreet, and Reginald Gardiner, this film has many genuine laugh-out-loud moments. Elizabeth Lane (Stanwyck) is a journalist who pretends to be a gourmet cook, and is forced to make herself look the part when a soldier (Morgan) visits her Connecticut "farm" and her boss (Greenstreet) presides over the events. Hilarity (truly) does ensue, with the supporting cast making all the escapades even more amusing. A wonderful Christmas comedy, with Edith Head (again) providing some beautiful holiday outfits for Stanwyck.

An Affair to Remember (1957)

4) An Affair to Remember (1957): You may be thinking, "What??!" when you see this film on my list. But, to me, it's a perfect holiday romance. Two lovers (Cary Grant and Deborah Kerr), both involved with other people, meet on a cruise and agree to reunite 6 months later at the top of the Empire State Building. Their meeting is interrupted by a tragic accident. It doesn't sound like a Christmas movie, does it? However, the last pivotal scene (which I won't spoil for anyone who hasn't seen it) takes place on Christmas Day. And, the lovers agree to meet 6 months later on New Year's Day. The themes of togetherness and reuniting are actually perfect for the holiday season, and who doesn't love seeing Cary Grant and Deborah Kerr both humourously, and then, tragically, in love? It's one of my all-time favourite romances, and one I always tend to watch around the Christmas season.

Holiday Affair (1949)

5) Holiday Affair (1949): An underseen holiday treat, this adorable comedy features Janet Leigh at her most natural and charming, and Robert Mitchum in a good-guy role. Leigh plays a comparison-shopping widow with a young son, and Mitchum is a sales clerk who gets fired because of Leigh returning a toy train set to his department. It sounds corny (and it is), but Leigh is so believable as a young mother struggling with her identity after losing her husband, and Gordon Gebert is so adorable as her son Timmy, that we can't help but enjoy the ride, and wonder what will happen to these characters. And Mitchum and Leigh falling in love doesn't hurt either! Running at a mere 87 minutes, it's a perfect holiday film to watch when you just want a quick dose of Christmas cheer!

Honourable Mention: These films are also worth a viewing every Christmas!

1) I'll Be Seeing You (1944): An adorable and extremely unique wartime Christmas romance with the wonderful Ginger Rogers and Joseph Cotten.

2) In the Good Old Summertime (1949): Despite the title, this remake of The Shop Around the Corner (1940) with Judy Garland and Van Johnson actually mostly takes place in the winter.

3) The Bishop's Wife (1947): Haven't you always wanted to see Cary Grant play an angel? I thought so! This film is almost too saccharine and corny, but the wonderful cast (Loretta Young, David Niven, Monty Woolley) saves it from becoming that way. Definitely worth a look!

4) Holiday Inn (1942): Fred Astaire dances with fireworks, Bing Crosby introduces "White Christmas" to the world... what more do you want? Delightful film that focusses on many holidays besides Christmas!

And, finally, if you haven't seen Jimmy Stewart in one of his best roles of all time and perhaps the best Christmas movie ever in It's a Wonderful Life (1946), you absolutely must!! Finally, finally, Miracle on 34th Street (1947) is also a perennial classic that all must view at least once!!

Enjoy and let me know your classic Christmas faves!

Leave Her to Heaven: A Technicolor Film Noir

Gene Tierney as Ellen Harland in Leave Her to Heaven (1945)

I rewatched John M. Stahl's classic Leave Her to Heaven last night, and then realized I have never posted my essay on the film that I wrote for a Film Noir course a few years back. Here it is, for your reading pleasure! Please comment if you so desire! I am also almost done reading the original source novel, which I highly recommend for anyone wanting an even deeper understanding of the characters!

In John M. Stahl's haunting and memorable 1945 film Leave Her to Heaven, a dark noir atmosphere is unconventionally created in glorious Technicolor, while typical noir characters are evident with Ellen Harland as the psychologically unstable femme fatale, Dick Harland as the unsuspecting husband caught in his wife’s web, and Ruth Berent as the innocent young woman. The elements of the visual world of colour photography and character combine to produce one of the most unique film noirs ever made.

One of the most striking aspects of this film is the fact that the visual atmosphere is a complete juxtaposition to the typical black and white noir film we are accustomed to. For instance, the film lives largely in daytime and sunlight as opposed to the night and rain we are accustomed to in the black and white noir films. Also, the film takes advantage of its colour photography by setting the action in beautiful non-urban environments of cottages and lakes. Thus, inserting familiar noir characters into this setting puts us off balance and a truly unique noir world is created for Ellen to weave her web.

A key example of demonstrating Ellen’s femme fatale ways in an atypical atmosphere of bright colour and sunshine is the chilling scene where she lets Dick’s disabled brother Danny die and then pretends that it was an accident. She sits absolutely still as he drowns in the lake, in hopes that his death will lead to her husband Dick devoting all of his time to her. The drowning scene takes place on a gloriously sunny day; the sun even glistens on the water as Ellen sits in the rowboat and watches Danny swim to his death. It is an uncharacteristic visual setting in noir for such a dark event and it works to the film’s advantage. The atypical environment creates a distinctive and unexpected moment in the canon of noir.

Furthermore, instead of this scene showing a dark world in the external environment, Stahl shows us that the darkness comes from within Ellen herself. The setting of a sunny day represents the joy Ellen is feeling inside as she realizes that this beautiful natural world provides the perfect opportunity to get rid of Danny. As she puts on a pair of sunglasses while rowing the boat behind Danny, it becomes clear that the darkness comes from within her. The ominous atmosphere of this scene is not reflected in the external environment like it is in black and white noir, thereby making the evilness of Ellen’s character even more evident. Showing a physically glum world is not necessary, since Ellen is such a dark character itself. This scene is crucial in that it officially defines Ellen as the femme fatale of the film. She does not wanting anyone else to have her husband’s attention, even if it is a helpless and ill boy. The drowning scene in stark daylight chillingly presents Ellen’s horrible web that she is beginning to weave.

While Leave Her to Heaven is in Technicolor, the noir convention of using light and shadow to establishing character and atmosphere in black and white noir is still very much in evidence. However, the use of light and shadow is presented in a way that takes advantage of colour. A scene that exemplifies this unique use of light and shadow is the scene in which Ellen proposes to Dick. As Dick enters the room, he is immersed in a shadow in a room surrounded by a red glow. The red light symbolizes Ellen’s encompassing power and danger as a femme fatale, and the shadow that engulfs Dick is an indication that he is unwittingly succumbing to her dangerous ways. The orange-red aura that provides the visual backdrop as Ellen professes “I’ll never let you go” demonstrates her commanding influence over Dick, and his inability to resist her sexual, fiery spirit. The red light is a unique alternative to the black and white contrasts lighting in typical noir, and wonderfully outlines the uniquely strong command that this particular femme fatale possesses.  

The exploration of how noir conventions are fashioned in Technicolor is certainly fascinating in this film, but the most striking aspect of Leave Her to Heaven is how Leon Shamroy’s masterful Technicolor photography and keen eye for the Technicolor palette conveys the darkening emotional world of the film. The slowly darkening world occurs due to Ellen’s increasingly unhealthy jealousy for anyone who gets in the way of her relationship with Dick. To demonstrate this, Shamroy’s photography moves from a glorious, bright Technicolor at the beginning of the film, to a more muted Technicolor as Ellen’s actions produce negative consequences for the characters involved.

Vibrant Technicolor is seen at the beginning of the film in the scene where Ellen is first introduced to us through Dick’s smitten eye. As the camera introduces us to Ellen, we see the stunning face of Gene Tierney, with her hair and face glowing from the backdrop of sunlight creeping in from the outside world. Her bright green eyes pop out against a blue-green backdrop. The danger of Ellen is not yet known to Dick, and so he is completely enamoured by her striking beauty. Ellen is a gorgeous woman, and we understand Dick’s fascination in not being able to take his eyes off of this stunning Technicolor creature. To emphasize Dick’s feelings, the setting is complete sunlight; a perfect day is shown to us through bright Technicolor hues. Their encounter appears very normal; they are even wearing beige outfits to indicate that they are supposedly everyday people. But, the Technicolor also reveals that Ellen is wearing deep red lipstick-- a foreshadowing of the danger that Ellen possesses within her. In addition, Stahl incorporates the convention of noir of the outside world being shown through blinds. Therefore, even though it is sunny outside, and Dick being smitten with Ellen seems harmless, they are meeting in an enclosed world. This foreshadows that Dick will eventually become trapped in Ellen’s possessive web. But, in the sunny, vivid setting of their first encounter, Dick is not yet privy to Ellen’s dark side.

One of the first signs of the darkening world of the film as Ellen becomes increasingly obsessed with Dick occurs when Ellen and Dick, newly married, are in their cottage at Back of the Moon. We see the couple sleeping in their beds and the glowing orange sun is creeping in only to illuminate their sleeping bodies. Therefore, the sun seems to shine only for the newlywed lovers as they share an intimate moment to start the day. The dark and jealous feelings of Ellen begin to be shown visually, however, as she becomes aware of Danny’s presence in the cabin when he yells, “Good morning,” and interrupts the couple’s kiss. Upon hearing his voice, she stands up and steps into a dark shadow; she is no longer illuminated by the glowing sun. Therefore, we see the beginnings of Ellen’s obsession with Dick; she hates the idea of anyone else loving him or wanting to spend time with him. The use of shadow is very much like we would find in black and white noir, but the bright glow of the sun makes the contrast of the dark shadow all the more powerful in Technicolor, and the emerging anger of Ellen is explicitly clear.

This gradual descent into darkness continues in the following scene, as an increasingly manipulative and possessive Ellen starts inquiring to Leick Thorne about Enid Southern, one of Dick’s old girlfriends. Even though this scene is later in the morning than the scene that precedes it, therefore assuming that the sun would shine even brighter, the cabin is darker than the previous scene. Curtains prevent the sun from entering the cottage, and therefore, the inviting colours of the living room do not stand out. This visual storytelling informs us that the darker side of Ellen character is starting to emerge with greater intensity.

Furthermore, once Danny dies about halfway through the film, the vibrant world of Technicolor that, while slowly not being illuminated as intensely but still always present, largely disappears. Shamroy photographs the Technicolor in more muted tones in the scenes following Danny’s death. The season changes from the brilliant colours of summer to the muted tones of late autumn and the placid, green waters of Back of the Moon are replaced by the gray, choppy waves of Bar Harbor. This change of colour palette demonstrates that Ellen’s manipulative staging of Danny’s death has caused the vibrant Technicolor world to no longer exist. Furthermore, Danny’s death has not brought Dick and Ellen closer. He becomes withdrawn toward her and begins to spend time with Ellen’s virtuous cousin Ruth. This causes Ellen’s jealousy to be more severe than ever before, and she propels the world of the film into an even darker visual place.

The muted visual world becomes very clear when Ellen decides to purposely kill her unborn child in the hopes of Dick returning his attention toward her. We see muted gray tones and a windy world through her bedroom window as she prepares herself for a fall down the stairs to miscarry the baby. The dark side of her character is again represented with the colour red as she slowly and deliberately applies red lipstick. Therefore, even though her actions are making the world around her become gloomy, her evilness is as vibrant as ever. Also, shadows of the staircase on the wall reinforce the darkness of the act that she is about to commit. Finally, as she sticks her shoe under the carpet to make it look like she has tripped, we see her red toenail polish right as she is about to begin her descent. This confirms, then, that her power to weave a web of deceit comes solely from within.  

After Ellen loses the baby, Shamroy’s photography informs us that she has made the world irrevocably dark. While there was still a small element of sunlight peaking through the windows when she took the fall to kill her baby, when she emerges from gray wavy waters after a swim a few scenes later, the clouds are almost black. She has caused the elements of nature to no longer be sunny. The only strong colour that is evident in the scene is the deep red bathing suit she is wearing. Therefore, her brave choice of colour for a swimsuit in what is such a dark time for the other characters and her ear-to-ear grin informs us that she still believes her actions will result in Dick devoting himself to her.

However, in a scene occurring soon after, we see Dick finally confronting Ellen about Danny and the baby’s death. He is no longer the unassuming man caught in her web; he realizes the evil acts Ellen has committed. Their grim exchange of dialogue as Ellen confesses to her crimes and Dick listens, defeated, is set against a pale beige backdrop. Also, Dick is in a black suit, and even Ellen is dressed in a pale pastel robe; her signature red colour is no longer evident. Thus, the vibrancy of their first meeting is completely gone, and Ellen knows she has lost. As Dick leaves the house, signalling the end of their relationship, the camera reveals a room full of muted pastel pinks and greens. It is in this moment that Ellen realizes the only way to have control over Dick is to end her life and control him from the grave.

Finally, because Leave Her to Heaven lives in a Technicolor world, it uses the colour photography to its advantage to present an ending unlike one we are used to in noir films. While Ellen has tried to frame her death on Ruth and has caused Dick to have to do jail time, the film avoids the noir convention of presenting a pessimistic world so typical of black and white noir. The final scene of the film shows us that Dick intends to start a new life with the young, innocent Ruth. Shamroy’s Technicolor photography is dreamlike in the final scene. The soft colours at sunset show that a world without Ellen is attractive. With Ellen gone, the increasingly muted Technicolor is no more, and the beauty of the Technicolor is evident once again. As Dick paddles toward Ruth, the camera captures her image and the cottage as a perfectly composed Impressionist painting. Technicolor photography has never been more breathtaking than in this final scene. Furthermore, the virginal Ruth is illuminated by the setting sun behind her and as they finally embrace, the sun creeps through the sky. It seems that a new day is dawning for these two characters who have been victimized by the femme fatale. Happiness and beauty is achieved at last.

            Or is it? Stahl hints through the Technicolor in this scene at the possibility that Ellen will never be out of their lives, and will continue to weave her web from the grave. While Ruth is photographed with the glowing sun behind her, when Dick simultaneously approaches Ruth, it is cloudy and the colours are once again muted. So, will Ellen eternally be a presence (hinted at by the odd glow in the sky in the final frame) and never let Dick be happy with another woman? While Ruth and Dick have left Ellen to Heaven and intend to start anew, Ellen, among the clouds in the sky, will never leave them.