Michael's Christmas Movie Guide: Inside Story (1939)

 

There is always something thrilling about finding a hidden gem of classic Hollywood. That is what makes the Cinecon film festival. Every Labor Day weekend, this festival shows rare and obscure films, many of which no one at the festival (sometimes even including the festival staff) has seen before. Going there this Labor Day Weekend is how I discovered this gem of a Christmas movie. Unfortunately, like many of the movies shown at Cinecon theatrical screenings like this are the only way you can see it. However, I hope eventually this film becomes available to watch anytime you please, I could see myself watching it every December. 

In this movie, while drunk a newspaper columnist (Michael Whalen) writes a column about being the most lonesome man in the world and wanting to spend Christmas in the country with the most lonesome girl in the world. When he sobers up, he expects to be fired. Instead, the editor loves it and decides to play it up by finding the most lonesome girl in the world to spend Christmas with him. Meanwhile, a young woman (Jean Rogers) has witnessed a murder and decides that pretending to be the most lonesome girl in the world and spending Christmas with the columnist in the country would be the perfect way to hide out. What is not planned is how the two end up falling in love.

With an hour-long runtime this movie packs in tons of breezy entertainment. There isn't a single moment that isn't a joy to watch. The first portion of this film plays like a Christmas themed romantic comedy, almost like a prototype Christmas in Connecticut (1945). It makes for an excellent one. The romance is sweet and heartfelt; the characters are likable, and the humor is quite funny. Much of this works because of its two leads, Michael Whalen and Jean Rogers. The two have excellent chemistry and make the romance scenes completely believable. However eventually this film shifts into a crime drama. It is a pretty dang good one. There is a great sense of tension as well as some fantastic twists. Unlike many other B-movies there were times, I did not know where the film was heading. Even during this later portion though the movie keeps a great sense of humor. Some scenes involving a couple old ladies (Jan Duggan, Louise Carter) are truly hilarious and these characters and actresses steal the show. All this fits into the short runtime perfectly creating a real delight of a film. 

This marks the third and final film in a brief series of B-movies known as The Roving Reporters. The previous two movies in this series (Time Out for Murder (1938) and While New York Sleeps (1939)) were directed by H. Bruce Humberstone. However this film was directed by Richardo Cortez, who is better known to movie fans as an actor. He played romantic leads in the silent era but in the talkie, era started to play tough guys. He even played the original screen version of Sam Spade in The Maltese Falcon (1931). Working as a director now Cortez proved to be a real perfectionist taking his time to make sure everything was as good as possible. However, Fox (the studio this movie was made for) viewed as simply another B movie causing a lot of friction between director and studio. 

Silent Film of the Month: Ella Cinders (1926)

 

Run Time: 52 minutes. Studio: First National. Director: Alfred E. Green. Writers: Mervyn LeRoy, Frank Griffin. Titles: George Marion Jr. Based on a comic strip by William M. Conselman and Charles Plumb. Producer: John McCormick. Main Cast: Colleen Moore, Lloyd Hughes, Vera Lewis, Doris Baker, Emily Gerdes. Cinematographer: Arthur Martinelli. Editor: Robert Kern. Art Director: Edward Shulter. 

Today many movies are based off of comic books or popular TV shows. In a similar fashion, movies of the golden age of Hollywood (which certainly includes the 1920's) often adapted popular radio shows and newspaper comic strips of the time. Bill Conselman and Charles Plumb's (Conselman would write the strips, and Plumb would illustrate them) comic strip Ella Cinders debuted on June 1, 1925. Ella Cinders would be a satiric take-off of on the story of Cinderella, placing the classic fairy tale in the 1920's jazz age. The strip proved popular very quickly and would end up being a very long-lasting newspaper comic strip. The very last strip would appear in newspapers on December 2, 1961. Attesting to the popularity of this comic strip it received a movie adaption in only the second year of its run.  

The very first Ella Cinders strip, June 1, 1925

In this film adaption Ella (Colleen Moore) growing tired of being taking advantage of by her stepmother (Vera Lewis) and stepsisters (Doris Baker, Emily Gerdes), decides to enter a contest for a movie role in Hollywood. She wins the contest but upon arriving in Hollywood, she discovers that the contest was fraudulent. However not wanting to go back home a failure she decides to stay in Hollywood to become a star the hard way. 

Colleen Moore (Ella Cinders herself) when interviewed by historians Kevin Brownlow and David Gill for their Hollywood TV series (a show about the history of silent film) would state that the type of fraudulent competitions to become a movie star that her character entered were very much real. Tragically many young small-town girls fell for these fraudulent competitions and wound up in Hollywood without the means to survive there or even return home. Because of this many became prostitutes simply to survive. 

There is a lot to love about this movie. It is a quick paced and very fun little film. There is not a single moment here that doesn't provide fast paced entertainment. Because of this the movie feels like it is over before you know it. The gags are often quite enjoyable and there are even a few laugh-out-loud moments. The story itself is quite simple and straightforward, which only adds to its charm. However, the main thing that makes this movie work is Colleen Moore herself. She is absolutely delightful here. She brings a real effortless charm to the role that works perfectly with the lighthearted feel of the picture. Some of the funniest moments of the film come directly from her performance. 

The highlight of this film however is the cameo by comedian Harry Langdon. During this scene Ella is running around a movie studio trying to hide from a studio guard. She comes across Harry Langdon filming a scene, where he is supposedly keeping someone from getting through a door. She thinks this is real and tries to help Harry keep the door closed. She tells Harry that "they" are after her too and he helps hide her. What is wonderful about this scene is that it assumes that Harry Langdon is the same character he plays in the movies. When he sees her come to help him, he doesn't do any big take but rather looks at her and keeps doing what he is doing. When she tells him that she is hiding too, he immediately believes and trusts her. Even his ways of helping her are very childlike. Not only is Harry as funny as ever here but the idea that he is the same as his screen character is laugh out loud funny. Some sources state that this scene was directed by Frank Capra. Before becoming the infamous director, he would later, he wrote on the Harry Langdon films and directed two Harry Langdon features The Strong Man (1926) and Long Pants (1927). 

Colleen Moore and Harry Langdon

The only thing about this movie that doesn't work for me is the ending. Not only does it seem dated and a little sexist, but it also feels quite rushed and unsatisfying.   

Colleen Moore was born Katleen Morrison in Port Hurton, Michigan. However, she spent much of her childhood in Tampa, Florida. When she made a screen test at Essanay, it was due to a request from no less then D.W. Griffith. Griffith owed a favor to Colleen's uncle, Walter Howey, who was the managing editor of the Chicago American. Despite false publicity stating that she made her film debut as an extra in D.W. Griffith's Intolerance (1916), her actual film debut was the Fine-Arts Triangle film, Bad Boy (1917). Making note of her comedic gifts she moved to a studio that specialized in comedy. Due to her grandmother's objection to the wild nature of the Mack Sennett shorts, she instead went to the Al Christie studio, where she made a series of two-reel comedy shorts and eventually moved into features. While there she was also loaned out to appear in various feature films including King Vidor's The Sky Pilot (1921) and The Lotus Eater (1921), which she co-starred with John Barrymore. However, her career really took off when she signed to First National in 1923, especially after her second film there, Flaming Youth (1923). This led to a string of successes. In the talkie era, she would appear in only a handful of movies, with her last film being a leading role in The Scarlet Letter (1934). She lived long enough to see revivals of her classic silent films, to talk to film historians and to writer her own memoir, 1968's Silent Star. She passed away on January 25, 1988, in Paso Robles, California. 

Motion Picture Magazine, 1929

Moore's love interest was played by Lloyd Hughes, who is probably best remembered for being Mary Pickford's leading lady in Tess of the Storm Country (1922). Ella Cinders marked the last time he played leading man to Colleen Moore. He had previous been her leading man in The Huntress (1923), Sally (1925), The Desert Flower (1925) and Irene (1926).

Ma Cinders was played by Vera Lewis. Though not well-known today Lewis had appeared in a wide variety of films ranging from the 1910's to the 1940's, sometimes in small and even uncredited roles. Her filmography includes Intolerance (1916), Jack and the Beanstalk (1917), Stella Dallas (1925), Ramona (1928), Night Nurse (1931), Man on the Flying Trapeze (1935), Nancy Drew and the Hidden Staircase (1939), The Roaring Twenties (1939) and It's a Joke, Son! (1947). 

Director Alfred E. Green was a filmmaker with a long and varied career. He began directing with some short two-reel comedies in the 1910's and by the 1920's he was directing features. During the 1920's he would direct movies with such major stars as Mary Pickford, Janet Gaynor, George Arliss (whom he would go on to direct in his Oscar winning roles in Disraeli (1929) and The Green Goddess (1930)), Thomas Meghan and of course Colleen Moore. His career continued quite well through the talkie era. Some of his talkie films include Smart Money (1931), Baby Face (1933), Dangerous (1935, for which Bette Davis would win an Oscar), Thoroughbreds Don't Cry (1937), The Gracie Allen Murder Case (1939), The Jolson Story (1946, for which Larry Parks and William Demerest would win Oscars), Sierra (1950), The Jackie Robinson Story (1950), The Eddie Cantor Story (1953) and Top Banana (1954). He also directed episodes of such TV shows as General Eletric Theater, The Lone Wolf and The Millionaire. In February of 1960 he would receive a star on the Hollywood Walk of Fame. He passed away on September 4, 1960.

Green has a small acting bit in Ella Cinders, appropriately as a director. 

Mervyn LeRoy, one of the writers for this film would later go on to be a very successful director. His directorial debut, No Place to Go (1927), would be released the year after this movie. LeRoy's directorial efforts include such classics as Little Ceaser (1931), I Am a Fugitive from a Chain Gang (1932), Three on a Match (1932), Gold Diggers of 1933 (1933), Johnny Eager (1941), Random Harvest (1942), Little Women (1949) and The Bad Seed (1956).

The film's other writer Frank Griffin had worked mostly in silent comedy shorts. He was a director and writer at the Mack Sennett Keystone studio, where he made comedy shorts featuring the likes of Louise Fazenda, Ford Sterling, Charley Chase and Fritz Schade. 

Cinematographer Arthur Martinelli also had a long and varied career, working on such films as Polly With a Past (1920), Alias Ladyfingers (1921), White Zombie (1932), Supernatural (1933), County Fair (1937), The Mad Empress (1939), Devil Bat (1940) and Cinderella Swings It (1943).

The following is an article from a 1926 issue of Motion Picture News.

"A funny-face contest, conducted in connection with 'Ella Cinders,' put that picture over with a bang the Liberty Theatre, Seattle. The stunt was conducted by Manager Leroy V. Johnson with the aid of the Seattle Times and a number of local merchants. 

"Johnson induced the Times to name a committee, to select three of the funniest faces in Seattle, the winners of which would receive cash prizes of $25, $15 or $10. Ticket prizes were given to the next twelve. 

"Four big 2-column stories were given to the contest. The contestants were photographed free of charge by a local photographer. The judges selected 15 of the funniest pictures at the end of the run of 'Ella Cinders' and these were incorporated in a special film featured with explanatory titles. This film was shown to patrons of the Liberty who were asked to register their choice of the three winners by ballot. An usherette checked the ballots cast at each performance. 

"The contest proved unusually popular with the patronage of the Liberty as well as with readers of the Times. In all less than $50 was spent by Manager Johnson on this funny-face contest." 



 

Photoplay, 1926

Moving Picture World, 1926

For anyone interested in watching this delightful film, you can do so below on YouTube. 

Resources Used

A-Z of Silent Film Comedy by Glen Mitchell

https://moviessilently.com/2013/02/04/ella-cinders-1926-a-silent-film-review/

https://mediahistoryproject.org/

Cowboy Church #232

 Hello my friends and welcome back for another service of Cowboy Church.

Today's musical selection begins with Roy Rogers and Dale Evans with Have You Read the Bible Today. It is important for each of us to read our Bible each and every day. The Bible is not just some book; it is the living breathing word of God. It is easy for our faith and Christian Walk to become idle and stagnant and the easiest way for this to happen is to simply not read our Bible. Taking some time each day to read the Bible is the best way for our faith and our walk with God to continue growing and maturing.  This recording is the B-side of a 1955 Little Golden Record by Roy and Dale. The A-side was The Bible Tells Me So. 

This is followed by Patty Loveless with Rise up Lazarus. This comes from her 2001 gospel album, Mountain Soul. 

Afterwards is Jean Shepeard with When God His Pen of Love in My Heart. When God Dips His Love in My Heart was written by Cleavant Derricks a minister from Chattanooga, Tennessee, who spread the gospel throughout the mid-south. The hymn was published in 1944 by Otis McCoy for The Church of God's Tennessee Music and Printing Company (in Cleveland, Tennessee).  Other songs written by him include Just A Little Talk With Jesus, My Soul Is Satisfied and We’ll Soon Be Done With Troubles And Trials. Despite writing such well known hymns, Derricks didn't receive royalties from them. When he meet Aaron Brown from Canaan Records, Brown learned about this. Brown contacted BMI, a company that represents songwriters and BMI would give Derricks $14,000.

Next comes the Sons of the Pioneers with their 1937 recording of Lord You Made the Cowboy Happy. This is a song about appreciating the little things in life. This is something we should do every single day. The number of blessings that surround us every day is immeasurable. 

Then comes The Cowboy Trail Band with I Love to Tell the Story. When recovering from a sickness, Arabella Katherine Hankey wrote a poem about the life of Christ. This poem was broken into two parts the first being called The Story Wanted (published in January 1866) and the second called The Story Told (published in November 1866). I Love to Tell the Story comes from this second part. In 1869 William G. Fisher put this text to music and that is the version we know today. Still, it is worth noting that Hankey wrote her own music for these words, but her music was seldom used and is now forgotten. 

Next comes The Charlie Daniels Band with The Business of Love. This comes from the group's first gospel album, 1994's The Door.   In his memoir, Never Look at the Empty Seats, Charlie Daniels wrote, "I think the most pressure I was ever under as a songwriter was when I wrote the songs for our first gospel album, The Door. It was such a special project to me. I wanted it to be much more than just another gospel album. I wanted the lyrics to have impact and hopefully speak to some of the people who, like me, had such a hard time understanding the gospel message and were falling through the cracks." 

Now for Emmylou Harris with Drifting Too Far From the Shore. This comes from her 1987 gospel album, Angel Band. 

Today's musical selection ends with The Carter Family's 1930 recording of On My Way To Canaan's Land. The group recorded this song on 25th November 1930 at the Auditorium, Memphis,TN.

Now for the sixth chapter of the Buck Jones movie serial, The Red Rider (1934). 

Now for a message from the Reverand Billy Graham. 

If we confess our sins, he is faithful and just to forgive us our sins and to cleanse us from all unrighteousness. 1 John 1:9

Bearing with one another and, if one has a complaint against another, forgiving each other; as the Lord has forgiven you, so you also must forgive. Colossians 3:13 

Then He said to them all, ‘If anyone desires to come after Me, let him deny himself, and take up his cross daily, and follow Me. Luke 9:23

"If anyone serves Me, let him follow Me; and where I am, there My servant will be also. If anyone serves Me, him My Father will honor." John 12:26

Therefore encourage one another and build each other up, just as in fact you are doing. 1 Thessalonians 5:11

Whoever would foster love covers over an offense, but whoever repeats the matter separates close friends. Proverbs 17:9

Thanks for joining me. Come back next week for another service of Cowboy Church. Happy trails to you until we meet again. 

Some Cartoons for Saturday Morning #246

 Hello my friends and happy Saturday morning. Once again it is time for some classic cartoons. 

Today's cartoon selection begins with Sylvester and Tweety in Tweet and Lovely (1959). This is one of my favorite Sylvester and Tweety films. Voice actor Mel Blanc would later write, "Sylvester has always been a favorite of mine. He's always been the easiest character for me to play. When I was showing the first model sheet for Sylvester with his floppy jaws and generally disheveled appearance, I said to Friz Freleng, 'A big sloppy cat should have a big shthloppy voice. He should spray even more than Daffy.' While recording Sylvester cartoons my scripts would get so covered in sylvia I'd repeatedly have to wipe them clean. I used to suggest to actress June Foray, who voiced Tweety's vigilant owner Granny that she wear a raincoat to the sessions." 

Next is the Fleischer Screen Song cartoon, My Baby Just Cares for Me (1931). The title song was written by Walter Donaldson and Gus Kahn. The two had written such songs together as Carolina in the Morning, My Buddy, My Man from Caroline, Love Me or Leave Me, Makin' Whoopee and Yes Sir, That's My Baby. The song was written for the movie, Whoopee! (1930) starring Eddie Cantor. Sorry that this short is missing a small part of it. 

Now for Heckle and Jeckle in Log Rollers (1953). 

Next is the Mickey Mouseworks cartoon, Mickey’s Remedy (1999). This short would later be used in the House of Mouse episode, Snow Day (2002). 

Now it is time for a commercial break. 

Up next comes an early example of Disney's Silly Symphonies cartoons with The Bird Store (1932). This short film is similar to many of the Silly Symphonies of the time period. The movie starts out with simply a bunch of cute little gags involving a bird store and then a villain enters and many of the characters team up to stop this villain. The cartoon is directed by Wilfred Jackson, who would later co-direct such Disney features as Cinderella (1950), Alice in Wonderland (1951), Peter Pan (1953) and Lady and the Tramp (1955). The film also features an all-star cast of Disney animators. David Hand, who would later be the supervising director for such Disney features as Snow White and the Seven Dwarfs (1937) and Bambi (1942), animates the opening scene. Future Donald Duck director, Jack King animated the lovebirds, the canaries being excited and the baby being returned to its parents. Frenchy de Tremaudan, who worked as an uncredited animator on many of Disney best short films, animates the bird sharpening its beak and the parrot with the cash register. Johnny Cannon animated the jalopy birds and the canaries pecking at the cat. Clyde Geronimi, who would be a co-director on Cinderella (1950), Alice in Wonderland (1951), Peter Pan (1953) and Lady and the Tramp (1955) and the supervising director for Sleeping Beauty (1959), animates the horn birds and the cat in the cage. Norm Ferguson, whose animation would later help define the character of Pluto, animates the parrot with both the mirror and the typewriter. Future Woody Woodpecker and Barney Bear director Dick Lundy animates the whooping birds and the cat stalking the canaries. Future Hanna-Barbera director, Rudy Zamora animates the Marx Birds. Future Looney Tunes and Van Beuren director, Tom Palmer animates the baby canary taking on a singing lesson. Albert Hunter animates the birds watching with excitement. Master Mickey Mouse animator, Les Clark animates the baby canary running from the cat and the scene with the dogs. Ben Sharpsteen, who would later be the supervising director for such Disney features as Pinnochio (1940), Fantasia (1940) and Dumbo (1941), heads a whole crew of animators including Chuck Couch, Marvin Woodward, Hardie Gramatky, Harry Reeves and Dick Williams. 

Now for a silent Aesop's Film Fables short, Two of a Trade (1922). This short film features our friend Farmer Alfalfa.

Now for Hoot Kloot in Big Beef at the O.K. Corral (1974). In this short film, Hoot Kloot faces off against the outlaw Billy the Kidder. 

Today's cartoon selection ends with The Simpsons in Closeted (1988). This was a short made for The Tracey Ullman Show before the animated family got their own TV series. 

Thanks for joining me. Come back next week for more animated treasures. Until then may all your tunes be looney and your melodies merry. 

Resources Used

I Tawt I Taw a Puddy Tat: Fifty Years of Sylvester and Tweety by Jerry Beck.

Walt Disney's Silly Symphonies: A Companion to the Classic Cartoon Series by Russell Merritt and J.B. Kaufman 

https://disney.fandom.com/wiki/Mickey%27s_Remedy

 

Hawks on Hawks (1982)

 

Howard Hawks was one of the most versatile and gifted filmmakers of Hollywood's golden age. Whether he was directing a John Wayne western, a screwball comedy with Cary Grant, a musical with Marylin Monroe or a film noir with Humphrey Bogart, he always delivered a well-made film. Yet he is a figure that many of us do not really know outside of his movies. This is what makes film critic Joseph McBride's book of interviews with Howard Hawks so indispensable. 

The book gives us a great insight into Hawks' views on filmmaking. Though he remained unpretentious about his work and didn't fully understand what intellectual French critics saw in his films, he could articulate what makes a great movie better than most critics could. I would recommend that any aspiring filmmaker read this book as his insights into the filmmaking process are very well-thought out and enlightening. This is equally important to students of his work as they can begin to see his approach to filmmaking whenever the watch his movies. At the same time, he states these insights in such an unpretentious manner that is completely approachable. You don't have to be a film scholar to understand or learn from these insights. For those of us interested in film history, learning how one of Hollywood's greatest filmmakers approached making his movies is fascinating. 

As well as his insights into the art of filmmaking, Hawks also tells some great behind the scenes stories from his movies. Many of these stories are quite interesting and a few are quite funny. These stories also give us a good look at such movie luminaires as John Wayne, Marylin Monroe, Humphrey Bogart, Lauren Becall, Gary Cooper, Walter Brennan and more. To say these stories are invaluable is an understatement. 

This is a must own book for any movie lover. 

Movie Review: Trust

 

Michael's Movie Grade: C

A decent thriller. 

This movie has a very strong premise for a thriller. An actress on a squeaky-clean sitcom becomes involved in a scandal after becoming pregnant. She decides to get away from it all by heading to a cabin away from prying eyes. However, she soon finds herself in danger in this cabin as well. This simple premise works fairly way as we sympathize with the main character and want to see her make it out okay. 

There are a few surprisingly good and effective suspense scenes here as well. The movie also benefits from a strong performance by Sophie Turner. 

This movie does have more than its share of flaws though. There are too many subplots going on here that don't end up amounting to much. The villains are not only bland but the actors playing them are truly awful. The movie also suffers from some weak humorous moments and clumsily written dialogue. 

While this movie can't fully overcome its major flaws, it is decent thriller with some tense moments.  

The Laurel and Hardy Movie Scripts: 20 Original Short Subject Screenplays (1926-1934) (2018)

 

Hal Roach (who produced many of the Laurel and Hardy films) was fond of saying that 50% of what is in the script will not play. This is what makes this book of movie scripts for Laurel and Hardy films made at the Hal Roach studio such a fascinating read. For those of us who are fans of Laurel and Hardy, it is wonderful to read how greatly these scripts differ from the films we all know. Some have gags that seemed funny in a script format, but the filmmaker's decided wouldn't work in a movie. Some have completely different endings. Sometimes a funnier joke than what was in the script was later improvised. Sometimes the scripts have gags that are funny but would have seemed too out of character to work on screen. Reading these scripts gives us a wonderful glimpse into the hard work that went into making these silly films. 

This book also gives you a wonderful look into what a short subject script was like. This is especially fascinating as you look at the silent films. When one thinks of scripts they think of a list of lines making reading a script that simply gives great detail into the action quite enlightening. It is a fascinating insight to see that some of the scripts for the silent films are actually much longer than for the talkies. It is also interesting to note the difference between the earliest scripts and the later. The earliest scripts leave little room for improvisation describing every action on screen. However, some of the later scripts would simply hint at some of the slapstick action allowing the comedians to improvise greatly. 

These scripts are compiled by entertainment historian and Laurel and Hardy expert Randy Skretvedt. Having read through many scripts, he selects ones that he knows we be especially fascinating to those who know these films by heart. He also writes introductions before each of the scripts. He gives insight into the changes from script to screen as well as some behind the scenes information about some of these films. His writings are often times also very essential to Laurel and Hardy fans. 

Probably the most fascinating of these scripts is the first one, which is a script for a film that was never filmed. What makes this more fascinating is it would have been the first film that the duo would have made together for the Hal Roach Studio.

As well as being a very fascinating and enlightening read, this book is also a lot of fun to read. Though nothing tops the films themselves for comedy, many of these scripts still had me laugh out loud a few times.

One wouldn't think a book of movie scripts could give this much insight into the making of these classic comedies. However, this is one of the most informative books made about the comedy duo. It is also a heck of a lot of fun.