Brutus is utterly dreamy!
I like Mark Antony better. He gives much better speeches.
But Brutus's voice is better. It's so manly.
He's not very manly when he sees Caesar's ghost.
Yes, he is, just hear how he growls, "Well, then I shall see thee again!"
Mark Antony would have stood right up to him!
Mark Antony would have tried to kiss him.
But it's true. He would have been all over that ghost, putting his tongue in all his wounds.
You are disgusting, and besides that is not what he meant.
Well, what about Cassius?
Not that old! Not really older than Brutus, anyway. And he has really good hair.
That is totally a wig, you can tell when he falls down dead.
He had nice eyes, though.
I guess so. You like the old ones, anyway.
Not that old!
Much older than Mark Antony, though.
Mark Antony is younger than Brutus, but Brutus has a better body.
How can you tell?
Why do you think Mark Antony kept wearing robes while everyone else was wearing armor?
Maybe. He wears it later on. And also, he's practically the only one who doesn't die, so he wins in the end.
He didn't actually win. That is the whole point of the movie. Weren't you paying any attention at all?
Not really. I already read the play in 8th grade, so I knew how it ended.
Brutus is utterly dreamy!
Here are some Photoplay clippings from 1937 to 1940. This first set is from 1937. I don't know why they're expanded for page width, contrary to "full-size" settings. I'll look into that later on.
Here are some clippings from 1937 and early 1938, about Joan's role in Damsel in Distress with Fred Astaire.
Here's a bit more from 1938.
Fontaine was rushed hard by RKO-Radio Pictures, and then dropped like she was hot or like...any number of pieces of drama created or fostered. In any case, they hadn't worked out how to tap into the depths beneath her self-conscious demeanor. Before moving onto Selznick International, she appeared in Gunga Din, which starred Cary Grant and Douglas Fairbanks, Jr.
In MGM's The Women, Joan Fontaine played a character much like people saw her in real life.
In 1939, Joan Fontaine married Brian Aherne and began filming her role in Rebecca. Here's an interesting story of how that movie was cast and filmed, if you're interested.
Many or most people know that Joan Fontaine had a nearly life-long feud with her sister, Olivia de Havilland. The internet is replete with tales of their disagreements, which stemmed, depending on who was asked, from early childhood, from Joan's being treated as an also-ran when she got to Hollywood, or the period in which they both achieved star stature. It's actually pretty clear they never really got along. So it's interesting to read through old movie magazines which attempted, at first, to show them on glowing terms with each other, then begin slowly to hint at the growing rift between them.
Here's the link to TCM Remembers Joan Fontaine. I can share it directly every place I have an account except this one...
Lew Ayres was totally on a few minds while For Me And My Gal was being made. Stay tuned for a post on the nearly overlapping tearing down and subsequent building up of his character. The movie itself was one of a burgeoning set of stories that both entertained and sent a message about our Duty to the Free World.
I think my first big project here will be about the Homefront, as Hollywood related to or pretended to relate to it. Advertising and editorials in Photoplay and LIFE, a few stories of what was going on, reactions to who fought, who boosted morale, and who objected, here in the United States.
Sometimes what people knew just at the moment could later be seen in a different light. For example, Lew Ayres is a topic all on his own. He was a serious conscientious objector, and people said, "But wait, he played that great war hero in that movie!" They were angry that he would not fight. Well, the movie was All Quiet on the Western Front. Have you seen it or read the book? It affected him deeply—how could it not?—and he refused to take up arms. But he did his bit nonetheless, and all the bits mattered. But more on that later.
Something I noticed in the 1940 issues of Photoplay is that they were already hinting toward economy and making the most of what you have, talking to girls and women about sewing patterns and interchangeable wardrobe pieces. How to make things last. A few months later, still before America entered the war, there were several articles on how the stars cooked with preserved food. And then there was a whole campaign about making America Strong! by having everyone eat lots of eggs, drink lots of milk. Rations came later; sugar was one of the first commodities to be limited.
Finally, the motion picture industry had a careful position to maintain. Always there were people crying for more lightheartedness, and other people saying they had a duty to seriousness and propaganda. Eleanor Roosevelt had some very intelligent things to say about it all. The studios themselves had stars they wished to protect, and a position to maintain; to be thought of in a positive light whenever the war ended.
But in between posts on this subject, I'm likely to add random or serendipitous items, as well, so I'll make sure the titles reflect the content.
These are clippings from Photoplay in the latter half of 1939. I think the first few are from August, then, as it was released in October, it was much discussed in the October issue and reviewed in the November one. The original owner of this set tore out quite a few pages and parts of pages, but it affected this topic less than a couple others I want to group together.
So Golden Boy (watch at YouTube) was William Holden's first role, and it's not apocryphal that he hung onto it because Barbara Stanwyck went to bat for him and also helped him learn how to act in a movie. But then praise for his performance followed, and he was considered someone from whom great things were expected. The film is now hopelessly dated, Lee J. Cobb's performance in particular, yet at the time it was thought to be a worthy adaptation of the play by Clifford Odet.