Jane Russell in Fine Form as ‘Mamie Stover’ 1956

Richard Egan & Jane Russell teamed for "The Revolt of Mamie Stover."

Jane Russell became a redhead as tart with a heart 'Mamie Stover.' 

Away from Howard Hughes’ RKO, Jane Russell usually fared better, with more focus on her acting than her more obvious attributes. At Fox, The Revolt of Mamie Stover ’56 film was very toned down from the novel. Still, material girl Mamie fits Jane like one of her Travilla-designed gowns.

At the movie's opening, brunette Russell gives her famed sneer before leaving San Francisco.

The movie Mamie is the “lite” version of the novel. William Bradford Huie wrote unvarnished looks at WWII and post-war American life, including The Americanization of Emily. On the page, Mamie Stover is a most pragmatic prostitute. She’s been battered in Hollywood and books to Honolulu. In Mamie Stover, the movie, she’s been busted by the cops (no specifics) and they are escorting her out of San Francisco.

The novel's revolt was far more overt.

Mamie meets Jim Blair, a writer who likes and doesn’t judge her. While they have a shipboard romance, they’re realistic. He has a steady fiancée; her finances are a mess. So, Mamie heads to work for Bertha, bar/dancehall proprietor.  Bertha’s a taskmaster, with draconian rules for the “girls,” which leads Mamie to break a few, natch. Despite missteps, Mamie’s making a mint, but her romance with Egan doesn’t progress. And it’s not because Mamie is a “hostess” or that he already has a girlfriend, but because Jim thinks she’s a mercenary.

In the Huie novel, Stover’s a steamroller, defiantly breaking rules, bringing in big bucks, and later buying out the madam, while snapping up real estate. The movie Mamie does the same, but it’s way watered down, like the drinks at her bar.

A blonde Agnes Moorehead and Michael Pate are the madam and her enforcer.

At Mamie’s finish, she parts ways with Bill, and gives away all her money. Mamie travels through San Fran on the way back home to Mississippi. A far cry from the literary Mamie, but at least she didn’t die for her sins, as typical of the movie era.

Beach scenes were big after 'From Here to Eternity,' and with Egan & Russell's fine forms, a must!

In the opening scenes, Jane is her usual brash brunette. Once she works at the club, Russell goes Rita Hayworth red. And Jane looks great, softer. This also draws comparisons to Rita’s then-recent take on Sadie Thompson, literature’s infamous shady lady. What’s refreshing about Mamie Stover, is that there’s no judging in director Raoul Walsh’s storytelling, especially given the censorship code. Much like the recent From Here to Eternity, the brothel becomes a dancehall/bar, where soldiers can “fraternize” with the “hostesses.” Back then, audiences were good at reading between the lines.

Put the blame on Mamie! Designer Travilla does Jane.

Russell was not an emotionally fluid actress like other bombshells, such as Sophia or Marilyn. But Jane’s good natured humor and straightforward performing is a plus. This suits Mamie Stover’s character quite well.

Richard Egan is strong enough to hold his own against Jane, as Jim Blair. Egan’s rugged features, blue eyes, big smile, imposing body, and that resonant voice were his calling card. His mellow nature and laid-back humor makes him a compatible pairing with Russell.

Agnes Moorehead, as Bertha, goes from her usual redhead to blonde! She’s brittle as always, but Agnes’ madam eventually treats Mamie as an equal. Australian actor Michael Pate makes a menacing “enforcer” for Bertha. Poor Joan Leslie, whose career collapsed after leaving WB, has nothing to do as the patient fiancee.

Jane Russell & Richard Egan make a handsome pair, and don't you love his car?!

The solid team of Russell and Egan and great Hawaiian locations are pleasant to watch, and even with the streamlined story, Mamie is a moderately entertaining movie.

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Judy & Fred Lead an Elegant ‘Easter Parade’ 1948

Garland, Astaire, & the cast sing and dance to a bevy of Irving Berlin songs.

I finally watched MGM’s Easter Parade for the first time two days before Easter, 2020! While I love old-time songs, period movie musicals usually seem too precious to me. However, Easter Parade is playful with the musical conventions it employs, and avoids the obvious pitfalls.

Some film folk have criticized Easter Parade’s tissue thin plot. This Metro musical was before the blockbuster musicals of the ‘50s and ‘60s, usually bolstered by a literary basis. The scenario “boy meets girl,” who banter, bicker, break up, meet back up beaus, but reconcile by the last reel is an old movie staple. And Easter Parade stars Fred Astaire and Judy Garland performed in many of them! I can accept most movie conventions of the past as long as they’re not beyond the pale. If ‘40s movie musical conventions are an irritant to you, let Easter Parade pass you by.

Fred Astaire is astounding in the 'Steppin' Out' number, nearly six minutes of dancing.

Fred Astaire came out of early retirement to take over for Gene Kelly, as dance man Don Hewes. His partner, diva Nadine Hale—Ann Miller in her first MGM movie—ditches him to go solo. Hewes is determined to show she’s dispensable, so he hires singing waitress Hannah Brown, played by Judy Garland. Perfectionist Hewes hectors Hannah, not a stretch, since Fred was one in real life! Soon, the dancing duo is in sync. Hewes young pal is a stage door Johnny—Peter Lawford—who bounces back and forth between Nadine and Hannah, when Hewes wavers. It doesn’t take a film buff to figure out who will be paired up by the finale, but the fun is in the performing.

In fine form at almost 50, Fred Astaire's first 'Easter Parade' number, "Drum Crazy."

Astaire was pushing 50 in Easter Parade, but his dancing is as elegant and energetic as ever. Fred’s opening, “Drum Crazy,” set in a toy store, is a playful blast. My favorite is “Steppin’ Out with My Baby.” Sporting MGM’s “tropical” makeup for this jazzy number, Astaire transcends this with out of this world dancing. The nearly six minute number’s showstopper is when Fred is filmed dancing in slow motion, while his backup dancers perform in real time.

Ann Miller, looking fab and dancing like a dervish, in her first Metro film.

For those familiar with Ann Miller in her latter day black beehive and kewpie doll makeup, will be stunned by Annie at the height of her beauty. Miller’s dancing is incredibly energetic. “Dancin’ the Blues Away” made me dizzy with all of Miller’s dervish spins.  Peter Lawford is basically the male ingénue, and no singer or dancer. As someone who only saw Lawford act in his later dissipated days, I was pleasantly surprised to find handsome Peter warm and charming.

Judy Garland and Peter Lawford at the peak of their youth and MGM stardom.

Last—and best—is Judy Garland. Growing up, I mainly recall Judy as Dorothy in The Wizard of Oz. I later saw A Star is Born; though impressed, Judy seemed a bit physically and emotionally frayed, even then.

Fred & Judy are great fun in "We're a Couple of Swells." Garland later got much mileage out of this musical motif.

What a delight then, to find Judy Garland cooking on all burners in Easter Parade. Judy looks and sounds marvelous as the slip of a thing that becomes a sophisticated star. Garland is in great humor and spirits, and her camaraderie with Astaire is apparent. Irene designed the superb women’s costumes, and Garland’s look stylish and understated. No surprise that Judy’s in great voice here, but her energetic dancing and clowning shines, too. I was especially knocked out by Judy and Fred’s hoofing to “When the Midnight Choo-Choo Leaves For Alabam.’”

 Easter Parade is delightfully effervescent and light on its feet, a real Easter treat.

This promotional art captures the spirit of 'Easter Parade.'

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Judy and Fred in their "Easter Parade" finery!

Mankiewicz’ Masterpiece: ‘All About Eve’ 1950

Anne Baxter & Bette Davis face off as Eve & Margo, with the 'All About Eve' cast as their captive audience.

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All About Eve became an instant classic in 1950 and the comedic drama’s reputation has never waned. This knowing look at showbiz is legendary for several reasons.

 First, Eve was director Joseph L. Mankiewicz’ one- two punch, after A Letter to Three Wives, winning back-to-back Oscars for Best Director and Best Adapted Screenplay—a feat unmatched. Also, All About Eve is the only time four actresses from the same film were nominated for Oscars!

Bette Davis with 'Eve' writer-director Joseph L. Mankiewicz. One of Bette's best AND most benevolent collaborations!

Eve also brought Bette Davis’ career back from the dead, according to the icon. After a handful of less than stellar films, capped by Beyond the Forest, her freakish finale at WB, Eve was Bette’s big comeback.

All About Eve has long been a gossip's delight, over whether Margo Channing was a take-off on Talullah Bankhead. Not really, but the theatrical star dined out—or drank out—on that anecdote for decades.

This film, chock full with a great cast, marked the return of Marilyn Monroe to 20^th Century Fox, this time batting a homerun as starlet on the make, Miss Casswell.

'All About Eve' boasted one of the best ensemble casts ever. I think Thelma Ritter should have photobombed this publicity shot!

All About Eve still feels so adult; imagine how audiences felt in 1950. The razor sharp satire must have seemed like a slap upside the head! Eve is the elegant tale of a great theatre star whose position is being undermined by an acolyte who goes from personal assistant to a very personal adversary. The Joseph L. Mankiewicz script is one of the most literate, funny, and entertaining of all time. Director Mankiewicz was great with dialogue and actors, and it really shows here.

Bette Davis, in her career peak performance as Margo Channing, has been justly lauded. Yet, aside from Bette’s larger than life moments, it’s some of the small moments that are so honest and telling. It's really a shame there weren't more Joseph L. Mankiewicz’ in Bette's latter day professional life.

Bette Davis as Margo Channing, temperamental theater star. Davis had no doubts about looking her age, 42 in 1950.

Davis is the first star who I can think of that agreed to play... horrors ...an aging actress! Bette’s first scene, slathered in face cream, was a signal that this wasn't going to be aging ‘in dialogue’ only. The late night phone call, gives an unvarnished Bette a mini-marathon, from light banter with Bill, to Margo’s realization that Eve may be playing her. After she hangs up, I love how that scene lingers, when Bette's Margo lights a cigarette and ponders what just transpired. It’s Bette at her best; you can see her thinking, without saying a thing.

The phone call from Bill scene says so much about Bette, the actress.
What film diva in 1950 would agree to be photographed harshly with mussed up hair and no makeup? 

Claudette Colbert was supposed to play Margo Channing, but dropped out after a back injury on the war film, Three Came Home. At this point, Margo was written to suit her smooth, sophisticated persona. Obviously, Eve would have been a whole different movie with Colbert, and IMO, not as memorable. I thought Colbert was a stellar comic actress, but at best, a solid dramatic leading lady. CC out, Zanuck then brought up Marlene Dietrich, which Mankiewicz vetoed. Imagine “ageless” Dietrich agreeing to play “aging” Margo! Barbara Stanwyck was mentioned, an understated and versatile actress indeed, but not larger than life. Now, Joan Crawford was larger than life, but I can't imagine her “going there” as Margo, the way Bette did. Crawford’s own aging star saga, Torch Song, three years later, is proof of that. Also, Tallulah Bankhead, who claimed Davis appropriated her persona, gave a radio performance as Margo. While Bankhead batted out the comedy lines effortlessly, she is flat in her dramatic readings, especially compared to Bette’s virtuoso delivery. The difference was Bankhead was big on personality, light on dramatic talent, whereas Bette possessed an abundance of both.

Margo sounding off on what she thinks of playwrights! A bit like Bette blasting her opinion of most Hollywood directors?

Some film critics and fans feel that Anne Baxter was not in Bette Davis' league as Eve Harrington, especially not believable as a threat to Bette's Margo. Well, outside of Godzilla, who was? Eve is a tricky role, because audiences have to believe she is demure and mousy until she shows her true colors. Fox head Darryl F. Zanuck wanted Jeanne Crain as Eve, if you can imagine. The other Fox star that comes to mind is Susan Hayward. Now, “The Brooklyn Bernhardt” you could believe as a threat to Davis, filled “with fire and music,” to quote Addison DeWitt. Would Hayward have been able to hide her light under a bushel, while trying to fool Margo and her crew? I doubt it. I think Baxter was the best choice. As early Eve, she reminds me of Joan Fontaine, with the arched eyebrow and deliberate soft voice. Amusingly, when Eve gets busted taking bows while holding Margo's costume, Baxter reacts like she got caught with a corpse! But this was the standard back then, where Baxter's Eve, The Bad Seed's Rhoda, and Mildred Pierce's Veda, were all fairly transparent in their badness.

Center, Anne Baxter as beatific Eve, in awe of power couple Bill and Margo.

When Baxter sheds Eve's veil, she's quite cunning, to me. Her arm twisting Karen over the role of Cora, her showdown with Addison DeWitt, and her post-award butch bitchiness at her plush pad—all superbly performed.

Eve, before the self-wig snatch!

I've never seen Judy Holliday in Born Yesterday, except clips, but it seems dated. While Judy’s persona was fresh at the time, was this really a stretch for her? I’ll just say it: It's hard to believe Judy Holliday won over Gloria Swanson and Bette Davis' legendary characters in Sunset Blvd. and All About Eve. In Hollywood, box office and awards matter so much at the time, but in the end, it's the movies and stars that are remembered by audiences that matter most. 

Much was made of when Anne Baxter asked for Oscar consideration as Best Actress for Eve. Well, many felt she cancelled herself and Bette out with that move. Bette certainly did! But here's a thought: Anne did play the title role and was in the movie throughout. Bette worked for 3 weeks on Eve. Plus, Anne was a Fox star, whereas Bette was freelancing. Why didn't Fox submit Bette as best supporting actress, instead? Anne probably still wouldn't have won, but Bette may have scored a third Oscar as best supporting. Yes, I know, back then, that was a comedown for a star. And yes, Bette's performance permeated the whole movie, but I wonder if anyone else thought this too?

Eve and Margo's friendship faces the final curtain in this rehearsal scene.

Some folks have argued over whether Addison DeWitt and Eve were gay. My first reaction: Who cares? But I always assumed Addison was. To which those with the opposing view say, well, what about his interest in Eve? My thought is, the same reasons that Waldo Lydecker obsessed over Laura: A trophy, a monument to his ego, and more practically, a professional “beard.” As for Eve, “Mank” made later comments that she was fluid in that she went wherever it did her career or ego the most good. A little like Faye Dunaway's Diana in Network? Still, much commented on moments where Eve makes female alliances do seem coded to me. I love the scene where she rips off her feminine curled wig after director Bill Sampson rejects her. While wigging out, Eve’s own combed-back hair looks very mannish. When Addison surprises her, Eve resumes her Bo Peep pose.

Eve's makeup mask is at odds with her short-cropped hair, but Addison is no longer fooled, anyway.

George Sanders was usually cast as acerbic, but in Eve he’s the apex of acerbic. One big difference is that here, Sanders was given a three-dimensional character in Addison DeWitt. Yes, he’s snarky and sneaky, and loves every minute of his scheming. But Addison’s also an outsider. When he describes theater people as “we,” it’s a bit of an eye roll, because we know he’s not one of them. And you feel deep down, he knows that, too. That explains DeWitt’s bitchery toward the real show folk. When Eve laughs at DeWitt for declaring his claim on her, Addison slaps her, and you see his own need for validation, to keep his image maintained. Addison DeWitt is no one-note villain, and Sanders covers the bases brilliantly.

Thelma Ritter is brilliant as Birdie, Margo's gal Friday. I love this moment in 'Eve,'
when the supporting character is observed by the star. A rarity!

Mankiewicz gave Thelma Ritter the role of a lifetime, written specifically for her. As Birdie Coonan, Thelma gets to fly, after scene-stealing bits in Miracle on 34^th Street and A Letter to Three Wives. Next to Addison, Birdie has the best lines in the movie, and Ritter hits them out of the theater. Ritter got the first of four consecutive Best Supporting Actress Oscar nominations. And for All About Eve, Thelma lost to Josephine Hull in Harvey? OK, Oscar. Celeste Holm’s Karen, next to fiery friend Margo, may seem too serene. But watch closely, and you’ll see Celeste is knowing, warm and straightforward, immersed in the character of the playwright’s wife. Marilyn Monroe had one of her two memorable cameos that year, in The Asphalt Jungle and here as Miss Casswell. She's sly fun and already displays good comedy timing.

Bette Davis & Gary Merrill fell in love during 'Eve's' filming, which gave Margot & Bill's romance extra intensity.

With the exception of George Sanders’ Addison DeWitt, the men are more or less straight men, so to speak, and not as dynamic. Still, Gary Merrill and Hugh Marlowe are solid and intelligent as director Bill Sampson and playwright Lloyd Richards.

While Bette Davis plays Margo Channing larger than life, she skirts caricature skillfully.

In the end, All About Eve is all about the women, and what memorable women they are, thanks to Mankiewicz’ witty words and the wonderful actresses speaking them.

Busted! Watch your back, Margo!

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