Harry Belafonte’s Bleak “Odds Against Tomorrow” 1959

 

Happy here, Harry Belafonte stars in the grim noir "Odds Against Tomorrow."

Odds Against Tomorrow has been called the last film noir by some, but for me, it's a fascinating character study, with a clear-eyed look at mid-century NYC.

Dave Burke, a bitter ex-cop, has a “surefire” plan to hold up a specific bank. He enlists two men who badly need the money. Johnny Ingram is a black musician and gambler who owes big time to some small-time gangsters. Earle Slater is an ex-con with a bad temper, and relies on his good-hearted girlfriend for dough. Two big problems: One, neither man has ever committed robbery. Second, Earle is an old-school racist and Johnny is a modern black man who doesn't kowtow to whitey. Need I say that this well-planned heist is doomed from the start?

An eerie moment when Robert Ryan's racist goes out of his way to grab the little black girl.

As well-done as the script is in leading to the bank robbery, the story of these two desperate men is what makes this movie compelling. Much has been written about this cult film, so I'll just refresh the basics: Odds Against Tomorrow would considered an indie film today. Shot on a modest budget, the talent involved wanted to work with hot young star Harry Belafonte, who also helped put this film together. That, plus respected director Robert Wise, who was just coming off of I Want To Live! The cast is an intriguing mix of veteran stars like Robert Ryan, Ed Begley, Shelley Winters, and Gloria Grahame, opposite Harry Belafonte, plus future name actors like Wayne Rogers, Richard Bright, Zohra Lampert, and Cicely Tyson, as the nightclub bartender. 

Right, Cicely Tyson is the amused bartender at the club where Belafonte's Johnny sings.

The movie is a moody snapshot of late '50s NYC, with director Wise using infrared film for some exterior scenes to give the city a bleak, cold look. This film is throwback to the economic storytelling from Wise’s early career, and one of the best, Dede Allen, was the film editor. The taut, no-nonsense script was by blacklisted screenwriter Abraham Polonsky, working under a pen name. The great jazz score is by John Lewis, which creates a melancholy mood. Unlike most studio movies at the time, life in the Big Apple isn't prettified for audiences here. One of the men in the park scene asks the cops why nobody goes to the park at night anymore. His answer is, those darn kids. The ex-cop lives in a grand old apartment building, which has seen better days. The gambler/musician lives the night life while his ex-wife is mingling with white folks over PTA luncheons. Racism isn't romanticized, either. In Earle’s first scene, he side steps into a group of kids playing, grabs a little black girl, and tells her to be careful, calling her a "pickaninny."

Gloria Grahame gives a quirky take on Ryan's oddball neighbor in "Odds Against Tomorrow."

Shelley Winters as Lorry, Ryan's sympathetic girlfriend, in "Odds Against Tomorrow."

The realistic acting and storytelling really are what’s riveting about Odds Against Tomorrow. Shelley Winters is truly unglamorous as Earle's long-suffering girlfriend, who can't help but mother hen him, which further infuriates him. Gloria Grahame is the neighbor who’s turned on by Earle's prison past. Gloria plays the role in a peculiar fashion, which seems like something out of Touch of Evil or Twin Peaks. Richard Bright, who became a popular character actor in the "New Hollywood," was just a baby here. As Coco, he’s of the gangsters who just happens to be gay, and loves to come on tauntingly to Johnny. Wayne Rogers makes a strong impression as a soldier who makes the mistake of picking a bar room fight with Earle. Zohra Lampert is the bar girl he's trying to impress. In the night club scene, Diana Sands and Cicely Tyson are uncredited but instantly recognizable as the hostess and bartender, observing Belafonte's drunken antics.

Richard Bright as Coco, who's just wild about Harry in "Odds Against Tomorrow."

What's great about Ed Begley's ex-cop, Harry Belafonte and Robert Ryan's ne’er-do-well cohorts, are that they aren't rationalized, but aren't demonized, either. Begley's former cop Dave is embittered at being sold out by his superiors, but seems like a decent man, in terms of his offer to the two men. Begley, who excelled at corrupt creeps, is most believable as a man who just wants his perceived due. Belafonte's musician is a player and a bad gambler, but Johnny is aware of his flaws as a man. Belafonte, who could be a bit stiff as an actor, luckily had charisma and good looks to spare. And Harry gives one of his best performances here. He's strong and intense, playing a John Garfield-like character. In the scenes where he's up against an ex-wife, mobsters, and a racist partner, he's convincingly desperate. The most difficult character is Earle, who has been in prison twice for assault, and is a walking time bomb. Luckily, the subtle script is in sure hands with the brilliant Robert Ryan. The actor was equally great playing heroes and villains, so here he captures the complicated racist loser. 

Infrared photography for "Odds Against Tomorrow" exteriors makes racist relic Earle look ghostly.

Odds Against Tomorrow is really more than a noir or a heist film. It's about two men trying to live in modern America. Belafonte's Johnny, though smart and proud, doesn't seem to fit in. His gambling life and fast living aren't getting him anywhere, and he resents seeing his wife mainstreamed into white society. Ryan's racist is most timely to today’s film viewers. Earle was a war hero, but is considered a middle-aged relic. The young soldier in the bar room reminds him that Earle was in the last war, his solving problems with his temper and fists have landed him in prison twice, and his knee jerk racism rankles those around him.

The finale bank robbery's a bust. Ed Begley gives great support in "Odds Against Tomorrow."

Odds Against Tomorrow is a good look at what makes a racist, the individual who feels the world has passed them by, and is looking for a scapegoat. In the film, Earle constantly looks to blame Johnny for any mistakes or missteps in their planned heist. Dave's ringleader more than once has to tell Earle to back off, but he just can't help himself, and ultimately his hate and distrust is responsible for the heist going awry. 

Some film fans find the ending of Odds Against Tomorrow a bit too clever. I can see their view, but the ultimate point is still the truth. When you're dead, it doesn't matter what color you are.

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Robert Ryan & Harry Belafonte relaxing on the set of "Odds Against Tomorrow."

 

 

Edward Albert, Forever Young in “Butterflies Are Free” 1972

Edward Albert & Goldie Hawn get romantic in 1972's "Butterflies Are Free."

Edward Albert was just 20 when he starred in his first major film, Butterflies Are Free. Sadly, Albert only lived to be 55. Edward would be 70 as of 2/20/21. This post is written as a tribute to the appealing actor with a fascinating life.

Leonard Gershe’s stage smash Butterflies Are Free, which ran three years on Broadway, was snapped up as a movie for Goldie Hawn. Producer Mike Frankovich, Jr. had showcased Hawn in her Oscar-winning role from another stage hit, Cactus Flower.

That '70s movie poster! "Butterflies Are Free" was a Broadway smash and movie hit.

With Butterflies Are Free, there are essentially three characters: Jill Tanner (Goldie Hawn), Don (Edward Albert), and Mrs. Baker (Eileen Heckart.) Paul Michael Glaser appears in the last act, Starsky and Hutch just around the corner, as a douche director.

Butterflies Are Free is the story of Don, a young blind man who falls for the free spirit next door, and fights with his overprotective mother for his own space. Don was played onstage by Keir Dullea. The actor was 35 when Butterflies was filmed, too mature onscreen for a young guy who has just flown from the nest. Edward Albert was 20 when he was cast. Aside from some acting work as a child, this was Albert’s first screen role.

Keir Dullea & Blythe Danner originated Don & Jill in "Butterflies Are Free."

Hawn’s Jill is just 19 and an aspiring actress (Goldie was 26), who has already been married once, and is anti-commitment. Yet, Jill literally barges in on the life of neighbor Don Baker, a blind musician on his own. In less than two days, the two fall madly in love, nearly break up, and reconcile! Aside from that, their rapport and romance is charming, until overprotective Mom (Heckart) “drops by” from a suburb near the San Francisco-set film. Mrs. Baker finds the shabby chic apartment appalling and is on high alert when she finds Jill cavorting with her baby boy. Don has already experienced a bad romance with a similar type, who encouraged him to move to the city, only to dump him.

Free spirit Jill (Goldie Hawn) and blind Don (Edward Albert) get to know each other.

As Jill, Goldie Hawn is the hippie chick successor to Marilyn Monroe. Seemingly a dumb blonde, Hawn’s Jill is actually pretty smart, aside from some ditzy moments. Goldie’s role has similarities to Marilyn’s sexy neighbor next door in The Seven Year Itch. She’s realistic about men and relationships, and her own limitations. She’s child-like yet wise, with a distinctive star persona. Like MM, Hawn is effortless in navigating between comedy and drama, and Goldie’s most appealing here.

Goldie Hawn's appeal is effortless as aspiring actress Jill, in "Butterflies Are Free."

Eileen Heckart won a Best Supporting Actress Oscar as Mrs. Baker. She lost the Tony for the same role to Blythe Danner, who created the role of Jill Tanner onstage. Heckart is an old pro at playing vinegary but essentially likeable characters. Eileen and Goldie ping pong the smart lines as the two adversaries. But Heckart gets to show more, once Mrs. Baker sees that Don might get hurt again by another fluttery girlfriend. It’s in these moments that Heckart is most understated and affecting, as she starts to see the light, to set her son free.

A heart-tugging moment in "Butterflies Are Free," when Eileen Heckart's mother
lets go of her blind son, despite his distress at the moment. 

As for Edward Albert, he holds his own against these two comedic pros as the blind aspiring musician. Albert is appealing, intelligent, empathetic, and just happens to look a bit like young Montgomery Clift. Also, he sings quite pleasantly. Edward researched his role well, studying at the Braille Institute. After this film, Albert teamed with many of the Butterfly crew to film another Broadway hit, 40 Carats. Unfortunately, it flopped, and Albert went from promising young lead to journey man actor. If Albert was starting out in today’s show business, his diverse talents would have afforded Edward more of a shot at stardom.

At 20, Edward Albert played the independent blind man in "Butterflies Are Free."

Part of the problem was Albert started out as a likeable, handsome young actor at the height of the realistic filmmaking era, with stars like Hoffman, Pacino, and Hackman setting a very high standard, without relying on movie star looks. Younger actors who were more lightweight and handsome, like Edward Albert or say, Jan-Michael Vincent, William Katt, Christopher Reeve, or a younger Kurt Russell, didn’t get the top film roles. Jeff Bridges, whose background was similar to Albert’s, was able to leave the boyishness behind and move on to meaty roles.

Edward Albert as a boy, with parents Eddie Albert & Margo. Adopted daughter
 Maria is the only survivor of the immediate Albert family.

Edward Albert was the son of beloved character actor Eddie Albert and Mexican actress Margo. Eddie was most famous for Green Acres and Margo for Lost Horizon. Like the Bridges family, the Alberts were very politically and socially active. And like Lloyd Bridges, the Alberts were blacklisted for awhile during the ‘50s. Eddie later became an environmentalist. I mention this because Edward also became strongly involved in environmental and Native American causes, and spoke with pride about his parents standing up to the blacklist. Like his father, Edward had a prolific career as a character actor rather than leading man. Later came unfortunate times for the Alberts. First, Margo died at just 68 of a brain tumor, in 1985. Later, when Eddie was in his 80s, Albert was diagnosed with Alzheimer’s. Edward put his career on the backburner to care for his otherwise healthy father, who lived to be 99! Sadly, Edward found out that he had lung cancer a mere month before father Eddie died. Edward Albert died Sept. 22, 2006, 18 months after his father. A sister, Maria, was the only survivor of the small Albert family.

Edward Albert's first film role, "The Fool Killer." His co-star was Anthony Perkins,
who plays a possible ax murderer. Need I say more?

Edward Albert’s career was prolific, he was educated at Oxford, and was multi-lingual. He also came from a great lineage (Xavier Cugat was his great uncle, and his godfather was Laurence Olivier), he enjoyed one long, happy marriage, and became a father to a daughter.

Edward Albert & Eddie Albert, later in life.

Edward Albert lived a short life, but one that was well-lived. How lucky that movie watchers can watch him in his leading man debut, Butterflies Are Free.

Here’s Army Archerd’s obit for Edward in Variety: https://variety.com/2006/voices/columns/edward_albert_d-1200571358/

And here’s Edward’s actual film debut, in 1965’s “The Fool Killer.” Edward plays a runaway boy during the Civil War era, who encounters a number of odd characters, including Anthony Perkins!

https://ok.ru/video/2631968754356

FYI: I put all the movie overflow on my public FB  movie page. 

Check it out & join!  https://www.facebook.com/groups/178488909366865/ 

Edward Albert & Goldie Hawn, forever young on film, in "Butterflies Are Free."

‘Ziegfeld Girl’ 1941

Hedy Lamarr, Judy Garland, and Lana Turner are a magnificent MGM trio in "Ziegfeld Girl."

 

Lana Turner proved to be a most worthy MGM star in "Ziegfeld Girl.”

From bit parts to “B” pictures, Lana Turner made her Hollywood climb to the top in just four years. Turner’s breakout year was 1941, in four films, starting with Ziegfeld Girl. Then Dr. Jekyll and Mr. Hyde was unleashed. Next came Lana’s first teaming with Clark Gable, Honky Tonk, one of her hugest hits. And last, another popular pairing, with Robert Taylor, in Johnny Eager. From then on, Lana Turner was a Movie Star. There were dramatic ups and downs, as with most MGM divas. Still, Lana remained a top leading lady through Madame X in 1966. A 25 year run is remarkable in Hollywood, especially for a woman.

Lana & Jimmy share a laugh on the set.

Ironically, Turner is fourth-billed, though her part is the biggest and juiciest. Jimmy Stewart got top billing as her boyfriend, as he just came off The Philadelphia Story. Co-stars Judy Garland and Hedy Lamarr both play noticeably smaller roles than Turner.

When Lana Turner was first signed by MGM, the plan was to make her “the next Harlow.” Jean had died suddenly at age 26, and Turner signed at Metro the next year in 1938, and stayed until 1956. In reality, Lana was groomed to be the next Joan Crawford, who would soon leave Metro after Turner became a star. MGM loved their “great ladies,” like Norma Shearer, Greer Garson, and Deborah Kerr. But Metro had their sexy stars that often played girls from the wrong side of the tracks, whose movies the public flocked to: Jean Harlow, Joan Crawford, and Lana Turner. Later, Elizabeth Taylor was a hybrid of both!

MGM's "3 Girls" movie!

Ziegfeld Girl is really the idealized world of MGM, rather than a tribute to Flo Ziegfeld’s reign on Broadway. Edward Everett Horton is the never seen Flo’s leg man, so to speak. They find perfect “All-American girls” everywhere. Here, Horton meets elevator operator Sheila Regan (Lana Turner) and gives her his card. Hedy Lamarr happens to be at a Ziegfeld audition for violinist husband. One look at lovely Lamarr and she’s hired. Judy Garland’s vaudeville singer Susan Gallagher actually has to get by on her talent! One trip to Flo’s office and he’s got tickets to her show. Show biz fame and fortune are just that easy in MGM’s world.

On opening night, director John Slayton (Paul Kelly) gives the new girls advice that sounds more like a disclaimer:

 “Listen, kids! I've got something important to say to you. Now, except for a couple of hardened veterans, you're all new to the big time. In a few minutes, you're going on in your first number. Do you know what that means? It means you're Ziegfeld girls. It means you're going to have all the opportunities of a lifetime crowded into a couple of hours. And all the temptations. Some of you are gonna wind up with your names in electric lights. Some of you are gonna wind up with a husband and kids. And some of you are gonna wind up—well, not so good. Now, I know what I'm talking about because I've seen all three happen. But, whatever it is, don't blame the Follies; because, it would've happened even if you were still where Mr. Ziegfeld found you. It just might have taken a little longer. So remember this, kids, and it comes straight from Mr. Ziegfeld: "The Follies is life in one stiff jolt, life running instead of walking, life speeded up to a mile a minute. But if you've got the right stuff, the pace won't bother you. And if you haven't, you'll come a cropper. It's strictly up to you."

Did Lana Turner think she was the property of MGM? My guess is NO!

The set up is a film favorite, “the three girls” story, straight from the “silents” through TV’s Charlie’s Angels and beyond. Each “girl” is usually an archetype: the smart one, the gorgeous one, and the tragic/bad one. Like most of this genre, the men are incidental at best, boring at worst.

Ziegfeld Girl’s story was considered clichéd even in ’41, but that didn’t stop Jacqueline Susann from borrowing from movies like this for her ’66 opus Valley of the Dolls—with yes, three dolls. Hedy Lamarr’s Sandra Kolter is an inspiration for VOTD’s Jennifer North, the beauty who prefers a happy home life. Lana Turner’s Sheila is a much nicer Neely O’Hara, the star who can’t handle fame. Ironically, Judy Garland is the sensible Anne Welles type, who just happens to be a great talent. It’s an eyebrow raiser, near the finale, when Lana’s showgirl drunkenly falls onstage, and Judy’s Susan wonders, “How could a girl do that to her career?”

Book learnin' was given lip service at MGM!

What’s amusing about the director’s lecture is that many of MGM’s great stars gave studio head Louis B. Mayer even greater headaches. Three of the biggest offenders star in this film! Between Turner, Lamarr, and Garland, the women totaled 19 marriages! In the “MGM family,” aside from multiple marriages, the stars’ scandals, mobsters ties, nude films, booze, pills, brushes with the law, suicide attempts, and closeted sexuality, all kept MGM enforcer Eddie Mannix busy for decades.

I’ve mostly seen Lana Turner’s later films, where Lana was often lacquered and posturing. But after watching Turner’s key MGM films, especially Ziegfeld Girl, one can easily see her appeal and Lana’s long hold on audiences. Turner is softly pretty, almost cherubic here. And Lana is certainly glam as she becomes a big showgirl for Flo Ziegfeld, despite being quite petite. Lana hadn’t gone platinum yet, hence her character gets called “Red,” or “Flatbush,” to remind us of Sheila’s humble origins. Every time I heard either name, I kept looking for Susan Hayward. In these rags to riches sagas, the story and the stars are more engaging on the way up, as opposed to the stardom, followed by—naturally—heartbreak!

Lana Turner as Sheila Regan, who rises from elevator operator to Ziegfeld showgirl!

Turner, considering her short time in films, plays most believably, and her Sheila has all the big dramatic scenes. Lana acts very well, even considering the acting style of the era, especially at Metro. Turner’s Sheila goes from sassy, energetic, good girl who loves her family to the big star who doesn’t want to travel back to the wrong side of the tracks. Sheila has her devoted but wise maid spritz the air with perfume above our sleeping beauty each morning. When the big star starts to “day” drink, Sheila brushes off Susan’s warnings (coming from Judy Garland!). She then slips into a bubble bath, in full hair and makeup, sporting an encrusted jewel bow in her hair. One scene that falls a bit flat, after Stewart’s Gil leaves in a huff, Lana’s unhappy star quizzes her maid about the number of her various valuables. When the maid asks what for, Lana shrieks dramatically, “I’m counting my blessings!”

Lana's lush of a star is about to take a bubble bath, looking like this!

Once Sheila hits the skids, Turner is surprisingly good as the slumming star. When she’s scrounging in dive bars for a drink, she reminded me of Lana’s latter day unlucky lady, Madame X. Of course, Lana’s final film walk down the stairs made film history for famous exits.

Lana's showgirl on the skids a rehearsal for "Madame X."

Lana Turner’s early movies make sense of her enduring stardom. Turner didn’t have the animal magnetism of Rita or Ava, the great humor of Lombard or Sheridan, the perfect beauty of Hedy or Liz, or the class of Gene Tierney or Grace Kelly. Lana Turner was more like a prettier, sexier Betty Grable. Lana was the All-American girl, but more sensual, feminine, and with an edge. As Turner’s early stardom evolved, she became a bit slimmer, a lot more blonde, and stylized into the Lana Turner sex bomb of The Postman Always Rings Twice, and beyond. Watching Turner in her younger years is to watch Lana at her most likeable.

Hedy Lamarr as a reluctant showgirl, here with Tony Martin, as a dull love interest.

Hedy Lamarr, who enjoys the revisionist reputation as “Hedy the inventor,” has one of her most naturalistic roles here. And while Lamarr’s part isn’t the longest, it’s refreshing to see her presented as a human being. I have mostly seen Lamarr in her exotic roles, as the stone-faced beauty bathed in lavish costumes and shadows, or as the fiery femme fatale. And I never found her particularly compelling in either persona. Lamarr didn’t have that innate talent, charisma, or fire to pull such roles off. That’s why her film career instantly evaporated after she left MGM. On a much smaller scale, Hedy is much more accessible as Ziegfeld Girl’s Sandra, the reluctant showgirl. She’s working for the money, honey, all to help her violinist husband. A bit like Dolls’ Jennifer, Lamarr’s Sandra conveys bemusement over her beauty and sincerity to her leading man and the other characters. Lamarr doesn’t have a riveting role here. But Hedy is believable and she holds her own just fine with Rose Hobart, as a crooner’s wife, in their confrontation. And aside from the showgirl scenes, Hedy is understated in her hair and makeup. Of course, Lamarr is a wow to look at in her “You Stepped Out of a Dream” number.

Hedy's Sandra the showgirl, in the aptly titled number, "You Stepped Out of a Dream."

As Susan Gallagher, Judy Garland handles humor and drama with surprising aplomb, considering she’s only 18. PS—Lana Turner was just 19 during filming! Judy’s young voice is heavenly here. Her version of “I’m Always Chasing Rainbows” is pure and deeply felt. After dropping the vaudeville take that Susan’s father rehearsed with her, Garland sings a simple, superb version. And it’s a cliché moment when everyone stops to listen to her, and when she’s finished, a star is born! You know what? Judy’s vocals are such a knockout here, that you’d stop in your tracks, too. I love the interplay between Judy and Lana in this scene, when Sheila asks the director to give Susan another chance, and then watches. You sense the camaraderie between the two young stars, and it’s sweet. The “Minnie from Trinidad” number is fun, but given the lightweight number, the elephantine production feels overbearing. And once again, MGM busts out the “tropical makeup” on their star!

Judy Garland in "Minnie From Trinidad." MGM gives a star the "tropical" makeup once again!

Despite top billing, James Stewart is stuck in a supporting part that any MGM second stringer could have played, like James Craig or Robert Sterling. If he’d come to Metro a bit sooner, John Hodiak would have been perfect. If they had, Metro could have treated the part accordingly, and a cut some minutes off this overlong musical. Coming off a string of hits since his big break through in ’39, this must have been a come down for Stewart. And Ziegfeld Girl would be Jimmy’s last movie at Metro, before he went off to war. As truck driver turned bootlegger Gil Young, Stewart is Sheila’s nagging conscience. While he is sore that she is kicking up her heels onstage and off, Gil’s solution is to become a bootlegger, which undercuts his moral high ground. Hey, this was a different, more overtly sexist era! While Stewart does what he can with the role, and it’s far more built up than the other male characters, John Garfield could have played this in his sleep.

The other men in the Ziegfeld girls’ lives include Philip Dorn and Tony Martin, vying over Lamarr. They are the violinist and married crooner, respectively, and the two performers don’t bring much to the paper thin parts. Jackie Cooper is in his male ingénue phase and he does well enough, as Lana’s brother who’s sweet on Judy’s singer. Ian Hunter is sincere as the sugar daddy who wants to marry Lana’s showgirl. Dan Dailey has a very early role as the boxer who hits on Turner’s Sheila, who brushes him off. He’s quite believably repellant, especially when he rubs Sheila’s nose in her downfall.

Star watching is a big reason to watch Ziegfeld Girl, here’s a few: Edward Everett Horton is always great fun as the wily talent scout; Charles Winninger gets a number of moments to shine as Judy’s vaudeville vet dad; Eve Arden is the wisecracking, veteran showgirl; and Felix Bressart as the violinist’s mentor.

MGM girls designed by Adrian. Glam or gaga? 

Busby Berkeley’s choreography and Adrian’s costumes are both eye-popping, though in an over the top way. Berkeley’s contributions, while stunning, drag on to stupefaction. Speaking of drag, Adrian’s costumes are lavish, but so outlandish that they reminded me of a cross between Pee Wee’s Playhouse and Bob Mackie’s most extreme Cher wear. The tropical costumes especially are so literal, with the showgirls wearing sculpted flowers, fish, and sea shells, etc., that they look like Halloween costumes.

One look at Adrian's showgirl getups and you can see he was one of Bob Mackie's inspirations!

Robert Z. Leonard, one of Metro’s top studio directors, handles his cast well, and they perform their roles and bits of business winningly. The storytelling, however, drags as much as the musical numbers. Marguerite Roberts and Sonya Levien wrote the screenplay, which is very wisecracking, to the point of playing like an old movie parody.

Lana Turner makes a dramatic exit in "Ziegfeld Girl," one of her famous film moments!

Ultimately, Ziegfeld Girl is all about the MGM girls. Especially one—Miss Lana Turner. Was Lana a good actress? Turner’s reputation seems to be shifting toward the revisionist territory of being heralded as an unsung great actress, much like Joan Crawford. Like Joan, no one ever doubted that Lana was a great star. That in itself is an achievement, especially as such an enduring star. The few times that Lana was called upon to do some real acting, I think Lana acquitted herself quite well. As for most of her films, Lana played the movie star persona perfectly.

Check out my take on one of Lana’s latter day hit, Imitation of Life: https://ricksrealreel.blogspot.com/2017/12/imitation-of-life-1959.html

Here’s a tribute I wrote about Judy on the 50^th anniversary of her passing:

https://ricksrealreel.blogspot.com/2019/06/what-if-judy-garland-hadnt-gone-over.html

And here’s my look at Hedy Lamarr’s last film, The Female Animal:

https://ricksrealreel.blogspot.com/2019/06/hedys-last-hurrah-as-female-animal-1958.html

FYI: I put all the movie overflow on my public FB  movie page.

Check it out & join!  https://www.facebook.com/groups/178488909366865/

 

The billing doesn't jive with size of the stars' roles--that's show biz