golden era of hollywood

2 posts

Elizabeth Taylor, Farewell To An Icon

How do you say goodnight to a goddess? Do you float up to her gossamer face and place a gentle kiss upon her cheek? Do you flatter her immensely and tell tales of the beauty and grace she bestowed while wishing her a blessed eternal slumber?

Yes, you most certainly do.

Wednesday, the amethyst light winked out of a classic icon’s eyes leaving us with the irrepressible memories and images that she brought to life, reminding us of those she championed for, those she loved and loved her back, and together, we among the many, remember as we watched in wonder as she lit up the movie screen and defined what it is to be a legend.

Not only have we lost a great actress, a timeless beauty, and a consummate humanitarian, we are ever more witnessing an end to an era. An end to women who never stepped outdoors without their white gloves, or a delicious hatpin, a red, red, lip, or hair so coiffed and perfect that it was an institution. And along with all these glamor trappings, we’re seeing the end to the bawdy dame who mastered refined, regal chic while simultaneously bantering with any man in the room, making him feel as though he is the only one there, whispering conspiratorially with the women in attendance, and turning the heads of just everyone with an infectious laugh, and a well placed hand on an arm. These are things that are not taught, they simply are.

Elizabeth’s movies were sumptuous and luscious, full of zeal, verve, and gumption. As Maggie the Cat in Cat on a Hot Tin Roof, you felt every word she spoke, a sultry denizen who held Paul Newman’s Brick in her lustrous gaze, challenging him to love her, despite himself. Butterfield 8‘s Gloria Wandrous was unflappable, desirous, and wore that slip like a powerhouse, rendering us all speechless with the daring topic, and Elizabeth’s delivery. As Who’s Afraid of Virginia Woolf’s, Martha, Elizabeth’s boozy anger, obstinate angst, and treacherous tongue gave as good as she got, undeniably. Her Cleopatra was stunning, classic, omnipresent, and lavish, only a role the Queenly Elizabeth herself could execute. Today, actresses would be hard-pressed to find such varied and dynamic roles, and be able to play them in the same unforgettable way. Simply, there will never be another Elizabeth Rosemond Taylor, two-time Oscar winner, screen royalty, and film legend.

The English-born owner of lavender eyes, a double row of covetable lashes, and a litany of jewels that would make any monarch envious, the enigmatic Taylor, was also known for her great loves. And yes, she had several. A self-proclaimed romantic, Elizabeth loved falling in love. So much so, that she married the love of her life, and soul-mate, Richard Burton twice. They were “the most famous film star in the world and the man many believed to be the finest classical actor of his generation.” A pairing of giants, they were. And when you love as much, and as often as Elizabeth, there may be a few bumps in the road, or perhaps a wife in your path. Scandal. Oh, dear, yes. The whole Pitt-Aniston-Jolie scandal is nothing compared to that of Elizabeth’s day. If you’re going to do it, do it big, and Elizabeth did just that. She and Eddie Fisher ruled the tabloids in those days, but what else could you really expect from a goddess, right? Aphrodite never apologized.

When you’re the most beloved Hollywood star in existence what will you do with your retirement? Collect more jewels? Well, maybe. Obtain rare works of art? Certainly. How about found an organization that helps millions of people? Well, if you’re Elizabeth Taylor, naturally. She helped raise more than $100 million to fight AIDS, and after the death of her former costar and friend, Rock Hudson, she co-founded amFAR the American Foundation for AIDS Research, and created her own AIDS foundation, the Elizabeth Taylor Aids Foundation. In 2006, she also commissioned a 37-foot “Care Van” equipped with examination tables and X Ray equipment and donated $40,000 to the New Orleans AIDS task force, a charity designed for the New Orleans population with AIDS and HIV. And remember what I said about being a bawdy dame, yes well, in March 2003, Taylor declined to attend the 75th Annual Academy Awards, due to her opposition to the Iraq war. She publicly condemned then US President George W. Bush for calling on Saddam Hussein to leave Iraq, and said she feared the conflict would lead to “World War III.” Simply, a woman who knows our own heart.

For me, when I think of Elizabeth Taylor I also think of that time in Hollywood that was golden and beautiful and full of real movie stars, not the hackneyed, overnight sensations we often find littering Hollywood films today, but women who were sassy and proud, beautiful and fierce, with names like Betty, Lana, Katherine, Audrey, Ava, Rita, Grace, Natalie, and of course, Elizabeth. I adore this time, and watching all of these ladies light up the screen, even in their not so famous roles. My introduction to Elizabeth Taylor wasn’t in National Velvet, it was her turn as sister Amy in 1949’s Little Women, a story I was fascinated with as a young woman. My next favorite was Father of the Bride starring Elizabeth as Kay and Spencer Tracy as Stanley Banks. In addition to her better known, and bigger received films, watching some of the others was like watching her grow into the accomplished actress she became in a career that spanned decades and generations. It’s hard to believe that she was only 79! She has been a fixture in the world for much longer so it seems.


There is so much you could say about the woman who was. About the woman named for a Queen. A woman who helped millions, entertained millions more, was a teacher in fame, beauty, grace, humility, and undeniable charm. But mostly, we say she was beautiful inside and out, and that will stand the test of time, always.

Goodnight, Dame Elizabeth.

Clark Gable Takes His Shirt Off For You: Fun with Movies of the 1930s and 40s

By Daisy Sage and PandaRobots

Daisy: PandaRobots and I have many times expounded on the joys of watching our favorite black and white films from the 1930s and early 1940s.

I suppose it would make sense at this juncture to mention that my screen name, Daisy Sage, and my avatar were taken from a character in one of my favorite movies from the early 1930s, The Animal Kingdom (1932) .  The photo I used for my avatar is a publicity still from the movie of Ann Harding, who played Daisy in the movie.

Like many “pre-code” movies of the very early 30s, there’s no real salacious content in The Animal Kingdom by our contemporary standards.  And yet, this film touches on subjects that would be quite taboo in “post code” era movies. Premarital and marital sex is both alluded to, and it is mentioned that two of the characters previously lived together as an unmarried couple.

Ann Harding and Leslie Howard in "The Animal Kingdom"
Ann Harding (as Daisy Sage) and Leslie Howard ( as Tom Collier) discuss their wild bohemian lifestyle in "The Animal Kingdom"

It’s also interesting that several of the protagonists in the story take a fairly bohemian view of life; artists pursue their art without worrying about money (even in the very beginning of the Depression era!), and look down upon friends who “sell out” and create commercial crap in exchange for financial security.

So Panda, why don’t you tell us what attracted you to the films of the 1930s and early 1940s?

Panda: What initially drew me to these films were the strong female characters.  The women have lines!  And personalities!  And tell jokes!

I do think the world in which these characters live is idealized to a certain extent.  The Depression is rarely mentioned.  Sometimes vagabonds or people down on their luck will be shown (the mother and child in It Happened One Night, My Man Godfrey, Meet John Doe ), but in general at least one of the leads is incredibly wealthy.

Daisy: Yes, I’ve noticed that too. In My Man Godfrey (1936), which is basically a romantic comedy with some class-consciousness thrown in, you have the “forgotten man” theme juxtaposed with the very rich and spoiled.

One comedy I like that makes light of the difficult financial times is Three Broadway Girls (1932) .  They do mention the stock market crash and refer to the stresses of being broke.  However the three main characters are young attractive ex-showgirls who have nice lives as “gold diggers”, so you don’t see any actual suffering.

Another thing I like about these movies is the depiction of romantic love and how it develops.  It seems so much more genuine than contemporary depictions of love.   Sentimental, without necessarily being soppy.  Panda, what are your thoughts about this?

Panda: I totally agree.  The way they treat sex is fascinating, too.  On one hand, I like that the filmmakers couldn’t substitute the characters sleeping together for actual relationship development; they have to write dialogue or think up other situations to show the couple falling in love.  I think that makes the relationship seem more genuine, as you said.  On the other hand, I was initially surprised at how modern they are about it, too. Even if everything’s done with a wink and a nudge, they don’t pretend that sex doesn’t exist.  In fact, sometimes it’s a major plot point, as in The Philadelphia Story (1940)  and It Happened One Night (1934)  – two of my favorites.

Clark Gable and Claudette Colbert in "It Happened One Night"
Clark Gable and Claudette Colbert make riding the bus hot in "It Happened One Night"

Daisy: I love both those films, too!  The Philadelphia Story was written by Phillip Barry, who also wrote The Animal Kingdom a few years previous.  He had a wonderful talent for dialogue.

Panda: Oh yes, the dialogue is so important in these films. That’s another reason why I like movies from the ’30s and ’40s – the scenes last longer, there’s a lot more exchange between the characters, barbs being traded back and forth, etc.

One of my favorite lines is when the heroine tells the hero “You’re the most contemptible man I’ve ever met in all my life!” in The Lady Vanishes (1938).  It set the stage for so many of today’s romantic comedies – and basically every Nora Ephron movie ever.

Daisy: It seems like a lot of care was taken with the plot twists, too. One thing I really like about The Philadelphia Story is that it’s one of the only romantic comedies I’ve ever seen, from any era, wherein the first time I saw it, I couldn’t figure out which of the guys the heroine would end up with at the end.  The writer did nothing to broadcast the ending.

Philadelphia Story living room
Best love rectangle ever - "The Philadelphia Story"

Panda: Choosing between Cary Grant and Jimmy Stewart would be hard for anyone.  Who are some of your favorite leading men?

Daisy: I like Cary Grant and Jimmy Stewart a lot, too.  But I have an especially soft place in my heart for Dana Andrews. William Holden didn’t really start to get prominent roles until the late 40s and early 50s, but I’m a big fan of his too.

Panda: What is it about the leading men in these films that is so appealing or different from today’s leading men?

Daisy: I think one thing that makes these male characters so appealing to me is the sincerity element. When a guy falls for a girl in these movies it looks like he decides pretty quickly and pretty solidly. You can tell that there’s not a lot of waffling or indecision, even if it takes three quarters of the story arc to do something about it.

Panda, why do you think that so many movies of that era had newspaper people as the protagonists?

Panda: I researched it a little, and I found that many former journalists worked as scriptwriters and between 1928-1935, there were 79 newspaper movies. These movies helped to shape the public idea of the journalist as a hard-hitting, tough reporter, chasing after the biggest story (be it serious or gossip) no matter the obstacle, making wisecracks, and usually making some sort of moral or heroic decision.  When I see the fast-talking female reporters, like in His Girl Friday (1940) , I think they were the archetype for today’s romantic comedies where every heroine is a high-powered magazine executive or wants to write for one.

All Grant needs is the love of a good reporter.

Okay, let’s sum up with descriptions of some of these movies.

It Happened One Night – 1934

The master of the wink and nudge sexual tension.  Claudette Colbert is absolutely gorgeous and portrays an innocent, vivacious, spoiled girl with hints of a burgeoning sultry woman in a very believable way.

His Girl Friday – 1940

This actually isn’t my favorite Cary Grant movie, but it should be mentioned.  I like that Rosalind Russell isn’t a simpering ingénue.  Plus, her and Cary Grant’s characters were colleagues – there was no “Now that we’re married, you won’t have to work” from Grant.

The Philadelphia Story – 1940

Cary Grant’s character is a recovering alcoholic.  Katharine Hepburn’s character, a beautiful but chilly divorced heiress, refuses to embrace human flaws (and there’s kind of a “needs to get laid” subtext.)  There’s a funny and fascinating “love rectangle” as well.

Daisy: Besides The Animal Kingdom, and My Man Godfrey, which I described above, I’d like to recommend:

The Women – 1939  directed by George Cukor, and starring Norma Shearer, Rosalind Russell, Joan Crawford, and a talented ensemble cast comprised entirely of women.  Full of great dialogue, it shows how one woman deals with her husband’s infidelity while trying to save face amongst her pitying friends.

Here are places you can view some of Panda’s and my favorite movies of the 1930s and early 1940s.  Enjoy!

My Man  Godfrey (on Netflix )

Meet John Doe (on YouTube)

Free downloads at Archive.org:

The Animal Kingdom

Three Broadway Girls

The Lady Vanishes

His Girl Friday –  (streaming on youtube) (free download)


Daisy Sage and PandaRobots are two classic movie enthusiasts who like it better in black and white.