13 December 2012

The Bittersweet Irony of "The Clock" (1945)

One of my favorite films, way too underrated and overlooked, "The Clock" (1945) was - and I believe still is - sent on TCM once in a while and was one of my first Judy Garland movies. I still love to watch it because of its stars and its innocent sentimentality. However, something ironic struck me when I checked my facts and realised just how fast it went down the sewers for these sweet people, culminating around this very production.

Judy Garland (in her first dramatic non-singing role) plays a young woman from the city who by chance meets a naive and curious young soldier, Robert Walker (best known for playing quiet psychopath in Hitchcock's "Strangers On a Train").  At first glance, almost a   childlike tale of two youngsters trying out the world and love for the first time, at times stumbling and fumbling, nevertheless succeeding - through their genuine characters, enthusiasm and unpretentious, believable love story - in coming across the screen as something authentic, honest and moving.

They're so like children in this movie, innocent and lovable; it's hard to imagine the hardships they went through off-screen in their personal lives. As I said, it all sort of culminated here: Robert's wife, actress Jennifer Jones, had an affair with producer David O. Selznick, a fact, Robert found out during filming. Apparently it wasn't enough breaking his heart by suddenly leaving him  and make his life go down the tubes (yet, of course I don't know if they had troubles prior); he also had to be sold down the river through her infidelity. Judy found him almost every night after shooting sitting at a bar, drowning his sorrows in booze. She would then stay up the entire night helping him sober up and getting ready for the filming next day (ironic to the fact that a central scene in the film have them both stay up all night to help a milkman delivering his milk as they fall in love with each other). Meanwhile Judy herself had troubles battling a growing drug addiction, prescribed by the studio due to her low self-esteem and the demands of her being slimmer and also pep her up, adding another round of drugs because she couldn't sleep at night because of these drugs. A self-destructive path to say the least!

Robert died only 6 years(!) after making this film, which is really unbelievable thinking how sweet, young and unspoiled he seems in "The Clock" - and how it possibly could go that wrong. Judy would die 24 years later, only 47 years old, mainly due to her long and hard dependency on drugs and alcohol. I feel like pulling my hair and scream "WHY?!?", while having this silly yearning to somehow get hold of a time machine and go back; to do things all over again and do them right and help these poor people when they're hardly able to help themselves!

I'm not one of those people who cry floods every time I watch a touching movie, yet I think I can call myself sentimental in the above matters. Because it's just not fair!

But that's life, I know.

That's the bittersweet irony of "The Clock": To realise just how little time we had to get to know these wonderful, talented people, not just on screen time, but also in real life - and how little time Robert and Judy had to enjoy life themselves when all of a sudden it was over so quickly. Time didn't or just couldn't heal their deep wounds. Yet, I praise the time we did have with them!

First they were there - and suddenly they were gone. And if we never had stopped to really see them, we might never have, and our lives wouldn't have been the same. Luckily, for us and them, Robert and Judy didn't miss to see each other in the film.

29 November 2012

15 Types of Leading Classic Actors - Which one is your favorite?

As stereotypical and superficial as it can be, I couldn't help but wondering if it was possible to somehow categorize the leading men of the Golden Era of Hollywood into types... After all, it's been done for years (rather overworked) with the actresses such as Audrey Hepburn being the pixie, gamine waif-like beauty and Marilyn Monroe the voluptous, blond sex symbol. 

However, not surprisingly, I came to the conclusion that it's bloody hard to draw lines between appearence and personality qualities when they do go so incredibly well together - and even the fact to try to fit these guys into boxes in the first place is a quest in itself(!)
Bear in mind that not every single classic male actor is mentioned nor categorized here, and those who are share many of the listed 'categories' below and were extremely hard to place in just a single one. The result is dangerously subjective and I won't blame any of you if you protest or cringe inwardly when you see my attempt to try and fit those guys into some sleezy, modern view of male beauty and pass it on to you guys like some silly test in a women's magazine... (if you do, please leave a comment telling me what you think). Oh, and if I've been so absent-minded and forgotten some obvious suggestions, please kill tell me.
Well, now I've apologized beforehand (what a way to get the readers introduced..huh) and I've done the silly job and pressed 'Publish'. There's no return now.

The Greek-profiled, chiselled, criminally photogenic kind of actor: Paul Newman, Gary Cooper, Lawrence Olivier

The athletic/to-the-point-of-buff kind of actor: Gene Kelly, Burt Lancaster, Marlon Brando, Kirk Douglas

The tall-dark-and-handsome kind of actor: Clark Gable, Cary Grant, Rock Hudson, Gregory Peck

The goofy-yet-also-serious-and-lovable kind of actor: James Stewart, Jack Lemmon, Charlie Chaplin, Harold Lloyd

The often-romantically-neglected-though-far-from-being-a-wallflower kind of actor: John Garfield, Humphey Bogart, James Cagney, Spencer Tracy

The young, sensitive and introvert kind of actor: James Dean, Alain Delon, Montgomery Clift, Dirk Bogarde

The type-casted or all-around, stern-faced kind of actor: Alan Ladd, Dana Andrews, Richard Widmark, Fred MacMurray, Joseph Cotton, Robert Walker

The boyish, blond I-can-be-the-boy-next-door-but-also-a-bit-of-a-cad kind of actor: Mickey Rooney, George Peppard, Albert Finney, Robert Redford

The swashbuckling, cocky kind of actor: Errol Flynn, Douglas Fairbanks Jr., Tyrone Power

The overlooked-for-actually-being-comic kind of actor (perhaps just too pretty for the purpose of goofballs? Why, it's the perfect combination!): Robert Taylor, Joel McCrea

The dark and (dangerously) intriguing kind of actor: Anthony Perkins, Orson Welles, Vincent Price

The exotic, hot-blooded Latin Lover kind of actor: Rudolph Valentino, Ramón Novarro, Gilbert Roland, Antonio Moreno

The laconic, anti-heroic, not-afraid-of-getting-dirty, yet here-to-save-the-day kind of actor: Sean Connery, Steve McQueen, Clint Eastwood, William Holden

The deep-voiced singing or hip-swinging kind of actor: Frank Sinatra, Dean Martin, Bing Crosby, Elvis Presley

The brooding, dramatic, often troubled/pensive kind of actor: Peter Finch, Yul Brynner, Fredric March, Richard Burton

17 November 2012

The Fashion of Marlene Dietrich

Like Katharine Hepburn, German born Marlene Dietrich (1901-1992) was one of the most prominent actresses and fashion icons in the '30s and '40s. With her mystical allure, a mix of masculine and feminine elegance and independence - and an almost transsexual style of clothing and controversial attitude (just look up the famous scene in "Morrocco" (1930) on YouTube) - she inspired generations up to this very day. Considering her native land, she did a great job refusing any attempt of the Nazis to get her to join them during WWII; instead she actively supported and entertained the American army and soldiers. Even then, she was always dressed to perfection, simply and elegant, at any occasion, and it was said that she never left her trailer without a perfect layer of make-up and a perfectly done hairstyle - no matter how long it took. No wonder, as her vanity case and suitcases were gigantic (I saw them myself in an exhibition in Filmmuseum Berlin). Quite a literal vanity! Nevertheless, her compelling acting, independent attitude and confident style are without a doubt worth admiring through her bending of conventional gender roles and flirt with the vamp and the inscrutable. She  sure wasn't afraid of doing it differently.

Such a cool lady! 

29 September 2012

Funny, Old YouTube Chat with a Fellow Classic Film Lover

Coincidentally, I was looking through my old messages on my YouTube profile the other day, and I discovered an old and rather funny correspondence between a fellow YouTuber and classic film lover, OldHollywood93, and myself. It actually ended up being pretty interesting, and I just had this crazy thought to publish it for all of you fellas to see ... and possible relate?

It started out with the former sending a message to all her/his friends on YT, which I (of course) couldn't help replying with a looong and bit overstated answer (to my defence, at that time I was working on a paper for psychology on the exact same problem - and I think I got a bit carried away in my answer). S/he was so nice not to take me for one of those creepy, complacent and a bit too eager online people out there, and wrote back a kind answer. I was so excited that s/he wrote back in first place that I just had to make one more point before I could let him/her go (poor human). S/he still took it nicely and even gave some very flattering comments on my "insight"... hm-hm, not that my ego need any of that, of course. Anyway, all in all a very nice tête-à-tête which I now post for your pleasure and not only to demonstrate my own bright insight I assure you(!) ;)

PS. If it so happens that you come across and read this too, OldHollywood93, I hope you'll forgive me for making our correspondence public, but I just find it so very funny and sweet - and likewise insightful - that I just couldn't let it stay hidden. Hopefully, you'll have a little laugh as well :)

In this world we live in today, people like us are rare. 
People who appreciate old times, people who apprectiate manners and respectful behavior and people who I'm sure see the faults in today's society. 

I'm sending this to you, because recently some of my fellow teenage "friends" have done some things and changed in ways that have upset me greatly. However, the behavior of these friends isn't uncommon in the world we live in today, especially among the youth. 

I'm writing this to you to say... 
Women, please be ladies. 
Conduct yourselves in a classy, charming and gracious manner always. 

Men, please be gentlemen. 
Conduct yourselves in a respectful, charming and smart manner always. 

This world needs less Lindsay Lohans' and more Grace Kellys'. 
And less Chris Browns' and more Cary Grants'. 

Please, don't be like everyone else. 
Be better than them. 



Dear friend

Thank you for this very elegant and interesting message (and here comes my very long and wearily answer, hehe). 

I'm sorry for your disappointment regarding your "friends", though I don't want to meddle, I would like say that they should have known better, and I'm sure they'll soon regret losing your regard, if not even your friendship. 
I quite agree with you, the society could learn a lot from old times and how to behave and conduct oneself in a respectful manner. I do not shun or despise my generation for being who they are, that is, a product of their/our time, as am I, but I too find it difficult to understand those who have no intention to learn from the past and our history. I don't think they were less flawed back then; many things in society have changed to the better I think, while other things have worsened. Who's to blame, I'm not sure, if not time and the ever inconstant human being... 
Today, the growing individualism, materialism and narcissism (influence from the parents as well as the media and the environment) among young people have many advantages and many disadvantages. The road to an identity isn't easy and we often try out different arenas, values and other identities to find the one that suits us -- the one we can rely on. In doing so, we often test our own and others' limits and rebel in some sort of way. This could be an explanation for the odd, disrespectful behavior? In addition to that, the many possibilities followed by a growing responsibility to make the right choice early on, and the demand of perfection regarding looks, competences, family life, morality etc. put a huge pressure on young people; some make it, others don't. Sure, I don't know exactly how it felt like being a teenager in the old days, but I think it was sort of the same. Of course, it was much more limited in possibilities and stronger in traditions, religion and expectations when it came to the sexes and their roles in society. This was a pressure as well, wasn't it? I'm certain many of our old Hollywood idols had trouble coping with the demands of their time, and that many of them also rebelled somehow or another, don't you think? 

Well, anyway, I don't think I could actually LIVE back then; I'm probably too free-spirited to cope with some of the very old-fashioned demands from that time (though time-travelling could be fun). Still, I admire how they conducted themselves and how they were dressed. Always classy, elegant or just nice and simple. Though I'm sure they had bad hair-days too, not to mention that some smoked like a chimney, drank like a fish, partied all night long and often swore under production (see some of the funny videos here on YT). They were after all humans, just like us (just better actors perhaps, hehe). ;) Yet, after so many years, they remain classics and immortal, and I don't know if we tend to glorify them just because of that, or if we feel bitter and think that everything was a lot better back then, or if it was because they actually gave us something so essential and distinctive that we would never forget it... Who knows? I just know that I'd be a whole different person, if I had never been introduced to classic Hollywood movies.

Sorry about the long answer -- it is hard to edit when you're passionate about something.
Still, I hope to hear from you again ;) Have a great week!

Yours sincerely,


Your answer was not weary at all.
It fascinated me. The points you brought up were quite interesting.
I know times back then weren't perfect and that some of the bad things happening today were happening back then.
But I still think young people today lack a sense of respect and selth-worth.
I must tell you, some of the things other girls at my school do shock me.
But at least back then, girls who did that sort of thing were seen as bad.
Not like today, where you're actually seen as a reject if you're not "up to no good."

Thank you taking the time to enlighten me :)

Thank you for your reply. I'm glad you liked my answer and found it interesting. :)

I quite agree with you - I also think that many young people today lack a sense of respect and self-worth, as you say. I too have experienced a lot of shocking behaviour from boys as well as (or mostly) girls my age, and I also think that the meaning of "being bad" isn't what it once was. Perhaps because of "the worse behaviour the better"-morality that the media sort of practise today. People can rise to fame just by exposing themselves on TV or on the Internet, and bad behaviour has been sort of legalized. And young people look up to it and imitate it! I find that very demoralizing and frustrating. How can you say what's right or wrong, when society (or perhaps mostly the media) doesn't distinguish between them?
Well, I don't know if this someday will take a turn for the better, but you can only hope.



Wow, you're so insightful and your views are completely right!
I couldn't said what you've said better.
Hopefully things will change for the better.

I'm really worried about my future children (if I have them).
Because even if you rasie them right, there's no protecting them from the filth that's all over television, magazines and even just on the streets outside.

Just a little illustration ;)
Cary Grant and Rosalind Russell in "His Girl Friday" (1940)

10 August 2012

Truly Misfits or Forever Legends?

Montgomery Clift, Marilyn Monroe and Clark Gable on the set of The Misfits

After having read (a couple of times too many) certain film reviewers arrogantly claiming that John Huston's "The Misfits" (1961) was an overstated, shallow movie, I decided I wanted to defend the movie. In writing. Not just because I felt personally assaulted (OK, mostly why, it being one of my favorites, after all), but also because I never understood why. Ironically, these critics or journalists or whatsoever never really left me any valid arguments for this attitude which made them appear just as shallow and trivial as their feelings towards the film were.

Still from the movie with Marilyn, Clark, Montgomery and Eli Wallach

But, but - being a child of sentimentalism and sarcasm, I often end up in too much verbal lashing or eye-rolling or some sort of gleeful behaviour when it comes down to arguing reasonably in matters of the heart (= a basic love for classics).

Luckily, I found this great post by a blogger (with way too few followers, in my opinion) who has written a terrific review of the film. Sadly, I had some trouble leaving a comment, so I thought I might as well pass it on here :)

Marilyn Monroe and Montgomery Clift on the set of The Misfits

PS (because I couldn't help myself...of course): This movie takes my breath away every time I watch it. I could seriously see it again and again, because it always brings something new; something you didn't see or discover the first time you saw it. There are always new meanings to be put in all its layers. Perhaps some find it too layered - or even too simple - yet you can't honestly call it shallow. Clark Gable wasn't just playing the actor Clark Gable in this film, nor did Marilyn Monroe just play Marilyn Monroe or Montgomery Clift just good ol' Monty. Neither of them were overstating or pulling themselves through the film with no energy or enthusiasm. It's quite the opposite, in fact. You can actually sense you've been given something precious; something of themselves, the real William Clark, the real Norma Jean and the real Edward Montgomery whoever they might have been. The authenticism is magnetic and you can't take your eyes of their faces. Everything they do and say seem so real and meaningful that you cannot abandon them as banal characters or pitiful actors trying to make a last attempt to a comeback. Even if most of these guys tragically died right after the finish of the film, having lived a tearsome, harsh personal life in and out of the media, it's what they do - as a 'one final act' - in this film and how their vulnerabilities, strengths, experiences and failures as human beings show more than ever and come alive through the screen. A final personal gesture. An autobiographic hint. So utterly human, clear, complex and understated. And for a fan it's a sorrowful feast to get to see this. You know and they know that the end is near. Maybe they or their characters - which they bond so magically with - didn't succeed in what they wanted, but they did live, if not as themselves then as an golden image, an existing illusion worth admiring - and remembering.

Clark Gable and Marilyn Monroe off camera.
Reportedly, Clark has just told Marilyn that he has become a father.

14 July 2012

Take the Time Machine: Join the Classic Hollywood Stars at a Fabulous Party

Do you know the feeling? A permanent state of mind that just doesn't wanna leave you? The same dream experienced over and over again? 

Sometimes I wish I could have experienced the good old days in Hollywood.

I wish I could take a time machine and go back and meet the stars from that time, like, Bogie, Jimmy and Ava or anyone else I'd happen to bump into. Just talking, dancing and laughing. Listening to their life stories and passions. Sharing dreams and thoughts and stuff like that - and just marvel in their presence..!

I've had this dream for a long time now - about my favorite classic icons, all from different decades joined together in one room - imagining how they would be talking and acting. Maybe even not so very far from how they act in the movies?

It's a silly fantasy, I know. It just has to be fulfilled, nevertheless. Somehow...
That's why I wrote it.

Presently, sipping martinis (shaken, not stirred) with Bogie and Bette Davis at “Rick's Café Américain”, dressed in a gold lamé evening gown and with a permanent wave, while William Powell and Myrna Loy are scampering about, trying to catch Asta, not noticing that the Marx brothers are making hilarious imitations of them. Not surprisingly, Carole Lombard decides to join in the rip-roaring chase. Meanwhile, Cary Grant is making daiquiris (and eyebrows) at the corner of the bar where a tipsy Marilyn Monroe is trying to seduce a stone faced Glenn Ford and Vincent Price; without much success as they’re more interested in watching Bing Crosby and Doris Day performing on the stage. Near the stage, Jean Harlow is leaning against the piano where Cole Porter sits, laughing loudly at one of Bob Hope’s jokes (Grace Kelly is hardly smiling, however) and The Andrews Sisters are getting ready for another swing number accompanied by a few quick dance steps from Ginger Rogers.

All the while, Lauren Bacall has been walking calmly around among the gentlemen trying to get some light for her cigarette, giving sultry looks, and Clark Gable has danced several dances with a now very tired Greta Garbo – which has not gone unnoticed by a scowling and pouting Joan Crawford who is serving drinks. She is pushed aside, because at this moment, James Cagney attempts to pick a fight with a puzzled Jimmy Stewart but is interrupted by Errol Flynn (in a very drunken state), only to be held back by John Wayne who patiently tries to calm down both gentlemen. Luckily, Marlene Dietrich goes on stage, now dressed in menswear, smoking her cigarette, and drawing all attention to her for a long moment.

Judy Garland is seen chatting animatedly with Charlie Chaplin and Olivia de Havilland at one of the many tables, and in the middle of the dance floor Douglas Fairbanks is swirling a giggling Ava Gardner around, while Jane Russell has a hard time trying to keep Henry Fonda concentrated on dancing the rumba. All evening, Lana Turner and Mary Pickford have been persistently hitting on Paul Newman and Rudolph Valentino, and it finally seems to pay off as the handsome guys start to react. Nobody really pays any attention to Peter Lorre who sneaks around along the walls, watching the guests with a suspicious look in his eyes. With some luck, he manages to dodge a champagne glass sent flying across the room by a hopping mad Rosalind Russell, originally meant for a baffled Rock Hudson, her apparently unsuccessful date for the evening. ‘He surely can do no wrong’, Julie Andrews remarks wryly to her fellow spectator in the shape of Alfred Hitchcock, who, in reply, calmly observes how much male attention the young, sparkling Vivien Leigh receives in this very moment. This goes unnoticed by a fidgety Claudette Colbert nearby who instead struggles to find her pack of cigarettes in her handbag and rolls her eyes when no one kindly offers her one of theirs. Gary Cooper, Robert Taylor and Maureen O’Hara are playing bridge in the corner of the room, while Laurence Olivier and Hedy Lamarr are their serious spectators (with Hedy once in a while commenting on the scientific methods of cardplaying and the statistics of winning). Sean Connery interrupts and joins the party and within a few minutes he’s proclaimed the winner of the game – much to his fellow players’ regret. At a game of pool Mickey Rooney has joined in together with Yul Brynner and Gregory Peck, each of them frowning, trying to figure out how good their opponents are at this game.

After a rocking number from Elvis; Fred Astaire and Gene Kelly perform a zippy tap dance to the number “Happy Feet” played by Glenn Miller and his band and get loads of applause. Katharine Hepburn’s significant laughter suddenly cuts through the heady sound of Louis Armstrong’s trumpet, and Rita Hayworth has for the eleventh time this evening received a rose from an unknown admirer. Jack Lemmon tries his luck as a bartender, despite persistent advice from Frank Sinatra not to, and it only ends up higgledy-piggledy when Ann Sheridan – by accident, of course – receives a strange mix of whipped cream, vodka and orange juice into her face. Sitting next to her, Barbara Stanwyck and Joe E. Brown are laughing their heads off while Barbara butts her twentieth cigarette in some of the whip cream on the bar counter. The Chordettes perform “Mr. Sandman” on stage, while a chipper Lionel Barrymore shakes a leg and hums along. Meanwhile, George Sanders and James Mason attempt with an almost fatherly approach to get Debbie Reynolds down from the tables, and Jean Arthur frantically tries to convince the head waiter that her expensive fur coat indeed has been stolen. Tony Curtis hits on every single lady in the room and even manages to scare away poor Joan Fontaine and get a slap in the face from a miffed Gloria Swanson, but is cut short when he bumps into a moody Shirley MacLaine who tells him to buzz off, and afterwards get a pat on the back and some female guidance from a worried Spencer Tracy.

At present, Tippi Hedren has a bit trouble with the bird theme decoration going on in the ceiling, yet (surprisingly?) Jimmy Durante is able to distract her, and Elizabeth Taylor is staring intently at Montgomery Clift’s face, hoping the hysteria didn’t get to him. In the meantime, Natalie Wood has triumphantly beaten all the boys in a game of dart, not noticing Walter Matthau laughing at the young men’s baffled expressions when she leaves. Burt Lancaster, Anthony Quinn and Kirk Douglas are discussing whether Hollywood will continue producing adventure films and film noirs - or whether they should consider a change of genre - and not far from them, by one of the windows, facing the starry sky stands Audrey Hepburn with a dreamy expression and a hint of a smile playing on her lips. She doesn't  pay attention to Robert Mitchum and Richard Widmark loudly discussing with each other who has been best at playing villain but are cut short when Edward G. Robinson approaches them, mildly suggesting them to be quiet, so that he can hear Peggy Lee and Ella Fitzgerald sing a duet, and offers them both a soda pop and a cigar to calm the nerves. Behind them Jean Simmons and Ingrid Bergman ask Cyd Charisse about the art of dancing in high heels and tight dresses, which William Holden cannot help to overhear. As he silently shakes his head, Marlon Brando joins him for a cigarette and eagerly starts talking about civil rights, drawing a silent Sidney Poitier into the conversation.  Out in the hall, Laurel and Hardy have some trouble finding their coats and hats, as the hatcheck girl is being occupied by a charming Dean Martin, and Kim Novak sidles past him, unnoticed. Nearby, James Dean and Greer Garson are trying hard not to laugh when Peter Sellers awkwardly stumbles over a box of champagne on the floor, manages to get up with a smile and back away, only to come across a box of caviar and fall again. Hardly anyone hears him apologizing and swearing silently, just as Don Ameche unsuccessfully tries to help him up from the floor and ends up falling too because of one of Anne Baxter's poodles has got in the way. Leaning calmly against a delicate statue, Buster Keaton is rolling his eyes at the scene in front of him. David O. Selznick and Jack Warner share resigned looks, simultaneously almost regretting inviting practically everybody to the party.

Apart from that, everything seems to go just fine.

… Or have I forgotten someone? ;)

07 April 2012

The Fashion of Ginger Rogers

Maybe not famously known for being a significant style icon, yet Ginger Rogers' light, cheerful and modest bearing  on-screen suited her style of clothing perfectly and vice versa. Especially when she easily tip-toed across the dance floor with Fred Astaire in feather-like dresses flowing around her - quickly and then slowly and then quickly again ... Well, that can't be described - you'll just have to see it in action!  It was always a slim, wearable and understated style worth noticing; girly and elegant without being too sexual charged, posh or overdone. And even pretty modern if you compare it to today's standard.

I believe she somewhat created a contrast to blond bombshell Jean Harlow who was very copied in the 1930s. Being able to keep up with Fred's quick steps, while coming across as a fresh and down-to-earth kinda girl, Ginger became the-girl-you-want-for-best-friend. Sure, in private she was (surprisingly) a conservative Republican, yet her demeanour on-screen never revealed that, maybe thanks to her brilliant dancing skills or equally good acting skills that happened to come along with the whole package. That girl was talented! :)

19 February 2012

A Revival of Something Retro

My current wishlist of some really great retro stuff ;)

Revival DAB radio from Roberts

TR82-DAB radio from BUSH

1940's burgundy suede silk bow tie shoes

Italian Bubetti shoes

Two beautiful Gilbert Adrian dresses:

By the way, just wanted to add this small list of my favorite movies and TV series about the roaring 1920's and simmering 1930's to get inspired by ;)
  • Chicago (2002)
  • Singin' In The Rain (1952)
  • Cabaret (1972)
  • Midnight in Paris (2011)
  • The Sting (1973)
  • Miss Pettigrew Lives for a Day (2008)
  • Bugsy Malone (1976)
  • The Cotton Club (1984)
  • The Artist (2011)
  • Some Like It Hot (1959)
  • The Untouchables (1987)
  • Boardwalk Empire (TV series, 2010-2014)
  • The Great Gatsby (2013)

    The Great Gatsby (Baz Luhrmann, 2013)


18 January 2012

Your Favorite Party Scene in a Movie?

Hello, hello :)  Have you spent the Holidays partying and celebrating Christmas and the New Year? Or have you spent the time snuggling into the couch between family or friends, eating sweets and watching great movies? Well, nonetheless, celebrating the dawn of 2012, I've listed - in my opinion - some of the best and most joyful party scenes in some of my favorite films below. Hope you'll enjoy them as much as I do!

1.      The noisy party in Holly’s small apartment in "Breakfast at Tiffany’s" (1961)

2.      The foamy party in ... "The Party" (1968)

3.      An unusual (or not?) graduation party in "It's a Wonderful Life" (1946)

4.      Where "The Thin Man" (1934) is - a party never goes wrong! Or at least not all wrong ...

5.     Once again a party that unintentionally ends up in the pool in "Down and Out in Beverly Hills" (1986)

6.      Christmas Eve with 'die ganze bucklige Verwandtschaft' in "Fanny and Alexander" (1982)

7.      Cake and confetti make the best kind of party in "Singin' in the Rain" (1952)

8.      Romeo's mind plays tricks on him at the Capulets' party in "Romeo + Juliet" (1996)

9.      Practically the entire film, "Father of the Bride" (1991), is about wedding preparations - and at the end, the wedding itself!

10.    A tea party out of the ordinary in Disney's "Alice in Wonderland" (1951)

11.      Satine’s feisty introduction in ”Moulin Rouge!” (2001)