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–Annmarie, Minoo & Josh for Classic Movie Hub


Ernest Borgnine: January 24, 1917 – July 8, 2012

It is with much sadness that I have to write this sentence…Ernest Borgnine, 95 years old, passed away on July 8, 2012 due to kidney failure. I haven’t had much exposure to him, seeing him in only four films, but he always stood out. The first movie that I had the chance to watch him in was his Oscar-winning role as the title character, Marty. I remember watching him in that role and I was blown away. It wasn’t an over-the-top role that required him to do too much; it was just a role of an everyday man who lived an everyday life, and he was able to play it with such ease and simplicity. Seeing how amazing he was as Marty has, to this day, been an influence on me to try acting. But that’s aside from the point. Borgnine has appeared in films such as From Here to Eternity, The Dirty Dozen, The Poseidon Adventure, Escape from New York, and The Wild Bunch. He would appear in the television series McHale’s Navy, playing the lead role of Lieutenant Commander Quinton McHale. He also had a recurring voice role in SpongeBob SquarePants as Mermaidman, which is silly to include but I have to admit that the episodes that have his character are hilarious because of him. In 2011, Borgnine completed his last film, The Man Who Shook The Hand of Vicente Fernandez, which should be coming out at some point later this year. I plan on watching this film whenever it comes out, and I plan on watching more of Ernest Borgnine when I get the chance, but it’ll be with a heavy heart knowing that he’s no longer with us.

Josh Kaye for Classic Movie Hub

Happy Birthday to Classic Movie Legend, George Cukor, born today, July 7 in 1899!

Woman’s Director. That is the title Hollywood bequeathed upon George Cukor, a title he of course resented. And, to be perfectly honest, I almost resent it, too. To call Cukor a “woman’s director” is to insult his craft because it wasn’t just women who benefited from his skillful coaxing.  All of his actors, both men and woman, had something to learn and something to gain (like, say an Oscar) from this man’s talent. And if you look at the numbers, he directed three men to Academy Award winning performances and only two women. Granted, he did direct 12 best actress nominations and only 8 for best actor. But who’s counting?  So, let us celebrate this so-called “woman’s director,” by paying attention to the before mentioned Oscar winning men.


james stewart and katharine Hepburn, the Philadelphia story, classic movie actress, george cukor

George Cukor directing Katharine Hepburn and James Stewart (in his award winning role) in The Philadelphia Story. (1940, George Cukor Director)


George Cukor (left) with Ronald Colman (right); Colman who would go on to win an Oscar for A Double Life. (1947, George Cukor, director)


George Cukor on set with Rex Harrison, winner of the Best Actor Oscar for the film My Fair Lady (1964, George Cukor director)


Minoo Allen for Classic Movie Hub

Where Is She Now?

Elaine Stritch was never one for the big screen, or the little screen, so a lot of her credits in those areas are limited. Since 2000, she has appeared in only 10 TV shows or movies. She made an appearance in two episodes of 3rd Rock from the Sun as Martha Albright, her first in the 1997 episode Dick-In-Law, and her second in 2001 My Mother, My Dick. 2005 proved to be a “busy” year for Stritch. She would appear in a supporting role in the romantic comedy Monster-in-Law, starring Jennifer Lopez and Jane Fonda. She would also make an appearance in the John Turturro directed film, Romance & Cigarettes, but it was a very minor role.

But there is one show where she has become very well known to us all of a younger generation: 30 Rock. She plays the absolutely hilarious and wonderful Colleen Donaghy, the mother of Jack Donaghy. In fact, in 2007, Elaine Stritch won a Primetime Emmy Award for Outstanding Guest Actress in a Comedy Series for the episode Hiatus. She would go on to be nominated again the next three years in a row. She is honestly one of the funniest characters in the show whenever she gets a chance to appear. I absolutely love her character and how much she is feared.

But while Stritch has been quiet in front of a camera, she still does her thing on stage. From November 7, 2001 to December 30, 2001, she had a one-woman show, Elaine Stritch at Liberty in New York’s Public Theater. The show was a summation of her life and career. It ran on Broadway at the Neil Simon Theatre from February 21, 2002 to May 27, 2002. And since 2005, Stritch has been performing a cabaret act at the Cafe Carlyle in New York City. It’s safe to say that she’s still got it. And for anyone who may miss Stritch, she will be lending her voice to the stop-motion animated film ParaNorman, which will be in theaters August 17, 2012.

Josh Kaye for Classic Movie Hub

Independence Day: Characters Count

The fourth of July has become somewhat of a bittersweet holiday for me, as of late. Although the birth of our nation was founded on inclusive, democratic ideals, the current climate of the American political system can be, well, downright depressing. Although I want to show patriotism for my country on the day of its birth, how can I celebrate the spirit of America when those in the public sphere are not exhibiting it? Well, I’ll tell you how: through the movies.  Yes, there are certain classic film characters that have stuck out in my mind as embodying the true sprit of America. Armed with integrity, a strong sense of democracy and a tenacious, spunky attitude, the following three classic movie characters all represent the best this young nation has to offer.


James Stewart as Jefferson Smith from Mr. Smith Goes to Washington:
American Integrity

At the start of the film, to call Jefferson Smith naive, is to call the kettle black. Of course he’s naive — that’s why he was chosen, so to speak. He so genuinely believed in the American Spirit, in the American Way, that it never even crossed his mind that the government, let alone a trusted friend and politician, could be rife with greed and corruption. His disillusion is something, in my opinion, that every observant, patriotic American citizen will one day endure. I only hope that we can all endure it with the same dignity and integrity as Jefferson Smith.

Much like the forefathers of the United States, Jefferson would not sit idly by and watch as corruption and lies ruled the American (or in the forefathers’ case, Colonial) landscape. To be honest and loyal to the people of a government — and not simply to the government itself — was of the upmost importance. So what did Mr. Smith do? Well, he fought for what he thought was right. He stood up to the government in its own building, surrounded by those whose biggest wish was to see him fail, and through the discourse of the American Spirit, reminded the most corrupt of the American people (the politicians), the meaning of what it is to be American.

“There’s no place out there for graft, or greed, or lies, or compromise with human liberties. And, uh, if that’s what the grownups have done with this world that was given to them, then we’d better get those boys’ camps started fast and see what the kids can do. And it’s not too late, because this country is bigger than the Taylors, or you, or me, or anything else. Great principles don’t get lost once they come to light. They’re right here; you just have to see them again!”


Gregory Peck as Atticus Finch from To Kill a Mockingbird:
American Ethics

To me, Atticus Finch (just like Gregory Peck) is seemingly too perfect to be true. Intelligent, compassionate, and oh-so gosh darned good looking, I can only wish a man that perfect, that dignified, could really exist. But, as of now, I am willing to accept him for what he is: a representation of American Ethics.

What always stuck out to me about Atticus was, not simply the fact that he was willing to defend Tom Robinson, but rather, what the trial meant to him. The trial was not simply a job; the fate of single man in a racist, small town. For Atticus, the case represented something more. He was not just fighting for the innocence of an individual; he was battling the precedent of an unfair, unjust legal system. He was fighting for the American people and arguing for the responsibility each American has for his fellow man. And even if the battle was uphill, even if failure was imminent, and we all know it was, that was not the point. The point was to do what was right; to work towards equality and democracy even if the outcome is already prescribed.

“In our courts, all men are created equal. I’m no idealist to believe firmly in the integrity of our courts and of our jury system – that’s no ideal to me. That is a living, working reality! Now I am confident that you gentlemen will review, without passion, the evidence that you have heard, come to a decision and restore this man to his family. In the name of GOD, do your duty.”


Judy Holliday as Billie Dawn in Born Yesterday:
American Tenacity

Stubborn, crass, with a great capacity for learning, Billie Dawn’s narrative arch is not unlike that of the United States. Kept as a prize by a larger domineering entity, the only thing the United States and Billie Dawn needed was a little education and a little push to break away from their oppressors.

The reason I chose Billie Dawn to represent American Tenacity, as opposed to another, how shall we say, more couth character, is because America isn’t always very couth — and I don’t consider that a bad thing. Billie is rough, Billie is tough, but most of all, when given a fair chance, Billie is smart. Her hard edge and simple disposition may fool those around her, but deep down, Billie is as capable of learning the highest concept of the American Ideals as any Harvard Graduate. And once she became aware of her own power, nothing could stop her.

“Because when ya steal from the government, you’re stealing from yourself, ya dumb ass.”


Minoo Allen for Classic Movie Hub

In Celebration of America’s Birthday today, July 4, 2012, I am sharing some of my favorite Classic Movie quotes about America and Americans!  

Here goes…


James Stewart in Mr Smith Goes to Washington, Frank Capra

You see, boys forget what their country means by just reading The Land of the Free in history books. Then they get to be men they forget even more. Liberty’s too precious a thing to be buried in books, Miss Saunders. Men should hold it up in front of them every single day of their lives and say: I’m free to think and to speak. My ancestors couldn’t, I can, and my children will. Boys ought to grow up remembering that.

 –James Stewart as Jefferson Smith in Mr. Smith Goes to Washington (Frank Capra, director)


Gary Cooper in Mr Deeds Goes To Town, Frank Capra

Oh I see a small Ohio farm boy becoming a great soldier. I see thousands of marching men. I see General Lee with a broken heart surrendering. And I can see the beginning of a new nation, like Abraham Lincoln said. And I can see that Ohio boy being inaugurated as President. Things like that can only happen in a country like America.

Gary Cooper as Longfellow Deeds in Mr. Deeds Goes to Town (Frank Capra, director)


Chico Marx and Groucho Marx in A Night at the Opera, Sam Wood, Edmund Goulding

How we happen to come to America is a great story, but I no tell that.

Chico Marx as Fiorello in A Night at the Opera (directors Sam Wood, Edmund Goulding/uncredited)

(pictured with Groucho Marx)


Marlon Brando in A Streetcar Named Desire, Elia Kazan, Tennessee Williams

What I am is 100% American. I’m born & raised in the greatest country on this earth & I’m proud of it. -Marlon Brando in A Streetcar Named Desire

Marlon Brando as Stanley Kowalski in A Streetcar Named Desire (Elia Kazan, director)


Bud Abbott and Lou Costello and Mari Blanchard in Abbott and Costello Go To Mars, Charles Lamont

I hereby claim Mars in the name of the United States of America.

Bud Abbott as Lester in Abbott and Costello Go To Mars (Charles Lamont, director)

(pictured with Lou Costello and Mari Blanchard)


Burt Ward and Adam West as Batman in Robin in Batman the movie 1966, Leslie H. Martinson

Underneath this garb, we’re perfectly ordinary Americans.

Burt Ward as Robin in Batman (1966; Leslie H. Martinson, director)

(pictured with Adam West)


Hugh Griffith, How to Steal a Million, William Wyler

 American millionaires must be all quite mad. Perhaps it’s something they put in the ink when they print the money.

Hugh Griffith as Charles Bonnet in How to Steal a Million (William Wyler, director)


Cary Grant, I Was a Male War Bride, Howard Hawks

If the American army says I can be my wife, who am I to dispute them?

Cary Grant (as Capt. Henri Rochard) in I Was a Male War Bride (Howard Hawks, director)


Cary Grant, Myrna Loy and Melvyn Douglas in Mr. Blandings Builds His Dream House, H.C. Potter

Every time you get tight you weep on my shoulder about the advertising business — how it forces a sensitive soul like yourself to make a living by bamboozling the American public. Well, I would say that a small part of that victimized group has now redressed the balance.

Melvyn Douglas as Bill Cole in Mr. Blandings Builds His Dream House (H.C. Potter, director)

(pictured with Cary Grant and Myrna Loy)


 Rex Harrison, My Fair Lady, George Cukor

There even are places where English completely disappears; in America they haven’t used it for years.

Rex Harrison as Professor Henry Higgins in My Fair Lady (George Cukor, director)


Walter Matthau, The Odd Couple, Gene Saks

He’s got 92 credit cards in his wallet. The minute something happens to him, America lights up.

Walter Matthau as Oscar Madison in The Odd Couple (Gene Saks, director)


America, Rita Moreno, West Side Story, Jerome Robbins, Robert Wise

I like to be in America, OK by me in America, everything free in America…

Rita Moreno (as Anita) and the Girls in West Side Story (directors, Jerome Robbins, Robert Wise)


Annmarie Gatti for Classic Movie Hub

Known more for her work on the stage than on the big screen, Elaine Stritch was born February 2, 1925 to Mildred and George Stritch in Detroit, Michigan. Born into a wealthy family, Stritch had the opportunity to pursue her dream of acting and train at the Dramatic Workship of The New School in New York City. Several other students of the prestigious Dramatic Workshop were Bea Arthur, Harry Belafonte, Marlon Brando, Tony Curtis, Rod Steiger, and Tennessee Williams.

Stritch made her stage debut in 1944, and in three short years was able to make her Broadway debut in the play Loco. 1947 would also mark her appearance in two other plays, Made in Heaven and the revue Angel in the Wings. As the years went on, her roles began to get bigger and better. While she was an understudy to Ethel Merman in Call Me Madam, she appeared in the revival of Pal Joey (1952). She would then star in the national tour of Call Me Madam, and was given a supporting role in the original production of William Inge’s Bus Stop.

It was in 1961, when Stritch starred in Noël Coward’s Sail Away, that she was “promoted over the title and given virtually all the best songs when it was reckoned that the leading lady … although excellent, was rather too operatic for a musical comedy.”(1) Throughout her time on the stage, Stritch became known as the singer with the brassy, powerful singing voice — and it wasn’t long before she became the toast of both Broadway and London’s West End.

When talking about Elaine Stritch, it’s essential to talk about her role in the British comedy series Two’s Company alongside Donald Sinden. Stritch played the role of Dorothy McNab, an American writer who lives in London and is famous for her sensationalist thriller novels. Sinder played the role of Robert, Dorothy’s English butler who disapproved of just about everything Dorothy did. The series thrived on the culture clash between these two characters. The show lasted from 1975 to 1979, and in total was nominated for four Britich Academy of Film and Television Awards (BAFTA): 1977 for Best Comedy, 1979 for Best Comedy, Best Graphics (for the opening credits sequence) and Best Light Entertainment Performance for the two stars, Stritch and Sinden.

Stritch never appeared in many films, but when she did make an appearance, she always seemed to be a small, but integral part, of a very strong cast. Early on in her career, she appeared in the 1956 film Three Violent People, which starred Charlton Heston and Anne Baxter. She then co-starred with Rock Hudson and Jennifer Jones in the David O. Selznick remake of A Farewell to Arms. A year later, she appeared in The Perfect Furlough co-starring with Tony Curtis and Janet Leigh. But her best performance, in my opinion, was in the film Providence, directed by French filmmaker Alain Resnais.

(1) Source: http://books.google.com/books?id=iQyQNfaIKXwC&pg=PA126&dq=Coward+%22Sail+Away%22&hl=en#v=onepage&q=Coward%20%22Sail%20Away%22&f=false

Josh Kaye for Classic Movie Hub

Happy Birthday to Classic Movie Legend, George Sanders, born today, July 3, in 1906!

The sophisticated and quite often ‘villainous’ George Sanders…


George Sanders as Addison DeWitt in All About Eve directed by Joseph L. Mankiewicz in 1950George Sanders in his Oscar winning role for Best Supporting Actor as the acerbic theater critic, Addison DeWitt, in All About Eve (directed by Joseph L. Mankiewicz 1950).

“I am Addison DeWitt. I am nobody’s fool, least of all yours.”
– George Sanders as Addison DeWitt


George Sanders, Joan Fontaine and Judith Anderson in Rebecca directed by Alfred Hitchcock 1940George Sanders as the despicable Jack Favell in Rebecca (directed by Alfred Hitchcock 1940) pictured above with Joan Fontaine as Mrs. de Winter and Judith Anderson as Mrs. Danvers.

“You know, old boy, I have a strong feeling… that before the day is out, somebody’s going to make use of that… rather expressive, though somewhat old-fashioned term ‘foul play’.” -George Sanders as Jack Favell


George Sanders in The Black Swan directed by Henry King 1942George Sanders as the blaggard pirate, Captain Leech, in The Black Swan (directed by Henry King, 1942).

“You’re under my cannon and I can blast you out of the water with a wink.”
– George Sanders as Captain Leech in The Black Swan


Annmarie Gatti for Classic Movie Hub





Elaine Stritch

Prominent Roles

The Scarlet Hour (1956) as Phyllis Rycker
Three Violent People (1956) as Ruby Lasalle
A Farewell to Arms (1957) as Helen Ferguson
The Perfect Furlough (1958) as Liz Baker
Providence (1977) as Helen Wiener
Two’s Company (1975-1979) as Dorothy McNab
September (1987) as Diane
The Cosby Show (1989-1990) as Mrs. McGee
An Inconvenient Woman (1991) as Rose
Law & Order (1992/1997) as Lanie Stieglitz
Small Time Crooks (2000) as Chi Chi Potter
3rd Rock from the Sun (1997/2001) as Martha Albright
Monster-in-Law (2005) as Gertrude
30 Rock (2007-1012) as Colleen Donaghy
ParaNorman (2012) as Grandma

Josh Kaye for Classic Movie Hub


Happy Birthday to Classic Movie Legend, William Wyler, born today, July 1, in 1902!

While in college, I read an essay called William Wyler, The Jansenist of Mise en Scene, by famed French film theorist Andre Bazin. And I must say, even though I was a fan of Wyler before, I realized I did not credit him enough as one of greatest and surprisingly unique directors.

In the essay, Bazin paints Wyler as a paradox in the world of classic film directors. Unlike his contemporaries such as John Ford or Alfred Hitchcock, his films are devoid of any aesthetic or thematic uniformity, while his story telling style differs from project to project. It is this very lack of consistent style, however, that Bazin argues creates the cinematic purity of a Wyler film. You see, rather than taking the liberty of infusing his own directing flare on the films he directed, like many of the Classic greats, he objectively looked towards the script’s source material to draw directing inspiration. By not limiting himself to what he found comfortable or even perhaps interesting, Wyler was able to improve on his craft on a film to film basis. To imitate his own past techniques would be to abandon the precise technique necessary to create an aesthetic and tone that fits the source material. By never imitating himself, Wyler’s strength as filmmaker came from his ability to transpose the style of his source material to film in a purely cinematic manner. This continuously developing form without continuity, this “style without style,” as Bazin calls it, is the very essence Wyler as a film making paradox.

So, on his birthday, let us celebrate this subtle but versatile director by looking at three films that remain true to their source material.


Bette Davis as Regina Giddens in The Little Foxes (1941, William Wyler director)


Dana Andrews, the best years of our lives, Classic Movie Acress, William WylerDana Andrews and Teresa Wright in The Best Years of Our Lives (1947, William Wyler director)


Gregory Peck, Roman Holiady. Classic Movie Actor, William WylerAudrey Hepburn and Gregory Peck in Roman Holiday (1953, William Wyler director)


Minoo Allen for Classic Movie Hub

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