“Top 23” Review: “Dirty Dancing”

I’ve got 23 favourite films: 10 from when I was a teenager and young adult, 10 from my adult years with a wife and kids and 3 ‘life-changers’ that hover over them all. I know these films inside and out and have lots to say about them. Journey with me as I try to explain why I love these 23 films and why I think they’re so appealing.

“Dirty Dancing” (1987) from Vestron Pictures — Starring Jennifer Grey, Patrick Swayze, Jerry Orbach and Jack Weston

We had a Jumbo Video where I lived. I had a membership. There was a time in my teenage years when I would rent movies from Jumbo; a lot of movies. For a time, I kept the receipts. I’ve always been a romantic. I think I can pinpoint part of the reason for this but its pretty heavy and pointless to get into. Suffice it to say that I have always been drawn to stories that depict a guy, a girl and love. I also love me a ‘shoot-em-up’, don’t get me wrong, but I have always been able to see the appeal in romantic films. Now, do I still seek them out? Absolutely not. As a happily married man, the goofy and heart-touching ups and downs of romance are far removed from where I’m at now so the ‘rom-coms’ and love stories of the last 20+ years appeal to me not one bit. But when I was young and single, I was fascinated by the stories about the many ways to fall in love.

I don’t remember exactly the first time I saw “Dirty Dancing”. If it came out in the theaters in 1987, then we can assume it was released on home video maybe 2-3 years later. Using this math, I must’ve rented it around, say, 1990, when I was 18. I immediately fell in love with it and, as soon as I was able, I added the VHS version to my growing movie collection. I’m sure you all know what it’s about 30+ years down the line but let’s run it down anyways.

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An iconic poster. Baby, Johnny and the “font”.

In the summer of 1963, sheltered Daddy’s Girl, “Baby” Houseman, vacations with her family in the Catskills at Kellerman’s resort. Her father, Dr. Jake Houseman, goes way back with resort owner Max Kellerman, who sets up his grandson, Neil, with Baby. While Baby is dancing with Neil on the first night, she spies ‘the dance people’; Penny and the handsome Johnny Castle. Baby befriends resort employee and Johnny’s cousin, Billy, who takes Baby to the off-limits-to-guests employees quarters where she observes the ‘dirty dancing’ of the title. Johnny expresses concern that a guest is among their number but playfully takes Baby in hand to teach her a few steps.

Meanwhile, Baby’s sister, Lisa, has caught the eye of Ivy League waiter and pre-med student, Robbie. Baby learns, however, that Penny – who is more like a sister to Johnny – is pregnant by Robbie. Penny wants to ‘deal with’ the situation but money is certainly an issue so Baby asks her dad for a loan, not telling him what it’s for. Billy explains that they can get a ‘doctor’ for Penny but the only appointment they can get conflicts with Johnny and Penny’s commitment to do their mambo number at neighbouring hotel, The Sheldrake. Baby, “Miss Fix-It”, suggests solutions, none that are acceptable. In the end, Baby is recruited to fill in and she and Johnny rigorously prepare to dance together and the number comes off OK.

Returning from The Sheldrake, Baby and Johnny begin to make eyes at each other but are interrupted by Billy, who says that the ‘doctor’ – more a butcher – has been and gone and Penny is in a bad way. Baby’s instinct kicks in and she runs to get her dad who attends to Penny but sees that Baby is somewhat involved with Johnny. Sizing up the situation, Dr. Houseman is disappointed in the apparent change in his girl and forbids her to associate with ‘those people’. Baby goes to see Johnny to apologize for the way Dr. Houseman treated him and she stays the night.

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Baby is cool. She is always in control. She takes the lead in Johnny’s cabin.

The next morning, a morose Jake tells his family he wants to leave but he is convinced to stay through the end of Labour Day to be involved in the end-of-season show. Jake engages with Lisa, much to her delight as she had been second to Baby in the past. Deceptively, Baby continues her relationship with Johnny, who reveals himself to be tenderhearted and tired of the divorcee guests using him for sex. Baby encourages him to change and to stand up for himself but Johnny gets upset when he and Baby have to hide from Dr. Houseman, who has been seen taking walks with Lisa and Robbie.

Baby overhears Johnny refusing one of his usual ‘customers’, Vivian Pressman, and is happy. Vivian, however, is not. She shacks up with Robbie and the two are discovered by Lisa. In the morning, Vivian sees Baby leaving Johnny’s cabin and frames Johnny for stealing her husband’s wallet. Baby defends Johnny to Max Kellerman in front of her family, saying Johnny could not have stolen the wallet at the assumed time because, at that time – the middle of the night – she was with Johnny in his cabin. Dr. Houseman is saddened by this news but Baby explains to him that she is sad, too, because her father has revealed his shortcomings in the form of a somewhat condescending attitude towards people who are not ‘like him’.

Johnny tells Baby that he has been cleared of the wallet theft but fired anyways for fraternizing with a guest. They share a tender goodbye and Baby is consoled by her sister. At the end-of-season show, Johnny returns. He interrupts the proceedings and tells the crowd that – as he has always done – he will end the season with a dance in a style favoured by him and his friends – his way. Jake realizes Robbie is a rat and Johnny is an OK guy and he fixes things with both young men. Baby and Johnny dance and the guests at Kellerman’s end the summer in thrilling fashion.

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In obvious symbolism, Baby succeeds at the end. She has navigated the waters and is now free to soar.

Some people have one movie in them, one story. Such is the case with Eleanor Bergstein. “Dirty Dancing” is mostly autobiographical. Bergstein grew up vacationing in the Catskills with her mother, her doctor father and her older sister. While her folks played golf, Bergstein was dancing, however in this respect she was more “Johnny” than “Baby”. She was a ‘mambo queen’ and entered ‘dirty dancing’ contests. Here’s where my eyebrows go up a bit. Being a mid-century guy, I have a familiarity with not only the films and music of the ’50’s and ’60’s but also cultural and societal things and, in my travels, I have never run across the mention of ‘dirty dancing’. I have no doubt that such dancing existed and was referred to as such it’s just that I haven’t heard of this from any other source.

During university, Bergstein was a dance instructor at Arthur Murray studios and then she married and turned to writing. A novel (“Advancing Paul Newman”) and a screenplay (“It’s My Turn”) were poorly received. During production of “It’s My Turn” – which starred Michael Douglas – producers cut a provocative dance number from her story which inspired her to document the dancing she remembered so fondly. She began to write her ‘personal story’, the story of her youth and she started with the music she loved as a teenager. Another of my “Top 23” films is George Lucas’ “American Graffiti”, which is also a personal story of youth. Bergstein wrote her screenplay the same way Lucas did – with a stack of 45’s at her side, the songs forming the skeleton of the scenes she was creating.

Like so many other legendary films, Bergstein’s script for “Dirty Dancing” was rejected by several studios until it landed at the tiny Vestron Pictures, who’s major interest was home video distribution. The project eventually got green-lighted and Bergstein and her producing partner, Linda Gottleib, began assembling their team. For a director they chose Emile Ardolino who had won an Academy Award for a documentary but had never directed a feature film. Another key piece was choreographer Kenny Ortega. Ortega got his start working with Gene Kelly on “Xanadu” (1980) and gained career momentum choreographing for films such as “St. Elmo’s Fire” (1985) and “Ferris Bueller’s Day Off” (1986) and directing music videos. Ortega choreographed Billy Squier’s video for “Rock Me Tonite” (1984), a video that has been cited as one of the worst in history and one that is considered to have ended Squier’s career. Kenny also directed the video for Styx’s polarizing “Mr. Roboto”, a video that some fans claim “killed Styx”. These two blemishes aside, Ortega is a choreographer of note in Hollywood and has worked on multiple Michael Jackson tours, Super Bowls and Academy Awards telecasts. He also directed and choreographed the “High School Musical” trilogy.

Filming took place in two locations – neither of which was the Catskills. The “Borscht Belt”, the colloquial name given to the string of hotels in the Catskill Mountains in upstate New York catering to Jews from New York City, is no more so stand-ins had to be found. Lake Lure, North Carolina has one of the most beautiful man-made lakes in the world and was used for scenes depicting the staff’s cabins, the “log” scene and the famous “water lift” scene. To this day, Lake Lure hosts an annual “Dirty Dancing Festival” which features dance lessons, watermelon carrying and a lake lift competition. Other scenes were shot in Virginia at Mountain Lake. Here we see the beach, the Houseman family’s cabin and the Mountain Lake Hotel Resort that stood in for Kellerman’s. Mountain Lake turns itself into “Kellerman’s” four weekends a year for “Dirty Dancing-themed Weekends”.

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One of the highlights of the “Dirty Dancing Festival” in Lake Lure, NC is the Friday night outdoor screening of the film.
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Travel to the Mountain Lake Hotel Resort in Virginia where you can see the hotel that stood in for Kellerman’s and the cabin where Baby and her family stayed.

Cast as 17-year-old Frances “Baby” Houseman was 26-year-old Jennifer Grey. Grey is the daughter of Academy Award-winner Joel Grey who was initially chosen for a role in “Dirty Dancing”. Jennifer had previously appeared in “Red Dawn”, “The Cotton Club” for Francis Ford Coppola and “Ferris Bueller’s Day Off”. Jennifer was a trained dancer who possessed a sweetness that was essential for portraying the innocent Baby. Grey was nominated for a Golden Globe award for her role and her career is defined by it. While Billy Zane had tested for the role of Johnny Castle, 34-year-old Patrick Swayze was ultimately chosen. In screen tests interacting with Grey, Bergstein was blown away by their amazing chemistry. Previously, Swayze had made notable turns in “The Outsiders” and “Red Dawn”, also featuring Grey. The role of Penny Johnson, Johnny’s dancing partner, went to Cynthia Rhodes. Rhodes was much more a dancer than actress who had previously danced in “Xanadu”, “Flashdance” and “Staying Alive”. After “Dirty Dancing”, Rhodes gave up acting to concentrate on her family, husband Richard Marx and their three boys.

Tony Award-winner Jerry Orbach portrayed Baby’s father, Dr. Jake Houseman. Orbach had been a Broadway actor and singer of some note. He was the first performer to sing the standard “Try to Remember” and had released an album in 1963. Orbach would go on to achieve international fame and admiration for portraying Det. Lennie Brisco for 12 years on television’s “Law & Order”. Jack Weston played hotelier Max Kellerman, an amalgam of the type of regal hotel owner prevalent in the Catskills at this time. Weston brought with him hundreds of credits and a Golden Globe nomination. He appeared in “Please Don’t Eat the Daisies”, “Palm Springs Weekend”, “The Cincinnati Kid”, “Wait Until Dark” and “The Thomas Crown Affair” among many other credits including a notable “The Twilight Zone” episode, “The Monsters are Due on Maple Street”. And watch for Wayne Knight who, in his first credited film appearance, has a few scenes as “Stan”. (Significantly for me, his only previous film appearance was playing an uncredited waiter in 1979’s “The Wanderers” – another film in my “Top 23”)

The coming together of the cast and crew to create this legendary film was truly serendipitous. The team that was assembled – behind the camera as well as in front of it – created magic this one time. Most of the principles were never able to recreate their success here. Patrick Swayze, as we all know, became a star of the highest magnitude. His star turns in “Road House”, “Ghost”, “Point Break” and other films endeared him to fans the world over. Perhaps more importantly, he was, by all accounts, a pretty good guy as well. Sadly, he died of pancreatic cancer in 2009, aged 57. Jerry Orbach, as we’ve seen, went on to greater fame as Lennie Brisco. However, most of the principles involved with the film were not able to capitalize on the movie’s success.

Eleanor Bergstein had just the one story to tell; her own. The creator of “Dirty Dancing” has not worked again on an entity that isn’t related to this story based in part on her life. Director Emile Ardolino went on to direct only minor films like “Three Men and a Little Lady” and “Sister Act” and sadly died of complications from AIDS in 1993. Everybody loves Jennifer Grey. We always will. Truth be told, though, she was not able to turn her Golden Globe-nominated turn as Baby into a productive Hollywood career. A few weeks before the release of “Dirty Dancing”, she was in a car accident. Her boyfriend, Matthew Broderick, was at the wheel and the mother and daughter in the other car were killed instantly. Grey has said that her physical injuries coupled with her ‘survivors guilt’ made it difficult for her to enjoy her success. She famously underwent two rhinoplasty procedures that rendered her unrecognizable and all but ended her career. Max Cantor played skunk Robbie Gould. He made one more film before turning to journalism. While researching addicts in New York City, Cantor freebased cocaine and became a heroin addict. He died of an overdose in 1991, aged 32. Cynthia Rhodes, Jane Brucker (“Lisa Houseman”) and Lonny Price (“Neil Kellerman”) never really acted again but research shows that as basically a choice of theirs; they went on to other things. Neal Jones, who I thought was cool as “Billy”, guested on random television shows and was invisible in a dozen movies – albeit 4 with Al Pacino (?!) – before dropping off the face. Jack Weston and Charles “Honi” Coles (“Tito Suarez”) both passed away, although aged 71 and 81, respectively.

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“I’m not sure who you are anymore”, Baby’s father once said to her. Imagine if he’d seen her after her rhinoplasty.

Music can account for a great deal of a movie’s charm and appeal. An effective score, yes, can be an asset to a picture but a period piece like “Dirty Dancing” relies heavily on carefully selected songs from the past. I mentioned earlier that Eleanor Bergstein wrote this film from her personal experiences and used her old 45s as a starting point. I mentioned that George Lucas wrote “American Graffiti” the same way and it bears repeating. Lucas invented the idea of loading a film with old songs, something that became commonplace and with his “memoir film” it is fitting. We all have memories of significant times in our lives. Oftentimes, these memories can be triggered when we hear a particular song. Certainly, music has the ability to transport us directly back to a certain time and place and if you’re writing a story about the past then music is invariably going to play a huge part. This is definitely the case with “Dirty Dancing”; after all, the essential elements for dancing are at least one human body – and music.

Bergstein has made a point of separating the songs of her youth into two categories; ‘dirty dancing’ songs and ‘clean teen’ songs. For example, the film starts with the iconic Phil Spector “Be My Baby” by the Ronettes. Bergstein states that, in her youth, this was the type of song that the kids would save to listen to when they were alone with people their own age. To this type of song, they could dance the way they wanted to. Next up as the film begins is “Big Girls Don’t Cry” by the Four Seasons. Here was ‘cleaner’ (‘whiter’?) music that you could listen to in the car with your parents. I suppose a third category would be the Latin mambo and merengue music that was danced to in the Catskills of the era and that is featured in the film.

The “Dirty Dancing” soundtrack – two volumes, actually – sold incredibly well. The initial album sold 32 million copies and spent an incredible 18 weeks at #1. It is one of the five best-selling soundtracks of all-time. Jimmy Ienner was placed in charge of selecting the music; he took on the role of “music supervisor”, the job that George Lucas had created – and did himself – with “American Graffiti”. The soundtrack helped spark a renewed interest in “oldies” but, in what was a brilliant part of it’s mass appeal, contained new music that became iconic. The main theme to come out of the film was “(I’ve Had) The Time of My Life”, a song that went to #1 on many charts and in many countries. Upon initial release in the UK, the song went to #6. Four years later, when the film was played on television in that country, it re-entered the charts and went to #8! The song, sung by Bill Medley – one half of the Righteous Brothers – and Jennifer Warnes, won an Academy Award, a Golden Globe and a Grammy.

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The fifth biggest-selling soundtrack of all-time. Only outsold by heavy hitters like “Purple Rain” and “The Bodyguard”.

The song has it’s origins in an obscure ’80’s band called Franke and the Knockouts. Lead singer and songwriter, Franke Previte, was approached by Jimmy Ienner to write music for “Dirty Dancing”. Previte was hesitant as he was still trying to make it as a performer. He finally acquiesced and wrote “Time of My Life” with two other writers. Bill Medley was approached repeatedly to record the song but Medley was awaiting the birth of a child and didn’t want to commit. Warnes was approached and said she would only do it with Bill. Medley and Warnes were able to get together after the birth of Medley’s child. It has become one of the best-loved motion picture songs and is one of the songs most often played on the radio. The song is the perfect companion to the emotional ending of the film.

Patrick Swayze really could do it all. Act, dance, fight, rip your throat out and not only write songs but sing them, too. He contributed a three-year-old song he had co-written called “She’s Like the Wind” which was recorded with singer Wendy Fraser and included on the soundtrack. Startlingly when you think about it, the song reached #3 on the charts, #1 Adult Contemporary. Patrick Swayze has charted a song as high as #3 on the Billboard Hot 100 chart. That is higher than any song charted by the likes of Van Morrison, Eddie Money, Alice Cooper or Chris De Burgh.

Eric Carmen was given “Hungry Eyes” to sing. Once again, here was a song that Franke Previte had written and recorded with his band in 1984. Ienner had worked with Carmen when Carmen was lead singer of the Raspberries and called on him to lend his vocal talents. Carmen was hesitant but eventually recorded the song. It became another popular song from the soundtrack and peaked at #4. Two other songs from the soundtrack are personal favourites of mine. “Overload” is a great late-’80’s pop/rock song from Alfie Zappacosta. How a song from an obscure Canadian singer ever ended up on this soundtrack I’ll never know. “Where Are You Tonight?” is a nice tune performed in the style of early ’60’s R&B. It took me awhile to confirm that it was actually Tom Johnston from the Doobie Brothers that sang it. It doesn’t sound like him to me and I was skeptical that it was the same Tom Johnston but it is.

The “oldies” on the soundtrack also add greatly to the charm of the film. And in turn a much deserved light was shone on this music and a lot of the songs re-entered the public consciousness. “Be My Baby” has long been heralded as one of the finest songs from the era and has become iconic. “Stay” by Maurice Williams and the Zodiacs is what I call one of the “pillars” of this era. A number one song in it’s time, it is the shortest song to ever reach the top of the charts. “Hey! Baby” by Bruce Channel is the perfect lighthearted back drop to Baby and Johnny dancing on that log. It was this song that inspired John Lennon to learn the harmonica. “Love is Strange”, “Love Man” and “Cry to Me” had prominent positions in the film. “Do You Love Me” is an early Motown classic written by the label’s founder, Berry Gordy, Jr. It was a Top 10 hit when originally released in 1962. Amazingly, owing to it’s use in “Dirty Dancing”, it re-entered the charts 25 years later and reached #11! It is one the few songs from the classic era to perform well on the charts again years after it’s release.

“Dirty Dancing” has something in common with other legendary films. When the film was finished shooting and was edited together, no one liked it. Because Vestron, the company that made the film, was primarily concerned with home video, it was initially thought that after a brief run in the theaters it would go straight to home video. One producer even suggested burning the negative and collecting the insurance (there were those who suggested burning the negative of “Citizen Kane”, as well). Promotion of the film floundered as well as a corporate sponsor that would put it’s money and it’s product to work promoting the film could not be found. The acne product Clearasil was on board for a time until they found out that abortion was a plot point and they pulled out. Bergstein’s partner, producer Gottleib, began to wonder if the film would be released as opposed to when. Of course, it was eventually released to theaters and gradually, through word-of-mouth and a few positive reviews, it gained momentum and became a huge success. It won an Academy Award and a Golden Globe but more than that it became a true fan favourite, adored by millions. Many ‘bit players’ were able to dine out on it for years as part of touring companies singing songs from the soundtrack and dancing to them. Stage shows, a ridiculous and pointless ‘prequel’ and a live television event followed. Catch phrases from the film entered the popular lexicon: “I carried a watermelon”, “Nobody puts Baby in a corner”. Poor Vestron, though. They thought they could recreate this success but released flop after flop and went bankrupt only two years later. The film itself, though, has grossed well over $214 million and has the distinction of being the first film to sell a million copies on home video. I know I had it on VHS.

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You know you’re iconic when…

I think I’ve made a good point that there is a lot of “story” to “Dirty Dancing” and it is no accident that this story takes place in August of 1963. The opening narration even makes the point that this is a time of innocence; not just in Baby’s life but in all of American society. I have always insisted that ‘the fall’ began in September of ’63 when “Leave It to Beaver” was cancelled. That show was the epitome of (the ideal of) family life of the era. Then, it’s yanked off the air and two months later, JFK is shot and then three months after that, the Beatles land in America and nothing would ever be the same.

When you consider what happened to Frances Houseman – and to Johnny Castle – that summer it takes on mythic proportions. The story of ‘coming-of-age’ – transitioning from childhood to adulthood – is a dramatic story, one that is ripe with plot points. Baby comes of age before our eyes and it is tender and beautiful. And she has been in control of her pivot and has navigated it with her moral compass. Her entree into adulthood has been successful and this will inform the rest of her life. Comparatively, we see that Johnny has already had his pivot point and it was corrupt and has lead him down a destructive path.

Baby has been courageous. She has stayed true to herself. She has suffered, yes. She has fallen in her father’s eyes but his failings have been revealed to her, as well. But she accepts these revelations about her father and deals swiftly with any illusions she had about him. She has also brought about great change in Johnny’s life. Through Baby, Johnny has encountered fortitude, optimism and integrity. Meeting Baby has set him on a new path. But let’s face reality; there is no way that Baby and Johnny stay together. They are two different people going in different directions. Each will remember the other always. Each will look back on this summer and remember that this was the time that everything changed – and each will recall the other as a true catalyst of that change in their lives. Knowing that they do not stay together does not diminish your appreciation for the film. In fact, your appreciation grows once you accept and understand that this is not the ‘origin story’ of their relationship. This is their relationship in it’s entirety.

Scholars have found in “Dirty Dancing” comparisons to some of the world’s greatest literature. This film, they suggest, contains the same idea of ‘the journey’ that lies at the heart of “The Odyssey”, for example. Baby – and she does start out as a baby – goes on a journey, a journey we all take, that from childhood to adulthood. Her story contains a lot of the tropes of the epic journey; she starts in innocence but acknowledges the need to progress, she journeys to a mountain where she encounters a ‘castle’, she crosses a bridge to a forbidden place and she suffers which is, of course, the only way to gain wisdom.

But all this heaviness aside, I think the film’s biggest appeal lies in it’s glorious intangibles; those wonderful things that are hard to define but simply make you feel good. I’ve always felt it was significant that the lyric is “I’ve had the time of my life”. Colloquially, it is saying ‘this has been fun’. But philosophically; this has been the moment that will define who I am for the rest of my life.

 

 

 

 

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The Ping Girl: The Story of Carole Landis

“Moon Over Miami” is one of my favourite films. Many years ago, I decided that I wanted to collect as many classic films as I could. In Canada, our version of the television channel Bravo would often show old movies and I would tape them. Y’know? With my VCR? One of these movies I taped was “Moon Over Miami”. A Technicolor musical from 20th Century-Fox in 1941, it starred Robert Cummings, Betty Grable, Don Ameche and Carole Landis. I fell in love with the film although I realized, much to my surprise, that I could not, for the life of me, see what was so appealing about Betty Grable. I loved the movie for Robert Cummings, mostly, and his interesting interaction with the charismatic Don Ameche. Also, I adore these old ‘travelogue’ movies of the ’40’s. They celebrate the places they go in a wonderful way and you get a great ‘moving postcard’ look at these places in the classic era.

Carole Landis was the second female lead in “Moon Over Miami” and, because of my repeated viewings of the film, I got to ‘know’ her well. Then, this spring, I saw her in “Behind Green Lights”, a film noir from 20th Century-Fox in 1946. I have what I call “Seasonal Interest Syndrome”; I gravitate towards certain films/genres at certain times of year. Springtime always finds me watching film noir. I searched YouTube and found “Behind Green Lights” and noticed that Carole was in it although I really didn’t recognize any other of the performers. Carole is top billed and the male lead is played by William Gargan. Gargan was a movie, radio and television actor who eventually developed throat cancer and had to have his larynx removed. He died in 1979, aged 73, on a flight from New York to San Diego.

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Carole had stated that making “Behind Green Lights” for Fox in ’46 was her least favourite experience making a film.

“Behind Green Lights” is a fine film but what really struck me was how Carole looked. She didn’t look like she did in “Moon Over Miami”, 5 years earlier. So, I looked her up. What I found was fascinating.

Carole was born Frances Lillian Mary Ridste in 1919 in Wisconsin. The family moved to San Bernardino when Carole was 4. Coming from a broken home, Frances changed her name – an homage to her favourite actress, Carole Lombard – and, at the age of 15, dropped out of school and set her sights on a career in Hollywood. By all accounts, she was a star-struck youngster.

She appeared as an extra in the original “A Star is Born” and made several B westerns. Her shapely figure opened doors in the modelling world and she appeared in numerous cheesecake photographs. Her appearance in “One Million BC” in 1940 made her a star. She appeared as cave girl Loana in the Hal Roach film that was remade in 1966 as “One Million Years BC”. In that version, Raquel Welch took her iconic turn as Loana. Carole’s scantily-clad performance prompted one press agent to dub her “The Ping Girl” because “she makes you purr”.

Her success in “One Million BC” lead to many other second lead roles in successful films – including “Moon Over Miami” – and also brought her to the attention of Darryl F. Zanuck. Zanuck was a film mogul of the first order. He began writing scripts for silent films before going to work for Jack Warner at Warner Brothers. In 1933, he left Warner Brothers and started 20th Century-Fox. Carole was signed to Fox and during 1940 and ’41, began a sexual relationship with Zanuck, who was known in Hollywood for his conquests almost as much as his film making. Indeed, the married Zanuck had something of a system in place for his canoodling. Every day at 4:00PM, business was put aside and an aspiring starlet appeared in his office through a series of clandestine tunnels. This ‘secret’ arrangement was known to everyone in Hollywood. It has been said that, to Zanuck, the numerous young girls were simply a diversion in a hectic day; “(they were) like polo, lunch and practical jokes”. The term “casting couch” was coined by Variety in 1937 to describe the type of abuse of power that Zanuck and others were engaged in.

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You really should read up on Darryl F. Zanuck. There is SO much story to his life.

This was the man Carole fell for. As an up-and-coming star of 21, who felt that happiness was beautiful clothes, fine dining and the attentions of a powerful man, her relationship with Zanuck must have seemed to her like the attainment of all her dreams. Little did she know that Zanuck was never serious about any woman and, as he went off to serve in the Army Signal Corps at the end of 1941, he forgot Carole completely. Not surprisingly, at the same time the quality of the roles offered to her declined as did her career.

Carole, however, had been around the block a few times by the time she had her fling with Zanuck. By 1940, when her affair with the mogul commenced, she had been married 3 times, the first of which occurring when she was 15 years old. Carole was 14 and Irving Wheeler was 20 when they started dating. No doubt that this is an early example of Carole’s grasping for happiness and she welcomed the romantic nature of a relationship with an older man. The two eloped two weeks after Carole’s 15th birthday. Carole had lied about her age and did not have her parents consent so when her mother found out about the marriage it was quickly annulled. But it must’ve been the ‘real thing’ because as spring that year turned to summer, the two lovers married again, this time with Carole’s father’s consent. This second go-round actually lasted longer than the first; Carole walked out on her husband – they “had an argument” – after three weeks. Irving Wheeler changed his name to Jack Robbins and wound up in Hollywood. He ended up with only two infinitesimal acting roles – however, one was in “Citizen Kane” (“newsreel man”).

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In many ways, Carole Landis was the quintessential Hollywood “dish”. She enjoyed the “starlet” lifestyle.

In June of 1939, choreographer and director Busby Berkeley proposed to Carole but the two did not marry. Husband number two (or three) was yacht salesman Willis Hunt. Hunt proposed two weeks after they met and in the summer of 1940, the two eloped – three marriages, still no wedding. Hunt soon became abusive, however, and Carole walked out after two months of marriage. Carole said of their brief union that she had been “so happy, so ecstatic, so delirious” until Willis had revealed his true nature. Oddly, the two remained friends. Sadly, Willis Hunt was stabbed to death in 1969 by his wife who claimed self-defense as Willis was being abusive towards her. The last Mrs. Hunt was found not guilty.

The amazing Mr. Gene Markey appears in Carole’s story here in 1941 when Gene and Carole became engaged. Mr. Markey had been married to Hedy Lamarr, one of the most beautiful women to ever live. Carole and Gene were never wed and Mr. Markey would go on to marry Myrna Loy. Hedy, Carole and Myrna? Who was this Mr. Gene Markey and what power did he have over the most beautiful women in old Hollywood?

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Plain, ol’ Gene Markey. What was it that kept this man in the good graces of the most desirable women in Hollywood?

In September of 1942, Carole embarked on an extensive tour with the USO. Joining with Kay Francis, Martha Raye and Mitzi Mayfair, Carole travelled to England, Bermuda, Africa and Ireland entertaining the troops. During their time spent together, bisexual Kay Francis developed a crush on Carole. Carole was approached by Random House and asked if she would care to turn her experiences with the USO into a book. Carole agreed and proceeded to add author to her resume. Months before her book was even published, “Four Jills in a Jeep” was turned into a film musical for Fox. The four girls played themselves and Dick Haymes made his film debut. Carole was ultimately upset that the film was a mostly fictionalized account of their USO tours.

Four days after her 24th birthday, Carole married an American pilot in the Royal Air Force’s American Squadron, Capt. Thomas Wallace. True to form, this relationship fit in with Carole’s pursuit of storybook romance. Wallace proposed to her on their first date and they were married less than two months after meeting. With the Catholic ceremony held at a church in England, Carole finally got her proper wedding with Kay Francis among those in attendance. Also true to form, though, the marriage got off to a rough start. The newlyweds were denied a honeymoon as Capt. Wallace was stationed overseas. Poor Carole was quoted as saying that she wanted “a wonderful marriage and children” but the two were at odds over Carole’s career. Wallace “hated” her Hollywood lifestyle and wanted her to give it up and become a housewife. Their marriage began to fall apart and Carole attempted suicide. Although Carole always considered Tommy the love of her life, they divorced after roughly 22 months of marriage. Tommy remarried but would take his own life in 1968.

With the lack of success achieved by “Four Jills and a Jeep”, Carole’s film carer was on the wane. As is often the case in these situations, Carole turned to Broadway, appearing in a musical called “A Lady Says Yes” which featured two numbers from Carole singing songs from the score written by Gershwin sibling Arthur. Her co-star in this show was future novelist Jacqueline Susann, who would go on, in 1966, to write the scandalous novel “Valley of the Dolls”. Susann based the character of Jennifer North on Carole. When the novel was turned into the sensational film, Sharon Tate would portray Jennifer. While they appeared together in the short-lived “A Lady Says Yes”, Carole and Jacqueline had a romantic relationship.

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On paper, Carole’s marriage to Horace Schmidlapp may not have made sense. Think Marilyn Monroe and Arthur Miller.

Carole and Capt. Wallace were divorced in 1945. Later that year, Carole went to the altar again; it was her fourth husband, fifth wedding in 11 years. This time it was William Horace Schmidlapp from a wealthy Cincinnati family. Jacqueline Susann introduced the two in the spring of ’45, perhaps before Carole’s divorce from Capt. Wallace was final. A mere 8 months later, the two were married. Again, Carole was romantically optimistic and hopeful, stating that in Schmidlapp she had found “the ideal husband”. The newlyweds built a nursery in their Pacific Palisades mansion but soon found that Carole could not conceive. As somewhat of an additional sadness in her pursuit of perfect family and marital bliss, Carole suffered from endometriosis. Carole was faced with her sister having four healthy children and was also stricken every time she saw a woman with a baby. The glamourous Hollywood actress wished often that she could trade lives with ordinary housewives.

It was around this time, 1946, that Carole made the film noir I mentioned at the outset, “Behind Green Lights”. I also mentioned that the whole genesis for this article was the fact that Carole looked so different in “Green Lights” compared to the way she looked in “Miami”. I wondered if she’d had cosmetic surgery or a car accident or something. Well, the mystery persists because I learned that, yes, Carole DID have a nose job – but she had it in 1940, six years before “Green Lights”. So – and this is poor reporting, I know – I still have no idea why Carole doesn’t look like Carole to me in “Behind Green Lights”.

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On the left is “Moon Over Miami” (1941). On the right, “Behind Green Lights” (1946). I dunno, is it her eyes? She just looks different to me.

At the outset of her marriage to Schmidlapp, Carole was quoted as saying that now, finally, she had everything she wanted, including “the feeling of deep security which will ensure a permanent future”. She said she was planning an additional home in the east from which she would commute for her film assignments. And still she mentioned children; three, she hoped. But it seems contentment was not to be for Carole Landis. Despite the grand pronouncements of her happiness, after a mere 18 months she became disillusioned with her marriage and began an affair with actor Rex Harrison. She finally filed for divorce in March of ’48.

By the summer of 1947, Rex Harrison had been seen in “The Ghost and Mrs. Muir” and “Anna and the King of Siam”. He was a popular and successful 39-year-old actor from Lancashire, England who had been married to German actress Lilli Palmer for four years. It was during her separation from Horace Schmidlapp that Carole fell hard for Rex. He was erudite, urbane and a gentleman. As was Carole’s wont, she began to envision an idyllic life with Rex. She decided that he was her new ideal.

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Rex exemplified Carole’s ideal: older, classy and a part of the film industry scene Carole loved.

It is the summer of ’48 and for the past year, their affair is an open secret in Hollywood. They are together often and Carole has hosted many parties at her Pacific Palisades home at 1465 Capri Dr. that Rex has attended. Carole had a love for holidays and the 4th of July was no exception. Carole threw a pool party on that day for a dozen friends. She announces to her guests, however, that they will have to leave early as she is having dinner alone with Rex; it is the seventh consecutive evening they spend together. Carole and Rex enjoy cocktails and then a light dinner. It is surmised that the two engage in yet another discussion of when or, indeed, if, Harrison will leave his wife and marry Carole. Apparently, Harrison refuses to end his marriage, he and Carole argue and their relationship is ended.

Harrison says later that he leaves Carole’s home at 9PM, though others say he leaves much later. Rex Harrison is the last person to see Carole alive. He goes to his friend, Roland Culver’s house nearby while Carole continues drinking to ease her pain. One can easily assume that, by this point in her life, she is more than heartbroken; she is broken. From a young age, she had always been a dreamer, a romantic. She had always dreamed of the perfect man, the perfect marriage, the perfect love. She began early and had pursued that ideal with a much older man when she herself was just 14 years old. She eloped twice by the time she was 21. She had affairs with older, influential and powerful men who easily discarded her, further crushing her dreams. She longed for children, to be a mother but even that was not to be. Her brief career in Hollywood flamed brightly only to diminish in the glare of many other young starlets with similar attributes and appeal. Rex Harrison, another distinguished, older, married man that Carole fell in love with, denies her in the end.

Carole, alone now in her lavish home, calls her friend, Marguerite Haymes, the mother of singer, Dick Haymes. Haymes is not home and Carole leaves a message. Marguerite will get the message later that night but assumes it is too late to call. Between 1AM and 3AM on the morning of the 5th, Carole gathers up many photos and mementoes from her relationship with Harrison and packs them in a suitcase. Carole takes them over to Culver’s house and leaves the suitcase in the driveway. She also leaves a note saying that she is going to kill herself. The suitcase and note are not discovered until the following evening. When Roland Culver finds these things in his driveway, he burns everything – including the suicide note. Back in her home, Carole writes two final letters; one to Harrison, one to her mother. At approximately 3AM, Carole takes an envelope of Seconal from her medicine cabinet. She takes 40 Seconal tablets with water and lays down in her bed. At 3:30, no doubt feeling the effects of her overdose, Carole gets up out of bed and goes into her bathroom. She will die on the bathroom floor. Five times the amount of Seconal needed to cause death made this third suicide attempt successful.

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Carole Landis in death.

Throughout the next morning, Rex calls Carole’s house repeatedly. He is told by the maid that Carole must still be asleep. Rex goes to Carole’s house, walks in the door and curiously says to the maid “Well, I think she’s dead”. Together they go to the bathroom and discover Carole. “Oh, no, my darling. Why did you do it?”, Rex exclaims. He feels Carole’s wrist and detects a slight pulse. Like any proper philanderer in old Hollywood, instead of calling for an ambulance, he goes home and calls a studio head. The maid calls the police and Carole’s best friend. Rex returns to the house and, when questioned by the police, claims that he and Carole were just good friends. The police find the note Carole left for her mother but there is conflicting reports about what happened to a second note that Carole apparently left for Rex. Lilli Palmer will later admit that she and Rex paid the police officer who found the note $500 to destroy it.

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“Dearest Mommie – I’m sorry, really sorry, to put you through this but there is no way to avoid it – I love you darling you have been the most wonderful mom ever And that applies to all our family. I love each and every one of them dearly – Everything goes to you – Look in the files and there is a will which decrees everything – Good bye, my angel – Pray for me – Your Baby”

In the aftermath, Carole and Rex were linked in newspaper reports that hinted at scandal. This did not stop Rex and his wife, Lilli, from attending Carole’s funeral, also attended by friends Van Johnson, Pat O’Brien and Cesar Romero, who served as a pallbearer. Rex’s career was damaged but he carried on and later enjoyed successes in “Cleopatra”, “My Fair Lady” and “Doctor Doolittle”. He and Lilli Palmer were divorced in 1957. He left as a legacy two sons when he died in 1990, aged 82. Carole’s mother and sister were disconsolate. Carole died with $412 in the bank and extensive debt. Her family sold her house and auctioned off Carole’s belongings, weeping every time a personal item was sold to a stranger. The family contested – as they do to this day – that Rex Harrison was culpable in Carole’s death which they insist was not suicide. In the ensuing years, reports of new evidence would pop up but would quickly vanish resulting in no new investigations.

I have to make special mention of the website that Carole’s family maintains. Never have I seen a site so devoted to it’s subject and so loaded with detail and peppered with appropriate links. I highly suggest you visit the site at http://carolelandisofficial.blogspot.com/. Far be it for me, a stranger to the participants in this sad tale and 70+ years removed from the events, to disagree with the family’s assertions. However, looking at Carole’s life, albeit from this distance, things seem clear.

I think of a young girl 14 years old, a girl who had supposedly been sexually molested. I think of this young girl receiving (somewhat inappropriate) attentions from a 20-year-old man. It’s not difficult for me to think of this young girl as one who would grasp at the chance to accept such attentions. I can imagine this girl would have been romantically intoxicated with this situation. As soon as she reached 15, she eloped with this man. Her mother, of course, had it annulled but Carole was insistent and remarried him. After an argument – and argument – she caved and left him, her romantic dream shattered.

Modelling and Hollywood beckoned. This would feed her ideas of a glamourous life. She may not have reached the super stardom she dreamed of and she engaged in trysts with older, married men who treated her poorly. Marriages ensued. Each time Carole seemed to feel that she is finally attaining the perfect life she’d been seeking. After very short periods of time, perhaps when unglamourous effort or realistic thoughts are called for, she bailed, always in search of elusive perfection. Consider that Carole, in a 14-year span, got married 5 times to 4 different men. All 5 of her marriages only resulted in roughly 3 years and 8 months of wedded bliss. None of her marriages lasted two years. She couldn’t have children. Dreams of home life and motherhood were shattered. And then, one final straw. Another older married man denied her. At 29 years old, I can easily imagine that Carole thought she would never attain happiness, either through her work or her love life. There may indeed be some mystery surrounding her death but the circumstances leading to it also seem very familiar in the film industry of the era. The way starlets were treated by moguls like Darryl Zanuck. The way film careers were killed by “scandal” or simply by the failure of the most recent film. I have a saying that I sometimes apply to the victims of the studio system and the “golden age” of Hollywood. The phrase can certainly apply in this case: “I love old Hollywood. And then I think of what it did to Carole Landis”.

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Good night, Carole.

Winter Movie Review: “Winter A-Go-Go”

This may be news to you but “winter” is a genre of film and I’ve made a good case to support this (https://wordsbywellsy.wordpress.com/2017/02/05/your-guide-to-winter-movies/). Here’s a review of another favourite winter movie.

“Winter A-Go-Go”  (1965)

Starring William Wellman, Jr., James Stacy, Beverly Adams, John Anthony Hayes, Julie Parrish and Nancy Czar. Directed by Richard Benedict. From Columbia Pictures.

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“On the go-go in the snow-snow”. Nuff said.

Young, good-looking best friends Jeff Forrester (Wellman, Jr.) and Danny Frazer (Stacy) run a ski camp in Heavenly Valley, a winter resort town in Lake Tahoe. Jeff has inherited the place but the mortgage is held by a gangster-type who wants it for himself. The gangster-type sends a couple of clowns to make life rough for the boys and their guests so that they won’t be able to make their payments. Through the course of all this, Jo Ann (Adams) pines for Jeff and Danny makes dates with all the girls they hire to work at the place. Skiing, dancing, singing and laughs abound.

And that’s about it. There’s not much plot to talk about; which is just fine with a movie like this. As with American International’s “Beach Party” movies, “Winter A-Go-Go” does well depicting the effervescence of youth, the seemingly careless time of life. It shows surface concerns in a light-hearted way. Anybody watching knows life is never – and has never been – that simple but there is something comforting in seeing problems taken so lightly, treated with a song and a dance and handled so easily. It’s what we call an “escape” picture and it’s perfect for winter viewing. After all, these kids willingly go to where the snow is.

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Danny gets a ski lesson from real-life instructor Peter Brinkman.

The cast is filled with great looking people, some of which actually have character and do alright. Wellman is the handsome son of the legendary directer William Wellman (“Wings”, “The Public Enemy”, “A Star is Born”, “Nothing Sacred”). Wellman appeared in “Swingin’ Summer” – again with James Stacy – the same year as “Winter A-Go-Go” and went on to a minor career in television. James Stacy is another story altogether. He was born in Los Angeles to a Lebanese-American father who was a bookmaker. Handsome and charismatic, Stacy was married to actresses Connie Stevens and Kim Darby. An avid motorcycle rider – as seen in “Winter A-Go-Go” – he was riding with his girlfriend in 1973 when he was struck by a drunk driver. His girlfriend was killed and Stacy lost his left arm and leg. In an early judgement against establishments that serve patrons to intoxication, Stacy was awarded a $1.9 million settlement against the bar that served the drunk driver. Stacy returned to acting, playing roles that incorporated his disability and earned two Emmy nominations. Unfortunately, his final years were marred by sexual molestation – as perpetrator and victim – prison and a suicide attempt. He died in 2016 of anaphylactic shock. He was 79.

On a lighter note, pretty Canadian Beverly Adams was born in Edmonton. When she was a child, her family moved to Burbank – I always wonder how that happens; Edmonton to Burbank! She was uncredited in two Elvis Presley films, appeared as klutzy dream girl Cassandra in “How to Stuff a Wild Bikini”, played Matt Helm’s girl friday Lovey Kravezit (?!) in the “Matt Helm” films and then retired when she married hairstylist Vidal Sassoon. They had four children, one of whom, actress/model Catya, died of a drug-induced heart attack. Adams and Sassoon divorced in 1980 and Adams started her own line of pet care products.

John Anthony Hayes plays Burt, one of the guys that tries to sabotage the hotel. He plays a rat well as evidenced by his turn as Frank who was mean to Fabian in “Ride the Wild Surf”. Julie Parrish showed up a year later looking quite fetching in “Paradise, Hawaiian Style” with Presley and “Fireball 500” with Frankie Avalon. A career appearing on random television episodes came to an end in 2003 when she died of ovarian cancer, aged 62. Keep an eye out for cutie Dori, played by Judy Parker. Judy was married for 45 years to Bob Gaudio of the Four Seasons. She co-wrote with Bob the fantastic “December, 1963 (Oh, What a Night)”. Judy just died last fall, aged 79. And keep an eye out for Paul Gleason among the gang of kids hanging out at the lodge. He would go on to play jerks in “The Breakfast Club” and “Die Hard”. Real-life ski instructor, Peter Brinkman, plays himself. According to both IMDb and Wikipedia, director Richard Benedict is the same Richard Benedict who portrayed “Curly” Steffans in “Ocean’s 11” (1960). But I can hardly believe it.

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The gang gets to work. L to R: Nancy Czar, Linda Rogers, Tom Nardini, Julie Parrish, James Stacy, Beverly Adams and William Wellman, Jr.

As with all films of this ilk, we need music. Nooney Rickett sports one of the better names I’ve ever heard. And just try to find some info on the guy! He did join Arthur Lee in a later configuration of the legendary band Love. His Nooney Rickett Four sings “Ski City” (“put away your surfing gear and grab some skis”), a blatant knock-off of “Surf City” written by the prolific team of Howard Greenfield and Jack Keller and “Do the Ski (With Me)” (“If there’s a bump, you better jump. If there’s a tree, turn your ski”) co-written by Tommy Boyce and Bobby Hart. What Nooney lacks in personality he makes up for in hair. The engaging title track (by Greenfield/Keller) is performed by the Hondells. Joni Lyman delivers “King of the Mountain”. Joni is attractive with a real contemporary look. The Reflections wear some great sweaters and sing “I’m Sweet on You”. They are better known for their great blue-eyed soul hit “(Just Like) Romeo and Juliet”. James Stacy leads the gang through “Hip Square Dance”, a ridiculous idea that is saved only by some half-decent choreography. It’s a foolish segment that brings to mind Bob Denver’s creepy upside-down goatee number in “For Those Who Think Young”.

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The Nooney Rickett Four featuring Joni Lyman run through “Do the Ski (with Me)”. Nooney has a great guitar and a great sweater. And that’s about it.

Filming took place in the Eldorado National Forest in Eldorado County, California and at Heavenly Mountain resort in South Lake Tahoe near the California-Nevada border. There’s a great scene near the beginning of the film when the kids drive up to Jeff’s resort to begin work and you see some of the hotels in the area. One of which you can clearly see is the Lakeview Arms Motel of Bijou, California in Eldorado County. The place no longer exists but I saw on eBay that someone is selling an old hotel key from the place. The scenery is wonderful and the movie looks like it could have been made by the Heavenly Valley Chamber of Commerce.

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The Lakeview Arms Motel of Bijou, California sadly is no more.

An interesting note about this film is that it ends with a wedding between two of the principals. That kind of adult seriousness is almost never depicted in films like this. It’s notable in this case that these two go ahead and get married without parents or any of the usual pomp or prep. This must have appealed to the teens in the audience – it may even have given them ideas. The fact that there’s a wedding is actually huge.

In conclusion, it’s a fun little film to watch in the winter. The acting, of course, is not great but the two male leads seem to be harbouring some serious depth underneath the required goofiness and the girls are attractive and earnest. There is some great scenery and some really nice winter clothing; nice sweaters and women’s clothes. It’s an adventure you’d love to have yourself in a pretty cool place. Like one of the girls says when they first get to the lodge and see that it’s not in the best of shape: “It’s better than my room at home”.

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“Winter A-Go-Go”: Better Than Your Room at Home

 

Winter Movie Review: “North to Alaska”

This may be news to you but “winter” is a genre of film and I’ve made a good case to support this (https://wordsbywellsy.wordpress.com/2017/02/05/your-guide-to-winter-movies/). Here’s a review of another favourite winter movie.

“North to Alaska” (1960) 

Starring John Wayne, Stewart Granger, Capucine, Ernie Kovacs, Fabian and Mickey Shaughnessey. Directed by Henry Hathaway. From 20th-Century Fox

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Alaska had recently become the 50th state and that figured prominently in the advertising.

In Nome at the turn of the last century, Sam McCord and George Pratt are partners who have just struck it rich. Now George can send for his beloved Jenny. George sends Sam to Seattle to get her and Sam finds her but she has forgotten about George and has married someone else. Before Sam heads back to Alaska to give George the bad news, he runs into “Angel”, a working girl at the Hen House. Angel is pretty and French – just like Jenny – so Sam decides to bring her back for George. However Cupid, as he often does, has other ideas. Throw in a scheming sharpie casino owner, some claim-jumping varmints and a few outrageous brawls and you’ve got an entertaining and colourful yarn.

Right off the top I have to admit that there is no snow to be seen in “North to Alaska” so it has become a winter movie somewhat by default – it takes place in Alaska. Like other winter movies that do feature snow, though, it’s the charm of the places these people spend their time that give it a winter feeling. The cabins and the shacks, the fires and just the comfortable places that people can make for themselves amongst the uncomfortable terrain. Scenic locations Point Mugu and Mammoth Mountain in California stand in for Alaska and make for some pretty scenery. The muddy main street of town adds a lot to the realism and the film in general has a great ‘look’.

“North to Alaska” is a comedy. I still think it’s a little hard to believe that Wayne did full-on comedies but he did and he did them well. The comedy in this film is quite broad; maybe too broad. This can mostly be seen in the brawls – they are outlandish, over-the-top and played for laughs. I call this the “”McLintock!” Factor”; that film of Wayne’s also features an elaborate fight. Thing is, “North to Alaska” came out 3 years before both “McLintock!” and “Donovan’s Reef”, films that both feature comedic fights. So, I guess it’s the “Alaska Factor”.

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Fabian, Wayne and Granger engage in the original “muddy brawl” while Capucine looks on. Wayne’s face here displays his natural charismatic personality.

There are some things that are charming about this broad comedy, though. The acting, for one. It is really quite good. I was particularly impressed with Capucine as Michelle/Angel. She had most of the heavy lifting where character evolution is concerned and she pulls it off nicely. As I’ve said, Wayne is very watchable in a comedic role – “Timberrr!!” – and Fabian may overact a bit but he is playing a wide-eyed 17-year-old. Stewart Granger has much charisma but his accent seems too refined for the role.

The other thing that stands out is the plot point of “Angel” being transformed from prostitute back to “Michelle”; she is a woman who wants to make herself a new life. Sam is taken with her immediately and he helps to legitimize Michelle. It is a really endearing part of this screenplay. You’ll notice when Sam takes Michelle to meet his Swedish friends, they are right away disgusted that Sam has brought a ‘hussy’ to their picnic. When he stands up to them and says he is leaving, they come around and welcome Michelle into the festivities. Sam vouches for her and they accept her. Only a few minutes after this, a boat captain remarks that Michelle has been a pleasure to have aboard as she is very “ladylike”. Michelle is legit now. This change is important to her and she wants to make it stick.

The movie is very charming and brimming with zest and character. It’s loads of fun and I can highly recommend it.

Winter Movie Review: “Valley of the Dolls”

This may be news to you but “winter” is a genre of film and I’ve made a good case to support this (https://wordsbywellsy.wordpress.com/2017/02/05/your-guide-to-winter-movies/). Here’s a review of another favourite winter movie.

“Valley of the Dolls” (1967)

Starring Patty Duke, Barbara Parkins, Sharon Tate, Paul Burke, Susan Hayward, Tony Scotti and Martin Milner. Directed by Mark Robson. From 20th Century Fox.

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The film was marketed as salacious and sensational.

Now, I know what you’re thinking and – partly – you’re right. But let me explain. I have always said “I’m a fan. Not a critic”. Bruce Kirkland used to review movies for the Toronto Sun back in the day and he used to infuriate me. Because he was a movie critic. Critic. His job, by definition, was to analyze films and point out their strengths and weaknesses based on his experience and his abilities. But he still bugged me because he never said things like “this is a bad film. But I like it!” – which, of course, a movie reviewer would never say. Their job is to critique and not to gush.

MY job, however, is to gush. I think the main reason I enjoy movies is because of the escape they provide me and classic movies are all the better because, in addition, I enjoy them as a window on the past. I remember watching James Bond movies in the late 1970’s-early 1980’s and saying “why has he stopped off in the Bahamas? Why is he there? What actually is happening?!”. I didn’t care about the plots – I was drinking in the “Bond-ness”. Same with my Falcon movies of the 1940’s – not really following the plot but man, look at that apartment and look at what he’s wearing! I love movies (and music and books) for what I “get” from them. They give me things just by being – not by being good.

Which leads me to “guilty pleasures”. Things you know may be of poor quality but you love them. Beach Party movies, elevator music, the Montreal Canadiens – things you can’t defend. Perhaps the guiltiest of all guilty pleasures is “Valley of the Dolls” from 20th Century-Fox in 1967. This film has gained a reputation as one of the ‘worst’ films in history. It’s outlandish dialogue and acting and it’s over-the-top soap opera plot have garnered it many bad reviews, parodies, one bad ‘sequel’ and the disdain of the critics. As often happens, though, at the same time this movie has gained a faithful following of ardent fans who love it. Most of them say that it’s so bad, it’s wonderful and they love it although they know it’s ridiculous. I can see their point and I tend to agree but every time I watch this movie I come away saying that there is some real depth in the story it tells and it really packs a lot of entertainment value.

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The tragic Sharon Tate as the tragic Jennifer North, Canadian Barbara Parkins as Anne Welles and Patty Duke as wicked Neely O’Hara.

The story tracks the lives and careers of three women: Neely O’Hara (Duke), Anne Welles, (Canadian Parkins) and Jennifer North (Tate). Their lives are a series of ups and downs, successes and failures, men and ‘dolls’ – the prescription drugs that they all indulge in to varying degrees. Neely starts out as an ingenue in a Broadway musical. She has genuine talent – and that scares the show’s star, Helen Lawson (Hayward), who has Neely fired. Neely is consoled by her husband, Mel (Milner), who is beginning to think that a successful career means more to Neely than he does. Indeed, it does and Neely begins to alienate Mel by throwing herself into becoming a star while growing ever more dependent on barbiturates and the like. Anne is a quiet, small town New England beauty who wants to experience life on her own before settling down with her childhood sweetheart. It is a picturesque winter day when she boards the train for New York, saying farewell to her youth and pivoting toward adulthood and a secretarial job for a high-powered Broadway agent. Jennifer is an actress of astounding beauty and negligible acting abilities. While she is a down-to-earth girl, she realizes that her physical appearance is all she has to ensure her the work and the paychecks that will keep her – and her family back home – alive. Neely ends up a major star who becomes self-centered and obnoxious and she eventually has to enter a clinic to kick her drug addiction. Anne is discovered by a cosmetics mogul and becomes successful and wealthy as the model for his line. She becomes the “Gillian Girl”. She falls for Lyon Burke (Paul Burke), another agent in her office, who won’t marry her and eventually breaks her heart, driving her into drug-fueled depression. Jennifer catches the eye of singer Tony Polar (Scotti) and they marry. Tony is stricken with a terrible disease that incapacitates him both mentally and physically and lands him in an expensive clinic. To pay the bills, Jennifer makes the tough decision to denigrate herself by making “art” films in Paris. Her eventual demise is heartbreaking.

Tales of the production and legacy of this film are legion. I will only skim the surface here and suggest you read up on it yourself. I can also highly recommend the novel this film is based on by Jacqueline Susann but keep in mind that drastic changes were made to the story resulting in Susann’s ire. Judy Garland was originally cast as Helen Lawson – an inspired choice – but Garland was in such rough shape at the time – herself a victim of ‘dolls’ – that she was fired soon after production began. There are reports, however, that the director of the film, Canadian Mark Robson (“Peyton Place”), was particularly hard on Garland. The soundtrack for this film is an absolute gem. I do admit, though, that sometimes I love a movie’s soundtrack because the songs bring to mind the scenes of the film that I remember fondly and sometimes I’m blind – or “deaf” – to the songs’ lack of quality. The songs that are performed in this film were written by the great Andre Previn and his wife, Dory. The title track is excellent. It is performed in the film by Dionne Warwick. Dory’s lyric asks a series of questions and reveals a sense of loss and confusion. They speak of living a roller coaster existence and a desire to “get off of this merry-go-round”. As the film progresses, the lyrics are deftly changed to reflect Anne’s story arc. When things start to get heavy for her, the lyrics change to: “When will I learn? Where will I find what is real?”. And when she hits rock bottom: “Have to get off from this ride, need to get hold of my pride…how was I lost in this game? How will I think of my name? When did I stop feeling sure, feeling safe…?”. It’s an excellent technique; like a Greek chorus. Singer Tony Scotti – the only performer in the film not dubbed – performs “Come Live With Me”. It is a stunning song that has a haunting, dramatic quality that had me searching for a copy for years. The song is used to reflect the action at different key points in Jennifer’s story arc. The score itself was done by John Williams. Yes, that John Williams. The composer of the themes for the “Star Wars” films, the “Indiana Jones” films, “Jaws” and “Close Encounters of the Third Kind” has been nominated for 50 Academy Awards (second-best to Walt Disney). His score for “Valley of the Dolls” gave him his first Oscar nom. Check for a hidden lounge music gem on the soundtrack called “Chance Meeting”. It’s delightful.

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The historic Samuel Jarvis House in Redding, Connecticut stood in for Anne’s family home in the fictional town of Lawrenceville.

Here’s the thing that “grounds” this film, the thing that draws me to it every January. The aspect of winter comes in to play in a very significant way in this story. I don’t know if the writers intended it this way but this is what I get from it. As I’ve said, Anne Welles comes from a rural New England town, a town that has known many crippling winters. Her life before she heads for the city is briefly shown to be one of family and home. We see her at home in the winter with her mother and her aunt. The very day she gets on the train to leave town it is snowing. From her window, she looks out upon the Norman Rockwell landscape that has made up the total of her safe childhood and teenage years. Her dreams lead her to New York City and from there she ends up in sunny California. It seems to me that this is the basis of every success story you’ve ever heard; no matter where someone has come from, the goal, the peak, the end of the rainbow is somewhere warm. With sunshine, beaches, ocean. And here in the Golden State is where Anne becomes successful and wealthy, yes. But here is where she also loses her way, becomes unhappy and addicted to ‘dolls’. Lyon has broken her heart, her friends have betrayed and abandoned her, and she is spiraling out of control. During a scene she has alone in her beach house, she finally throws the pill bottle away and runs to the ocean. It’s a scene that may not be acted the best and is ridiculed a lot but it is also a scene that shows her hitting rock bottom and desiring to be cleansed in the waters of the Pacific. But that is not enough for her. She needs to reset, to get her bearings again. She needs healing. This, for her, can only be found in one place. To really make things right, she goes home. Home where it’s full-on winter. Winter. A time when we are forced to turn inward. A time of the mind and soul as opposed to the hedonistic pleasures of the flesh to be found in the sun and sand. A time when there are fewer distractions, less to do and when there is more time to be spent looking at ourselves, and reevaluating the way we live. To me, that speaks to the idea that winter can represent comfort and home, memories of childhood, of family and a wholesome, safe lifestyle. To me, it’s an intriguing and sensitive theme to show up in a film like this. During Anne’s redemption, a time when she is battered and bruised but still willing and able to take another crack at life, the title track is sung once more. This time the lyrics speak of a dawning realization. An epiphany inextricably tied to the restorative powers of the winter:

“Got to be here, have to be where I belong…came to know where I went wrong. It was all here, why was I blind to it then? This is my world…this is where I’ll start again.” (italics mine)

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Anne – looking terribly glamorous for a hick town – survives life and hits the reset button.

As a side note, I researched the filming locations for this film and found that Anne’s house in “Lawrenceville” is actually the Samuel Jarvis house in the picturesque and historic town of Redding, Connecticut. The house dates from the 1790’s. I got some help on this from the fine folks at the Redding Historical Society.

Bottom line is the film is tons of fun. I suggest you check it out.

 

This is the Story: The Best Recordings of Elvis Presley Part 5

I have a family friend, a lady who was a teenager during Elvis Presley’s ascendancy in the late ’50’s-early ’60’s. She knew I was an Elvis guy and would often talk about how much she loved him. She was one of those people of a certain age who claim Elvis as their own and say things like “I have all his records”. I always have a feeling with people like this that they love Elvis the Superstar, Elvis the Icon. They collect the cheesiest Elvis artifacts and souvenirs. In a way, it’s similar to the way Britons loved American blues and rhythm and blues in the 1960’s perhaps even more than Americans did. The thinking being that – in the UK – they were observing things from a distance and therefore could see the glory in the music that much better. People born in the same era as Elvis – people that grew up with him – definitely see him in a different way and love him for different reasons. Those of us born, say, in the early 1970’s perhaps look at him from a more historical standpoint. Our generation is maybe more apt to dig beneath the surface and to study a performer like Elvis Presley the same way we might research the Vietnam war – digging in and wanting to know the origins and the significance. Those of us who begin to grasp the importance of the King do the research, look into all his recordings from all the eras and collect it all because we want to know it all. Back to my family friend and her generation. When the 45s came out in the ’50’s, they bought them – they bought them all until they themselves got married and had kids and life took over. Therefore, they say “I have all his records” when really they’ve never even heard 80% of what he recorded. And they don’t look at Elvis or GRASP him in the same way. A perfect example is the time when this lady family friend brought me her Elvis cassette. She said I would appreciate it and I could have it. I looked at it and actually it was interesting. It was his “Gold Records Vol. 4” album. Cool, I’m thinking, that’s different. I open it and take the cassette out. Oddly, the songs listed on the tape are “Kentucky Rain” and “Don’t Cry Daddy” and others from that era. This was not the same album the cover showed! I looked at the tape more closely: “As Sung By Ronnie McDowell”, it said. I was dumbfounded. I carried on with my thank you’s but I was floored. It got me thinking: this woman was there when it was happening. She should be a bigger fan than me. Yet one of her prized possessions was an album of songs sung NOT by Elvis but by the world’s premier Elvis sound-alike. But here’s the thing: she was happy. She loved Elvis. He made her feel good. He was a part of her fondest memories of life. I thought she was crazy but she got just as much out of Elvis as I – the ‘Elvis scholar’ – did. And that’s The Thing About the King. People LOVE him. The people that think Ronnie McDowell is Elvis and have never heard “Just Pretend” and wear the airbrushed jackets and t-shirts from the flea market with Elvis riding on the clouds or something, they love him. And the people that research his time spent at Crown Electric or dig into his relationship with his step-brothers or try to figure out if Toby Kwimper is really the predecessor of Forrest Gump, they love him, too. Us scholars may scoff at these older fans but, look at them, they’re happy. They love Elvis, too. The only thing I would say, though, is those people could be so much happier if they really dug in to Elvis World. They love the tip of the iceberg. I think the other 80% would be exciting for them to learn about, too.

And that goes for music fans in general. I don’t know if any iconic superstar suffers more from being not fully understood than Elvis Presley. The image, as the man himself once said, is one thing. The man is another. People that reject the suggestion that Elvis may be more significant than Bruce Springsteen don’t really know the whole story. It’s a shame to think that the coming generation sees Elvis only as the black and white rebel with the curled lip, or the Hollywood victim being neutered by endless ‘playful romp’ films or the bombastic jump-suited ’70’s prince from another planet. They may love “Don’t Be Cruel” and that’s great. But if you want a real treat, look into Elvis Presley. Dig a bit deeper. I guarantee you you’ll be glad you did. His is essentially a sad story but it’s riveting.

Wow. Sorry. I don’t think I intended to get so deep. After all, we’re here to celebrate the 83rd anniversary of the birth of Elvis Presley by trying to figure out what his best songs are. We’ve been through the 1950’s, 1960’s and 1970’s and also looked at the movie music. And don’t forget; he also recorded some stellar Christmas music and some truly stirring gospel, the music he maybe connected with most. I need to thank you all for reading these posts. It’s fun for me to write them but it’s always better when someone reads them. I hope I’ve made some sense – I don’t always! In the end, these posts were read by over 600 people in 23 countries; “Elvis World”, indeed! Once again, thank you. Thank you very much.

Finally, I’ve submitted for your approval The Ten Greatest Recordings of Elvis Presley. Let the debating – and the listening – begin!

10. “What a Wonderful Life” (1961) — Movie song from “Follow That Dream”. The lyrics reflect the freedom depicted in the movies.

9. “Separate Ways” (1972) — The saddest song I ever heard. An absolutely heartbreaking commentary on the break-up of Elvis and Priscilla written by Red West.

8. “I Got Lucky” (1961) — A sublime pop vocal. Like a personal family heirloom to me. A cherished gem.

7. “Rubberneckin'” (1969) — The King struts through this balls-out rocker recorded back home in Memphis.

6. “Santa Claus is Back in Town” (1957) — A stunning, savage vocal on the greatest Christmas rock ‘n’ roll song ever recorded.

5. “Burning Love” (1972) — Polished sound. Ringing guitar. Full-throttle, crowd-pleasing iconic rocker.

4. “Jailhouse Rock” (1957) — One of his two or three best vocal performances ever. Fan favourite and the title track from one of his two or three best movies ever.

3. “Promised Land” (1973) — Maybe the single most energetic song I’ve ever heard. And probably the coolest. An absolute freight train.

2. “A Little Less Conversation” (1968) — Probably my favourite Elvis song. A thrilling late-’60’s rock ‘n’ roll song from maybe his greatest soundtrack. Just a delight to listen to – and sing along to.

1. “Suspicious Minds” (1969) — And here we are. The King’s “masterpiece”. A shining moment from some unbelievable sessions and the second-most significant set of recording dates of his career. Of history, maybe. The most confident, assured and vibrant rock vocals you could ever ask to hear.

I can’t thank you enough for reading. I’ve had a blast sharing my thoughts with you. Happy Birthday, EP! And thanks.

Me and My Man

**the image used in this post I actually own!**

This is the Story: The Best Recordings of Elvis Presley Part 4

Let’s get this out of the way: you cannot dismiss all the movie songs as garbage. Really, you can’t call them garbage at all. Here’s the thing: the bulk of the songs that appear in the movies are less songs and more plot devices, used simply to advance the story or comment on the action on the screen. Some examples are “Song of the Shrimp” from 1962’s excellent “Girls! Girls! Girls!”. This song’s lyrics are about a shrimp that reads an article in a shrimp newspaper and leaves his parents to see the world starting in New Orleans. Like…really? From the same film, we have “Thanks to the Rolling Sea” – “Abalone steaks and tuna fish cakes taste so heavenly” – and “We’re Coming in Loaded” – “The fishing was great. We’re coming in loaded ’cause we’re all out of bait”. All three of these songs are actually perfectly acceptable in the context of a bunch of men who work together on a shrimping boat. They probably have lots of songs they sing together as they work. In the ‘lullabies and songs sung to children’ category, we’ve got “Big Boots” from “G.I. Blues” and “Cotton Candy Land” from “It Happened at the World’s Fair”. If the action calls for you to interact with a baby or a young child, sure, you may sing them a goofy little song to get them to go to sleep or to quiet their fears. And then – I hate to even bring it up – there’s “Dominick”, sung to a bull in “Stay Away, Joe”. When a bull won’t breed you sing to it. Don’t you? The problem I have is not necessarily with the songs themselves. Tunes from this ‘lower’ level, like “You’re Time Hasn’t Come Yet, Baby” from “Speedway” or “Fort Lauderdale Chamber of Commerce” from “Girl Happy”, are great songs I actually like. The problem lies in the fact that this is ELVIS PRESLEY – the King of Rock ‘n’ Roll – and no matter how many movie tickets you want to sell or how many records you want to sell you DO NOT put “No Room to Rumba in a Sports Car” on an album and release it to the public under Elvis Presley’s name! Elvis is constantly slagged for making bad records in the ’60’s but it wasn’t his fault. “Ito Eats” from “Blue Hawaii” is cute because the gang is at a luau and they are heckling Ito for eating too much and being fat. Fine, OK, but don’t put it out and call it the latest release from Elvis Presley!!  Within the borders of the films, these cute songs advance the plot – sometimes quite charmingly – but that’s where they should have stayed.

Whew. OK. Now that that’s out of way, let’s look at The Best Recordings of Elvis Presley: the Movie Songs.

10. “Hard Luck” (from “Frankie and Johnny”, 1966) — The movie? I dunno…Elvis as a riverboat gambler in period dress? It’s not terrible but because it is a period piece the songs are turn-of-the-last-century in flavour. However, when Johnny (Elvis) hits the skids, he wanders the streets at night singing this stellar blues number. It features stand-out harmonica playing from Charlie McCoy. McCoy is a full-on legend who has played on records by Bob Dylan, Johnny Cash and Loretta Lynn.

9. “So Close, Yet So Far (from Paradise)” (from “Harum Scarum”, 1965) — I often call this the most hidden of all the hidden gems. After all, it’s in “Harum Scarum”, King’s romp through the Middle East with a turban on his head. There is not much to recommend the film except this powerful song. Johnny (Elvis – Johnny again!) lands in the slammer and is separated from his lady love and puts in a great performance with this stirring number. It builds to a wonderful climax accompanied ably by the Jordanaires. “Here am I, waiting for you. Here am I, praying for you…” When the material was half-decent, he could still fill a song with emotional intensity, no matter what the setting. Written by Joy Byers who wrote many songs for the movies including “C’mon Everybody”, “Goin’ Home”, “Hey, Hey, Hey” and “Stop, Look and Listen”.

8. “Shoppin’ Around” (from “G.I. Blues”, 1960) — The first movies I ever remember seeing in my life were “Enter the Dragon”, “Smokey and the Bandit” and “G.I. Blues”. I’ve loved this Elvis film and the music from it for many, many years. This is one of his films in which he plays a musician so this performance takes place in front of a band in a nightclub. One of Tulsa’s (Elvis) pals wants Tulsa to be a hit with Lili (Juliet Prowse) so he volunteers Tulsa to sing this excellent rocker. Fantastic, beefy guitar from Scotty Moore and a great, fun vocal: “I’m gon’ stop…….shoppin’ around”. I always thought this was the ‘opposite song’ to the Miracles’ “Shop Around”.

7. “Roustabout” (from “Roustabout”, 1964) — I love this song, yes, but here’s the thing: the appeal of Elvis’ films and the joy that you can get from them – what makes them enjoyable – is encapsulated in this film and the title track. Try to explain King’s movie career in a sentence or two and you will likely be describing “Roustabout”. Elvis plays Charlie Rogers, a free-spirited and sometimes surly drifter who loves him some kicks. He has a way with a song and with the ladies. This basic synopsis of “Roustabout” could apply to basically all his films. The lyrics reflect this: “‘Til I find my place there’s no doubt I’ll be a roving roustabout” – I mean, that is King Movies in a nutshell. Sung over the opening credits. The soundtrack album went to #1.

6. “Let Yourself Go” (from “Speedway”, 1968) — By 1968, even the soundtracks were featuring more meaty material. Another tune by Joy Byers, this track could also be heard in the “’68 Comeback Special”. Steve (Elvis) is called upon to sing at the local club “The Hangout” – a cool place where instead of at tables you sit in cars. Here’s the thing: Elvis looks spectacular. And he’s wearing ‘the Speedway jacket’ – which I tried on at a Graceland shop but wouldn’t pay the freight. This tune is sexy: “Oh, baby, I’m gonna teach you what love’s all about tonight…kiss me nice and easy, take your time. Baby, I’m the only one a-here in line. All you gotta do is just-a…..”

5. “Young Dreams” (from “King Creole”, 1958) — Another song sung by King in a reasonable setting in a movie. EP plays Danny, a nightclub singer. “King Creole” is Elvis’ finest dramatic film and was directed by the great Michael Curtiz (“Casablanca”). Curtiz knew about composition and – along with his cinematographer – would’ve known the best settings in which to shoot King, in terms of lighting, etc. Danny sits and sings this excellent song and it is visually thrilling as well. I listened to this song recently after 30+ years of hearing it and I still shake my head. It’s wonderful. And King plays a bit of ‘shoulder’, too.

4. “Spinout” (from “Spinout”, 1966) — It’s so hard to pick which songs to share links to. Do yourself a favour and look all these up on whatever service you use. This tune contains one of my favourite King vocals and some absolutely amazing drumming. King plays Mike, a stock car racer with a way with a song. He sings this at a shindig at the pad he’s borrowing. The guitar sound to start the tune is unique and is played by a legend – it’s either Scotty Moore or Tommy Tedesco. And it’s a fantastic vocal, the highlight of which is the “prove” in “Don’t you know she’s out to prove she can really score”. When someone says to you “all the movie songs are lame”, play them “Spinout”. “A-let me tell ya, Spinout…”

3. “Almost in Love” (from “Live a Little, Love a Little”, 1968) — OK, y’wanna fight? Listen to this: Elvis’ best soundtrack is the one for the film “Live a Little, Love a Little”. Annnnd tell me I’m crazy. I can defend this bold statement but I won’t do it here. Suffice it to say that “Almost in Love” is one of the smoothest songs he ever recorded featuring one of his most subdued and sensual vocals. The tune is gorgeous with it’s idyllic strings and gentle trombone solo. As a big fan of bossa nova, I can appreciate the fact that this tune is based on a song from Brazilian legend Luiz Bonfa. The thing about this tune and two others from this film is that they are just the type of song that other singers of the time were singing. They would have fit perfectly on any of Dean Martin’s or Frank Sinatra’s later albums for Reprise Records. Because this is Elvis Presley, the King of Rock ‘n’ Roll, they’re dismissed or even disparaged. That’s wrong. This recording is celestial.

2. “What a Wonderful Life” (from “Follow That Dream”, 1962) — We’ve arrived at the top two and I have a confession to make. Part of what makes these two songs rank so highly is my strong personal connection to them. This film was made when there was still some care going into providing quality vehicles for King. In this film, King plays Toby Kwimper and EP displays some of his finest comedic acting. This tune is played over the opening credits. Like “Roustabout”, the lyrics depict the very heart of all of Elvis’ movies: “It’s a wonderful road, this road I’m travelin’…it may go straight or it may detour…don’t know where I’m goin’, don’t care where I’m goin’, like the four winds blowin’ I go on. Laughin’ the day away, lovin’ the night away, ’til the moon is gone. It’s a wonderful life…”. You see what I’m saying? The reason I love his movies is described in these lyrics. It’s a delightful song. I love it.

1. “I Got Lucky” (from “Kid Galahad”, 1962) — Absolutely, the finest song from Elvis’ movies – out of all the songs that do not have a life outside of the movies. This was the title track of a budget Camden release LP in 1971, other than that it was, strictly speaking, a ‘movie song’, unlike, say, “Teddy Bear” or “Return to Sender”, both of which ‘lived’ outside the films they were performed in. Make sense? “Kid Galahad” is one of Elvis Presley’s very best films. Elvis plays boxing nice guy Walter “Kid Galahad” Gulick and he sings this at a 4th of July picnic. His voice, his voice, his voice. The sound his voice makes on this track. He’s not shouting “Jailhouse Rock” but the key he’s in here makes his voice sound so…I dunno. Just perfect. His tone. The wonderful Boots Randolph plays sax on this track and the Jordanaires also do stand-out work. “So, won’t you tell me that you love me, hurry up and name the day” – listen to him sing that line. THAT is what is so magnificent about his voice. Seriously, this song can make me emotional. Not just because I think it’s gorgeous but also because it means the world to me. I had the “I Got Lucky” album on cassette when I was a teenager. I would drive around in my 1983 Ford Escort and listen to this song and “What a Wonderful Life” and I would be transported. Couple things: this is a great clip. Elvis sings to Joan Blackman who was also in “Blue Hawaii”. And did you notice Charles Bronson? And this song was co-written by Dolores Fuller, who had a hand in writing other songs for the movies. Dee Fuller was a girlfriend of filmmaker Ed Wood. She is portrayed by Sarah Jessica Parker in the film “Ed Wood”.

Up next: we try to bring it all together! What are the Top Ten Elvis Presley Songs of All-Time?!

Kid Galahad WP

**the images and media used in this post are not mine**