Rose Marie (1936)

 

Rose Marie (1936), starring Jeannette MacDonald and Nelson Eddy, was the second of three film adaptations by MGM (1928-lost & 1954) based on the 1924 Broadway play of the same name about an opera singer and a Canadian Mountie. The 1936 film, which was the second pairing of Jeannette MacDonald and Nelson Eddy after the wild success of their first film Naughty Marietta (1935), retained some of the original songs - most notably the "Indian Love Call" - changed much of the story:

The musical feast comes about this way: Rose Marie, in the new version, is an operatic star whose brother escapes from a Canadian penitentiary. Learning he is wounded and in hiding in the north woods, she attempts to find him. During her journey she encounters Sergeant Bruce of the Mounties (Mr. Eddy), who has been assigned to get his man—the same brother, obviously. Miss MacDonald would prefer to seek out the fugitive without the assistance of the sergeant—both working at cross motives as it were—but, what with the desertion of her guide and the discovery that she and Mr. Eddy sing together quite well, she is compelled to accept his escort. It leads, all very naturally, to romance, to complications and to an extremely pleasant concert against the magnificent backgrounds of mountain trails, shimmering lakes and cloud-flecked skies.

~ NY Times

The Lake Tahoe area in Northern Californian stood in for Canada, a revolutionary decision at the time when everything was shot on soundstages. Rose Marie was also "one of the first musicals to use a naturalistic setting. A special train of seventeen box cars carted the equipment to the location. Movie crews built several 40-foot totem poles in state parkland at Emerald Bay for the Indian totem pole dance" (source).

It is the lovely on-location scenery that makes the film a delight to watch. The chemistry between the two leads is evident from the moment of their meeting and MacDonald shows off her comedic side when she stubbornly refuses Eddy's help after her guide runs off with all her things and ends up running into his arms at her first scare. Another highlight is a brief appearance at the end of young James Stewart as MacDonald's no-good brother.

This post is part of The Singing Sweethearts Blogathon hosted by Pure Entertainment Preservation Society. Be sure to check out the rest of the posts celebrating this famous film couple!

Franchot Tone's Country Home in "Dangerous" (1935)

Dangerous (1935), starring Franchot Tone and the indomitable Bette Davis, is known for two things: giving Bette Davis her first of two Oscars and laying the groundwork for a famous Feud between Davis and Joan Crawford (if you haven't watched the FX series I recommend it. I hated the first few minutes and did not like Catherine Zeta-Jones portrayal of my beloved Olivia de Havilland, but overall it was pretty darn good). But that's not why I'm here.

In the film, Davis plays an alcoholic actress that Tone, a longtime fan of her work, attempts to rehabilitate. He takes her to his house in the country for an extended stay and while they have a bumpy start, they eventually fall in love with one another. But, being Bette Davis, the road to romance is never easy and people get hurt along the way.

It's not difficult to imagine a beautiful home like this being able to bring peace to someone. It has expansive grounds, it's own pond, and a lovely house with stone accents and lots of interesting architectural features. I could happily settle down here! It looks very restful, as Tone and Davis discuss in one scene:

Tone: Restful here, isn't it?

Davis: The whole countryside seems to have found peace.

Tone: A person could find peace too.

Davis: No, you'll only find that in yourself and when you do, you might as well be dead.

Tone: Dead?

Davis: "Rest In Peace" is for tombstones.

Tone: And for the living?

Davis: Desire. To want something. To obtain that desire and live up to every moment of it. And then go on leaving yesterday behind. On and on. Higher and higher.

 Only Bette Davis would say a line like that. Anyway, lets take a little tour of the house, shall we?

Here is the entry way. The door opens to a raised stone foyer with stairs leading to the bedrooms and a coat closet.

In this view you can see a curved stone seat with a comfy cushion on top.

 As we follow Bette into the room, we see a lovely brick fireplace with a large mantle and paneling around it. Wingback chairs are arranged cozily in front of it.

Going in further, another built-in bookcase is revealed as well as a floral print couch and lovely carved trim around the top of the walls. Rugs are scattered throughout the room.

A table behind the couch and a curved light stone wall give the feeling of a separate room in this open floor plan. The kitchen (and Tone) is just visible through the door, but we'll get there later.

Check out the flowered fabric on that chair! I wonder what color it was? And note the hutch on the right.

 This shot shows the room as it looks when it's empty.

 Here's a better view of the fireplace. Note the stone hearth and the little built in cupboard. Very cozy!

Here we can see the print on the couch. A mirror to the left reflects the stone wall.

Here's a better look at the mirror.

Now let's see what's past the kitchen door.

Another bookcase is built into the stone wall.

 A large curved window is revealed.

It makes for a very cozy and intimate eating area. I would love to eat breakfast there!

Bette prefers to drink. A piano is situated behind her. Check out the stitching on the lampshade.

Back to the kitchen. Here is what we glimpse through the door. A small table, gingham curtains, paneled walls, and a tiled floor is really all we get to see.

 

This movie still shows the kitchen clearer, showing another window and side table.

 

In this view we get to see side table with a metal top, perfect for whipping up recipes.

In this view we see a large sink, a cute paned window, and cabinets with pretty woodwork on the side.

A quick glimpse upstairs and our tour will be over. The hallway is wide and is filled with chairs and side tables. Directly across from the top of the stairs is the room is which Miss Davis is deposited.

The door is paneled in keeping with the country look.

 To the right of the door is a small fireplace (how I would love to have a fireplace in my room!).

 Here we catch a glimpse of a small window and comfy window seat.

Davis doesn't really want to leave her room and I don't blame her.

One last view of the room (Bette's a little hungover). Looks like a picture from The Birds on the wall behind her ;)

Bette seems to approve of the house. Did you like it?

This post is part of The Favorite Film and TV Home Blogathon I am co-hosting with Love Letter's to Old Hollywood. Be sure to check out all of the other awesome houses that have been featured so far!

Sinners in the Sun (1932)

Sinners in the Sun (1932) starring Carole Lombard lets it's viewers know right away that this is a film to get "hot and bothered" about. Not only is it evident from the title, but also in the opening credits - gorgeous girls parading around in glamorous gowns.

Once the credits end, we see a woman whose dress and demeanor ooze class, until we find out she's just a model that walks around until her frock catches the eye of some customer, whether or not they actually have the figure to pull them off.

With director Alexander Hall.

As she is changing, we see a room full of models wearing high couture - ok, actually most of them are in their underthings, proof positive that this is indeed a Pre-code film, in case you didn't guess already.

The model is Doris (Lombard), in love with a mechanic (Chester Morris) but wanting more out of life like security, but mainly clothes. While on a day trip to Long Island, Doris and Jimmy (Morris) have an argument over his lack of ambition. They end up parting ways and each finds themselves with a wealthy companion, Doris with a married man on the verge of divorce and Jimmy with a rich girl who would rather have love than wealth.

Jimmy and his wife, Claire Kincaid

The film then takes a rather depressing turn, especially for Doris. Her friend's wife commits suicide (Cary Grant is the friend in a small role) and the man she is with reconciles with wife and leaves Grant's character to give her the news. Both Doris and Jimmy go on drinking binges until a chance meeting at a restaurant. Jimmy's wife gives him up (quite big of her but she knew he wasn't in love with her when she married him) and he and Doris are able to get back together at the end, affirming that true love is always better than being wealthy.

I watched the film on Youtube (it's extremely blurry) but the main draw of this film, other than seeing Cary Grant in an early role, is Carole Lombard's wardrobe, designed by Travis Banton. She models one chic and glamorous outfit after another, a feast to the eyes of any Depression-era woman. The Times review said it was a "display of luxury," and that its chief merit was the "slickness of it luxurious accompaniment".

              

 

Lombard's most glamorous gown: sequin cross-over halter and bias-cut silk dress with matching sequin coat.

                

  

 

Another pretty gown with a peplum at the waist and a short, fur-trimmed cape.

 

  

 Two more looks. The white gown also had a matching hat with bow.

 

Smart suit and hat with lace blouse and fur.

This picture is blurry but I love the button detailing on her suit here.

 

Lombard's "Trilby bangs" were apparently also a selling point for the film.

There is also a fashion show, where Doris meets Eric Nelson for the first time (she sneaks off for a swim in the ocean and he joins her).

            

Lombard modeling one of the outfits from the film (seen on another model in the film and in the photo above).

Carole Lombard and Chester Morris made one other film together, The Gay Bride (1934). She made two more with Cary Grant, The Eagle and the Hawk (1933) and In Name Only (1939).

    

This post is for the Hot & Bothered Blogathon: The Films of 1932 hosted by CineMaven's Essays from the Couch and Once Upon a Screen. Be sure to read the rest of the steamy posts (which might be difficult if you wear glasses).

Awesome personalized banner made my CineMaven!