Kept Woman Wednesday: Anna Karenina (1935)

I've had this Kept Woman Wednesday: Fredric March Edition composed for over three weeks!

Luminous, pensive portrait from
Dr. Jekyll & Mr. Hyde (1931)

Originally composed for a broadcast of  "The Barretts of Wimpole Street," this post was adapted for "Dr. Jekyll and Mr. Hyde," and finally compiled for "Anna Karenina." Without further ado:

In my mid-teens, to be the best possible steward of my junior high-era eccentricities, I kept copious lists. One list documented the mediocre melodramas that made me cry. Although included on the last, The Barretts of Wimpole Street (1934) didn't actually incur sobs. It incurred swooning, and I listed it on romantic principle. Elizabeth Barrett! Robert Browning! Mid-nineteenth century drawing rooms! The premise of their romance appealed to me: here a shut-in poet, borrowing from the Rapunzel archetype, created eloquent verses that brought forth this unbounded debonair prince -- who, in retrospect was merely an enthusiastic poet. It was a perfect romance for a sentimental, friendless teenager. Yes, I say: perfect.

How do I love thee?

Robert Browning was played by Fredric March, perhaps my second favorite classic film leading man (after the unrivaled James Stewart). He was so talented and handsome, but, even better, unafraid of rich content. Many of his most significant roles were marked by unusual and nontraditional choices. He won his first Oscar for Dr. Jekyll and Mr. Hyde (1931). Indeed, the duality of the performance is attractive to any actor, but this pre-code production is so surprisingly racy and wrenchingly creepy.

Another pre-code confection is Design for Living (1933) a superior piece of film (Lubitsch!), if only for providing documentation of Fredric March in the second most handsome tuxedo in all cinema (after the unrivaled Fred Astaire). But there's more! The famous stage play had a inhibition-less romantic plot that included a perceptible homosexual subtext. The film version was slightly subdued, but still a saucy story for the early 1930s.

Even later in his career, Fredric March knew that the story was best served by characters, not necessarily heroes, and that's illustrated by his role as a fundamentalist politician in Inherit the Wind (1960). Some of his other roles I most appreciate are: A Star is Born (Mrs. Norman Maine!), Nothing Sacred and The Best Years of our Lives.

Nothing Sacred (1937)

For me, they're memorable portrayals because they weren't overwhelmed by an egotistical demeanor. No, it seemed that he played very faceted rolls, informed by great character. As he and his fellow actors confirmed:

"To me characterization is the whole fun of acting. Every part is a character part." -- Fredric March

Shelley Winters remembered: "He was able to do a very emotional scene with tears in his eyes, and pinch my fanny at the same time." (Their film together: Executive Suite).

Fredric March, about Richard Burton: "He has a terrific way with women. I don't think he has missed more than half a dozen."

And my favorite: When March's 1938 return to Broadway in "Yr. Obedient Husband" was a resounding failure, he and [co-star and wife]Florence Eldridge placed an ad in the trades that showed a sketch depicting them as two trapeze artists missing each other's grip in midair. "Oops. Sorry." read the caption.

Told you so...

A magnanimous mention of "A Damsel in Distress" (1937) is validated courtesy of NPR critic Lloyd Schwartz. See.

Kept Woman Wednesday: The Girl Can't Help It (1956)

I was a tad frustrated to discover that Turner Classic Movies’ star of the month is…blondes. Huh? I think it does a real disservice to blondes. Judy Holliday is nothing like Doris Day is nothing like Jayne Mansfield, and yet they’re all huddled together by their hair color.

Conceptually, I’m opposed. Trust me, TCM, I think Betty Grable could handle a month all to herself. But, in terms of scheduling, Wednesday has never looked so good. Tonight, it’s a Marilyn and Jayne film festival, which includes “The Girl Can’t Help It.” Anything I could possible describe is joyously detailed in this video tribute from John Waters.

What earns elaboration is Jayne’s relationship with the press. In this video, John Waters describes her as the “parody of Marilyn Monroe…an insane Marilyn,” persona that she controlled. As John says, “Anyone that has a bar that is open 8 hours in their house -- for the press– which she did have – is a girl after my own heart.”

I’m really pleased that a Jayne Mansfield movie is scheduled this week, because I was going to post about her anyway. In another John Waters interview I’ve seen, he describes how Jayne would alert the photographers prior to strolling down Hollywood Boulevard in a bikini with a Chihuahua under her arm.

Jayne seemed to say “don’t let’s be subtle about this whole fame thing.” Which is why this photog encounter with Katherine Heigl seemed so desperate in nature. She certainly looks classy – but don’t let that Rachel Zoe ensemble fool you – it’s ol’ Katherine’s version of Jayne’s beachwear. It seems to humorlessly bellow "please look at me!" This is quite different from Jayne, not only in yardage, but because it's like John Waters says, "How can it be pitful if you're in on the joke?" Maybe someone could give Katherine a hint.

(Katherine Heigl photo credit goes to one of these three: PacificCoastNews, Flynetpictures, style.com)

Everyday use: owl-tober

This little gift from my "steady" now perfectly enlivens my dressing table.

A Very Emily Hartley Christmas

Bob & Emily Hartley

You know The Bob Newhart Show, yes? Then, as you well know, Suzanne Pleshette portrayed the exquisite Emily Hartley, Bob's wife. She was a substitute teacher, occasional smart ass and stylish dresser. She popularized the "boyfriend" cardigan before it had a name, made pants suits fashionably feminine and understood the effortless glamour of a hostess skirt. This, of course, all came second to being the sultriest junior psychiatrist in prime time and always having enough dinner made up to feed Howard Borden.

When I revisited The Bob Newhart Show last winter, I was so taken with Emily, and the Harley's lively marriage. It isn't usual to see a television couple possess such warmth, wit and realism. (And the necessary amounts frustration and pouting). For me, their lovable dynamic is only trumped by Rob and Laura Petrie. And that comparison of chemistry makes sense: Mary Tyler Moore's own production company was behind The Bob Newhart Show.

So: Bob, Carol, Howard, the dentist, Emily -- love, love, love them. Especially love Emily's wardrobe. In all honesty, in an FY10/FY11 analysis, the 80% inventory increase of my maxi dress collection is directly inspired by Emily Hartley.

But I'm not the only one who's inspired:

My kindred spirits over at Talbots are hailing the return of the hostess skirt! Don't wear it with those shoes, guys. Tone it down -- you're a confident hostess. Styling details aside, I'm trying to dial back the lust for this Hartley-esque hostess skirt. (Talbots has a couple more maxi-skirts in their holiday lookbook, but this is the best one).

I know the look isn't so alluring to everyone. I imagine one could offer a critique: too matronly?...too costumey?...too long? But when I see a vivacious talent like Suzanne Pleshette portray Emily Hartley with playful grace, wearing clothes just like these -- I couldn't associate the style with anything better.

Hostess Skirt

Merry Christmas!

 PS: Really excellent screen captures from the classic TV coverage at http://www.chrisbaker.typepad.com/.

Christmas. Is. Coming.

And my list-making begins now:

"Pillow Talk" Barbies!

Kept Woman Wednesday: Designing Woman (1957)

Today's TCM schedule features...an Elvis Presley movie marathon, which includes my aunt's favorite: Kissin' Cousins (1964).

I don't have too much to write about Elvis, except that his Christmas album is essential holiday fare, though I have no idea why it includes "Mama liked the Roses."

So instead, this Wednesday I'll call your attention to Designing Woman. Which has a mediocre plot. Despite that! it possesses three distinct*, enticing reasons to watch: Vincente Minnelli direction. Gregory Peck in Technicolor (if not Gregory Peck in Rome, Gregory Peck in Technicolor is the next best thing). And, lastly, sumptuous costumes from Helen Rose (also responsible for High Society and a bevy of tantalizing textiles.) The Designing Woman showstopper is this mink dress.

Today, no living being would dare get away with this look. But it was more than passable for a time, an era this Kept Woman would like to revisit today on TCM.

*A fourth attraction is that Lauren Bacall's character's name is Marilla. Marilla! Like Cuthbert.