Eleanor Parker

Actress Eleanor Parker (b. 1922) is largely forgotten nowadays, though she was a well-respected actress, especially during her 1950s prime. Often cast as the loyal but suffering wife (Detective Story; Above and Beyond), her most (in)famous role may be as a prisoner in 1950’s Caged, better known today for its camp value than for the Oscar nominations that Parker and co-star Hope Emerson received. I find it to be well photographed and with riveting performances by a well-known cast, which runs the gamut from Jane Darwell and Agnes Moorehead (ah-ha! That's why it's campy!!!) to Ellen Corby and Jan Sterling. Perhaps the female convict concept just lends itself to such sniggering and derision. Parker also received a Best Actress Oscar nod for 1951’s Detective Story, where she played Kirk Douglas’ loyal wife who nevertheless has a dark secret. 1955’s Interrupted Melody (a film I’ve yet to see) scored Parker her third and final Oscar nomination. Here she’s opera singer Marjorie Lawrence, who was stricken with polio at the prime of her career and fought gamely to return to the stage. 1955 would prove to be Parker's stellar year, as she appeared in The Man with the Golden Arm, Interrupted Melody, and a little gem called Many Rivers to Cross.

Parker is an actress I'm interested in because she wasn't the sex vamp or villainess, and not the "good girl" in the same vein as June Allyson or Doris Day. Her career is largely based on serving the thankless role of the loyal, supportive wife, a characterization that was emphasized in the 1950s. It hasn't aged well, as that type of woman doesn't exist anymore, and if it did, it would be frowned upon in this post-Feminist era. But I can imagine that time period more clearly because of Parker's place in it. Perhaps I find myself wishing that certain aspects of that era would make a comeback. Whatever the case may be, Eleanor Parker was always an entertaining, reliable and-- most of all-- sympathetic performer; and well worth discovering.

Selected Filmography:

Pride of the Marines (1945)
Of Human Bondage (1946)
Caged (1950)
Detective Story (1951)
Scaramouche (1952)
Above and Beyond (1952)
Valley of the Kings (1954)
Interrupted Melody (1955)
The Man with the Golden Arm (1955)
The Seventh Sin (1957)
Home from the Hill (1960)
The Sound of Music (1965)

Thanks to Millie at Classic Forever for inspiring this post…

By His Side: Eleanor Parker and John Garfield in 1945's "Pride of the Marines."

Ginger Rogers and THE Dress

I'm spellbound whenever I watch Swing Time (1936) and see an absolutely stunning, peak-of-her-beauty-and-popularity Ginger Rogers in that marvelous Never Gonna Dance opus, and wearing that dress--the white one--you know the one I mean. Maybe it's the beauty of the song (Fred's brilliant vocal), the way Ginger moves--she had quite a figure, didn't she? Oh, the beauty! Perhaps it's the way she gave herself to that performance--Rogers was involved in an affair with Swing Time director George Stevens-- but for me, this dress symbolizes the elegance, class, sophistication, and everything else Hollywood had on the ball in the 1930s.

Jerry Goldsmith's 80th Birthday

Legendary film composer Jerry Goldsmith would have been 80 years old today. Goldsmith (1929-2004) is one of the most prolific film composers (second only to Ennio Morricone) ever. His best-known work includes: (*Oscar Nomination; #Won)

Lillies of the Field (1963)

A Patch of Blue (1965)*

Our Man Flint (1966)

The Sand Pebbles (1966)*

In Like Flint (1967)

Planet of the Apes (1968)*

Patton (1970)*

Papillon (1973)*

Chinatown (1974)*

The Omen (1976)#

Alien (1979)

Star Trek: The Motion Picture (1979)*

First Blood (1982)

Poltergeist (1982)*

Gremlins (1984)

Basic Instinct (1992)*

Rudy (1993)

L.A. Confidential (1997)*

The Waltons (theme)

Barnaby Jones (theme)

Goldsmith (or "Jerry", as we devotees call him) was the consumate professional, best at scoring "emotions", though his action cues were (and are still) second to none. He was nominated for the Oscar 17 times, but won only once, for 1976's The Omen. It's arguably the greatest horror score ever composed. Goldsmith was also renonwned for not composing a scene when it would work better without music. A great example of this is the ending of the original The Planet of the Apes. Most composers would try and milk the moment with bombast but Jerry knew when not to score and as a result, the film's denouement is all the more devastating. However, such was Goldsmith's ability that his most frequent director and colaborator, Franklin J. Schaffner, allowed Jerry to score a seven-minute scene from Papillon (which happens to be my favorite score of his) with nothing but musical underscore! No dialogue, sound effects, or even the sound of the ocean. The scene has Henri Charriere (Steve McQueen) making his way off Devil's Island and while he is at sea Goldsmith's music comes forth and the composer provides his most beautiful musical acomplishment. It's hard to imagine any directors today trusting their composer and giving them that kind of... freedom.

Most people, including movie buffs, don't pay attention to film music, unless it's over-the-top and annoying, or a song that happens to be memorable in a positive way. Goldsmith wasn't known for his songs and catchy themes like his contemporaries Henry Mancini and John Williams, but Goldsmith's marches to Patton and Star Trek: The Motion Picture are his most recognizable and enduring compositions. Star Trek: The Next Generation used Jerry's theme because Trek creator Gene Roddenberry loved it so. It's Goldsmith's lasting musical legacy.

Reinventing Himself: Composer Jerry Goldsmith through the years.

Burt and Kirk: Crazy Cut-Ups

These photos were taken during rehearsals for the 30th Academy Awards, held on March 26, 1958. Burt Lancaster and Kirk Douglas performed a silly musical comedy number written by Frank Sinatra’s favored songwriters, Sammy Kahn and Jimmy Van Heusen, “It’s Great Not to Be Nominated.” The bit was performed just before the Best Actor award was presented. The song’s cringe worthy lyrics poked fun at the five nominees:

“There’s Marlon Brando, Hi ya’ll/That corny southern drawl.”

“Anthony Franciosa, you’ve got our vote/If he wins I’ll cut my throat.”

“Charles Laughton, he’s great/Yeah, if you’re voting for weight.”

“Anthony Quinn, isn’t he uncanny/Your *father* would look great in a scene with Magnani.”

“Alec flew all the way from Britain/Bully, Burt that’s why my teeth are grittin’”

The three nominees present reacted in different ways; Marlon Brando smiled and waved to the pair, Anthony Franciosa nervously chomped gum, though wife Shelley Winters roared with laughter at his expense, Anthony Quinn was also amused--no nerves from a two-time Oscar winner.

The number ended with Douglas doing a handstand over Lancaster, who proceeded to carry the dimple-chinned tough guy off the stage. The two reprised the number on film the following year, which kicked off the 31st Academy Awards, with Burt and Kirk doing somersaults. I wonder if George Clooney and Matt Damon will do a number like that at this year’s show…

At the Peak of Their Powers: Burt Lancaster and Kirk Douglas howling at rehearsals, March 1958.