A Carole Lombard Picture

The Carole & Co. blog has the inspired idea to post a favorite Carole Lombard picture and since I'm recharging my blogging batteries *and* recovering from a trip to the dentist, gazing upon The Lovely Lombard will no doubt speed up my recovery...let the healing begin. This has become my new favorite Carole Lombard photo, and that's saying something, seeing as she was the most photogenic movie star ever. She's not the Hollywood Dreamland poster girl for nothing...

Poll Results: Audrey Hepburn in Roman Holiday

The poll results are in! The majority of you say that your favorite 1950s Audrey Hepburn performance is her Oscar-winning role in Roman Holiday. The vote tally:

Roman Holiday- 19
Sabrina- 10
Funny Face- 3
Love in the Afternoon- 3
Nun's Story- 1

It's not surprising, because her turn as Princess Ann is the template that Hepburn (1929-1993) would use in some variation in virtually every role in her career: the sweet, lovely, awkward woman who is uncomfortable and often painfully unhappy with her lot in life, whether it be as a princess, the daughter of a chauffeur (Sabrina), the party girl (Breakfast at Tiffany's), or the unhappily married woman (Two for the Road). It is Hepburn's most frequent onscreen personality. Audrey Hepburn was a solid actress but was really a movie star--and one of the best of her era. She honed that persona in the aforementioned films, which are her most popular. She has an appeal to many women, particularly young women who can no doubt relate to her. She also benefits by being one of the fashion icons of the 20th century. But it is her magnetic charm, radiant beauty and vulnerability about to bubble over as first seen in films like Roman Holiday that earns her new fans some fifty years later.

All Aglow: 1953 Best Actress Audrey Hepburn with her prize.

Gail Patrick: Deco Dame, Part VI

The tribute that would not die! March brings another entry in my ongoing Gail Patrick appreication! Part VI is a series of pictures finding Gail looking her absolute best as well as a photo from a film in which she is the lead. The lack of available Gail Patrick starring roles on DVD is frustrating, but all good things to those who wait...at least that's what I keep telling myself.

Garbo Gail: This glamour pic finds her in "I vant to be alone" mode. The angst-ridden persona was not a characterization she specialized in, but she sure sells the idea here.

Pulse-Pounding Gail: This is one of the best-looking photos of her I've seen! Looks like a chorus girl get-up; it may be from 1935's Mississippi, a Bing Crosby vehicle which is--you guessed it--unavailable on video.

Long Tall Gail: The statuesque beauty filled those evening gowns as well as any other...

Movie Mag Gail: Gail got her fair share of magazine covers, as her appearance on the September, 1939 issue of Cine-Mundial proves.

King of Alcatraz Gail: Pictured here with Lloyd Nolan, King of Alcatraz (1938) with a plotline not unlike 1935's China Seas, dealing with a pirated freighter. King of Alcatraz marked the film debut of Robert Preston. The future Music Man would also co-star with Gail in 1939's Disbarred.

Husband and Wife Detectives

Ever since I saw The Thin Man I’ve been fascinated with the concept of the “Husband and wife sleuthing team.” It’s probably my number one “Silver Screen Dream”, to exist in an ongoing, never-ending Thin Man movie. For those who don’t know, William Powell and Myrna Loy perfected the genre in that first Thin Man entry, which was adapted from the Dashiell Hammett novel of the same name. Hammett based his novel on the tippling and banter of he and paramour Lillian Hellman. The original movie was a surprise hit largely due to the sparkle between the two stars. MGM had the making of a hit movie series. In all, Powell and Loy would play the roles in six Thin Man films.

Before I became enamored with Nick and Nora’s adventures, I was a Film Noir devotee and routinely dismissed what I saw as “lightweight” detectives like Nick Charles and other “non-tormented” characters. I was big on tormented protagonists; in fact, I still am. However, when I became obsessed with the 1930s, Nick Charles became my new hero. He was cool, calm, collected, and always ready with a glib remark. In other words, everything most of us are not. He didn’t want to be a private detective anymore, especially since he married Nora, the inheritor of her wealthy industrialist father’s fortune. Comfortably well off Nick and Nora drink to excess (it is the recurring gag in the first two films, reflecting the nation’s joy at the repeal of prohibition). The couple crack wise with one another, play the ponies, dine at the finest restaurants, stay at the best hotels, and generally act as though there is no Great Depression. Nora meets and is amused by the many colorful characters from Nick’s days as a detective and chides him for the dubious company he kept. What’s more, the crooks that Nick “sent up the river” have nothing but affection and admiration for him! In the middle of all this revelry and amusement, Nick solves the occasional murder. Nora is Nick’s catalyst, often urging him into action, asking about his previous adventures and pestering him about taking on another case, which is never for payment but rather to assist the police, who are always too happy to have his help. Oh, and they have a delightful wire-haired terrier, Asta, (female in the novel, male in the films), who is practically a partner in the Charles’ adventures.

The Thin Man series is a rarity in that it's one of the few times in film that a couple is shown in the “ever after” stage of the romance. Nick and Nora are a happy, confident, and well-adjusted couple who enjoy one another's company; it's not a concept that Hollywood has embraced--then or now-- with any degree of regularity. Subsequent attempts to replicate this formula have been marginally successful and Nick and Nora remain the exception to the rule; they remain the model for the concept. William Powell would appear in a film that attempted to replicate the magic he had with Myrna Loy, 1936’s The Ex-Mrs. Bradford, which featured Powell alongside Jean Arthur. In it Powell is a doctor whose ex-wife drags him into yet another murder case, which was the reason he divorced her!

After devouring the Thin Man movies multiple times, my quest for similar crime fighting couples grew. My search for similar fare led me to upon Joel and Garda Sloane of the Fast series, written by Harry Kurnitz. The characters appeared in three movies produced by MGM during 1938-39 and featured three different couples as the rare book dealer turned detectives:

Fast Company: Melvyn Douglas and Florence Rice. Married book-dealers Joel and Garda Sloane try to clear a friend in the murder of a rival book-seller.

Fast and Loose: Robert Montgomery and Rosalind Russell. Joel and Garda Sloane investigate the killing of a noted collector.

Fast and Furious: Franchot Tone and Ann Sothern. The couple get mixed up with murder during a beauty pageant.

Why MGM didn’t sick with one couple is a mystery in itself. Perhaps it was because the search for another couple with Powell-Loy style chemistry proved elusive. All three films have their charms, and I regularly bounce back and forth between which is my favorite, with the present frontrunner being Fast and Furious, as Tone is a delight and Ann Sothern is…irresistible! The men play Joel Sloane in varying degrees: from a dry and subtle wit (Melvyn Douglas), to more obviously comedic (Bob Montgomery & Franchot Tone). The various Gardas are alternately silly, meddlesome, and unlike the supercool Nora Charles, jealous of the attention their husbands receive from the lovely young ladies. It’s unfortunate that a regular duo wasn’t used. We’re still waiting for the Fast films to appear on DVD.


A "novel" twist on husband-wife detectives is the series of mystery novels by George Baxt. Baxt (1923-2003) employs famous movie couples as the protagonists. The intriguing concept is perhaps best realized in his last novel, The Clark Gable & Carole Lombard Murder Case. Amateur detectives Gable and Lombard are in pursuit of a kidnapper of movie star babies amid the backdrop of Gone with the Wind’s premiere, though the plot is also a nod to the Lindbergh baby kidnapping of 1932. Lombard’s Screwball persona and Gable’s wisecracking propels the tale, which is best read for its atmosphere of the era and allowing the on screen personas of the two stars to be the focus. George Baxt had previously written The Fred Astaire & Ginger Rogers Murder Case, with its Cold War-era intrigue in Moscow and early 1950s Hollywood, and The William Powell & Myrna Loy Murder Case. Not husband & wife teams, but the public saw them that way, even though the stars were “just good friends.” The Powell and Loy mystery has the duo investigating an infamous Hollywood madam’s death, and the actors are buoyed by their experience as a silver screen sleuthing team! I just wish that Baxt had just written the "Continuing Adventures of the Thin Man", but give him credit for trying something different.

Television has tried its hand at husband and wife detectives as Nick and Nora Charles would re-emerge in a 1957 TV series, starring Peter Lawford and Phyllis Kirk. But it just wasn’t the same having Nick and Nora amid bongo-playing beatniks and Nick sans the fedora. Lawford possessed zero comic ability, though Phyllis Kirk wasn’t bad as Nora. The last gasp would appear to be the 1979-84 TV series Hart to Hart, starring Robert Wagner and Stephanie Powers, with 1930s character actor Lionel Stander as their butler. The Harts also had a dog, “Freeway”, though he wasn’t a wire-haired terrier. The series was successful and was clearly patterned after Nick & Nora. The show’s been off the air for over twenty-five years, so is that all? Are there no more crime solving couples out there? Is the genre dead? Perhaps it’s time for another crack at making funny, sophisticated married couples “hip” again. If not, we’ll always have William Powell and Myrna Loy’s Nick and Nora.

In Dreams: William Powell & Carole Lombard would've made a great onscreen detective team.