Monday, February 28, 2011
It was her trademark, her calling card and, in 1931, the name of a film for which she received third billing. Platinum Blonde had originally been intended as a vehicle for top-billed star Loretta Young but, by the time it was released, the film's title had changed and changed again until it was an outright reference to pale-haired co-star Jean Harlow. It was not Harlow's breakout picture, that had come with Hell's Angels (1930), nor is it generally cited as one of her great classics, but Platinum Blonde was pivotal - it proclaimed her stardom.
Monday, February 21, 2011
Monday, February 14, 2011
This review was part of the For the Love of Film: The Film Preservation Blogathon to benefit the Film Noir Foundation.
San Francisco's annual film noir festival, Noir City 9, ran for ten days at the end of January. From all reports the festival, an event that showcased 24 films, was a great success. I would say, from my own experience, it was a smash.
Thursday, February 10, 2011
|Huntington Park at the top of Nob Hill, San Francisco|
|The Fairmont Hotel has appeared on film and TV many times|
Dave edited the video, added a music track and recorded my narration. I then tried but was unable to upload the video to Blogger and eventually gave up...and forgot about it. Then, a few days ago, a Twitter friend tweeted about a photo contest his site, Writing with Hitchcock, was sponsoring that involved posting personal photos of Hitchcock film locations. After I entered a still photo I'd taken of the building at 900 Lombard where Scottie Ferguson lived in Vertigo, I remembered the video. Once I'd managed to post it on Facebook, I posted it on YouTube and, only slightly delayed...here it is...my mini-tour of San Francisco film locations. Dave and I hope to get back out there again one day. I'd love to venture into other neighborhoods as well as do a "Hitchcock tour" of the San Francisco Bay Area.
Sunday, February 6, 2011
Marlene Dietrich is one of very few film stars whose career not only spanned 60+ years but who also enjoyed icon status for most of those years. Her life in film began in the early 1920s with silent pictures. It came to a close with Maximillian Schell's 1984 Oscar-nominated documentary, Marlene, in which she speaks but does not appear on camera.