News for today's 2018

Halloween Treats

6:00 AM Tukiyooo 0

halloween I Married a Witch Rebecca TCM The Innocents The Lady Eve (author) The Uninvited Halloween Treats

Joan Carroll and Margaret O'Brien in Meet Me in St. LouisThe origins of Halloween go back to the ancient Celtic festival known as Samhain (pronounced sowˊ-in). Samhain began on the eve of October 31 and heralded the Celtic New Year on November 1. The…

A TV Tour of Hitchcock Film Locations and Edna May Wonacott's First On-Camera Interview

6:00 AM Tukiyooo 0

<div style="font-family: Verdana,sans-serif;"><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixyWr3N6_7k5-q1-lePLVwrjLNEKrnp5WKupFtyDZBL-GGyUi78GTBotWuue0iIvxmUTHkzoJnTLNUks16z0TKGySpMM2FdCPKPKpTl7enz8G6TvEGT_AsP9KRbG8jJHjfHrtQhuxdOgff/s1600/bodega+school+house+2.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixyWr3N6_7k5-q1-lePLVwrjLNEKrnp5WKupFtyDZBL-GGyUi78GTBotWuue0iIvxmUTHkzoJnTLNUks16z0TKGySpMM2FdCPKPKpTl7enz8G6TvEGT_AsP9KRbG8jJHjfHrtQhuxdOgff/s400/bodega+school+house+2.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Bodega School House</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"></div><span style="font-size: small;"><in 2012="" i="" may=""><i>Eye on the Bay</i>, a feature of KPIX, CBS’s San Francisco TV outlet, was recently on the trail of director Alfred Hitchcock, traveling around the Bay Area to take an up-close look at locations used in his films. The 20-minute piece, <i>Hitchcock Step-By-Step</i>, focuses on sites featured in <i>Shadow of a Doubt </i>(1943), <i>The Birds </i>(1963) and <i>Vertigo </i>(1958). Aaron Leventhal, co-author of the definitive Hitchcock-in-the-Bay-Area guidebook, <i>Footsteps in the Fog</i>, discusses the director’s work in the region, providing fascinating production background as well as information on many locations. Hitchcock’s granddaughter, Tere Carruba, talks about her grandfather from a personal point of view and <a href="http://eves-reel-life.blogspot.com/2011/08/akaann-newton-of-shadow-of-doubt.html" target="_blank"><span style="color: #cc0000;">Edna May Wonacott</span></a>, the last surviving featured cast member of <i>Shadow of a Doubt</i>, speaks on television for the first time about how she was chosen for the film and what it was like to work with Alfred Hitchcock.</in></span><br /><br /><a name='more'></a><br /><span style="font-size: small;"><in 2012="" i="" may="">Clips from each movie accompany location visits. <i>Eye on the Bay</i> host Brian Hackney, a Hitchcock fan, guides the tour. </in></span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><i><span style="font-size: small;"><u>Note</u>: A brief (15 sec.) commercial spot opens each segment. Closing spots at the end of segments can easily be skipped.</span></i></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1p2b1hZ64G1TzKVN4oercdU8JK-995LbEAfRBiBdBPv3XfS4GdQICc4Qp_1PTO23Kk6v0xnmx3XU0tMC93ZtXVsQ38eUM_i3y1lU1LWqgqO3UHQdrQsrTB2x2fQdw80YGt8Ed5W0aZGki/s1600/old+courthouse+square.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1p2b1hZ64G1TzKVN4oercdU8JK-995LbEAfRBiBdBPv3XfS4GdQICc4Qp_1PTO23Kk6v0xnmx3XU0tMC93ZtXVsQ38eUM_i3y1lU1LWqgqO3UHQdrQsrTB2x2fQdw80YGt8Ed5W0aZGki/s320/old+courthouse+square.jpg" width="268" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Old Courthouse Square, Santa Rosa</td></tr></tbody></table><span style="font-size: small;"><a href="http://sanfrancisco.cbslocal.com/video/7314224-eye-on-the-bay-hitchcock-step-by-step-pt-1/" style="color: #cc0000;" target="_blank">Click here</a> to view Part 1. An 8-minute segment with a tour of Santa Rosa locations for <i>Shadow of a Doubt </i>and an interview with Edna May Wonacott Green ("Ann Newton"), now living in Arizona. </span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><div style="text-align: right;"></div><div style="text-align: left;"></div><span style="font-size: small;"><a href="http://sanfrancisco.cbslocal.com/video/7314281-eye-on-the-bay-hitchcock-step-by-step-pt-2/" target="_blank"><span style="color: #cc0000;">Click here</span></a> to view Part 2, a 5-minute segment shot in Bodega Bay, where <i>The Birds</i> was filmed in 1962. The Hitchcock production has had a lasting effect on the small Bay Area town; it’s estimated that 10,000 tourists come each year specifically to visit locations featured in <i>The Birds</i>.</span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><a href="http://sanfrancisco.cbslocal.com/video/7314313-eye-on-the-bay-hitchcock-step-by-step-pt-3/" target="_blank"><span style="color: #cc0000;">Click here</span></a><b> </b>to view Part 3, a 5-minute segment that spotlights sites seen in <a href="http://eves-reel-life.blogspot.com/p/month-of-vertigo-schedule-of-bloggers.html" target="_blank"><i style="color: #cc0000;">Vertigo</i></a>. This tour takes us from the Golden Gate Bridge to the Mission at San Juan Batista and many locations in between.</span><br /><br /><div class="MsoNormal"><a href="http://sanfrancisco.cbslocal.com/video/7314373-eye-on-the-bay-hitchcock-step-by-step-pt-4/" target="_blank"><span style="color: #cc0000;">Click here</span></a> for Part 4. Just over 1-1/2 minutes long, it references <i style="mso-bidi-font-style: normal;">Rebecca </i>(1940) and <i style="mso-bidi-font-style: normal;">Marnie </i>(1964) and ventures to the estate Hitchcock purchased in Scotts Valley while shooting location footage for <i style="mso-bidi-font-style: normal;">Rebecca</i>, his first American film. It was Hitchcock’s much beloved home away from Hollywood.<br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRAsuLsMVKmf-xCu4RePtdmMyN35igpGmfgq0qpF02lyASwOruIVwdm-HdcLs75F0BfPYTx_WoF6aC0b_D6ppYO4a1cVoUJtPZugm_6ZptHz68xMVhuEXRHcj7csYAN6DJssT9Cr33xvOK/s1600/Edna+and+Hitch+2+resized+small+cropped.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRAsuLsMVKmf-xCu4RePtdmMyN35igpGmfgq0qpF02lyASwOruIVwdm-HdcLs75F0BfPYTx_WoF6aC0b_D6ppYO4a1cVoUJtPZugm_6ZptHz68xMVhuEXRHcj7csYAN6DJssT9Cr33xvOK/s320/Edna+and+Hitch+2+resized+small+cropped.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Edna May Wonacott on the set with Alfred Hitchcock, 1942</td></tr></tbody></table></div></div>

A TV Tour of Hitchcock Film Locations and Edna May Wonacott's First On-Camera Interview

Aaron Leventhal Alfred Hitchcock Brian Hackney Eye on the Bay Marnie Rebecca Shadow of a Doubt Tere Carruba The Birds Vertigo A TV Tour of Hitchcock Film Locations and Edna May Wonacott's First On-Camera Interview

Bodega School HouseEye on the Bay, a feature of KPIX, CBS’s San Francisco TV outlet, was recently on the trail of director Alfred Hitchcock, traveling around the Bay Area to take an up-close look at locations used in his films. The 20-minute piece, H…

A Chill in the Air - Part II

8:00 AM Tukiyooo 0

<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtU3r4ymgl3c8HqG62HGScsDStDOlTRKLT1xWLYuZ_C6vqTScNwOQOGFjsxgyO0T1ncSqFrS_VMQJJ9RLUkTDq8aqW95T2VHnTPjLULXtZtoWeAasJTtgNPcQOFN9bC47_ERKS1d9tBw3V/s1600/uninvited+and+eerie+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtU3r4ymgl3c8HqG62HGScsDStDOlTRKLT1xWLYuZ_C6vqTScNwOQOGFjsxgyO0T1ncSqFrS_VMQJJ9RLUkTDq8aqW95T2VHnTPjLULXtZtoWeAasJTtgNPcQOFN9bC47_ERKS1d9tBw3V/s1600/uninvited+and+eerie+2.jpg" /></a></div><br /><span style="font-family: Verdana,sans-serif;">For a few years now, Turner Classic Movies has traditionally aired <i>The Uninvited </i>(1944) during Halloween season. A gothic mystery/romance with a lighter heart than <i>Rebecca </i>(1940), <i>The Uninvited </i>is another of my cold night favorites.</span><br /><br /><a name='more'></a><br /><span style="font-family: Verdana,sans-serif;">Though lacking any gun or knife, let alone even a drop of blood or a hint of gore, <i>The Uninvited</i> can subtly spook the unsuspecting viewer. The action begins jauntily enough as a pair of vacationing Londoners, brother and sister, hike the cliffs of Devon and Cornwall and find, fall in love with and purchase a long-empty mansion overlooking the sea. The two later come to the realization that their new home is haunted and that their new friend, the former owner's lovely granddaughter, is a target of the malevolent apparition who inhabits the house. This is a phantom whose arrival, sometimes partially materialized, brings with it a penetrating chill that terrorizes all who encounter it...including the family pets. And there is the sudden overpowering scent of mimosa that signals an unseen presence as it fills a room. Heightening these spine-tickling proceedings is a rapturous score by Victor Young with a haunting motif that later became the popular standard, <a href="http://eves-reel-life.blogspot.com/2011/10/haunting-melody-of-uninvited-1944.html" style="color: #990000;">"Stella by Starlight."</a> The film was directed by Lewis Allen and photographed by cinematographer Charles Lang (<i>Midnight</i>, <i>A Foreign Affair</i>, <i>The Magnificent Seven</i>, <i>Charade</i>) who was Oscar-nominated for <i>The Uninvited</i>.</span><br /><br /><span style="font-family: Verdana,sans-serif;"><i>The Uninvited</i> stars Ray Milland, one of Paramount's most charming and enduring players, and Ruth Hussey as the brother and sister duo. Donald Crisp is the former owner of 'Windward House,' and Gail Russell appears in her first film role as his granddaughter, Stella. Cornelia Otis Skinner portrays one Miss Holloway, a sinister creature reminiscent of <i>Rebecca</i>'s Mrs. Danvers - and any number of characters played by Gale Sondergaard...</span><br /><br /><div class="MsoNormal"><div style="text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/Ow1eaETb9ec" width="420"></iframe></div><div style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;">Cornelia Otis Skinner as Miss Holloway</span></span></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">This year in tandem with watching <i>The Uninvited</i>, I read the book on which it was based. Irish author Dorothy Macardle's novel was first published in 1942, four years after du Maurier's smashing success, <u>Rebecca</u>, appeared in print and two years after the enormously popular Hitchcock/Selznick 'picturization' was released. It, too, is of the modern gothic genre with roots reaching back to Bronte's <u>Jane Eyre</u>.</span></span></div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG5j1JbwhG1Whyk2nFJwPFImfzyMOWsnyuIKShgGsEhq3oREaVGFpsqWLJxBhHtwK1XDSXIHFrkpnpkkdg_aRC5AFDwoHr97EfZK6KzoLpvrAOdnIZvZuSeV7-sn8eGuSoP0LdGFfeU1lk/s1600/uninvited+and+eerie+2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a></div><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Macardle's book is engaging, lively and, though not equal to du Maurier's classic in any sense, it entertainingly transports today's reader to a time, place and world view now several decades gone. Macardle could weave a tale and hold one's attention, telling her spooky story of warring spirits from the first person perspective of the protagonist, Roderick Fitzgerald, a London journalist whose move to the seaside brings with it hair-raising adventure, a new turn in his writing career and new love.</span></span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1JP6_f-avQBkD-8cIFS4NDcjzyl0QWZRW2VTuo8eWP6o-WQG1MDpNDJsKSP5LdmjlSppfl86QU1_wnxP4bM-QODeWIB9PhfiWZ9ozA0I5VFNE7dwH6OA88rp2euYVMOFJzK4aK_1n4vy_/s1600/dorothy+macardle.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1JP6_f-avQBkD-8cIFS4NDcjzyl0QWZRW2VTuo8eWP6o-WQG1MDpNDJsKSP5LdmjlSppfl86QU1_wnxP4bM-QODeWIB9PhfiWZ9ozA0I5VFNE7dwH6OA88rp2euYVMOFJzK4aK_1n4vy_/s1600/dorothy+macardle.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Dorothy Macardle</td></tr></tbody></table><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Author Dorothy Macardle, I discovered, was involved in far more than writing novels during her 69 years (1889 - 1958). Born in Ireland into a well-heeled brewing family, she taught after graduating from college but was soon involved in political and social activism. She gained an international reputation as an Irish nationalist writer and was an intimate associate of Eamon de Valera, a leader in Ireland's fight for independence and president of country from 1959 to 1973. Macardle is best known today for her historical opus, the nearly 1,000 page <u>The Irish Republic</u>, an account of Ireland's struggle for freedom between 1916 and 1923. Quite amazing that the woman could also write a plausible ghost story in her spare time...</span></span><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"> </span></span></div><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"> </span></span></div><div style="text-align: left;"><div style="text-align: left;"></div><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">The adaptation from novel to screen is largely faithful. The book is peopled by a greater variety of characters and the back story of each principal is more detailed. On screen, the haunted mansion's name changed from 'Cliff's End' to 'Windward House,' Roderick Fitzgerald is referred to as 'Rick' rather than 'Rod' and Miss Holloway's role is expanded. Fitzgerald's profession was changed from writer to composer - perhaps in order to ease giving Victor Young's "Stella by Starlight" its center-stage moment in the film.</span></span></div><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><br /></span></span></div><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Young's theme for <i>The Uninvited</i> enhances the film's romantic and mysterious story. By comparison, Franz Waxman's score for <i>Rebecca</i>, though also dramatic and powerful, seems to me, at times, overwhelming. I knew Bernard Herrmann had, when he was with CBS Radio, scored an earlier radio presentation of <i>Rebecca </i>and I found this intriguing given his later association with Hitchcock.</span></span><br /><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"> In December 1938 Orson Welles' <i>Campbell Playhouse </i>(formerly the <i>Mercury Theatre on the Air</i>) premiered and featured the first radio adaptation of <i>Rebecca</i>; it starred Margaret Sullavan as the second Mrs. de Winter, Welles as Maxim de Winter and Mildred Natwick as Mrs Danvers. Bernard Herrmann provided the score:</span></span></div><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"> </span></span></div><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"> </span></span></div><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"> </span></span></div><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"> </span></span></div><div style="text-align: left;"></div><div style="text-align: left;"></div><div style="text-align: center;"><br /></div></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/GU__UqhFxw4" width="420"></iframe></div><br /><span style="font-family: Verdana,sans-serif;">In the end, the music Herrmann scored for <i>Rebecca </i>eventually made its way to the screen; much of it was used in <i>Jane Eyre</i> (1943<i>) </i>starring Orson Welles and Joan Fontaine.</span><br /><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgByIvTf6IL3nqBRw2XDAGGLrxEp-0MqzyVOSJuqcVPhkENJnqyJ53LSGWZ184xlZ-ILQTVbYwpFxJAomDjnn15tMmXMpua91xHT_xZt5ZPZd9iUCCuMscgAc0VH4v-73veOHfFJK1YOrw2/s1600/gail+russell.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgByIvTf6IL3nqBRw2XDAGGLrxEp-0MqzyVOSJuqcVPhkENJnqyJ53LSGWZ184xlZ-ILQTVbYwpFxJAomDjnn15tMmXMpua91xHT_xZt5ZPZd9iUCCuMscgAc0VH4v-73veOHfFJK1YOrw2/s200/gail+russell.jpg" width="164" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Gail Russell</td></tr></tbody></table><span style="font-family: Verdana,sans-serif;">19-year-old Gail Russell, in her screen debut </span><span style="font-family: Verdana,sans-serif;">as Stella Meredith, is another high point in <i>The Uninvited</i>. Fresh-faced, with dark, tousled hair and long, thick lashes, Russell projects a fetching mixture of fragility and intensity as a young girl faced with a deadly threat just as she experiences first love. Russell followed <i>The Uninvited </i>with a role in <i>Our Hearts Were Young and Gay</i> - coincidentally, she portrayed Cornelia Otis Skinner in the film (she played Skinner again in <i>Our Hearts Were Growing Up</i>). In 1945 Russell was cast in a quasi-sequel to <i>The Uninvited </i>called <i>The Unseen</i> (with Joel McCrea), and she made a number of films co-starring with John Wayne, who befriended her when they made <i>Angel and the Badman </i>in 1947. But Russell's life and career were blighted by serious personal demons. A beautiful teenager who'd been embarrassed by the nickname "The Hedy Lamarr of Santa Monica High," she had long suffered from crippling shyness. When Paramount Pictures came calling she agreed to pursue a movie career; her mother had insisted, the family needed money.  Russell</span><span style="font-family: Verdana,sans-serif;"> developed a habit early on of drinking before she faced the cameras - it helped steady her nerves</span><span style="font-family: Verdana,sans-serif;">. This habit developed into a deadly addiction that shortened her life; she died in 1961 at age 36.</span><br /><br /><span style="font-family: Verdana,sans-serif;">The characters of Stella Meredith in <i>The Uninvited </i>and <i>Rebecca</i>'s second Mrs. de Winter are fairly similar - both are young, inexperienced and in need of  protection and guidance. But one character evolves more than the other. Throughout <i>The Uninvited</i>, Stella remains a maiden in need of rescue by older, wiser Roderick Fitzgerald. In <i>Rebecca</i>, the second Mrs. de Winter begins as an awkward, coltish young lady utterly intimidated by all that her new status as bride of an aristocrat brings. But when Maxim de Winter confesses his role in Rebecca's death and reveals his vulnerability, her transformation into a more confident, assured woman begins. Fontaine's portrayal of this maturing is seamless.</span><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNy4tu5RO4fx93ddtDfAYMbRMugP4_94b5alb8jnOtWB4AfBTqDJ5AJgaiS5khnu-m7uaxmXZ1HiZswpnKGxT9Q8lUWNne8mhKQaqJHpEBvMrGeimjy4XjKcf5JiqbIcfy3zn6gdaYpyZy/s1600/joan+fontaine.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNy4tu5RO4fx93ddtDfAYMbRMugP4_94b5alb8jnOtWB4AfBTqDJ5AJgaiS5khnu-m7uaxmXZ1HiZswpnKGxT9Q8lUWNne8mhKQaqJHpEBvMrGeimjy4XjKcf5JiqbIcfy3zn6gdaYpyZy/s200/joan+fontaine.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Joan Fontaine as the second Mrs. de Winter</td></tr></tbody></table><span style="font-family: Verdana,sans-serif;">Joan Fontaine, who became a star with <i>Rebecca</i>, enjoyed continued success. Cast again by Hitchcock in 1941's <i>Suspicion</i>, with Cary Grant, she won a Best Actress Oscar for her performance. Other noteworthy films include <i>Jane Eyre</i> in 1943 with Orson Welles and Max Ophuls' stunning <a href="http://eves-reel-life.blogspot.com/2010/11/max-ophuls-letter-from-unknown-woman.html" style="color: #990000;"><i>Letter From an Unknown Woman </i></a>(1948). She continued to work in film and on TV until the mid-1990s and just recently celebrated her 94th birthday; she and her older sister Olivia de Havilland, however, remain estranged...</span><br /><br /><span style="font-family: Verdana,sans-serif;">My meanderings through <i>Rebecca </i>and <i>The Uninvited </i>on page and screen began as I sought enjoyable ways to spend the crisp, dark evenings that come with the late months of the year. This quest brought several cozy nights charged with chills, thrills and romance and now I'm tempted to continue...perhaps with another foray into the realm of the gothic  -  once defined as the Cinderella story gone very wrong...</span><br /><br /><span style="font-family: Verdana,sans-serif;">In the meantime, I've been trying out different hot drink confections to help fend off the chill. My latest experiments involve a <i>healthier</i> cocoa mix called 'WonderCocoa' and a new twist on the hot toddy called 'The Laureate.' <a href="http://evesreellife.wordpress.com/2011/11/08/something-warm-to-drink-on-a-cold-dark-night/" style="color: #990000;">Click here </a><u></u>for ideas on what to sip to stay warm on a cold, dark night...</span><br /><span style="font-family: Verdana,sans-serif;"><i></i> </span><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXE92X596NryYmPGGlzQf77k9Bt5MRg-nnuRUXxOdw-tzGwie_TLjNBaT-U7xQpyJ7SB5fMaR5-66OhoQZhltdl5PdK1cRT9bf32PYj893vYMc49foVyRPP2Hy9XDXYbL9mAc_cgOGTfY9/s1600/cat+by+the+fire.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXE92X596NryYmPGGlzQf77k9Bt5MRg-nnuRUXxOdw-tzGwie_TLjNBaT-U7xQpyJ7SB5fMaR5-66OhoQZhltdl5PdK1cRT9bf32PYj893vYMc49foVyRPP2Hy9XDXYbL9mAc_cgOGTfY9/s400/cat+by+the+fire.jpg" width="400" /></a></div>

Cornelia Otis Skinner Daphne du Maurier Donald Crisp Dorothy Macardle Gail Russell Joan Fontaine Ray Milland Rebecca Ruth Hussey The Lady Eve (author) The Uninvited Victor Young A Chill in the Air - Part II

For a few years now, Turner Classic Movies has traditionally aired The Uninvited (1944) during Halloween season. A gothic mystery/romance with a lighter heart than Rebecca (1940), The Uninvited is another of my cold night favorites.Though lacking any…

A Chill in the Air - Part I

11:25 PM Tukiyooo 0

<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiljz9D6sCL93zCfYdMa3doUmO6pQkkeIG1aKybxyeI-KzzTgIDa0TEsiwJI1GQvnrCBMeGEOrxRMYOekIKwkAbsxXoCptUD7P06ff_dcKIQ2_jCqbesPPtSolfa_L4XQOQzbXAqCDjA1dX/s1600/manderley+x4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiljz9D6sCL93zCfYdMa3doUmO6pQkkeIG1aKybxyeI-KzzTgIDa0TEsiwJI1GQvnrCBMeGEOrxRMYOekIKwkAbsxXoCptUD7P06ff_dcKIQ2_jCqbesPPtSolfa_L4XQOQzbXAqCDjA1dX/s1600/manderley+x4.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><br /><br /><div style="font-family: Verdana,sans-serif;">Halloween has come and gone, a time change looms (“fall back”) and winter is just around the corner. Early twilight and cool evenings are here and it seems to me that when the weather starts getting nippy and night falls early, nothing satisfies like a crackling fire, something either steaming or iced to drink and a well-chosen book or movie to settle into. What I'm reading and watching as autumn deepens this year are books and the films that were made of them.</div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /><a name='more'></a></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHfAAJbwa0K7t57fHOI3BRxJf3v5OJysoauno47bSLcGQw1bDQx_Byba8LyhgvCbp18PZ5ds8OyTQW511i1U8WPZIwzIQnyoQ_agtguK42bi5GgZpu-R0nmbBZI5fdZ1mLNoXTQTOisT8D/s1600/uninvited+france+2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="164" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHfAAJbwa0K7t57fHOI3BRxJf3v5OJysoauno47bSLcGQw1bDQx_Byba8LyhgvCbp18PZ5ds8OyTQW511i1U8WPZIwzIQnyoQ_agtguK42bi5GgZpu-R0nmbBZI5fdZ1mLNoXTQTOisT8D/s200/uninvited+france+2.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>The Uninvited</i>, 1944</td></tr></tbody></table>I’ve been reading Dorothy Macardle’s classic ghost story, <u>The Uninvited</u>, a novel that made its way to film by way of Paramount Pictures in 1944. I’d seen <i style="mso-bidi-font-style: normal;">The Uninvited</i> again recently and became curious about its original source material.  I’ve also picked up Daphne du Maurier’s romantic thriller <u>Rebecca</u> once more and have happily revisited the 1940 Hitchcock-directed Selznick production. </div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><div class="separator" style="clear: both; text-align: center;"></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjykCG3Df2PSUH0QjM_8b0SGWgPYt-PTbr2posE1-kzVhYofvAzyS_nStRLOg2KdIcK3Zx66FxFP-k5MtuRo8kw7b8EsWuuV9puZj-F3CsQX819718TBc8qDn3_PBFm02PuynLRxBZzicfy/s1600/rebecca-1-1024+2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjykCG3Df2PSUH0QjM_8b0SGWgPYt-PTbr2posE1-kzVhYofvAzyS_nStRLOg2KdIcK3Zx66FxFP-k5MtuRo8kw7b8EsWuuV9puZj-F3CsQX819718TBc8qDn3_PBFm02PuynLRxBZzicfy/s200/rebecca-1-1024+2.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Rebecca</i>, 1940</td></tr></tbody></table>I don’t know how old I was when I first read the words, “Last night I dreamt I went to Manderley again,” but do know I was young because, when I came upon du Maurier’s description of 50-foot rhododendrons I didn’t know what they were or how to pronounce the word (...if only I could remember what I called them in my imagination back then...). As I re-read <u>Rebecca</u>, I realized how completely Hitchcock’s Oscar-winning film had supplanted the book, erasing nearly all but the opening line and “rhododendrons” from my memory.</div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;">The film is a generally literal adaptation, barring Production Code-dictated changes (most notably, Rebecca's death is accidental in the film rather than outright murder as in the book) and a few other alterations. This is largely thanks to producer David O. Selznick, who was wary when it came to tinkering with literature.</div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFQLLYsDLKq4JzEI58zMnbKv7rYsf4RqVlGMzFdSoE5VBEUq_EQPqwOKEQEMgy4G8t7UyaYQFpR7Q9hHgsBmgR56wqS1qBL_4aXEAlL5owURiX7vjz-Xkz6j3LKH2HK4njiAIo6QzXJCi_/s1600/1940+Oscars.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFQLLYsDLKq4JzEI58zMnbKv7rYsf4RqVlGMzFdSoE5VBEUq_EQPqwOKEQEMgy4G8t7UyaYQFpR7Q9hHgsBmgR56wqS1qBL_4aXEAlL5owURiX7vjz-Xkz6j3LKH2HK4njiAIo6QzXJCi_/s320/1940+Oscars.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Selznick, Fontaine & Hitchcock at Academy Awards dinner</td></tr></tbody></table>Hitchcock and Selznick weathered a famously rocky collaboration on <i style="mso-bidi-font-style: normal;">Rebecca</i>, Hitchcock’s first American film and his first under contract to Selznick International Pictures. The director counted himself lucky that Selznick was still involved with <i style="mso-bidi-font-style: normal;">Gone with the Wind</i> - which lessened his interference on <i style="mso-bidi-font-style: normal;">Rebecca </i>to some extent. For his part, Selznick was flabbergasted by the director’s stubborn habit of shooting very little ‘coverage’ – or extra footage, effectively “editing in camera” (filming only what he wanted for the final cut). Once Hitchcock completed the shoot, the producer did what he could to more explicitly stamp the production as his own. In particular he supervised the film’s score, having music added to almost every scene – which accounts for intermittent intrusions of musical bombast. Selznick biographer David Thomson writes that the producer learned that no matter how involved he was, “there were secrets of craft, nuance and meaning that only a director controlled.” According to Thomson, <i style="mso-bidi-font-style: normal;">Rebecca </i>had been a battle between director and producer that left Selznick feeling defeated.</div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;">He should not have been so glum.<i style="mso-bidi-font-style: normal;"> Rebecca </i>is plainly a Selznick project, a glossy and rich first rate production. The film was an unqualified success and brought the producer his second Best Picture Oscar in a row, one of the two Oscars <i>Rebecca </i>won out of the eleven total nominations it received. But Selznick was accustomed to dominating his directors and Hitchcock had outfoxed him… </div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;">Despite the fact that <i style="mso-bidi-font-style: normal;">Rebecca</i> has been called the least ‘Hitchcockian’ of the director's films and that Hitchcock later virtually disowned it, it bears unmistakable signature touches. The character interpretations of Florence Bates (Mrs. Van Hopper) and George Sanders (Jack Favell) are darkly witty comic turns - entirely in the Hitchcock tradition. And from relatively inexperienced Joan Fontaine in the central role, the director determinedly mined the performance of her young life. Judith Anderson’s iconic Mrs. Danvers, a brilliantly shaded tour de force, evolved out of a collaboration between actress and director about which she remarked, “I knew I was in the presence of a master; I had utter trust and faith in him.”<br /><div style="text-align: center;"><br /></div><div style="text-align: center;"></div><div style="text-align: center;"></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/V6mt0ChEPLY" width="560"></iframe></div></div><div style="text-align: center;"><span style="font-family: Verdana,sans-serif; font-size: x-small;">Judith Anderson and Joan Fontain in <i>Rebecca</i></span></div><div style="font-family: Verdana,sans-serif;"><br /><i>Rebecca</i>'s visual style also bears the recognizable imprint of its director<i>.</i><i> </i>Hitchcock and cinematographer George Barnes concocted a persistently foreboding atmosphere that permeates the film from its first frames.  In fact, the film's opening images - of Manderley's ornate iron-gated entrance, its misty landscape and the mansion's ghostly silhouette - are often cited as an influence on <i>Citizen Kane</i>. Hitchcock and Barnes also notably and inventively contrived to create a character, or the presence of a character, who never once appears onscreen - the titular Rebecca. The scene above beautifully illustrates...</div><div style="font-family: Verdana,sans-serif;"><br /></div><div style="font-family: Verdana,sans-serif;"><div class="separator" style="clear: both; text-align: center;"></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwKK1pFchhlv7rMWPrWhpagaX5T-hIwag2EL7wq8wtURfc2TlcWqNnHNEXaaQ3lvXz1V8SYCWmqqx5B6fj6xYO6cap3WKn5g8ZqycBETGZKDCjvnfHAAW9Fo95Qk7TOVXevI9GS275dRn3/s1600/Menabilly+-+Daphne+duMaurier+2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwKK1pFchhlv7rMWPrWhpagaX5T-hIwag2EL7wq8wtURfc2TlcWqNnHNEXaaQ3lvXz1V8SYCWmqqx5B6fj6xYO6cap3WKn5g8ZqycBETGZKDCjvnfHAAW9Fo95Qk7TOVXevI9GS275dRn3/s1600/Menabilly+-+Daphne+duMaurier+2.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Daphne du Maurier and her children at Menabilly</td></tr></tbody></table>Daphne du Maurier once described <u>Rebecca</u>,<i> </i>her most well-known and popular novel,  as a study in jealousy. Many have offered opinions on what inspired the plot - was it du Maurier's relationship with her mother and father? Was it based on the writer's insecurities about her husband's beautiful, glamorous, dark-haired former fiancee? It is known that du Maurier spent time during childhood at two grand country mansions, Milton Hall in Cambridgeshire and Menabilly (which she later owned) in Cornwall, and that the two estates were both likely models for Manderley and its grounds. Regardless of conjecture about du Maurier's inspirations, few have questioned that <i>Rebecca</i> is a triumph of its genre - it has been continuously in print over the eight decades since its original publication.<br /><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP-xmvlVcsDLFcc2tEtCwq1ItG6DXOQy1EQ26z0AVnFSvWHHIvOaCcY3WT-JneDZsqClWqMxT5foVV9t6WuzDWcNxpdqM0WF8lFnzbBBhzGB8HznFpkDRESEIR6jFHHWnrWs-XqBG1A3yk/s1600/du+maurier.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP-xmvlVcsDLFcc2tEtCwq1ItG6DXOQy1EQ26z0AVnFSvWHHIvOaCcY3WT-JneDZsqClWqMxT5foVV9t6WuzDWcNxpdqM0WF8lFnzbBBhzGB8HznFpkDRESEIR6jFHHWnrWs-XqBG1A3yk/s200/du+maurier.jpg" width="174" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Daphne du Maurier</td></tr></tbody></table>Du Maurier's <u>Rebecca</u> is a shrewd, seductive 20th century update on the gothic mystery/romance. Its persistent lure is dream-like imagery and a vulnerable narrator's voice throbbing with melancholy and hinting at dark secrets and heartbreak. Soon enough the reader is trapped, like the second Mrs. de Winter, in the world of psychological torment that is Manderley.<br /><br />For me, du Maurier's novel and the Hitchcock/Selznick film are, taken together, an unbeatable way to greet the season's chill...<br /><br /></div>

Alfred Hitchcock Daphne du Maurier David O. Selznick Dorothy Macardle George Sanders Joan Fontaine Judith Anderson Laurence Olivier Rebecca The Lady Eve (author) The Uninvited A Chill in the Air - Part I

Halloween has come and gone, a time change looms (“fall back”) and winter is just around the corner. Early twilight and cool evenings are here and it seems to me that when the weather starts getting nippy and night falls early, nothing satisfies like…

Lyle Wheeler - Setting the Scene

6:00 AM Tukiyooo 0

<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRIe5q7H0cWe8TzRT4wj4XrqH1prqnuteYLHQdL1HTjnAF-v1JBiXXl5k3FzPin8Uw2zt8Wio6zwplPXoWAt884nytk0OEtHMxOR9IJlbYN3TaOWSiSjeqiElqe7-fCXwPJGSiZwF3IK7Q/s1600/Lyle+Wheeler-GWTW.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="309" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRIe5q7H0cWe8TzRT4wj4XrqH1prqnuteYLHQdL1HTjnAF-v1JBiXXl5k3FzPin8Uw2zt8Wio6zwplPXoWAt884nytk0OEtHMxOR9IJlbYN3TaOWSiSjeqiElqe7-fCXwPJGSiZwF3IK7Q/s400/Lyle+Wheeler-GWTW.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Watercolor pre-production painting of Tara for <i>Gone with the Wind </i>(1939)</td></tr></tbody></table><div class="MsoNormal" style="font-family: Verdana,sans-serif; margin-bottom: 10pt;"><span style="font-size: small;"><i></i></span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif; margin-bottom: 10pt;"><span style="font-size: small;"><i></i></span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif; margin-bottom: 10pt;"><span style="font-size: small;"><i>by guest author Captain Gregg </i> </span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif; margin-bottom: 10pt;"><span style="font-size: small;">The art director is one of the most important artists in the film industry for it is his talent and skill that bring a script to visual life. Lyle Wheeler was a master craftsman in this field of production design. In his career, he created the environments to over 350 films. From their initial sketches on paper to the purchasing of the props and furnishings, to the costumes of the characters, to the construction of the studio and outdoor sets, his eye oversaw each and every process.</span><br /><a name='more'></a></div><div class="MsoNormal" style="font-family: Verdana,sans-serif; margin-bottom: 10pt;"><span style="font-size: small;">Everything that surrounded the action in front of the camera, in the foreground as well as the background, was his responsibility and Lyle Wheeler knew how to interpret a script to set it to its best advantage. </span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif; margin-bottom: 10pt;"><span style="font-size: small;">Born on February 12, 1905 in Woburn, Massachusetts, Lyle Reynolds Wheeler began his career as a magazine illustrator and went on to become an industrial designer before joining MGM in 1931 as a layout artist. His skill in this new field was evident, and it was not long before he worked his way up to assistant art director under Cedric Gibbons (head of the MGM art department ). </span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif; margin-bottom: 10pt;"><span style="font-size: small;">In 1936 a new Technicolor dye transfer process was created and as his first assignment as a full-fledged art director Lyle worked with David O. Selznick in making <i>The Garden of Allah</i>, a visually stunning vehicle to showcase this new development in filmmaking. He worked on several more Technicolor films and acquired a skill in the medium that was later justly rewarded with a 1939 Academy Award for his work on “Gone with The Wind”, where – working with William Cameron Menzies – he created two of the most magnificent motion picture settings of all time - the beautiful plantation and surrounding grounds of Tara, and the burning of Atlanta.</span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqKhk01KOwt8SpOAV-uc2PEV0B-rGVcjLS0TpqBj3Ky65W8LKLML02M9UI1rUWRUtU5K9eOQQnnNUiz-TGTEKAFXmsFNNkuJCWAirHLskp8OmW19b1f5aNaxn0TJmLAyQzxrzdo2oPcdHL/s1600/Lyle-Tara-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="330" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqKhk01KOwt8SpOAV-uc2PEV0B-rGVcjLS0TpqBj3Ky65W8LKLML02M9UI1rUWRUtU5K9eOQQnnNUiz-TGTEKAFXmsFNNkuJCWAirHLskp8OmW19b1f5aNaxn0TJmLAyQzxrzdo2oPcdHL/s400/Lyle-Tara-1.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Tara<i> - Gone with the Wind</i></td></tr></tbody></table><div class="MsoNormal" style="font-family: Verdana,sans-serif; margin-bottom: 10pt;"><span style="font-size: small;"> Wheeler’s talent for creating historically accurate sets was exercised in many other period films of the 1940s and 50s including <i>That Hamilton Woman</i> (London, 1799 ), <i>Anna and the King of Siam</i> and its remake <i>The King and I</i> (Siam, 1870s ), <i>The Foxes of Harrow</i> (America, 1821), <i>Dragonwyck</i> (1844 ), <i>Titanic</i> (1915 ) and the numerous Biblical-era films he designed sets for, such as, <i>The Robe</i>, <i>Demetrius and the Gladiators</i>, <i>David and Bathsheba</i> and <i>The Egyptian</i>.</span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqGX7U-AKi-hILYPk16fTTEhV1FURk4nrBJ5phbu6PmCKV6XF19Tf2Mwnn-y9jbmEEL48kdwgRJ6c04o_LNCYGO-6zaDnOWGMH17vwCeraCI9b8wJMcwmpRLs6PhjFVrdACbsQZ5njm_0A/s1600/Lyle+Hamilton.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqGX7U-AKi-hILYPk16fTTEhV1FURk4nrBJ5phbu6PmCKV6XF19Tf2Mwnn-y9jbmEEL48kdwgRJ6c04o_LNCYGO-6zaDnOWGMH17vwCeraCI9b8wJMcwmpRLs6PhjFVrdACbsQZ5njm_0A/s400/Lyle+Hamilton.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>That Hamilton Woman</i> (1941)<i> </i></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5bAPp6XJi3fx9D8JwyZDPCfRycQenj0Y0UA_r5bUZCaP4FSbEf_0Bx7FRouOvpL8w_T8WNErb6CT6IqzezT9h4uNIxunZwpsJCaahvb90G5afsR92EOPvx7dhRMthj8J6uQpUCgV2z2fc/s1600/Lyle+Manderley+Rebecca.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="330" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5bAPp6XJi3fx9D8JwyZDPCfRycQenj0Y0UA_r5bUZCaP4FSbEf_0Bx7FRouOvpL8w_T8WNErb6CT6IqzezT9h4uNIxunZwpsJCaahvb90G5afsR92EOPvx7dhRMthj8J6uQpUCgV2z2fc/s400/Lyle+Manderley+Rebecca.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The entrance of Manderley in <i>Rebecca</i> (1940) - note impressive wood carvings</td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOmvwfJaxNqUmJfVvtMB2Gzo2fHwzy7OhZCpBFh31yy4xlI1YOghmoRSba4YptvMrvGxR1jgT5TKZrPacjWo1erbWenZ0tuj70YlwGUHxlQOiZSqVLv_FKxWxoe2uFPZm9sSpFF9rSj8PY/s1600/Lyle+Manderley+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOmvwfJaxNqUmJfVvtMB2Gzo2fHwzy7OhZCpBFh31yy4xlI1YOghmoRSba4YptvMrvGxR1jgT5TKZrPacjWo1erbWenZ0tuj70YlwGUHxlQOiZSqVLv_FKxWxoe2uFPZm9sSpFF9rSj8PY/s400/Lyle+Manderley+2.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Grand Room of Manderley in <i>Rebecca</i>...yes, it's quite graahnd</td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik2s5PPktEJzGB7iL3f3Acu2Dma7rLMaE1SZcw6jwSWUWLwYUjSlEjY4PrSZlFjzwRA0Ono-w3ux_X_PqzgTocjCmZLzw-aGLa5q23wYXLu72V4QDqF_g-e5upxkzMWQDSvmu5JLeoqkii/s1600/Lyle+Rebecca+cottage.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik2s5PPktEJzGB7iL3f3Acu2Dma7rLMaE1SZcw6jwSWUWLwYUjSlEjY4PrSZlFjzwRA0Ono-w3ux_X_PqzgTocjCmZLzw-aGLa5q23wYXLu72V4QDqF_g-e5upxkzMWQDSvmu5JLeoqkii/s400/Lyle+Rebecca+cottage.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The quaint seaside cottage in <i>Rebecca</i></td></tr></tbody></table><div class="MsoNormal" style="font-family: Verdana,sans-serif; margin-bottom: 10pt;"><span style="font-size: small;">A Lyle Wheeler setting is always characterized by its extreme clarity and sharpness of lines. Why, his scenes look so crisp and real you almost feel like you’re transported into the setting along with the characters! This is especially evident in his black-and-white productions. Through varying tones of shade and the accentuation of shadows, Manderley estate (<i>Rebecca </i>) comes alive for us as much as it does for Mrs. de Winter. And in <i>Laura</i> we come to know the characters<i> primarily</i> through their personal environments. Decorated sweet and simply, Laura’s apartment reveals the kind and innocent girl behind the painting that Mark comes to love, whereas Waldo Lydecker’s place of abode is modern, aesthetic and although pleasing to the eye, it’s as cold as his marble bath.</span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-7PW2Al2Rrk9Msas-8Vc1KkfHQaH2nMQYwvHHUpnlaViOZzrUIkxVE_EQmJFS8oFAosD3W_LP9Un0FDouCbdmT937NhC7MbvXuJ1UyvIWkowurBL2y69-oeFxsgKYmywaz26iDTtSRbqh/s1600/Laura+with+portrait.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-7PW2Al2Rrk9Msas-8Vc1KkfHQaH2nMQYwvHHUpnlaViOZzrUIkxVE_EQmJFS8oFAosD3W_LP9Un0FDouCbdmT937NhC7MbvXuJ1UyvIWkowurBL2y69-oeFxsgKYmywaz26iDTtSRbqh/s400/Laura+with+portrait.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Laura </i>(1944)</td></tr></tbody></table><div class="MsoNormal" style="font-family: Verdana,sans-serif; margin-bottom: 10pt;"><span style="font-size: small;"> It was Wheeler’s decision to have <i>Leave her to Heaven</i> filmed in color. While all film noirs of the era were being shot in black-and-white ( to emphasis their dark storyline), this tale of deception is vividly contrasted against bright country lawns, sunny skies of New Mexico and peaceful blue waters of a private lake in Maine.</span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlF4XC2EbhP91WeiYFeaH2EpbEHKHULaHwaNTJ9WpkQ_IdoWdrmuNvV2n4Pav5FmKgHmmRlmgD9ih0RDK8GzxsEcyXr2KDOQtQ5q3xfppXOy-uReaWrqHI3BdIhGNQzAfrrj3Z1Wq2bD84/s1600/Lyle+Heaven+decor+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlF4XC2EbhP91WeiYFeaH2EpbEHKHULaHwaNTJ9WpkQ_IdoWdrmuNvV2n4Pav5FmKgHmmRlmgD9ih0RDK8GzxsEcyXr2KDOQtQ5q3xfppXOy-uReaWrqHI3BdIhGNQzAfrrj3Z1Wq2bD84/s400/Lyle+Heaven+decor+1.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Traditional New England=style furniture in the Maine House in <i>Leave Her to Heaven </i>(1945)</td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYjzYCOumGQfAgioO-t6v_7d4hEMvqJ9uTXTHb7oijGj1Fmp3nIVe_Sq8A5XJdJx2RZd1LvcpAl3GVkeOtKy38JV5BCuNq71F9tMplKo0ITWldWtVG5HZ65uNm3dTBDkd_BRhz7p-lduqJ/s1600/Lyle+Heaven+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYjzYCOumGQfAgioO-t6v_7d4hEMvqJ9uTXTHb7oijGj1Fmp3nIVe_Sq8A5XJdJx2RZd1LvcpAl3GVkeOtKy38JV5BCuNq71F9tMplKo0ITWldWtVG5HZ65uNm3dTBDkd_BRhz7p-lduqJ/s400/Lyle+Heaven+2.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Leave Her to Heaven</i> included many sumptuous sets, but this is my favorite. What marvelous wood flooring and beams!</td></tr></tbody></table><div class="MsoNormal" style="font-family: Verdana,sans-serif; margin-bottom: 10pt;"><span style="font-size: small;"> In 1953 he created another masterpiece in <i>color noir</i> by effectively utilizing a carillon tower as a scene for murder in Otto Preminger’s <i>Niagara</i>.</span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif; margin-bottom: 10pt;"><span style="font-size: small;">From 1947-1960 Lyle Wheeler was head of 20<sup>th</sup> Century Fox’s art department and during his tenure at the studio he worked on a broad range of productions which required sets of all sorts of different styles and themes. <i>In The Diary of Anne Frank</i> there is the confined quarters of a family in hiding; in <i>Come to the Stable</i> a songwriter’s Pennsylvanian country retreat; in <i>The Best of Everything</i>, the stylish living and working domains of a group of New York secretaries. The post-war buildings of Hong Kong were beautifully created for our eye’s entertainment in <i>Love is a Many-Splendored Thing</i>; the opulent interiors of a Parisian nightclub for <i>Can-Can</i> and with a giant leap into the future, we are given a glimpse of the sleek interior of an alien messenger’s private spaceship in <i>The Day the Earth Stood Still</i>.</span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhjcYwjM3YRB64TJIaBjurIsL3UyiskzYBrH4LPoNZYgaRnci5xYlTvKANgJINF1QqBQZ3wW_Pvl2zrHgVgScQzhJf-Lem7VSjHZ6NR6Y8KmNl8z9T5GW8nNI70VuIT8w6zC-QLBTMpwRR/s1600/Lyle+King.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="159" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhjcYwjM3YRB64TJIaBjurIsL3UyiskzYBrH4LPoNZYgaRnci5xYlTvKANgJINF1QqBQZ3wW_Pvl2zrHgVgScQzhJf-Lem7VSjHZ6NR6Y8KmNl8z9T5GW8nNI70VuIT8w6zC-QLBTMpwRR/s400/Lyle+King.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Royal Palace of Siam in <i>The King and I </i>(1956)</td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS3LfQzwT2m1YX8bbLjRtxgHQXso2u0tQNMq8ZKWizyTioTnVNHnygZxJI80UNik5bdAJsVdrbV8m0R_WbZgPp7xvByE1Mdbt51zC-dTlew395qlwC8DZ-48QnHuTQFKMAkQhY4kSW-k7C/s1600/Lyle+Robe.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="163" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS3LfQzwT2m1YX8bbLjRtxgHQXso2u0tQNMq8ZKWizyTioTnVNHnygZxJI80UNik5bdAJsVdrbV8m0R_WbZgPp7xvByE1Mdbt51zC-dTlew395qlwC8DZ-48QnHuTQFKMAkQhY4kSW-k7C/s400/Lyle+Robe.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>The Robe</i> (1953) - Caligula's throne</td></tr></tbody></table><div class="MsoNormal" style="font-family: Verdana,sans-serif; margin-bottom: 10pt;"><span style="font-size: small;">One of my favorite of his settings is his highly imaginative creation of the center of the earth <i>in Journey to the Center of the Earth</i>. Luminescent cavern walls, pillars of salt, the lost city of Atlantis, rainbow colored waters, and giant mushrooms abound in this under-the-mantle world of adventure.</span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg56Z-6U40lTcq4Zu0JxV01A8TMpMO2ECLp9lRWoIqcTXRo0gNxNT1riijXl3X6NDQAGpU7xA98ru2SX-VOD0rsB3c7O1kKoT24NlCjdG0JOu68ZMHY5iOkU_8oT-3oZQNQY6xIhFqfjJq5/s1600/Lyle+Journey.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg56Z-6U40lTcq4Zu0JxV01A8TMpMO2ECLp9lRWoIqcTXRo0gNxNT1riijXl3X6NDQAGpU7xA98ru2SX-VOD0rsB3c7O1kKoT24NlCjdG0JOu68ZMHY5iOkU_8oT-3oZQNQY6xIhFqfjJq5/s400/Lyle+Journey.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Professor Lindenbrook's library in <i>Journey to the Center of the Earth (1959) </i>- a heaven for book lovers!</td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_B6xmKlh98PRQwDw939E-Q-GxKkJYENi6QYM1xS1UcEPWoH0Cg4NppjqK9x2HgVLOX7cEtEZdBwZHqbYVq5VAuiH8RSqHtF5F4QMP9A-orcHSy8ghg8jpEFhT8RLfjz3hkFzRTNNU1OxZ/s1600/Lyle+Journey+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_B6xmKlh98PRQwDw939E-Q-GxKkJYENi6QYM1xS1UcEPWoH0Cg4NppjqK9x2HgVLOX7cEtEZdBwZHqbYVq5VAuiH8RSqHtF5F4QMP9A-orcHSy8ghg8jpEFhT8RLfjz3hkFzRTNNU1OxZ/s400/Lyle+Journey+2.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Mushrooms galore are discovered beneath the earth in <i>Journey to the Center of the Earth</i></td></tr></tbody></table><div class="MsoNormal" style="font-family: Verdana,sans-serif; margin-bottom: 10pt;"><span style="font-size: small;">After he left 20<sup>th</sup> Century Fox, Wheeler worked for several years on <i>Perry Mason</i>. Here, the sets were made with the same attention to detail as on a feature film. Mason’s rich clients were surrounded with rare antiques, hand-carved furniture and priceless oil paintings in their posh apartment pads or elaborate Beverly Hills mansions – a very fitting setting for the high-end nail-biting drama that would take place within their walls.</span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif; margin-bottom: 10pt;"><span style="font-size: small;">In all, Lyle Wheeler was nominated for 29 Academy Awards (!) winning five which, unfortunately, were lost to him when they were accidently auctioned off in 1982.  He passed away in 1990 in Los Angeles. I wonder whatever became of his golden statuettes?</span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif; margin-bottom: 10pt;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif; margin-bottom: 10pt;"><i><span style="font-size: x-small;">Guest author "Captain Gregg" is a young (early 20s) classic film enthusiast who is also a member of the Turner Classic Movies fan site, the Classic Film Union (CFU). She recently entered a giveaway here at "Eve's Reel Life" - and won the <b>Errol Flynn Adventures</b> boxed set from Warner Bros. Which is how we met.  Not long after, she posted this very fine piece on Lyle Wheeler at CFU and I asked if I could republish it here. She kindly agreed.</span></i><span style="font-size: 12pt;"></span></div>

Captain Gregg Gone with the Wind Journey to the Center of the Earth Laura Leave Her to Heaven Lyle Wheeler Rebecca That Hamilton Woman The King and I The Robe Lyle Wheeler - Setting the Scene

Watercolor pre-production painting of Tara for Gone with the Wind (1939)by guest author Captain Gregg The art director is one of the most important artists in the film industry for it is his talent and skill that bring a script to visual life. Lyle …