I Can't Go on With the Scene. I'm Too Happy. Mr. DeMille, Do You Mind if I Say a Few Words?

It is an honor to be nominated! It really is. I know people just say that, but really, it is!

Many thanks to the wonderful writers that make up the Classic Movie Blog Association ("CMBA"). Little FlickChick has been nominated for 3 CiMBA awards! The CiMBA is the CMBA's award for excellence in blogging, so, for this chick, it doesn't get much better.

I am nominated in the following categories:

Best Classic Movie Article:

Free, Female and 21

Best Profile of a Classic Movie Performer of Filmmaker:

Joan Crawford: I Will Prevail

and

Best Classic Movie Blog Design (I feel so pretty!)

Check out the wonderful work of all of the nominees here. 

The other nominees are so excellent that I can't believe I made the cut. To those who nominated me, thank you so much. I'm tickled pink!

Bell, Book and Candle at 'My Movie Dream Book'

Join me in my latest dream at my new little blog site My Movie Dream Book

See you in my dreams!
Click Here: My Movie Dream Book

Irene Dunne: Delightful, Delicious and No Distress

Eleventh in a series about strong women in film. Strong women are independent, beautiful, sexy, feminine and just want everything in life that a man wants and believe that they have every right to have it!

There must be something in the air these days. A year ago, Irene Dunne's name was barely mentioned. Suddenly, she seems to be everywhere and everyone is once again in love with Irene. And that is as it should be. Sometimes, the universe does get it right.


Irene Dunne was a star in an era of great women stars. She excelled in musicals, weepies and screwball comedies. She could certainly hold her own against the greatest of the era (Carole Lombard, Jean Arthur, Katharine Hepburn), but there was something slightly more mature about Irene (she was a tad older than the rest, but I'm not referring to chronological age). She could be silly, but she never seemed the Damsel in Distress. No matter what the situation, Irene always seemed to be able to handle it herself. If she let a man intervene, well, it was because she wanted it that way.

The way she talked was the single strongest impression I have to this actress - not her poise, her charm, her delivery or her warm appeal in a specific role. The tip of her tongue pressed ever so lightly behind her teeth, which automatically dimpled her cheeks and caused her to arch her eyebrows, not in any exaggerated manner but just enough to transform her whole face into the most beguiling girlish sauciness that endeared her to every member of the audience, men and women alike and children, too. One heard it even as one saw it. Laughter was invariable. One would succumb. It was inexpressibly endearing.-John Kobal, People Will Talk (1985)

This was as good a quote as I find about the very special way Irene spoke. I confess I have watched her hundreds of times and just can't figure out how she does it! But, I guess that what makes her magical and like no one else.

1936's "Show Boat" - What a cast: Irene Dunne,
Paul Robeson, Hattie McDaniel and Helen Morgan

Irene got her start in stage musicals and was brought to Hollywood after staring in a road version of Show Boat. Her debut film, 1930's "Leathernecking", wasn't much, but her next film, "Cimarron", put her on the map to stay. Irene became the queen of the "weepies," dramatic films that appealed to a female audience. She had hit after hit in such films as "Back Street", "The Silver Cord", "If I Were Free," and "The Age of Innocence". Said Irene: "Heavy dramatic roles are essential for an actress of my type. I know definitely that the status that I have achieved has been achieved through tears. So, for my career, I cry." 



With her lovely operetta-style voice, Irene always seemed to be a Jerome Kern gal. Besides her success in such musical films as "Show Boat" (her Magnolia is my favorite) and "High Wide and Handsome," Irene also famously appeared, along with Astaire and Rogers, in "Roberta." Although she sang the lovely Smoke Gets in Your Eyes, (a song that was always associated with her and played when she entered restaurants throughout her life), she was especially pleased that Kern wrote a song just for her in the movie version of the Broadway show. It was one she sang to perfection and one that described her perfectly: Lovely to Look At.

As if all of this wasn't enough, she finally dipped her dainty toes into comedy, starting with 1936's "Theodora Goes Wild", and that, as they say, was that. As the small town girl who writes a racy novel, she proved that her comedic talents were of the highest order.

One of the more civilized women. She's a dream, an absolute dream, one of the most professional women I've ever known. Nothing is instinctive, everything she does is carefully thought out, she knows every movement, every intonation, every nuance. She's a first-class crafts-woman. Her hours are like office hours, she's never late, she never slips, but instead of being dull and perfect, she's absolutely enchanting and perfect."- Douglas Fairbanks, Jr., Irene's co-star in "The Joy of Living"

Everyone, it seemed, loved Irene. It is well known that she was Cary Grant's favorite co-star. They were brilliant together in the wonderful comedies "My Favorite Wife" and "The Awful Truth," as well as in the heartbreaking drama, "Penny Serenade." Watching them together, they were perfectly complementary. Both are exceedingly clever without tremendous ego. They share, they spar and they support one another beautifully. So adult, don't you think?


One last Word - Irene in Furs

Irene never considered herself a fashion plate and allegedly did not enjoy posing for portraits, but she had a kind of effortless American elegance that always looked "just right." Irene seemed to wear an awful lot of furs in her films and, in the unenlightened age before faux, she carried if off with great aplomb. No European Glamour with a capitol "G," just good old American good taste, clean lines and Movie Star grace. 

Throughout her film career spanning from 1930 to her last film ("It Grows on Trees") in 1952, Irene Dunne displayed a vision of women as suffering, giddy, dignified, delightful and always competent and in command of their inner strength. In real life, she was married to the same man for 37 years until his death, was never part of any scandal and devoted herself to good works after her retirement from the screen. Irene Dunne was a team player (almost always the team ace, by the way), never hogging the spotlight or overshadowing her teammates. Her great gallery of performances speak of not just talent, but of wit, strength and intelligence.

Aren't as familiar with Irene Dunne as you'd like to be? These are my top baker's dozen  "Dunnies." 


1. The Awful Truth: 1937: Irene and Cary Grant at their very best (and that's saying an awful lot). Very, very funny.
2. My Favorite Wife: 1940: Irene and Cary Grant again. Again, very, very funny. 
3. Penny Serenade: 1940: The third part of the Irene Dunne/Cary Grant trifecta, only this time an emotional story of a marriage. Hankies required.
4. I Remember Mama: 1948: She's the mama that everyone wants. Touching, moving and memorable.
5. Show Boat: 1936: Irene is my favorite movie Magnolia. The film is not as good as the later MGM version, but with Irene and much of the original unforgettable cast (and an attempt to stay closer to the book's story, rather than the Broadway show book) it is memorable and precious.
6. Roberta: 1935: A beautiful film in so many ways It is light and airy as a feather and Fred Astaire and Ginger Rogers really make the movie for me, but Irene is lovely, as are the fashions.
7. Life With Father: 1947: Another lovely and very funny mother portrayal. Her pairing with William Powell is divine.
8. Back Street: 1932: The original version of this "weepie" is still the best. Irene makes it all believable and that handsome old thing, John Boles, is in it, too.
9. Theodora Goes Wild:1936: Irene's initial foray into screwball comedy and, aided by the great and underrated Melvyn Douglas, she is a pure delight.
10. Love Affair: 1939: The wonderful first version. Sorry, Cary (star of the remake, "An Affair to Remember"), but Irene and Charles Boyer are as light and sparkly as their favored pink champagne.
11. A Guy Named Joe:1943: Co-starring Spencer Tracy and Van Johnson, this is one of those wartime romances that goes straight to the heart (even though you know it's over the top). Irene, however, is wonderful and gets to sing the beautiful I'll Get By.
12. Anna and the King of Siam: 1946: NOT "The King and I," which makes it most interesting. And, it does have Rex Harrison as the king. Ever notice how Deborah Kerr inherited many of Irene's roles later on?
13. Magnificent Obsession: 1935: An unabashed sudser, and one that propelled Robert Taylor to stardom. Get out the Kleenex for this one.


The Irene Dunne film I long to see: I am ever on the lookout for 1931's "Symphony for Six Million," one Dunnie that has so far escaped me. Come on, TCM!

If you know Irene Dunne, I'm sure you adore her. If you don't know her, discover her. You'll be oh so glad you did! Promise!

Meet Me at Midnight at My Movie Dream Book

The interpretation of dreams is the royal road to a knowledge of the unconscious activities of the mind.

That's what Sigmund Freud said about dreams.

However, I prefer professor Jiminy Cricket's observation:

A dream is a wish your heart makes.

Join me and my unconscious at my new little sister blog, "My Movie Dream Book."

I can't say how often I'll dream, but for sure the dreams will always be about the movies I love (or not, if it's one of those bad dreams!).

If Cary Grant Would Marry Me...*

If Cary Grant would marry me, I'd be the only wife.

There'd be no need for others. I'd be the mate for life.

It would be so lovely, attraction at first glance;
And happy every after, a glorious romance.

He'd never be unhappy, I'd make sure of that.
Every night my open arms would be his Welcome Mat.


I'd cater to his every whim and even press his tux;
And I'd be sure that he received some daily love deluxe.

Cary in a Tux: Pressed to Perfection

I'd be his magic lantern and fulfill his every  wish!

And he will rub the perfect spots (I can be ticklish).

That FlickChick tickles my fancy!

We'd be Red Carpet regulars, so stylish and so glamorous;

We'd be a golden couple, so ardent and so amorous.

Our Annual Invitation

Each night he'd sleep the sleep of angels because he's so adored,

And I will read "The Joy of Sex," he never will be bored.

Our Manual

We'd have lots of babies, if that is his desire;

I'd interview most carefully the nanny that we hire.

We'd stay young together, no more May-December;

And our life would always be a grand Affair to Remember.

I just love what Flicky writes about me!

Each day would be paradise for me and handsome Cary,

Because we'd be so happy that it was me he chose to marry!

Sigh.....

Well, a girl can dream, can't she?

I wonder how long this restraining order lasts?

* apologies to Cary's real family and to poets and poetry lovers everywhere. 

The Working Woman's Guide to Film Fashion

This is my contribution to the Hollywood Revue's Fashion in Film Blogathon. For the complete line-up, click here. I can't wait to to get glamoured-up!


Up until the most recent decades (and the advent of the dreaded "casual Friday"), women in the workplace had very few role models. This was particularly true regarding fashion in the workplace. So, when real life fails, we girls have to resort to reel life for our "dos" and "don'ts".

Depending on your job category and type of employment, here are some handy film fashion "dos" and "don'ts" to help you complete your working day and night ensemble.

Factory Worker
These ladies work hard for their money (no reason not to look good doing it!).

Shelly Winters in "A Place in the Sun" - very drab - a definite "don't."

Sally Field as "Norma Rae" - a "do" only if you can 
carry off the tight jeans and the sweat.

Maria from "Metropolis" - a definite "do" - very chic

Domestic
It is important to look good while cleaning up.

Angela Lansbury in "Gaslight" - a traditional "do" 
made better by a cheeky attitude.

Merry Clayton, Ally Sheedy &
Begona Plaza - 3 "do"s from movie "Maid To Order"

Jennifer Lopez  - a drab "don't" in "Maid in Manhattan."

Teacher
Always on display and always a topic of conversation (and sometimes a crush or two).

Doris Day is  a "do" as the teacher in "Teacher's Pet."

Jennifer Jones in a "don't" in "Good Morning Miss Dove".
She needn't be so sedate!

Cameron Diaz - a "do" and a "don't" in "Bad Teacher" -
 it all depends on  your statement!

Nun
A lifelong career for these ladies. The Lord likes a good habit.

Audrey Hepburn in "A Nun's Story" - a "do" for summer months.

Deborah Kerr in "Black Narcissus" - a big "do" - very coordinated 
look under difficult circumstances.

Another "do" from Deborah Kerr in "Heaven Knows Mr. Allison" -
 proving the versatility of the habit: dignified, but sporty.

Shop Girl
Selling is difficult; looking well groomed helps.

A definite "do"  for Clara Bow in "It" that does double duty 
behind the counter and on the boss's desk.

Joan Crawford in "The Women" - a saleswoman  dressed for success - "do!"

Another "do" - Clare Danes in "Shopgirl" - classic.

The Waitress
Working hard for tips - what would we do without her?

Ellen Burstyn in "Alice Doesn't Live Here Anymore" -
she's a winner, but the outfit is a "don't."

Another "do" from Joan as "Mildred Pierce" -
good fit, good detail makes it special.

 The Executive and the Professional
Making it in a man's world isn't easy.

Leatrice Joy in "The Clinging Vine" - making it in man's world
 does not mean you have to look like a man - a big "don't."

Joan Crawford gets a "do" as business woman "Mildred Pierce."

A "do" from Katharine Hepburn as a lawyer in "Adam's Rib."

A big "do" from Diane Keaton as the business woman of  "Baby Boom."

Reese Witherspoon as a lawyer in "Legally Blonde 2" - 
a big "do" - elegant but individual.

Demi Moore in "Disclosure" - "don't" unless you want to get fired.

As an exec, Melanie Griffith in "Working Girl" became a "do."

Administrative Assistant (fka: Secretary)
Keeping that professional distance can be difficult; dressing right can help.

Jean Harlow in "Red-Headed Woman" - a "don't" 
unless you want to sleep with the boss.

Joan Crawford in "Grand Hotel" - first class "do."

Barbara Stanwyck in "Baby Face" - 
a "don't", but the dress doesn't stay on long.

Hope Lange in "The Best of Everything" - a "do" , especially when 
applyingfor a position. A hat and gloves are always a safe bet!

The "don't"s Secretary Pool from "The Best of Everything"
eyes chic Hope Lange - a "do" dressed for success.

The "9 to 5" ladies - "don'ts" on so many levels!

As secretaries, "Working Girl"s Melanie Griffith
and Joan Cusak were big-hair "don't"s.

The Newspaper Gals
Writers and go-getters who always get the scoop!

"Do"! - Roz Russell knocks it out of the park in
 "His Girl Friday" in all ways - suits, hats, and smarts!

Katharine Hepburn in "Woman of the Year" is a 
total "do" - let the boss know what you've got!

The Artistic and Fashion Women
These ladies are my favorite, combining fashion, function and flair!

Gene Tierney in "Laura" - the accessory queen and a big "do" - 
even if the gloves do have to come off at the office.

"Laura" again with another "do" - the lunch time hat. Go for it, ladies!

Meryl Streep a total "do" in "The Devil Wears Prada."

Grace Kelly in "Rear Window" - her business was fashion, so a big "do."

Barbara Bel Geddes in "Vertigo" - sorry, Babs,  but you
come up a "don't here. You design brassieres for heaven's sake -
sex it up a bit and Jimmy won't go stalking Kim! 

The Doris Day Working Woman Hall of Fame

Doris was not the professional virgin of movie legend. Instead, she almost always played a working woman of strength and integrity. Plus, she really knew how to dress. In "Pillow Talk" and "Lover Come Back" she played an interior decorator and a Madison Avenue Ad Exec. Here are just a few of the "dos" from Doris!

"Lover Come Back"

"Lover Come Back"

"Pillow Talk"

"Lover Come Back"

"Pillow Talk"

The Working Woman After Dark

Sometimes, the working day spills into the night and a gal has to attend functions of a business nature. These ladies show us there is no reason not to look chic and glamorous for a client.

Gene Tierney as "Laura" - always a "do."

Grace Kelly in "Rear Window" - impossibly chic and elegant "do."

One more Doris "do" - from "Lover Come  Back."

Now that I have all of my "dos" and "don'ts" listed and memorized, I am off to Target to see if I can conjure up a good budget wardrobe for the work-week ahead! I wonder if they carry white gloves and veils?