The Fun Part

Once a first draft is on paper, next comes is one of my favorite parts of writing a book -- proofreading and editing. 

The preceding paragraph was a complete lie. 

But I am plugging away nonetheless, doing my best to deliver the most polished and accurate manuscript possible. Hope you'll see the results in the new year.

Simon in Review

 

Stephen Michael Shearer, author of acclaimed biographies of Hedy Lamarr and Patricia Neal, among others, recently reviewed S. Sylvan Simon, Moviemaker in his column, The Film Biographer. Here's what he had to say:

"The name of film director/producer S. Sylvan Simon is largely forgotten today for reasons which are misunderstood. Except for his last film which he produced, Born Yesterday (which won Judy Holliday a Best Actress Oscar), Simon who died in 1951, has slipped into the netherworld of forgotten film directors. And this is highly unfair, as brought out in fine detail by author David C. Tucker’s wonderfully researched biography S. SYLVAN SIMON, MOVIEMAKER: ADVENTURES WITH LUCY, RED SKELTON AND HARRY COHN IN THE GOLDEN AGE OF HOLLYWOOD.

S. Sylvan Simon began his career as a young man acting and directing in theatre. Born in 1910, he was an overachiever, and perhaps sensed early in life he would die young. By his mid-20s he was working at MGM directing first film shorts and graduating to decidedly “B” pictures including three gems with upcoming actress Lana Turner – These Glamour Girls (1939), Dancing Co-Ed (1939), and Two Girls on Broadway (1940). Assigned to films starring most of MGM’s leading character actors and second leads – Robert Young, Ann Sothern, Marjorie Main, Ann Rutherford, Wallace Beery, Frank Morgan, etc. – these minor films were highly successful and fed the coffers at Metro.

With his three popular Red Skelton pictures - Whistling in the Dark (1941), Whistling in Dixie (1942), and Whistling in Brooklyn (1943) - along with a couple of Abbott and Costello (on loan to MGM) hits Rio Rita (1942) and Abbott and Costello in Hollywood (1945), S. Sylvan Simon was considered one of the most competent and efficient directors at the studio. His films always turned profits. Signing with Columbia Pictures, Sylvan directed two more very profitable comedies with Red Skelton – The Fuller Brush Man and A Southern Yankee (both in 1948) - plus three hits starring Lucille Ball – Her Husband’s Affairs (1947) which he directed, and Miss Grant Takes Richmond (1949), and The Fuller Brush Girl (1950) - both of which he produced.

By the time he produced Born Yesterday (George Cukor directed), Simon was Vice-President in Charge of Production at Columbia Studios. He had successfully produced Lust for Gold in 1949 starring Glenn Ford and Ida Lupino and was in preparation to start From Here to Eternity when he suffered a fatal heart attack in 1951. He was just 41 years old.

So “Bravo!” to David C. Tucker for giving us S. SYLVAN SIMON, MOVIEMAKER: ADVENTURES WITH LUCY, RED SKELTON AND HARRY COHN IN THE GOLDEN AGE OF HOLLYWOOD. Each film of the director/producer is detailed in the book with fascinating and well-researched back stories. A loving tribute to a fine director...and highly recommended."

Many thanks, Stephen!

Sand, Sun and Shrieks

It's often said that a successful book on film is one that makes you want to see the movies it discusses. But in the case of Brad Sykes' Terror in the Desert: Dark Cinema of the American Southwest (McFarland), I sometimes had a different reaction -- I was grateful to him for sitting through some truly dreadful-sounding films, so that I'll never have to. I suspect it's a lot more fun to read about them, at least in this author's hands.

That's not to say that he writes only about drek here. Quite the contrary -- he not only pinpoints a film genre that's much more prevalent than I'd ever realized, but he also shows us some of the finest examples around. Once you've accepted the idea of desert horror as a genre, it's fairly easy to think of at least a few films that might qualify -- The Hills Have Eyes (1977) and its sequels, obviously; U-Turn (1997). But you may be surprised how many others fall under the author's view here. He casts a wide net in the films he covers, going all the way back to the silent era, and up through 2016.

He identifies The Sadist (1963) as "the very first desert terror film." Though it's been memorably lampooned on TV's Mystery Science Theater 3000, Sykes makes a convincing case that it's actually a film of merit, one that works on a level beyond its tiny budget and inexperienced actors. He also wisely includes in his study made-for-TV features like Duel and Savages that clearly deserve consideration. The author's own experience as a filmmaker enriches his appreciation of the films discussed, making his commentary intelligent and knowledgeable. He tries to see what works well (and why), but when a film deserves a slam, Sykes doesn't hesitate to provide it, calling Detour (2003, not the Edgar G. Ulmer film!) "technically spotty ... abysmally acted [and] excruciatingly inane." 

This is a worthwhile and accomplished study of a film genre that has too often been overlooked.

NOTE: I was furnished a free e-copy of this book in exchange for an honest review.

Visit to a Bygone Era

About three years ago, when I reviewed Derek Sculthorpe's book on Sydney Greenstreet, I remarked on the difficulty of painting a detailed portrait of an actor who'd been dead for some sixty years, and whose early career consisted primarily of live theater. Silly me. Little did I know how much Derek likes such a challenge. His latest, The Lost World of Music Hall: A Celebration of Ten Greats (BearManor Media) finds him profiling performers whose career achievements were often more than 100 years ago, and of whose work modern-day readers, with rare exceptions, have no first-hand memory. Does he let it daunt him? Not a bit.

Before reading this book, I knew little about the very British tradition of music halls, which flourished in an era roughly paralleling the heyday of American vaudeville houses. Here, Sculthorpe has selected ten performers -- Billy Bennett, Margaret Cooper, Bert Errol, Vivian Foster, Tom Foy, Charlie Higgins, Alfred Lester, Norman Long, Lily Morris, and Nellie Wallace -- who won acclaim with audiences of that long-gone time. They're a varied bunch -- comediennes, female impersonators, singers, pianists, and one fellow who got his laughs impersonating a vicar.  

Some of them were around long enough to make recordings, as well as appearing on radio or in the movies. But even if you can't experience them through one of those media, Sculthorpe is remarkably successful at conveying to a modern reader (and, in my case, not a fellow Brit) what audiences saw in these artists. They often persisted despite a variety of professional and personal challenges, and became favorites not only of theatregoers but even, in some cases, of the royal family. 

The book is thoroughly researched yet quite readable, and chock-full of rare illustrations that evoke the time period. It also provides excerpts from the performers' acts, and samples of the wit that audiences loved. The author doesn't bill his book as the definitive study of music halls, but as a supplement to earlier volumes, enthusiastically recommending several to the reader who wants to delve deeper. 

This book is well worth the attention of anyone who wants a look into a "lost world" that influenced the entertainment industry, and the generations of performers who followed, for years to come.

NOTE: I was furnished a free copy of this book in exchange for an honest review.

Outtake: Martha Raye

I don't quite remember why this photo didn't make it into the print edition of Martha Raye: Film and Television Clown, but I love it anyway. It shows Martha in the thick of things on her picture Waikiki Wedding (1937). Bing Crosby and Bob Burns were the male leads in the film, but if you look quick you can spot young Anthony Quinn as a native named "Kimo." 

Check it out if you're in the mood for some lightweight fun and music.

New Book in 2022

I'm delighted to announce that I've signed a contract to publish a book on the life and films of Golden Age actress Rochelle Hudson, coming from McFarland next year.

Born in 1916, Rochelle was trained for stardom from childhood by her ambitious mother. In 1930, the fourteen-year-old landed her first studio contract, and a year later was named a WAMPAS Baby Star. In the 1930s, she made such classic films as Imitation of Life and Les Misérables, and worked with stars like W.C. Fields (three times), Shirley Temple, and Henry Fonda. 

Married four times, Rochelle and her first husband, a Navy man, went on espionage expeditions during World War II on behalf of Naval intelligence. In the 1950s, she was the leading lady of the television comedy series That's My Boy, and played Natalie Wood's mother in Rebel without a Cause.

Rochelle died young, in 1972, but her life was full of accomplishments and intrigue. She's a fascinating lady. I hope you'll be interested in reading her story.

A Historian's Legacy

I was sorry to hear that prolific author and historian Scott Allen Nollen passed away yesterday at the age of 58. He leaves behind a legacy of more than 40 books, representing a lifetime of research and writing.

His output included books on film and music history, social justice, and literature, among other books. He was prolific despite suffering from chronic illness for much of his adult life.

A few months ago, I reviewed here one of his recent releases, Karloff and the East, written in collaboration with his wife, Yuyun Yuningsih Nollen. My condolences to her on a tragic loss.

Visit his publishers, McFarland & Company or BearManor Media, to learn more about this author whose work will long be remembered and appreciated.

A Reader's Reaction

 I recently came across this kind review of S. Sylvan Simon, Moviemaker: Adventures with Lucy, Red Skelton and Harry Cohn in Golden Age Hollywood from Goodreads :

Thank you, Mr. Sparrow! Hope others are enjoying it as well.

Good Night, Jim

 

I was very sorry to hear a few days ago that author James Zeruk, Jr. had died. Although I didn't know him well, we met through social media. He was supportive of my writing, and I certainly admired his. Part of his legacy will be his fine biography of actress Peg Entwistle, which I reviewed here shortly after its publication in 2014. 

My condolences to his family and friends. 

A Hearty Helping of Kettle Corn

Universal's long-running series of movies featuring the Kettle clan represent the epitome of unpretentious, lighthearted comedy. A thorough account of this still-beloved series comes to us in Lon and Debra Davis' Ma and Pa Kettle on Film (BearManor Media). 

This is an attractive volume, running well over 300 pages, with numerous photos and a pleasing layout. Given the subject matter, there's inevitably some overlap between this book and Michelle Vogel's biography of Marjorie Main, published about 15 years ago. But there's certainly a lot of new information here, and on the whole I found it the better-written of the two books. This is the first book I've read by authors Lon and Debra Davis, who have written extensively on motion picture comedy, and it shows them to be knowledgeable and enthusiastic.

Some readers may question the need for virtually blow-by-blow synopses of each film, as they might just prefer to watch them. But for anyone who can't get his hands on the movies, or wants to stimulate memories of funny moments via the printed page, the Davises do a good job of recounting the stories. They also provide quite a bit of behind-the-scenes information. I was interested to learn that, while the last two films (minus Percy Kilbride) aren't as well-regarded by fans, even they turned a respectable profit for the studio. The often-difficult life of author Betty MacDonald, who introduced us to the Kettles in her book The Egg and I, makes for fascinating reading as well.

The authors should be commended for taking the trouble to interview several actors who worked in the Kettle films, including Brett Halsey, who contributed the introduction. As I've mentioned before on this blog, the clock is ticking when it comes to capturing firsthand accounts of working in vintage films, and the memories of actors like Richard Eyer should be recorded for posterity.

I enjoyed the brief biographies of key players from the Kettle films, not just those who played recurring roles but "one-timers" as well. I do wish a gimlet-eyed editor had gone over these, as errors creep in occasionally, especially pertaining to television. The Dukes of Hazzard, for example, was not an ABC series (it aired on CBS), and the 1952-55 sitcom I Married Joan is misdated to 1958. But these are minor flaws in a book that, overall, is sure to please devotees of the Kettles and, perhaps, create some new ones.

NOTE: I was furnished a free copy of this book in exchange for an honest review.

Star in the East

Another book on Boris Karloff? Yes, and a worthy one it is, with an original angle to offer. Karloff and the East: Asian, Indian, Middle Eastern and Oceanian Characters and Subjects in His Screen Career (McFarland), by Scott Allen Nollen with Yuyun Yuningsih Nollen, covers in depth more than forty films in which Karloff or supporting actors play characters of the ethnicities specified, or the story pertains to non-Western culture. 

If this sounds like a misguided tribute to Hollywood cultural appropriation of a bygone era, it's not. As the authors note, it was long commonplace in American films for Caucasian actors to be cast as characters of any heritage, a practice that hasn't completely died out in the 21st century. Along with his undeniable talent, Karloff had certain facial features and skin pigmentation that could be emphasized with makeup or costuming to allow him to play much more than a typical English gentleman. An early chapter, "Eastern Origins," gives us a detailed examination of the family of William Henry Pratt (Karloff's birth name), and the Anglo-Indian branches of his family tree, giving insight into his unique look.

The films discussed bridge the gap between silent and sound cinema, and include several that the star's most devoted fans have likely not seen. The book's original research allows for a full-blooded discussion even of those that are presently believed to be lost. Alongside classics like The Mummy (1932), you'll find little-known early efforts like The Infidel (1922). They represent Karloff's work ranging from the 1910s to the early 1970s. To the authors' credit, the book doesn't move jerkily from one "Eastern" film to the next, omitting the connecting threads; it can also be profitably read as an overview of Karloff's entire career, which Scott Allen Nollen knows probably as well as anyone can.

For each film, the Nollens outline its story, and an account of its production, but supplement that with an assessment of how elements of Eastern culture are depicted. This is particularly interesting when reading about films like Voodoo Island (1957), which has been covered by several good writers, but never with the added context of how it presents religious and spiritual beliefs in the Hawaiian islands (clue: not well!). The result may even damn it to more critical brickbats than it customarily receives. As a B-movie (and Poverty Row) buff, I enjoyed the discussion of Monogram's Mr. Wong series, a welcome gig for Karloff during the turn away from horror films in the mid- to late 1930s. These are often dismissed as cheap potboilers, with little more than Karloff's paycheck and presence to justify them. But the authors approach these films as they do all covered in this volume, with minds open, not parroting earlier appraisals but making a fair assessment of what they have to offer.

The book's illustrations are stunning: vintage lobby cards, film stills, one-of-a-kind photos from Karloff's personal collection, and correspondence received from the likes of Vincent Price during Nollen's decades-long research into the star. 

The brand of in-depth scholarship on display in this massive volume is becoming a bit of an endangered species, and the Nollens are to be congratulated for a strong contribution to film studies in general, and specifically the career of one of Hollywood's most enduring stars.

NOTE: I was furnished an e-copy of this book in exchange for an honest review.

All About Simon

The always-interesting Another Old Movie Blog just published a review of S. Sylvan Simon, Moviemaker: Adventures with Lucy, Red Skelton and Harry Cohn in the Golden Age of Hollywood.

You can find it here.

We're rapidly approaching the 60th anniversary of Mr. Simon's tragically early death. It's nice to see that he's getting (albeit belatedly) some of the attention he deserves.

Mr. Mason Remembered

How many performers whose careers began before the advent of motion pictures have had their achievements lost to history? Yes, we remember a select few, but a lack of documentation, and short memories, put the kibosh on too many others.

That's no longer the case for comic actor Dan Mason (1853-1929), thanks to Joseph P. Eckhardt's latest book. The author was granted access to a rich array of photographs, scripts, and playbills, as well as Mason's  uncompleted memoir. With that framework embellished by Eckhardt's exhaustive research, the result is Dan Mason: From Vaudeville to Broadway to the Silent Screen (McFarland).

In many ways, Mason's career illustrates the sweeping changes in the entertainment industry between the late 19th and early 20th centuries. We follow along as Mason, a high school dropout, finds his comedic gifts adaptable to variety shows, vaudeville, Broadway, and finally silent movies. Fans of early motion picture comedy will enjoy reading about Mason's work in the Toonerville Trolley two-reelers of the early 1920s. Had he lived a year or two longer, he likely would have sound pictures on his resume as well.

Naturally, there are questions that cannot be fully answered, 100 to 150 years later. When complete details are elusive, Eckhardt is honest enough to say so. Nonetheless, the author gives us an impressively full-bodied portrait of Mason, the man and the performer. There were frequently stresses and challenges in his life, among them a brief early marriage, the death of his first two children before they reached adulthood, and recurring money problems. Not only was he devoted to his daughter Anna, known as Nan, but he also took a young actress, Wilna Hervey, under his wing. Decades ahead of his time, he was completely supportive when the two women became romantically involved, fully embracing them as a loving couple.

Cliched though it might seem, there's a poignancy about a performer who carefully saves yellowing newspaper clippings and memorabilia over a period of some years, clearly hoping that someone, sometime, will care. Luckily for Dan Mason, Joseph P. Eckhardt came along and understood the worth of what he found. Readers will surely do likewise.

NOTE: I was furnished with a free e-copy of this book in exchange for an honest review.

'Mama' at 72

I'm at least a day late, and a dollar short, but belated Happy Birthday to funny lady Vicki Lawrence, born March 26, 1949.

It's a bit disconcerting to realize that Ms. Lawrence has only in recent years come within spitting distance of the right age to play her most beloved character, Thelma 'Mama' Harper, which she introduced on The Carol Burnett Show roughly half a century ago. (Be that as it may, Vicki still doesn't go in much for flowered print dresses, or gray hair, as you can see in the above photo.)

I was sorry to see her recent sitcom The Cool Kids ditched after a single season, but I trust there are still new adventures in her future. After all, who knows more about life as a senior citizen than Mama's alter ego?

Page from History

Anita Page (1910-2008) was a blonde beauty who attained her childhood dream of becoming an actress in Hollywood's early days. Though circumstances cut her starring career short, she's still remembered and admired by many film fans. Anita Page: A Career Chronicle and Biography (McFarland) does a fine job of telling her story.

Co-author Allan R. Ellenberger is a highly respected film biographer whose earlier books on Margaret O'Brien and Miriam Hopkins I have enjoyed. His interviews with Miss Page over some years are at the heart of the book. He teams with Robert Murdoch Paton, a longtime fan and collector of memorabilia from Miss Page's life and career.  Their book offers more than 75 photographs, including rare family snapshots and cleanly reproduced film stills, that cover the entirety of her long life.

Signed to an MGM contract at the age of 17, Anita Pomares, rechristened "Page," soon advanced to lead roles, becoming a popular screen presence in films such as Our Dancing Daughters (1928) and The Broadway Melody (1929). She was named a WAMPAS Baby Star, alongside the likes of Jean Arthur and Loretta Young. Miss Page's career took an abrupt downward turn in the early 1930s, after a falling-out with studio boss Louis B. Mayer. Following her marriage to a military man, she retired from the screen, raising two daughters and having few regrets about leaving Hollywood behind. Late in life, in her eighties, she enjoyed a return to acting in indie films, and attracted a new generation of devotees.

The book is divided into two main sections, with a biography being followed by an extensively annotated filmography. It is a rare privilege in the 21st century to learn so much about an actress whose career dates back nearly 100 years, drawing on her first-hand accounts of films that encompass both the silent and sound eras. Though fans of Anita Page will certainly want to snap this up, the book will also appeal to followers of motion picture history in general, especially of the silent era. 

When reminiscing, Miss Page projects just the sort of aura we expect of a silent movie star -- just a bit high-maintenance, and not overly burdened with modesty, which only makes the book more fun. Her recollections of her film colleagues are candid and opinionated, with a dash of dish. Of co-star Clark Gable, she says, "I thought he was charming ... but he just wasn't my type," while she confides that she wasn't impressed with Joan Crawford's acting ability. ("She didn't seem to be able, in my opinion, to hold an emotional moment.") Other famous names who feature prominently in Anita Page's story are Lon Chaney (Sr.), Buster Keaton, and Jean Harlow, just to name a few.

It's still early in the year, but this bids fair to be one of classic film buffs' most noteworthy books of 2021.

NOTE: I was provided a free e-copy of this book in exchange for an honest review.

Words from Mr. Watson

You'd be hard-pressed to find many people who know more about the peerless Lucille Ball than Tom Watson. Longtime president of the We Love Lucy fan club, he's also the co-author of Loving Lucy: An Illustrated Tribute to Lucille Ball. Since Lucy looms large in my newly released book S. Sylvan Simon, Moviemaker: Adventures with Lucy, Red Skelton, and Harry Cohn in the Golden Age of Hollywood, I invited Tom to give it a look.

Here's what he had to say:

The newest book on my Lucy Bookshelf is “S. Sylvan Simon, Moviemaker” (subtitled “Adventures with Lucy, Red Skelton and Harry Cohn in the Golden Age of Hollywood”), by author/historian David C. Tucker. I should emphasize the word “historian,” for not only is Mr. Tucker the author of at least 8 other show biz centered books, but this one (like the rest) is published by McFarland & Company, which tends to take a more erudite approach to things: most of their books tend to eschew the “Lucy ran to the bedroom in tears” anecdotes in favor of “just the facts, ma’am.” But (if I can mix in yet another Hollywood metaphor) there are a few “who shot who in the Embarcadero in August, 1879” stories just for fun -- when they reflect on the person or movie being discussed.

 "Her Husband's Affairs," with
Lucy and Franchot Tone.

The book is divided into two main parts: a names, date, places biography, chronicling Simon’s life and career, and an extensive filmography, that lists all of the pictures on which Simon worked, providing not only the official credits for each of the films, but a synopsis of the story, reviews, and comments.

Tucker has done a wonderful job here, shining some light on a little known writer-director-producer who made a profound contribution to the screen careers of both Lucille Ball and Red Skelton (and countless others). At MGM, he directed Skelton in such comedies as “Whistling in the Dark,” and it’s sequels, “Whistling in Dixie” and "Whistling in Brooklyn,” and directed Lucy in the cameo appearance she made in “Abbott and Costello in Hollywood.” Moving over to Columbia where he became a producer and soon took over as head of production, Simon starred Red in “The Fuller Brush Man,” directed Lucy in “Her Husband’s Affairs” and cast her in “Miss Grant Takes Richmond” and “The Fuller Brush Girl” (a follow-up to the Skelton hit).

As Tucker points out, the films Lucy made with Simon both showcased and helped advance her comedic abilities – setting her in motion for the stellar career in television that soon followed. Sadly, Simon himself did not live to see his star’s greatest success – he died in May of 1951 at the age of 41. Here, at last, is a fine chronicle of his life and career.

Thanks, Tom!

The Jeffersonian Era

Author Jay Moriarty takes us behind the scenes of a long-running sitcom with Honky in the House: Writing & Producing 'The Jeffersons' (Antler Productions). 

I haven't watched The Jeffersons in years, and I can't say I was ever a huge fan, though I certainly saw quite a few episodes. My hazy recollection is of a show that leaned heavily on insult humor, and was generally played to the rafters by its cast in a way I sometimes found off-putting. Moriarty considers the show groundbreaking in several aspects, and he makes a pretty good argument for his case. 

While I enjoyed his behind-the-scenes anecdotes, which also cover other shows for which he wrote, what I liked most about his book were the sections that serve as a how-to manual for aspiring sitcom writers. One of his more interesting comments explained why a newcomer submitting a sample script to producers should not send one for the show you want to write. He breaks down the structure of a traditional sitcom story in easy-to-understand terms, showing us a form almost as rigid as a haiku. Using practical examples from The Jeffersons, he illustrates the multitudinous challenges and choices that producers have to face in order to drop an episode into the can every week.  

Though this is generally a very engaging book, I do question his odd choice to write it in third person, and give himself and his longtime writing partner fictitious names. He explains in the introduction that he thought writing about himself in first-person form "egocentric." For this reader's money, the stylistic quirk was just an irritant that made the book harder to follow.

That quibble aside, Moriarty's book is well worth the read for classic TV buffs and wannabe screenwriters.

It's Here!

It's my ninth published book, but there's still nothing quite like the moment when you receive the first copies of the finished product.

My publisher, McFarland, has done its usual exemplary job of putting my words into a highly professional and attractive format.  Now there's nothing left to do except wait for readers and reviewers to let me know their reactions.

You can order the book from McFarland's website, or any of the usual online vendors.

Two Guys Named Korman

The book is called OMG! It's Harvey Korman's Son! and that proves to be quite a fitting title for Chris Korman's memoir (with Ron Brawer), published by BearManor Media.

Young Mr. Korman, who came along around the same time as The Carol Burnett Show, was born with a learning disability that affected his speech and motor skills. He credits his father with giving him support and affection that helped him overcome the most challenging of his limitations, and build a satisfying life for himself. Though the author offers a number of behind-the-scenes anecdotes about his dad's career, the father-son relationship, over the course of some forty years, is at the heart of the story.

Much as Harvey Korman's work was lauded, he's been depicted in various books about the Burnett show as less fun off-screen, a moody man who often antagonized people. I was happy to see that this book was no Daddy Dearest; while acknowledging his father's quirks and flaws, Chris Korman also writes about him with much fondness and respect. Having originally sought a career as a dramatic actor, Harvey Korman found a niche for himself in comedy, about which he had some regrets. His son describes instances in which performers the elder Mr. Korman revered turned out to be equally big fans of his, understanding how well he did what he did.

You'll finish this book feeling that you've gotten to know the real man behind one of Hollywood's funniest players, and, as a bonus, the very likable, decent son he raised.