Notes From the Movie Room September 27, 2025

 

🎬 Three very interesting things happened in my life recently. First, I received a box from Comcast/Xfinity, my longtime cable TV provider, filled with shiny new equipment which is meant to replace the old equipment scheduled to become obsolete on October 31. Secondly, I decided on the spur of the moment to buy a new 43" TV at my local Wal-Mart. That was yesterday. And thirdly, as of today, I am seriously considering abandoning cable altogether and just using television to indulge my addiction to movies on DVD and Blu-ray. Now, I must be honest and say this isn't just an intellectual decision reflecting some kind of sudden spiritual insight. It also has to do with my aversion to technology and the chaos that it inevitably brings to one's life. Without going into boring details, hooking up and setting up machinery just isn't my favorite way to spend an afternoon. Especially when all the effort ends up with nothing working. Questions like: "What the f**k do I need this for?" start coming to mind.

This is how my peaceful living room looked until a few days ago when I decided I had to turn it into something resembling an episode of Hoarders.

Having come into this world in 1951, I was part of the first generation of television addicts. It was a normal, enjoyable part of daily life, one that we all took for granted. I loved that TV culture of the 1950s and 60s. In our house, it was all in Black & White, at least until 1968 when my father decided to take that big leap into color. By that time, I was seventeen, and my TV addiction was about to undergo radical therapy. When I entered into the working world, I had to work nights, meaning those relaxing evenings staring at the tube had mostly come to an end. As my working years went on, I preferred that night shift way of life for a lot of reasons, so I was no longer able to mainline that prime-time video drug like I did while growing up. The spell was broken. During part of the 1970s, I didn't even have a TV and managed quite well without it. Then came the home video era of the 1980s, and I was back in the groove, at least somewhat. I had one of those cable package deals with way-too-many channels for a while, and I did my share of recording on VHS, mostly movies and baseball games. But for the last thirty years, I've been surviving with basic cable, which I felt was necessary in order to be connected to the community. Still no prime time programs, however. Now that I'm retired and finally get to be home in the evening, I never even think about watching what's playing on TV. I usually watch one or two movies from my collection, but sometimes I just listen to music or sit quietly and read. My second-floor movie room has been a marvelous retreat all these years, but lately I've been thinking about replacing my sturdy old Sony Trinitron in the living room with a modern flatscreen and maybe having a place to watch movies with friends. Hence, all the ensuing chaos. Be careful what you wish for. And stay the hell away from Wal-Mart.

So, perhaps it's time to finally cut that cord and save the money I've been giving to Comcast all of these years for very little use. I can use that extra cash to buy more Blu-rays! Local news is available online and in our city newspaper. Yes, that's right. We still have a daily newspaper where I live. It's not doing very well these days, but at least it's hanging on. 

In the meantime, I may be packing up all of my Comcast boxes and returning them to our local store. We'll see how it goes. New insights could occur at any moment.

 

STELLA DALLAS (1937)

 

This is one classic 1930's movie that I've somehow managed to miss all these years. So, I was happy to finally get a chance to see it during the second week of my Barbara Stanwyck film class. All I knew about the film was that it was Miss Stanwyck's first of several Oscar nominations for Best Actress, although she never actually won the award. 

Our instructor informed us that the hard-working Stanwyck had completed fourteen films between BABY FACE and STELLA DALLAS, her stature and popularity increasing as time went on. In watching her performance in this film, one gets the impression that it was a labor of love for the actress. It's hard to believe that the producer, Samuel Goldwyn, initially didn't want her for the role. His first choice was Miriam Hopkins. As talented as Hopkins was, I can't see her bringing Stella to life as well as Stanwyck. The story, based on the novel by Olive Prouty, had been filmed previously in 1925, with Belle Bennett playing the title role. It was filmed again in 1990 as STELLA, with Bette Midler. The 1937 version was directed by King Vidor.

The story has Stella Martin living with her working-class family and dreaming of improving her circumstances. She sets her sights on businessman Stephen Dallas (John Boles), the owner of the mill where Stella's father and brother both work. The two have a brief courtship and get married. A year later, their daughter, Laurel (Anne Shirley), is born. Stella loves being a mother, but her marriage begins to suffer because she is unable to overcome her working-class status. As the story goes on, Stella is faced with a heartbreaking decision to sacrifice her own happiness for her daughter's future.

I don't want to give away any spoilers to anyone who hasn't yet seen the film. This is a perfect example of what used to be called a "woman's picture", as well as the more derogative term, a "weepie". Indeed, you might want to keep a box of Kleenexes nearby when you get to the very emotional ending. 

As much as I thoroughly enjoyed the movie, and Stanwyck's performance, I sometimes found her acting a little overstated. It also seemed slightly implausible that Stella, having found a high-class husband and an opportunity to escape her origins, appeared to make little attempt to actually improve herself. What did ring true was the cruelty of many of the people she encountered in her husband's circle, people who mocked her for her imperfect manners and style of dress. As Stella's grown daughter, Anne Shirley hits the right mark as a girl who adores her mother and hates to see her being ridiculed. Miss Shirley was nominated for Best Supporting Actress of 1937 but didn't win. 

It was good to finally see this old classic, and I plan to get a Blu-ray copy, which also features the 1925 silent version.

Barbara Stanwyck and John Boles

 

BIG SCREEN THRILL: THE PHANTOM OF THE OPERA (1925)

 

I admit to spending less and less time going out to see movies, but if anything can inspire me to venture forth into a theater, it's a revival of an old classic, and that's what happened last night. THE PHANTOM OF THE OPERA, starring the legendary Lon Chaney, was playing for one night at the beautiful Virginia Theater in Champaign, Illinois, and I wasn't about to miss out on seeing it on a big screen. 

The Virginia is a movie palace that was built in 1921, with a wide screen and a stage that was used for vaudeville shows. It closed several years ago as a first-run theater and was eventually taken over by the Champaign Park district and lovingly restored to its former glory. It's used for a variety of live performances, the annual Roger Ebert Film Festival, and for periodic film showings throughout the year. Many of the films are sponsored by our local newspaper, The News-Gazette.

One of the nice features of the Virginia is the built-in Wurlitzer organ that has also been kept in repair all these many years and provided marvelous accompaniment for this silent classic. The imagery of the film was excellent. It's been may years since I saw the film, and there were so many things I didn't remember about it. So, it was kind of like seeing it for the first time. The crowd was fairly large, and, I must say, well-behaved. I saw only a few cell phones lighting up on occasion and there was respectful attention given to the screen. After the movie ended, the organist received a standing ovation. I chose a seat in the back row and had a perfect view of the film. All in all, it was a cinephile's delight, and I'm so glad I went.

My DVD of the film is a 2-disc package from Image Entertainment that I picked up at a video store that was going out of business quite a number of years ago. It has two versions of the film and many other extra features. It plays beautifully, so I don't feel compelled to replace it. But who knows; that double-dip fever may one day overtake me.

BABY FACE (1933)

 

This week, I started another non-credit film course at the Osher Lifelong Living Institute (OLLI) at the University of Illinois here in Champaign. The course is being taught by film scholar and critic Chuck Koplinski, who has taught most of the classes I've taken. This time, Chuck's class is called: Barbara Stanwyck: Actress, Icon. For eight weeks we will be viewing films starring this legendary lady of the screen.

The first film we watched was the pre-code classic BABY FACE (1933), directed by Alfred E. Green. I actually saw this film in another one of Chuck's film classes several years ago and I also have a DVD copy. Even though I'm familiar with the movie, it was a pleasure to see it again in a classroom setting.

Stanwyck plays a young woman named Lily Powers, who works in her father's speakeasy in Erie, Pennsylvania during Prohibition. Since the age of fourteen, Lily's father has been selling her as a prostitute to his customers. One of those customers, a prominent politician, threatens to close down the business when Lily refuses his sexual advances. Before that can happen, the business burns down, and her father is killed. Not having any other prospects, Lily is prepared to accept a job as a stripper in a burlesque house. An older man whom Lily trusts advises her to use her sexual power over men to get the things she wants instead of allowing herself to be a victim. Lily takes his advice and leaves for New York with her best friend, Chico (Theresa Harris), who also worked at the speakeasy.

Theresa Harris and Barbara Stanwyck

Using her newly acquired seduction skills, a determined Lily manages to get hired as a file clerk at Gotham Trust, a prestigious bank in Manhattan. From that modest beginning, she literally sleeps her way to the top floor of the company, man by man, until she is living in high style as a kept woman by one of the banks' executives, with Chico as her maid. When a former suitor is inflamed with jealousy, he comes to their opulent apartment to shoot the executive and then kill himself. Mired in scandal, Lily attempts to come out ahead by threatening to sell her diary to a magazine unless Gotham Trust pays her $15,000 to keep quiet. But the new bank president, Courtland Trenholm (George Brent), refuses to go along with the idea and sends Lily to Paris to work at the bank's branch there, avoiding further scandal.

George Brent and Barbara Stanwyck

When Courtland comes to Paris after a few years, he and Lily fall in love and begin a romance. After they marry, they have to return to New York, as the bank is failing. The board members blame Courtland for the failure, and he must raise money for his legal defense. He asks his wife to give back all the bonds, etc., he has given her, but she refuses to give up the security she's worked for all her life. She and Chico prepare to leave on a ship going to Paris. But she changes her mind and goes back to Courtland, only to find that he's shot himself. She rides with him in the ambulance, along with her money, bonds and jewelry, all of which she intends to trade for true love.

If this story sounds outrageous and somewhat cartoonish, you must remember this was 1933, and wicked women were big box office. In fact, they had been ever since Theda Bara started destroying men in 1915. What makes this movie work is Stanwyck herself, who gives a controlled, convincing performance as Lily Powers, the ultimate sexual politician. Another less talented actress might have portrayed Lily as a Mae West type, or as Jean Harlow played a similar character in REDHEADED WOMAN at MGM in 1932. In fact, BABY FACE was Warner Brothers' answer to the successful MGM picture. 

With its themes of sexual immorality and prostitution, BABY FACE received quite a bit of condemnation and is considered to be the reason why the Hollywood Production Code was finally turned into a powerful force. After the film was released, Warner Brothers decided to make several changes and re-release a censored version which was approved by the Production Code. The original version was considered lost until a copy was found in a Library of Congress film vault in Dayton, Ohio. That version is now available to be seen.

Lily confronts her father, played by Robert Barrat

Baby Face shows off her seductive style to one of her victims.

Barbara Stanwyck and Theresa Harris looking glamorous.

Some interesting faces turn up in the picture. A young John Wayne, taking a break from his low-budget cowboy flicks, puts on a suit to play a bank employee and one of Lily's many anxious suitors. And uncredited Edward Van Sloan, known for his role as Van Helsing in Universal's DRACULA (1931) and other horrors, brings his recognizable voice to the movie as one of the banks officers. It's especially wonderful seeing beautiful Theresa Harris in a significant role. Like all African-American actors and actresses in the Hollywood of the era, she was given very few opportunities to play anything but servants, but she's given a good showcase here. And look fast for gorgeous blonde Toby Wing from FORTY-SECOND STREET (1933) as an office girl.

Next week, we're going to watch STELLA DALLAS (1937), which garnered Stanwyck her first Oscar nomination for Best Actress. It's a film I haven't seen, so I'm looking forward to it.

Barbara Stanwyck tangles with John Wayne