Seven Classic Made-for-TV Movies...that you can watch for free!

In an interview in its February 2023 newsletter CMBA Today, the Classic Movie Blog Association asked me an intriguing question: "If you could program a perfect day of classic movies for TCM, what would be the seven films on your schedule?"

I tried to think of seven movies I'd like to see again as well as share with others. Assuming TCM could get the broadcast rights to these films, I’d opt for a day of classic made-for-TV movies. The 1960s and the 1970s were a “Golden era” for television films and featured stellar writers (e.g., Rod Serling, Richard Matheson, Gene Roddenberry) and good actors (e.g., Angie Dickinson, Suzanne Pleshette, Ray Milland, Myrna Loy). I’d limit my seven picks to lesser-known films that appeared on the wonderful ABC Movie of the Week (1969-75).

I've previously reviewed all but one of my movie selections on this blog. Click on a film's title to read the review. One of my Twitter friends, @CED_LD_Guy, uploaded all seven picks to his Rumble channel. Rumble is a free platform, like YouTube, that allows you to view media content online or on your TV by adding the Rumble channel to your streaming device. Click on the "watch" links below to enjoy these fascinating made-for-TV movies. Remember, these are rare films, so the video quality will vary from excellent (The Birdmen) to fair (Dr. Cook's Garden).

Milton Berle and Sean Garrison.

Seven in Darkness (1969) watch – A plane crashes in the wilderness and only its blind passengers survive. This was the first ABC Movie of the Week and stars Barry Nelson, Dina Merrill, Lesley Ann Warren, Season Garrison, and Milton Berle (in a dramatic role).

Daughter of the Mind (1969) watch – A psychic researcher (Don Murray) investigates when a famous scientist (Ray Milland) claims his dead daughter has been appearing to him. Gene Tierney and Ed Asner co-star.

Suzanne Pleshette.

Along Came a Spider (1970) watch  – Suzanne Pleshette headlines this twisty thriller about a widow who goes undercover to discover her husband's murderer(s).

How Awful About Allan (1970) watch – A man (Anthony Perkins) suffering from psychosomatic blindness returns home to live with his sister (Julie Harris), but thinks someone is trying to kill him.

Dr. Cook’s Garden (1971) watch – Is there a pattern to the deaths in a small rural town where a kindly physician (Bing Crosby) practices? Frank Converse and Blythe Danner co-star. Ira Levin (Rosemary's Baby, The Stepford Wives) and Art Wallace based their screenplay on Levin's short-lived stage play starring Burl Ives.

Richard Basehart as a German officer.

The Birdmen (1971) watch – During World War II, POW prisoners try to fly to freedom by building a glider. Incredibly, part of the film really happened! The unusual cast features Richard Basehart, Chuck Connors, Doug McClure, Tom Skerritt, and Max Baer, Jr. There's about eight minutes of stock footage at the beginning--but stick with it and you'll be rewarded with a very entertaining adventure.

Assault on the Wayne (1971) watch – Enemy agents plot sabotage aboard a nuclear submarine in this Cold War thriller. The cast features Leonard Nimoy, William Windom, Lloyd Haynes, and Sam Elliott.

Disney Takes on a Children's Classic and a Spooky Washington Irving Tale

Mr. Toad--in disguise--and friends.

Released in 1949, Walt Disney's The Adventures of Ichabod and Mr. Toad consists of two half-hour animated shorts strung together for a theatrical release. The connecting device is simply that each featurette boasts a memorable character from literature. 

Mr. Toad is a loose adaptation of Kenneth Grahame's 1908 children's classic The Wind in the Willows. The main character is the wildly unpredictable J. Thaddeus Toad, Esq., who lives in Toad Hall, the grandest manor along the river bank. Toad's latest obsession is a horse-drawn cart, which he drives recklessly throughout the countryside, causing so much damage that he's on the verge of bankruptcy. 

His friends Rat, Mole, and McBadger try to curb Toad's "adventures," but fail badly. Shortly after seeing his first motorcar, Toad is arrested for stealing it and sentenced to 20 years in the Tower of London. Can Toad's misfortunate change his frivolous ways? And though he may be guilty of "motor mania," did Toad really steal the car?

Viewers who have never read The Wind in the Willows may find Mr. Toad amusing. It's colorful, lively, and warmly narrated by Basil Rathbone. It's just a shame that Disney veered so far from Grahame's novel. Toad has been given an accomplice, a horse named Cyril, who is just as silly as his amphibian owner. Badger has been transformed in the Scottish Angus McBadger. The focus on Toad relegates Rat and Mole--the book's most charming characters--into supporting characters. It's all a shame because the source material was there for a true Disney animated classic!

The creepy Headless Horseman.

The Legend of Sleepy Hollow has been "Disneyfied" as well, but the end result works much better. The plot stays mostly true to Washington Irving's 1819 short story about Ichabod Crane, the new schoolmaster in Sleepy Hollow, a quaint New York town. Pursued by several women in the village, Ichabod sets his sites on marrying the lovely Katrina van Tassel, whose wealthy father owns the biggest farm in the area. Ichabod must fend off a rival, though, in the handsome, muscular Brom Bones.

At a harvest party hosted by Katrina's father, Brom notices that Ichabod is extremely superstitious, so he recounts the legend of the headless horseman who roams the country roads at night. On Ichabod's way home that evening, he becomes terrified as he is pursued by a...headless rider in a black cape on a black steed!

Most of The Legend of Sleepy Hollow has a light air about it with Bing Crosby narrating the story and crooning catchy songs with Jud Conlon's Rhythmaires. However, it takes a delightfully creepy turn with the climax, which is probably the scariest animated sequence in Disney history. The vivid black, red, and orange palette serves as a stark contrast to the soft, rich autumn colors employed earlier in the story.

It's also interesting to note the similarity between the village scenes in Sleepy Hollow and Disney's much later Beauty and the Beast (1991). Additionally, Brom reminded me very much of Gaston from Beauty and the Beast.

Brom from Sleepy Hollow and Gaston from Beauty and the Beast.

Mr. Toad and The Legend of Sleepy Hollow were subsequently shown separately on television and in theaters. For its 1978 re-release, Mr. Toad was retitled The Madcap Adventures of Mr. Toad and shown with Disney's feature film Hot Lead and Cold Feet.

Ray Harryhausen's 7th Voyage of Sinbad

The cyclops on Colossa.

"Nothing quite like its contents had been seen on the screen before."

That's special effects wizard Ray Harryhausen's assessment of his own 1958 fantasy adventure The 7th Voyage of Sinbad. The usually modest Harryhausen knew what he was talking about --7th Voyage shines the spotlight on his incredible stop-motion animation. And for the first time in his feature film career, it was all displayed in glorious color and with a splendid music score to match, courtesy of Bernard Herrmann.

Princess Parisa and Sinbad.

The film opens with Sinbad transporting Princess Parisa to Bagdad (sic) where he plans to marry her and seal an alliance between their countries. Along the way, Sinbad (Kerwin Matthews) and crew land on an island where they encounter a magician who has stolen a magic lamp from a cyclops. They help the magician, Sokurah, escape, but he loses the lamp in the process.

Once they reach Bagdad, Sokurah (Torin Thatcher) tries to convince Sinbad to return to the island of Colossa to retrieve the lamp. Sinbad refuses--at least until Princess Parisa (Kathryn Grant) is mysteriously reduced to doll size. Sokurah claims he can restore the Princess to her normal height, but his potion requires the egg shell from a Roc...meaning that Sinbad needs to transport the magician back to Colossa. Once there, they encounter cyclopes (that's plural), a two-headed Roc, a fire-breathing dragon, and--most famously--a sword-wielding skeleton.

A cyclops and the dragon battle on the beach.

The credits for The 7th Voyage of Sinbad tout that it was filmed in Dynamation. The term was coined by producer Charles H. Schneer to describe Harryhausen's painstaking process of combining live action with his stop-motion animated creatures. At the risk of simplifying the process, it consisted of filming the actors alone and then projecting that footage one frame at a time as Harryhausen animated his creatures in front of it. Obviously, the actors' movements had to be precise, which makes Sinbad's swordfight with a skeleton the film's highlight.

Sinbad against the skeleton.

In an interview (included as a DVD extra in some boxed sets), Kerwin Matthews describes the complicated "choreography" of the duel. He and Italian Olympic fencing master Enzo Musumeci-Greco rehearsed the sequence until Matthews knew it by heart. Then, Matthews had to replicate it with precision and by memory without Musumeci-Greco. In post-production, Harryhausen animated the skeleton opponent. Matthews didn't see the finished sequence until he watched the film at a theatre in France the following year. It truly is an incredible sequence and Herrmann's music, which is synchronized with each physical movement, is the perfect complement.

Torin Thatcher as the magician.

Of course, a film with nothing but great special effects would grow tiresome eventually. Thus, it's fortunate that The 7th Voyage of Sinbad benefits from enthusiastic performances. Matthews makes an appropriately dashing hero (though maybe not the brightest...Sinbad doesn't seem to suspect Sokurah of shrinking the Princess). Torin Thatcher makes a delightfully evil villain and Kathryn Grant--the future Mrs. Bing Crosby--is charming as the plucky princess, whose resolve saves Sinbad from being a cyclops snack.

The 7th Voyage of Sinbad isn't Ray's Harryhausen's most jaw-dropping fantasy adventure. That honor belongs to the excellent Jason and the Argonauts (1963), in which the hero battles an army of skeletons. However, it's a colorful, exciting fantasy adventure with enough visual marvels to make you feel the wonderment of childhood again.

Bing Crosby Tends to Dr. Cook's Garden

Bing Crosby as Dr. Leonard Cook.

Leonard Cook is a kindly small-town physician who has delivered most of the residents of Greenfield. Approaching age 70, he still makes house calls, works long hours, and is always willing to help raise funds for the community. There's just one problem: Dr. Cook may be a murderer.

Made in 1971, Dr. Cook's Garden stars Bing Crosby in his final leading role. Sporting gray hair and a beard, Crosby delivers a nuanced performance that's different from anything else he's done.

Even though the film's premise is established in its opening scenes, the actor's sincerity keeps one guessing about whether Dr. Cook could be killing selected patients. His best scene has the good doctor offering plausible, though far-fetched, explanations about why he stores so much poison and places the letter "R" on certain patients' cards ("R means rest or repeat," he insists, when asks if it means "remove").

Frank Converse and Blythe Danner.

Frank Converse co-stars as Jim Tennyson, a young medical intern who returns to Greenfield after a five-year absence. Jim, who lost his parents as a boy, views Leonard Cook as a surrogate father. But the loving reunion starts to slowly sour when Jim notices all the "nice people seem to live to a ripe old age and the mean ones seem to die off." There almost seems to be a correlation with Dr. Cook's garden in which certain plants are removed to provide a healthier environment for the rest. Could that be what Leonard Cook is doing in Greenfield?

Burl Ives and Keir Dullea.

The teleplay for Dr. Cook's Garden was based on a Broadway play of the same title by Ira Levin. The stage version ran for just eight performances in 1967. It starred Burl Ives as Dr. Cook (I imagine he was excellent) and Keir Dullea as Jim. Ira Levin is probably best known for his novels Rosemary's Baby and The Stepford Wives, with the latter's idyllic town somewhat reminiscent of Greenfield.

Dr. Cook's Garden appeared on ABC's Movie of the Week during what I consider to be the Golden Age of made-for-TV films. It's a clever, well-acted movie, but don't take my word for it. In Stephen King's Danse Macabre, his 1981 analysis of horror in literature, film, and television, the famed author wrote about Ira Levin's works: "Less known is a modest but chillingly effective made-for-TV movie called Dr. Cook's Garden, starring Bing Crosby in a wonderfully adroit performance."

Well said, Steve.

Family Business: Actors with a Classic Film Star Parent

I recently watched Sinbad and the Eye of the Tiger, which co-starred the adult children of John Wayne and Tyrone Power. So, I thought it'd be fun to write about actors that were the children of classic film stars. The challenge with this kind of post is narrowing the topic to a manageable size. You could write a book on it (and there probably is one). Also, many movie star children became famous in their own right (e.g., Michael Douglas, Lon Chaney, Jr., Carrie Fisher, the Barrymores, the Carradines, etc.). For this post, I just want to focus on a handful of lesser-known--but still interesting--classic film star offspring.

Sean Flynn - Errol Flynn's son with Lili Damita made his acting debut at age 15 opposite his father and stepmother Patrice Wymore in an episode of The Errol Flynn Theatre. His first film was 1960's Where the Boys Are, though he was uncredited and you'll miss him if you blink. He spent the rest of the decade starring in European films, the most famous being The Son of Captain Blood. He left acting in 1966 and became a respected photojournalist. He was under contract to Time Magazine when he disappeared in Cambodia in 1970. It's now believed that he and fellow photojournalist Dana Stone were captured by guerillas and later killed. Sean Flynn was declared legally dead by his mother in 1984.

Taryn Power - The daughter of Tyrone Power and Linda Christian was born in 1953 and was only five when her father died of a heart attack. She appeared in just eight movies, with the most notable ones being The Count of Monte Cristo (1975) with Richard Chamberlain and the Ray Harryhausen fantasy Sinbad and the Eye of the Tiger (1977). The latter film also starred Patrick Wayne, the son of John Wayne.

Jody McCrea - Best known as a regular in the Beach Party films, Joel Dee McCrea's parents were Joel McCrea and Frances Dee. After a stint in the Army, he had small parts in several 1950s films and co-starred with his father in the short-lived TV Western Wichita Town. He appeared in six of the seven Beach Party movies playing the same dull-witted character who was known as Deadhead (Beach Party, Bikini Beach, Muscle Beach Party), Bonehead (Beach Blanket Bingo, How to Stuff a Wild Bikini), or Big Lunk (Pajama Party). He even recorded a novelty song in support of Bikini Beach. Jody retired from acting in 1970 and became a rancher. He died in 2009 at the age of 74.

Christopher Mitchum - The second son of Robert and Dorothy Mitchum appeared in over 60 films from the 1970s through the 1990s, including three John Wayne Westerns: Chism, Rio Lobo, and Big Jake. He served on the Board of Directors for the Screen Actors Guild in the 1980s. A political conservative, he ran for a Congressional seat in 2012 and plans to run again later this year. He and his wife Cindy have been married since 1964 and have four children.

James Mitchum - Robert and Dorothy Mitchum's oldest son made his first credited appearance in his father's moonshine drive-in classic Thunder Road (1958). He played his father's younger brother! He carved out a niche as a supporting player, sometimes playing unsavory characters (he's the de facto villain in Ride the Wild Surf, one of my favorite sand-and-surf pictures). His only "A" picture was the all-star In Harm's Way (1965).

Patrick Wayne - Born Patrick John Morrison in 1939, the Duke's son appeared in nine movies with his father and had significant roles in McLintock!, The Green Berets, and Big Jake. He performed admirably as the dashing lead in two modest 1977 fantasy films: Sinbad and the Eye of the Tiger and The People That Time Forgot. Alas, major stardom eluded him, though he continued to appear regularly in films and on television throughout the 1980s.

Mary Crosby - The daughter of Bing Crosby and Kathryn Grant is best known for playing Sue Ellen's sister, Kristin Shepard, on the TV series Dallas. The devious Kristin secured her place in the annals of TV history when it was revealed that she shot J.R. in one of the highest-rated TV episodes of all time. Mary Crosby has appeared in numerous TV series and miniseries. She had little success on the big screen, though she made a spunky heroine in the action-fantasy The Ice Pirates. It's interesting to note that Mary's mother was the female lead in The 7th Voyage of Sinbad (1958), which sorta connects Mary to Patrick Wayne and Taryn Power.

1949--The Year in Film

In 1949, NATO was established, a postage stamp costs three cents, the first Emmy Awards were handed out, George Orwell's 1984 was published, and the first 45 RPM record was sold in the U.S. But as Harry Truman started  his second term as President, what was happening in the motion picture industry in 1949? Here are some highlights:

1. The Best Picture was All the King's Men, with Broderick Crawford winning Best Actor for his performance as Willie Stark. Olivia de Havilland won Best Actress for The Heiress.

2. The top-grossing film at the box office was Cecil B. DeMille's Samson and Delilah. It made $11,500,000, which would equate to $122,872,000 in 2013. That's a big moneymaker by today's standards, but don't forget that the U.S. population was a lot smaller in 1949 and there were less movie theaters, too. That makes Mr. DeMille's feat all the more impressive.

3. The top box office attractions were: Bob Hope; Bing Crosby; and Abbott & Costello. Incidentally, Bob and Bing weren't in a Road movie in 1949 (their last one had been 1947's Road to Rio).

4. After supporting roles in The Egg and I (1947), Ma and Pa Kettle got their own movie--appropriately-titled Ma and Pa Kettle. It was the first of a nine-film series with a new installment appearing every year through 1957. Majorie Main played Ma in all of them and Percy Kilbride co-starred in the first seven. He retired from acting after suffering an injury in an automobile accident.

5. Future stars that were born in 1949 include Meryl Streep, Sigourney Weaver, Jeff Bridges, Pam Grier, and Sissy Spacek. Film greats who passed away that year included Frank Morgan, Victor Fleming, and Wallace Beery.

Paul Robeson.

6. At the Paris Peace Conference, actor-singer Paul Robeson gave a speech in which he allegedly said that it was "unthinkable" for blacks to fight in a potential war against the Soviet Union. According to a 2011 article in the Smithsonian Magazine, an inaccurate transcript was released by the Associated Press and "historians would later discover that Robeson had been misquoted, but the damage had been almost instantly done." The House Un-American Activities Committee subpenoed baseball player Jackie Robinson, who testified that Robeson's comments, "if accurately reported, were silly."

7. Television became more prevalent, grew in popularity, and started to pose a threat to the film industry. The Sears & Roebuck catalog included television sets for the first time. RCA made great strides toward development of color TV (its color TV technology would become the U.S. industry standard in 1953). The Lone Ranger TV series made its debut on ABC and went on to become the fledgling network's first legitimate hit.

Alec Guinness in one of his eight
roles in Kind Hearts and Coronets.

8. Britain's Ealing Studios--which became known for its low-key, quirky comedies--released three classics:  Whiskey Galore (aka Tight Little Island); Passport to Pimlico; and Kind Hearts and Coronets.

9. Vittorio De Sica's Italian neo-realism masterpiece, The Bicycle Thief, was released in the U.S. and given an honorary Oscar. By 1952, it was voted the greatest film ever made in Sight & Sound magazine's first poll among film professionals.

10. Fred Astaire and Ginger Rogers appeared in their last film together: The Barkleys of Broadway.

The 5 Best Bing Crosby Performances

We had such fun last July with our "5 Best" lists at the Cafe that we've decided to continue them on a biweekly basis. So, welcome to the first 5 Best Friday! In this installment, I'll list my picks for Bing Crosby's five best performances. There are some unusual choices here, but I'll stand by them...having seen most of Mr. Crosby's movies.

1. Man on Fire - Bing got greater recognition for playing an alcoholic in The Country Girl. However, his best dramatic performance is in this seldom-shown drama about a man recovering from a bitter divorce and fighting for sole custody of his son. I always wondered if Man on Fire was the inspiration for the later novel (and film) Kramer vs. Kramer.

2. The Bells of St. Mary's - Yes, Bing won an Oscar for playing Father O'Malley in the earlier Going My Way. Yet, he's even better in the sequel, as evidenced by his poignant scene with Ingrid Bergman in which he reveals why she's being sent away from the school she loves. (I know...Bing had some great scenes with Barry Fitzgerald in Going My Way...so you can substitute that film here if you want!)

3. Road to Utopia - Bing was an underrated comedian, especially in the Road movies where he kept pace nicely with Bob Hope in his prime. You could easily plug The Road to Morocco into this slot, if you prefer--but Utopia and Morocco clearly are the best of the Road series.

4. White Christmas - Let the controversy begin! I'm sure many Crosby fans would rate his performances in Holiday Inn, Blue Skies, Mississippi, Little Boy Lost, or others above this popular musical. However, I always thought that one of Bing's gifts was his ability to bring out the best in his co-stars. I think that's one of the reasons White Christmas ranks high in the filmographies of Danny Kaye, Rosemary Clooney, and Vera-Ellen.

5. Dr. Cook's Garden - Crosby sought out the part of a seemingly gentle small-town physician with a very dark secret. This 1971 made-for-TV film was based on a play by Ira Levin (Rosemary's Baby, The Stepford Wives) which folded after barely a week. Burl Ives played the Crosby role on stage.

Honorable Mentions: The Country Girl (I'm not as big a fan as some, but it still includes some potent scenes); Stagecoach (a rickety remake, but Bing is good in the Thomas Mitchell role); and Pennies from Heaven (hey, it was my Dad's fave).

Happy Birthday, Edna May!

Author's Note: The Yuma Daily Sun published this 2-part interview as a feature article in its Sunday, March 14, issue. Since then, various local community groups have approached Edna about speaking engagements. When "Happy Birthday, Edna May!" was posted at the Cafe in February, Edna began receiving requests for pictures and autographs from around the U.S., Canada and even Europe. The interview was reprinted in "Films of the Golden Age," Winter 2010/2011.
Part 2
Edna Green (formerly Edna May Wonacott) celebrated her 78th birthday on February 6. In her honor, we posted the first part of my recent interview with her on that day. Part 1 can be viewed by scrolling down the page.

Filming on Shadow of a Doubt began in August 1942 and took three months to complete. While in Hollywood during the school year, Edna May was tutored on the set on the days that she worked. On off-days, she attended classes at the studio's schoolhouse. She particularly remembers one fellow student, Sabu, who captivated the class with stories about the elephants of India. His stories gave Edna May the impression that in India elephants were as common as dogs in the U.S., and treated in much the same way.

Edna May became close to Pat Hitchcock, the director's daughter, and the two often played gin rummy on the set. Both girls had crushes on Joseph Cotten, and when he gave Edna May an autographed picture inscribed "with love," Edna remembers that Pat was a little disconcerted because Cotten hadn't signed his picture to her with the same sentiment.

The Hitchcocks often took Edna May to Hollywood's famous Brown Derby restaurant, and she spent many weekends as Pat's guest at the Hitchcock home. On most days, their meals would be ordered from the kitchen and sent up to Pat's room via a "dumb-waiter" built into the wall. One day, though, Pat told her there would be a formal dinner that evening and to "wear something nice." Edna May was flustered, not being familiar with the forks, spoons, knives, dishes and glasses used at formal dinners. She hoped to sit next to Pat and follow her lead. But Pat told her they'd be sitting across the table from each other and, when it came to the silverware, "just start from the outside and work your way in." It turned out that the evening's guests were Joseph Cotten, his wife and step-daughter - and Edna was seated next to him. She remembers being so smitten that she was trembling. And she'll never forget that he talked with her all through dinner.
Like so many kids of that era, Edna May had an autograph book. When it was Alfred Hitchcock's turn to sign, he did it as one might expect - with a twist. He signed the last page in the book and with his left hand (he was right-handed): "By hook or by crook, I'll be the last one to sign in this book."
At the end of the shoot, there was a goodbye party in San Francisco. Edna May received many gifts that she still cherishes, including an inscribed bracelet from Teresa Wright, a scarf with a "pigtail" motif from Joseph Cotten and a golden bow from Hitchcock inscribed "to Ann Newton from Alfred Hitchcock." Edna reports that Hitchcock never called her anything but Ann throughout the making of Shadow of a Doubt.
Edna May, of course, was a local celebrity in Santa Rosa (population 19,000 at the time). She recalls: "There was a lot of publicity and women would come into dad's store and want to touch the father of a movie star! I have lots of scrapbooks of the publicity and had quite a write-up in Life magazine and was in movie magazines. Little girls with pigtails and glasses suddenly started showing up on the street corners in town!"

When Shadow of a Doubt was released, it premiered in Santa Rosa and Pat Hitchcock came up from Hollywood and attended with Edna May. There was quite a hubbub in town over the film and its release signaled a war bond drive, with Edna May kicking it off at the courthouse in Santa Rosa. She also took a trip to sell war bonds in Salinas when the movie opened there.
Because she had recently signed a five-year contract with producer Jack Skirball, Edna May and her parents moved to Glendale following the release of Shadow of a Doubt. Her older brother, then in college, stayed in Santa Rosa and ran the family store until he went into the military and served in World War II.
Her first assignment for Skirball was to be It's in the Bag with Fred Allen, and Edna May was to have equal billing. But Allen balked at this and refused to work with her. Ultimately, her contract was broken, but when the film was eventually made without her, Edna May was paid in full.
At this point, she signed with an agent who exclusively handled child actors.
Edna May had small roles in several more films, and she has warm memories of working on Leo McCarey's The Bells of Saint Mary's (1945), a film nominated for eight Oscars and winner of one. She played Delphine, one of the girls about to graduate from St. Mary's, the one who smacks a baseball through a window in Mr. Bogardus' (Henry Travers) new building. Edna recalls that, like Shadow of a Doubt, the atmosphere on the set was "just like family." Ingrid Bergman was "a real sweetheart who said hello to everyone from the janitor on up when she came on the set." Edna also remembers that a member of the crew would play a little tune on an ocarina whenever Miss Bergman arrived. She adds, "We had a lot of fun with Bing Crosby - since there was a schoolyard set, he was always playing basketball with the kids."
Edna left acting at the beginning of the 1950s when she married.
Today, Edna Green feels fortunate to have been in Hollywood during the Golden Age.
"I have nothing but good memories of working in Hollywood. It was a different era than it is now and, being as young as I was, I didn't feel like an actress...I was just a kid who did what she was told to do."
Along with her memories, Edna has a treasure-trove of memorabilia from Shadow of a Doubt. From her scrapbooks, the issue of Life magazine and the prized goodbye gifts, to her original script with its cover signed by Hitchcock and the entire cast.
Edna is honored to have been a part of such an iconic film, one of Hitchcock's most celebrated, but is amazed that people are still interested in her. She remarked that some friends recently watched Shadow of a Doubt after Edna told them she was in it. They were quick to tell her: "You are just exactly like you were in that movie."
And I'll admit that at times during our conversation I could hear a little bit of Ann Newton as I talked with Edna Green.
Looking back, Edna considers that her entire life - her early days in Santa Rosa, the years in Hollywood, her 57-year marriage, raising three boys - has been filled with good times. Though she's lost her beloved dad (at age 90) and mom (at age 102) and, more recently, her brother and husband, Edna has her sons, her grandchildren and great-grandchildren, her friends and many wonderful memories of a good life and a very special childhood.

 
While doing research for a blog on Shadow of a Doubt, I located and contacted Edna Green. She kindly agreed to talk with me about her experiences on that film and her years in Hollywood. My sincere thanks to Edna for sharing her memories with us.

12 Days of Christmas: Bing Crosby and Danny Kaye Team Up for a "White Christmas"

There was a time when I grumbled because White Christmas was shown every Yuletide season while Holiday Inn (1942) only made sporadic appearances. Most critics consider the latter film, in which the song “White Christmas” was introduced, to be the superior musical. It was only after my wife and I acquired both films on video that I recognized the virtues of White Christmas. It’s a near-perfect blend of music and comedy, with the cast and crew at, or near, the peak of their careers. With apologies to the amazing Fred Astaire, White Christmas holds up much better than Holiday Inn, thanks largely to one of Danny Kaye’s most delightful performances.

He plays Private Phil Davis, who saves the life of popular crooner Captain Bob Wallace (Bing Crosby) during World War II. After the war, Phil and Bob team up to form a hugely-successful duo that plays nightclubs, has its own radio show, and eventually produces Broadway musicals. Concerned that Bob will never settle down, Phil tries to play matchmaker. He finds a promising love interest for Bob in Betty Haynes (Rosemary Clooney), half of a singing sister act (the other half being the spunky Vera-Ellen as Judy).

Phil and Bob follow the Haynes Sisters to Vermont, where the girls are scheduled to perform at a holiday resort. In their surprise, they learn that the inn is run by Tom Waverly (Dean Jagger), a retired general who commanded their unit during the war. The inn is doing very poorly financially, so Phil and Bob decide to put on a big show to drum up business.

It’s a thin premise for a two-hour musical, but it works amazingly well. The dance numbers are staged energetically, with the highlight being Danny and Vera-Ellen dancing outside a nightclub to the melodic “The Best Things Happen While You’re Dancing.” A lively performer with sex appeal, Vera-Ellen makes an ideal partner for the graceful, athletic Kaye. The two appeared together in two previous Kaye comedies (The Kid From Brooklyn and Wonder Man), though Virginia Mayo played the lead opposite Danny in both films.

Crosby and Clooney generate a more subdued, but no less effective, chemistry. Their duet “Count Your Blessings” was the big hit song from the film.

The most effective pairing in the film, though, is the one between Crosby and Kaye. They’re a sensational team, whether doing musical numbers or comedy (their version of “Sisters”, done originally as a joke on the set, is hysterically funny). Their relationship reminds me of Crosby and Bob Hope in the Road movies—which makes sense, considering that writers Norman Panama and Melvin Frank also penned the wacky Road to Utopia (as well as The Court Jester, Danny’s best film). Incredibly, Kaye was not the first choice to play Phil Davis. He took over at the last minute when Donald O’Connor dropped out of the film.

The postscript to White Christmas is a bittersweet one. Vera-Ellen made only one more movie and retired from acting at the age of 36. Rosemary Clooney never had another good film role. Director Michael Curtiz, who helmed such classics as The Adventures of Robin Hood and Casablanca, suffered a declining career. Bing Crosby and Danny Kaye would also make fewer films, but each had one more memorable role to go: Bing in The Country Girl (which earned Grace Kelly an Oscar) and Danny in his finest role in The Court Jester.

My wife and I were lucky enough see the theatrical re-release of White Christmas in the 1980s. It looked splendid on the big screen in VistaVision (it was the first film produced in that widescreen process). In 2004, White Christmas was adapted as a stage musical and had a limited run on Broadway.

Feel Good Movies: "I Hope You're Going My Way Too"

In May of 1944 the United States was embroiled in the dark days of World War II. After 2 ½ years of war, grief and fear of the future, American audiences chose as their favorite movie a little film which helped them remember what life is ultimately about -- love of God, love of people, humor in the midst of difficulty, ordinary human beings living each day as it comes. Going My Way was a Paramount film directed by Leo McCarey. McCarey was known mostly for his comedies before the 1940’s, working with such greats as the Marx Brothers, W.C. Fields and Mae West. During the 40’s, McCarey became increasingly concerned about the needs of people struggling with wartime difficulties, as well as social injustice of the economically disadvantaged.

Going My Way is the story of two Catholic priests at St. Dominic parish in a poor neighborhood. Fr. O’Malley (Bing Crosby) arrives at the parish supposedly to assist the aging pastor, Fr. Fitzgibbon (Barry Fitzgerald). In point of fact, the Bishop has plans to eventually replace Fr. Fitzgibbon, who is now in his 70’s and is reluctant to retire. Fr. Fitzgibbon has been a priest for 45 years, and it has been that long since he has seen Ireland or his now extremely elderly mother. Fr. O’Malley’s modern, easy-style personality rubs the fiery old pastor the wrong way, and Fr. O’Malley is kind to him, always careful to show respect and patience in their relationship. Throughout the movie, we meet people who cross paths with Fr. O’Malley – Carol (Jean Heather), a runaway whose future causes no end of concern for the priest, Ted Harris Jr. (James Brown), whose interest in Carol is a further cause for concern, Genevieve (Rise Stevens), whom Fr. O’Malley once loved, and a gang of neighborhood boys led by Tony Scaponi (Stanley Clements). (You have to love that name, Tony Scaponi!) A third priest, Fr. O’Dowd (Frank McHugh), the same age and modern outlook as Fr. O’Malley, turns up to be another thorn in the old pastor’s side. Fr. O’Malley deals with each person in the same spiritually dedicated, yet firm feet-on-the-ground attitude which characterizes his moral makeup. There is great humor in this story, sorrow, and an ending that is quiet and intensely moving.

Going My Way is a slice-of-life movie, simply portraying the life of a church parish day to day. There is no hurry to McCarey’s direction, allowing each scene to unfold with rich personality and character-driven plot. The audience feels as if they know the people in this film as old friends, as proven by the fact that this was the highest-grossing film of 1944. In those days, without television or re-runs, that meant that there was a lot of repeat viewing and thus more theatre tickets sold. Going My Way swept the Oscars that year, winning best picture, best director, best actor for Crosby, best supporting actor for Fitzgerald, best screenplay, best song for “Swinging On A Star” written by Van Huesen and Burke. This was in a year where competition was stiff and the movie was up against such films as Cary Grant’s Arsenic and Old Lace, Olivier’s Henry V, Garland’s Meet Me In St. Louis and Ingrid Bergman’s Gaslight, among others. Interestingly, Fitzgerald and Crosby were both nominated for best actor, as well as Fitzgerald’s nomination for best supporting actor, a double-nominee practice that was later disallowed.

The cast of Going My Way is one that shines in its individual parts. Bing Crosby is perfection as the younger priest who sings and plays piano, just as comfortable with boogie woogie as spiritual songs. His work with the neighborhood boys in turning them into a choir is beautifully portrayed. (One of the boys is Carl “Alfalfa” Switzer who we remember from Our Gang serials.) They truly sing like angels when they perform the title song with real-life opera great Rise Stevens. But it’s their performance with the song “Swinging On A Star” that audiences really loved. The film also introduced a lovely little lullaby, "Too Ra Loo Ra Loo Ra", which captured the hearts of many. The part of the old pastor, Fr. Fitzgibbon, seemed tailor made for Barry Fitzgerald. Fitzgerald was 56 at the time, only 15 years older than Crosby, yet he seemed and looked very old, a testament to his acting and good makeup. He is funny and sweet in his part, and you can’t help but love him.

Wonderful Frank McHugh as Fr. O’Dowd is the perfect comic relief with his distinctive way of speaking and his famous high breathy laugh. McHugh was a member of the Irish Mafia, a spoof name for a group of actors, mostly Irish, who met fairly regularly which included James Cagney, Spencer Tracy and Pat O’Brien. Stanley Clements (Tony Scaponi) eventually replaced Leo Gorcey in the Bowery Boys last seven movies. And, if you are old enough, you may recognize James Brown (Ted Haines) as Lieutenant Masters in the Rin Tin Tin television series. The rest of the supporting cast round out this wonderful ensemble with solid performances.

In the next year, 1945, Crosby again reprised the role of Fr. O'Malley in The Bells of St. Mary's, which also starred Ingrid Bergman.  Once again the film was a huge hit, and in my opinion, Bergman still holds the gold medal as best and beautiful screen nun ever.

Director McCarey and Bing Crosby were both devout Catholics and that shows in their dedication to the film and their love for the ideals of the Church. After the war, Crosby obtained permission to screen the movie for Pope Pius XII and met with him personally. Some, particularly in our own time, pronounce this movie as saccharine and overly-idealistic. I disagree completely. It truthfully set forth ideals and the efforts of ordinary people to live up to them. Now, when scandal has marred the image of the Catholic Church, this little movie is a timely reminder that the same ideals are still there, and that 99.9% of priests are as good and dedicated as Fr. O’Malley. That is a living legacy from Leo McCarey and Bing Crosby.

The "Road" Movies A to Z

We interrupt the 31 Days of Halloween for an alphabetical tribute to the Bing Crosby-Bob Hope Road movies. Starting at the top:

A - Alaska (the setting for Road to Utopia); The African Queen clip used in Road to Bali when the boys "see" Bogey.
B - Robert Benchley, who narrates Utopia; "But Beautiful" the big hit song from Road to Rio.
C - Cannibals who want to eat Bob in Road to Zanzibar; Crosby, of course.
D - Deep sea diving, the boys' occupation in Rio; Duke, Bing's name in Utopia.
E - "The End" credit that Bob tries to prevent from ending Bali before he gets the girl.
F - Fearless Frazier, Bob's name in Zanzibar.
G - Gorilla that likes to blow out matches in Zanzibar.
H - Hong Kong and Hope are the obvious choices, but there's also the hypnosis used on Dorothy in Rio.
I - "It's Anybody's Spring", song performed by Bing in a shipboard talent show. He loses to an organ grinder and a monkey, prompting Hope to remark about bringing Sinatra on the next Road trip.
J - Josh, Bing's name in Road to Singapore.
K - Prince Ken Arok, the bad guy in Bali.
L - Lamour, of course. But also Aunt Lucy, played by Bob in a flashback in Road to Morocco.
M - "Moonlight Becomes You" the hit ballad from Morocco; the moon where Bob, Bing, and Joan Collins land at the end of Road to Hong Kong.
N - David Niven, who has a cameo in Hong Kong.
O - Orville, Bob's first name in Morocco, though he goes by his nickname "Turkey."
P - The "patty-cake" bit originated in Singapore that the boys use when an escape is needed; the Paramount mountain that makes a surprise appearance in Utopia...which also features Dorothy singing her hit song "Personality" (later, sadly, used by Wesson Oil).
Q - Anthony Quinn, who played villains in both Singapore and Morocco.
R - Rio!
S - Singapore!
T - Talking animals: camels in Morocco, fish and bears in Utopia. Bing's hit "To See You is to Love You" from Bali, which Hitchcock used in Rear Window.
U - Utopia!
V - Volcano in Bali; Jimmy Van Heusen, who co-wrote all the songs.
W - Whiskers worn by the boys in Utopia; the Woody Woodpecker cartoon "Alley to Bali" that spoofs Road to Bali.
X - The XL squid from Reap the Wild Wind that appears in Bali.
Y - "You're Dangerous" sung by Dorothy in Zanzibar.
Z - Zanzibar...a fitting way to end this list!