The Saint ( 1962-1969 )

"Templar...Simon Templar." 

The world was a safer place when the Saint was there to quench the evil desires of the wicked foes scattered across the planet. Simon Templar aka "The Saint" came to the rescue of any poor soul in need, be they wealthy or penniless....provided there was a pretty face nearby. Zipping around in his sporty Volvo P1800, this modern Robin Hood came to aid in the fight for truth, justice and the British way. Via film clips and painted backdrops the Saint traveled all over the world for this cause. From the pearly oceans of Japan to the revolutionary countries of Eastern Europe, Simon would be found taking the law into his own hands and rattling the nerves of the most confident of criminals. 

Roger Moore was "The Saint" for seven years on ITC's hour-long mystery/spy thriller series, becoming a veritable tiny-tele James Bond in the course of the decade. 

The Saint has its profound moments of sleep-inducing splendor and is overall quite charming and strangely addictive. Alongside The Avengers this saintly series was the longest running show of its genre in British television's history. Undoubtedly a testament to Roger Moore's appealing persona and the show's snappy dialogue.

HOW SAINTS ARE BORN

Simon Templar, part gentleman thief/part detective, first appeared in Leslie Charteris' 1928 novel "Meet the Tiger". This story was a commercial success when it was first published and convinced Charteris to stick to writing Saint stories from then on. For over 100 novels, he placed his man in the frays of danger, but Simon Templar ( S.T. for the Saint ) was always prepared to fight the ungodly, whether they be drug runners, gangsters, arms dealers or Nazis. 

In 1936 Leslie Charteris sold RKO the idea of obtaining the screen rights to his hallowed hero, and the studio successfully thrust him into a series of B-grade films, some being of note, others being mediocre. Louis Hayward was the first actor to portray Simon Templar in The Saint in New York, released in 1938. He promptly dropped out of the series after this stupendous start and then the venerable George Sanders took over for five more films before he too stepped down and left the crime-fighting to Hugh Sinclair for the final two films. 

By 1944 the series was washed up and NBC snatched the opportunity to send The Saint into saintly syndication nationwide on its own radio program. Illustrious actors such as Brian Aherne, Edgar Barrier, Tom Conway, Vincent Price and Barry Sullivan all got their chance to play Simon Templar during the show's 6 year run. 

WHEN THE SAINT COMES MARCHING IN...

"I want you to meet the most fantastic man...this is Simon Templar"

When The Saint launched in Britain on ITV on October 4, 1962, it bore little resemblance to the RKO films of the 1940s and instead created a look of its own, a stylish identity that later shows were to emulate, namely the more entertaining The Baron and the benumbingly boring Man in a Suitcase. 

Edwin Astley's jazzy high-pitched opening theme lured audiences into watching each episode every week, but his skill in composing did not extend to penning action-centered filler music and the strength of the series rested solely on Roger Moore's capable shoulders. 

"A buccaneer in the suits of Savile Row, amused, cool, debonair, with hell-for-leather blue eyes and a saintly smile..." these were the words that Charteris used to describe his favorite character. In spite of the fact that Roger Moore fit his description down to the hair root, the author was not all too pleased with the television incarnation of The Saint. This changed overtime however and eventually Charteris became good friends with the producer of the series, Robert S. Baker.

Roger Moore made Simon Templar all his own and embodied his graces of being a sociable, well-tailored gentleman, subtly strong, and always ready to aid a damsel-in-distress. He is not your macho Rambo, bulging with muscles and spiteful vengeance...rather, he's a dandy. But don't underestimate his sophisticated appearance, the Saint would never shirk a fight in the cause of justice. He's just the kind of guy who would look in the mirror and fix his hair afterwards. 

MORE THAN MOORE

Moore could have easily performed in every episode single-handed and still made it entertaining, but instead the producers surrounded him with great guest stars, notably a slew of English character actors who made their livelihood by appearing in shows like The Saint, Danger Man, The Avengers, and The Prisoner simultaneously. Any British TV fan would instantly recognize the likes of Peter Wyngarde, Andrew Sachs, George Murcell, Derek Farr, Kate O'Mara, and Allan Cuthbertson.

The Saint also featured a number of cast members who later went on to befriend or aid in the annihilation of London's sole protector, 007. Julian Glover, Shirley Eaton, Burt Kwouk, Lois Maxwell, David Hedison, Valerie Leon, Paul Stassino, and Honor Blackman were just some of the actors who appeared on The Saint first. 

Templar was quite a ladies man and it's fairly easy to presume that men were the great audience judging from the amount of feminine acquaintances and dalliances Simon had with the ladies. He had a preference for blondes but eventually would settle for any gal with a shapely figure and a pleasing personality. Some of his single-episode sweethearts included Jean Marsh, Samantha Eggar, Barbara Shelley, Quinn O' Hara, Suzan Farmer, and Sylvia Syms. Good taste Templar.

INSURED AND BONDED 

Rarely did Templar resort to using a pistol, preferring the age old art of fisticuffs instead, and like the Saint, Roger Moore hardly ever relied on having stuntmen do his dirty work, preferring to handle the stunts himself. The press loved to emphasis this and thoroughly touted Moore's hand in attempting the dare-devil driving, incredible falls and long leaps that he jumped. The insurance companies were not so thrilled however. Mid-way through the series' run, they insisted that Moore allow the stuntmen to handle more of his feats and have the cameramen cut to close-ups of their leading man in the studio instead. 

One hundred and eighteen episodes of solving mysteries, and later capturing spies, and it was time for the Saint to take a permanent vacation. On February 9, 1969 the series wrapped up production with the final episode, "The World Beater". After seven years of being Simon Templar, Roger Moore was not quite ready to break the habit. Instead he teamed up with Tony Curtis for another ITC mystery/spy thriller, The Persuaders ( 1971-1972 ) in which he played Lord Brett Sinclair, a character not unlike Simon Templar. This series only lasted for one season and then Moore finally accepted the opportunity to don the James Bond persona, which he did for seven films, starting with Live and Let Die ( 1973 ). 

SIMON SAYS...AGAIN

The Saint was not ready to be laid to rest however, and reawakened in 1978 to spread his wings once again in The Return of the Saint, an ITC production starring Ian Ogilvy. Replacing Templar's beloved Volvo was a sporty new Jaguar XJS. Unlike the original series, this Saint actually visited the countries that the title cards referred to. Unfortunately, the show only lasted one season. Saints were going out of style.

HEAVENLY MEMORABILIA

The Saint was promoted in over sixty countries around the world and was immensely popular on the continent. Today, the series is available on at least seven different DVD box sets. In addition to the usual round of comic book and magazine promotional items, the Saint's untarnished image was plastered on quiz books, puzzles and paperbacks.

A particular favorite of ours is the 1/64 scale miniature model of the Volvo P1800 issued in 1966 by Corgi. These were in their standard P1800 models which they simply painted white and stuck with a decal of the saintly stick-figure, but we won't tell anyone if you won't. 

More recently, The Saint memorabilia has included an official 2003 calender released by Show Dazzle Worldwide. If you missed it, you can purchase it "used" this year and pin it up again but be quick, the year is running out. Cards Inc. issued The Saint trading cards in 2003 as well, filled with some lovely color screenshots and fun trivia.

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Currently Me-TV airs episodes of The Saint at 4am EST on Sunday mornings. If you ever have a case of insomnia and desire a potent remedy, here's Dr. Silverscenes kosher cure which will bring about instantaneous slumber - take in twenty minutes of The Saint. Pick any episode, they are all alike. There are no side effects and you'll have exciting dreams to boot! 

This post is our contribution to the Me-TV - Summer of Me Blogathon being hosted by the Classic TV Blog Association. Be sure to stop by and enjoy each of the great posts about all of the shows from Me-TV's summer schedule. 

The Shaggy Dog ( 1959 )

In the mid-1950s, Walt Disney gave ABC network their very first full-hour western television program - Davy Crockett. The series was such a success that the network soon launched many other similar series such as Maverick, Wyatt Earp, and Lawman. These westerns brought ABC so much income that in 1957, when Walt Disney approached them with a fresh idea for a sitcom (sans the gun belts and tumbleweed) they turned him away. This minor detail didn't bother Mr.Disney in the least since he turned the material that he had offered ABC into a feature film release. The Shaggy Dog became one of the top-grossing films of 1959 earning $9,000,000 at the box-office and out-performing The Diary of Anne Frank and North by Northwest. That's something to bark about. 

What made this low-budget comedy such a smashing hit? For one thing, it was a novelty. After a decade of musicals, crime dramas, spectacles, and method-acting melodramas, here was a little film that played out like a television series, a Leave it to Beaver versus Enemy Agents. It was unique. It was fun. And above all, it was great family entertainment. Walt knew how to appeal to all ages and The Shaggy Dog provided entertainment and humor for the young and old alike. It was filled with excitement, clever dialogue, and plenty of visual gags. The studio went on to recycle many of these gags in their recurring films.

Unlike the other box-office hits of 1959, The Shaggy Dog did not have any moments of great splendor, instead it leisurely followed the story line only to stop occasionally to wittily comment on the social status at the time or sprinkle gentle humor. Writer Bill Walsh penned the amusing screenplay based on the 1930 novel, "The Hound of Florence", by Austrian author Felix Salten (Bambi).

The Shaggy Dog follows the adventures of a junior scientist who accidentally recites an ancient Borgia curse that releases a 400-year-old shape-shifting spell. With the magical words "In Canis Corpore Transmuto," Wilby Daniels transforms himself into a big, shaggy dog - a Bratislavian sheepdog to be precise - belonging to the new neighbors on the block. It is while being in the four-footed state that Wilby overhears a plot to steal a secret missile plan at the nearby air base. It's Shaggy to the rescue then as he tries to convince his father, and the local authorities, that Continental spies are at work in the neighborhood!  

"In Canis Corpore Transmuto...In Canis Corpore Transmuto....it's a dosy do and awaaaay we go!"

The Shaggy Dog boasted a fine cast of young players, all of whom would come to be associated with the Walt Disney Studios. Tim Considine took a radical turn from his wholesome Spin and Marty role to play Wilby's scheming friend Buzz. At the expense of his good ol' pal, he whizzes around in his hot-rod wooing the most eligible girls in town. One of these girls just happens to be Allison, played by Annette Funicello in a brief part, her first film appearance. She is soon replaced as Girl No. 1 when sophisticated Franceska Andrassy (Roberta Shore) moves in with her father in the big Victorian manor across the street. If this street looks familiar, it is because it is the Universal cul-se-sac featured in The Munsters, The Burbs and Leave it To Beaver. 

Tommy Kirk proves to be in top form as Wilby Daniels. Although he made many more films with Walt Disney during the 1960s, none of his roles would be as appealing as Wilby. Tagging along as a mischievous helpmate is his little brother Moochie, naturally played by Mickey Mouse Club "Moochie" himself - Kevin Corcoran. Moochie doesn't display much surprise when he discovers his brother is a dog, but rather jumps at the notion of having a pet playmate to take on walks and throw sticks to. Corcoran later went on to become a producer with the Walt Disney studios in the 1970s and 1980s. 

Unlike the childish, bumbling crooks seen throughout the Walt Disney productions of the 1990s, The Shaggy Dog featured some pretty normal rough-and-tough criminals (played by Anthony Scourby and Jacques Aubuchon), although in this flick they are spies and quite debonair to look at. In fact, they are so suave that our damsel-in-distress does not even realize they are up to no good until after they kidnap her. Our devious villains conjure up images of the sophisticated foils that were so popular in series of the 1940s, such as those seen in Sherlock Holmes, Michael Shayne, or The Three Stooges shorts. These criminals are upstanding citizens loaded with wealth which they love to lavish on their collections of fine art and furniture. No one in the community would even dare consider them to be enemies of the state.

Fred MacMurray had been making films covering every possible genre since he began his career back in 1929. After making a number of mediocre pictures during the 1950s, Disney asked Fred if he would be willing to try his hand at comedy once again. The Shaggy Dog marked the beginning of a seven picture association he had with Walt Disney Studios. In the film, MacMurray plays a retired mailman and the father of our two leading lads. He has an allergic reaction to dogs that makes him despise the mere mention of their name and prompts him to bring out his trusty double-barreled shotgun from the hall closet. 

"You know that dog thing is all in your mind"

"All in my mind?! I itch, my sinuses are bloating up, my throat is constricting so that I can hardly breath, those old Pekingese wounds on my ankle are throbbing like bongo drums...and you say it's all in my mind!" 

One of Fred's best scenes involved him trying to convince the head of security at the missile plant that his son is a dog. Variety magazine noted, "It's a pleasure to see such a master of timing and emphasis as Fred MacMurray back in comedy again, even though he is somewhat limited in his material. Where he has a good line, he shows that he has few peers in this special field of comedy". 

Playing his wife is the lovely Jean Hagen, another gal who had her share of duds before snagging this wholesome part. Cecil Kellaway, Paul Frees (a legendary voice-over actor for Walt Disney Studios), Forest Lewis and Gordon Jones rounded out the great cast, but let's not forget the film's star player - the shaggy dog. "Chiffon" was in fact Sammy's Shadow, a talented pooch belonging to a California State Division of Highways clerk. He had an illustrious pedigree and, after enrolling in William Koehler's obedience training classes at the age of 4 months, he joined the Allied Movie Dogs firm and landed this wild and woolly part. Twenty sheepdogs had been tested for the part but Koehler knew he had a winner with Sammy and it is truly the dog performing all of the stunts seen in the film ( except for one talking sequence where a hand puppet was used ). Sammy went on to win the 1960 PATSY (Picture Animal Top Star of the Year) award for his performance in The Shaggy Dog. 

The Shaggy Dog has held up well over time, which is a testament to the enduring strength of a simple story told well. It is also notable for instigating important changes within Disney's production outlook for the coming decades. It was the first film to use animated title sequences and the picture's success told the studio that live-action comedy films were a profitable venture not to be overlooked. Unfortunately, they held to its "formula" so closely that many of the later Disney productions lacked novelty. 

This post is our contribution to the Snoopathon, a celebration of spies and agents being held over at Movies Silently. Be sure to check out the site and read  all of the great posts!

Above Suspicion ( 1943 )

"My love is like a red, red rose...." 

MGM journeys into the realm of espionage with Above Suspicion (1943), a witty jaunt into spy-laden pre-World War II Europe. 
Fred MacMurray plays Richard Myles, an Oxford college professor, who is happily ready to embark on a Continental honeymoon with his bride Frances (Joan Crawford). Before they depart however, a former colleague of his, now with the foreign office, asks the couple if they would do a favor to him, and jolly ol' England, by inquiring into the whereabouts of a scientist who has disappeared within the confines of the Fuhrer's Vaterland. He holds the secret plans to the Nazi's latest diabolical invention - underwater magnetic mines. As honeymooners they would be considered above suspicion and could look into the matter discreetly. Or so they are told. Ach du lieber!...before they can utter "uberraschung" they are caught up in a web of intrigue that leads them from Paris to the pine-laden Alpine forests of Innsbruck. 

Above Suspicion, based on the novel by Helen MacInnes, is an easy-to-follow and briskly paced thriller with some rattling good moments of excitement. Its purely escapist plot is given credibility through its deft handling by director Richard Thorpe (Night Must Fall, Ivanhoe) and its stellar cast. The film plays out along the lines of Desperate Journey with grand morale-boosting elements but very little plausibility.....but perhaps that's what makes both of these pictures so entertaining. Above Suspicion was released at the height of World War II, a time when so many American and British citizens were eager to make an active contribution to corking up the war for good. 

"Darling, the less you know, or appear to know, the better"

At one time or another we're all drawn in by the allure of being a spy; deciphering codes, staking out suspicious bookshop fronts, wearing disguises, hiding out in secluded chalets and, of course, capturing public enemies. Richard and Frances are no different, and Frances is especially thrilled to help the British secret service but, unlike his wife, Richard realizes the danger ahead. En route, our American heroes stumble upon cryptic clues, all the while being spied on with peering abnormality by dubious faces and sundry characters. Their only key to unmasking friends from foes lies within the lyrics to Robert Burns eighteenth century melody. 

In addition to our leading cast, Above Suspicion features some excellent character support from Basil Rathbone, Felix Bressart, Reginald Owen, Richard Ainley, Bruce Lester and Sara Haden. Conrad Veidt is especially appealing in his role as Herr Seidel, one of the Brit's loyal allies within Germany. Veidt was often pigeon-holed as villains and it is a pleasant change of face to see him play this underground hero. Veidt died of a massive stroke shortly after filming commenced and Hollywood lost one of its most talented actors because of his passing. His entertaining dance floor sequence is a highlight of the film. 

Fred MacMurray was making a departure from his recent Claudette Colbert comedy teamings to take a dramatic turn and this role suits him quite well. Incidentally, Colbert would have made an excellent Frances had Crawford declined the part. 

Joan Crawford had been loyal to Metro-Goldwyn-Mayer since they gave her her start in 1925. She made seventeen films with the studio but by the early 1940s her star-status was beginning to wane and fresh faces like Lana Turner, Hedy Lamarr, and Greer Garson were receiving all of the choice scripts. Eager to showcase her acting ability, Crawford accepted a lower salary and switched to the less prestigious Warner Brothers studio after the completion of Above Suspicion. Within one year she was up for the Academy Award for Best Actress for her portrayal in Mildred Pierce.

Within Above Suspicion are hidden elements of Hitchcock-like suspense, featuring a labyrinth of twists and turns, car chases, and an assassination attempt at an opera, a scene taken right out of The Man Who Knew Too Much (1934). Overall, the film is like a tasty strudel filled with chunks of drama, comedy and action, all enfolded within thin layers of plot to make up a taut 90-minute thriller.

This post is our contribution to the super-sneaky Snoopathon hosted by Movies Silently. Be sure to check out all the great posts about the nefarious spies, agents, and Mata Hari's that appeared in films from 1920-1965. 

Farewell to the Alma Mater!

Hat's off to the graduating class of 2014 whoever you may be! Early June is approaching and that means it's graduation time......throw off those mortarboards and give a hip-hooray and a high-ho farewell to the college that you will never see again.

For those who'd like to take a nostalgic trip down memory lane, or perhaps have a chance to fantasize about the college experience they never had, we present you with a selection of some of our favorite college-themed films. They may not be the cream of the crop, but they certainly do embody the All-American college spirit. So tuck away your cap and gown with mothballs, hock your textbooks, and start taking notes....


The Freshman ( 1925 ) 

An awkward college student becomes the hero of the day when he helps his campus' football team win a championship pennant. Harold Lloyd, Jobyna Ralston, Brooks Benedict. 

College Rhythm ( 1934 )

A college football team fights to help win money so an old department store can modernize itself. This zippy yarn features memorable tunes like, "Goo-Goo" and "Take a Number from One to Ten". Jack Oakie, Joe Penner, Marie Brian, Helen Mack. 

Dancing Co-Ed ( 1938 ) 

When the female half of a famous Hollywood dance team takes time off to have a baby, their manager plants a dance pro at a college and then announces a nationwide college dance tournament to find a new "star". Lana Turner, Richard Carlson, Ann Rutherford, Lee Bowman, Artie Shaw. 

A Yank At Oxford ( 1938 ) 

A Yank invades the ol' campus across the pond but finds he has a large chip on his shoulder which his classmates help to knock off just in time for him to help Oxford win the famous team regatta. Robert Taylor, Maureen O'Sullivan, Vivien Leigh, Edmund Gwenn.

Blondie Goes to College ( 1942 ) 

Dagwood decides to go to college and Blondie takes along to keep him out of trouble. Whilst there, the Bumsteads attract suitors for each other and get into a heap of trouble. Meanwhile, Baby Dumpling is sent off to military school and becomes a sergeant. Arthur Lake, Penny Singleton, Larry Sims, Janet Blair.

Here Come the Co-Eds ( 1945 ) 

Two ballroom dancers find themselves the new caretakers at the Bixby College for young ladies, where they proceed to help the basketball team win a match. Lou Costello, Bud Abbott, Peggy Ryan, Martha O'Driscoll, Lon Chaney Jr.

Good News ( 1947 )

A college football star finds he enjoys concentrating an French lessons more than football, when he has Juney as his teacher. Peter Lawford, June Allyson, Joan McCracken, Mel Torme, Patricia Marshall. 

Mother is a Freshman ( 1949 )

A poor widow finds she can put her daughter into college through a family scholarship so long as she attends college herself. Instead of concentrating on schoolwork, "mother" winds up falling in love with the English Lit professor. Loretta Young, Van Johnson, Betty Lynn, Rudy Vallee, Barbara Lawrence. 

Take Care of My Little Girl ( 1951 ) 

A young woman enters college and learns the hard way that sorority life isn't what it is all cut out to be. Jeffrey Hunter, Jeanne Crain, Mitzi Gaynor, Dale Robertson, Jean Peters. 

Bonzo Goes to College ( 1952 )

An intelligent ape ditches the circus life to become the pet of a prof. He ends up becoming a star player on the football team in this sequel to "Bedtime for Bonzo". Maureen O'Sullivan, Charles Drake, Edmund Gwenn, Gigi Perreau, Gene Lockhart. 

The Affairs of Dobie Gillis ( 1953 ) 

Girl crazy Dobie Gillis has a whale of a good time at college much to the chagrin of his steady gal pal in this entertaining MGM musical. Bobby Van, Debbie Reynolds, Hans Conreid, Bob Fosse, Lurene Tuttle.

High Time ( 1960 )

The founder of a nationwide chain of hamburger restaurants decides to take some time off to further his education and joins his kid's college. Bing Crosby, Nicole Maurey, Tuesday Weld, Fabian, Richard Beymer. 

The Computer Wore Tennis Shoes ( 1969 )

Dexter Riley accidentally undergoes a shocking experience and finds he now has the brain of a computer. He's a cinch to earn Medfield College the coveted $100,000 prize at the upcoming Academic Challenge. Kurt Russell, Cesar Romero, joe Flynn, William Schallert, Alan Hewitt.

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Hollywood taught us some interesting, albeit useless lessons, through these films. Bonzo taught us that even chimps can make a rousing success of themselves in college. We also learned that comradery between classmates was more important than schoolwork, and being great at sports could get you anywhere in life, until you sprained an ankle. But don't take our word for it, check these films out for yourself and when you're ready to head back to your old alma mater for the 20th reunion, then sit back and enjoy some films that give you a little more accurate look at the post-college days ahead, such as Spring Reunion and H.M Pulham Esq. 

The Impossibly Difficult Name that Movie Game

We felt like being particularly cruel this month and posting a truly obscure Impossibly Difficult screenshot. This lovely scene is from an excellent, but very underrated classic. It was noteworthy for launching the film career of one of Hollywood's biggest actors.

As usual, if you are not familiar with the rules to the Impossibly Difficult Name that Movie game or the prize, click here!

Good luck guessing!

GAME OVER. 

Caftan Woman correctly guessed The Farmer Takes a Wife ( 1935 ). This film introduced Henry Fonda to audiences in theaters across America and shot him to instant fame. Fonda first became Dan Harrow on stage, before he was asked to reprise his role for the film version. Later, in 1953 The Farmer Takes a Wife was remade as a musical starring Betty Grable and Dale Robertson.

Giant ( 1956 )

"Bick, you shoulda shot that fella a long time ago. Now he's too rich to kill"

Uncle Bawley's words do not fall on deaf ears, rather they echo the sentiment felt by the entire Benedict family and little do they realize that Jett Rink's solitary oil well on Reata land will launch the emergence of an industry that will change the face of Texas.

Edna Ferber's sprawling western saga of a Texan family comes to life in George Steven's 1956 film adaptation. Giant tells the story of a wealthy cattle baron, Jordan "Bick" Benedict ( Rock Hudson ) who comes to Maryland to purchase a horse from Horace Lynnton ( Paul Fix ), a socially prominent doctor. While staying at his home he meets, falls in love with and marries Lynnton's beautiful daughter Leslie ( Elizabeth Taylor ). Bick transports her from the lush green countryside of Maryland to his dusty isolated ranch called Reata, an enormous 600,000 acre cattle spread run by himself, his sister ( Mercedes MacCambridge ) and his staff of Mexican farmhands.

Once at Reata, Leslie undertakes changes that reflect her well-bred upbringing and stubbornly refuses to let Texan folkways stop her from being considerate and helpful to the Mexican people. We follow Leslie as she grows from a delicate flower from the east into a tough leathered matriarch. We follow Bick as he rises from a cattle rancher to an oil millionaire in his competition against Jett Rink ( James Dean ), a despised ranch hand who first strikes oil on Reata land. Together they build a marriage mixed with tenderness and turbulence to create a dynasty spanning three generations.

At its heart Giant is an intimate story of compromise and adjustment. Leslie learns to adapt herself to her surroundings and become a true Texan without compromising her values. She becomes such a part of the ranch that none of Bick's family, friends or neighbors could imagine what Reata would be like without her. More importantly, Bick comes to accept that life on Reata cannot remain the same as when his father ran the ranch. He comes to accept that his children want to lead lives of their own in different professions and, in the subtle finale, finds that his racial views have been completely changed.

"Honey, you don't act that way towards those people. You're a Texan now"
"Is being a Texan a state of mind? I'm still myself"

The evolving Benedict family symbolizes the state of Texas itself which was adapting and moving away from its agrarian existence. Modern ways of thinking were pushing out old-fashioned notions of bigotry, child-rearing, and woman's place in the home.

The strong-willed Leslie was the instigator to many of these changes but even more so was that substance known as black gold - oil. The oozing stinking liquid was converting humble farmers into millionaires overnight and, with their pockets bulging with more cash than they knew what to do with, they had little desire to hold onto archaic beliefs of the past. It was an exciting time and they were proud to be in the throes of new inventions, discoveries, ideas, and new modes of transportation.

When Edna Ferber's epic novel was first published in 1952 it received much criticism. Texans resented being known as racially intolerant folk and despised the character of Jett Rink. Nevertheless, the book was immensely popular and, like Ferber's previous novels, quickly caught the attention of Hollywood producers who clamored to obtain the film rights. In making her decision, Ferber chose to go with Warner Brothers because George Stevens was undertaking the project. She appreciated his love for the story and his promise to remain faithful to her novel. 

Many actors in Hollywood were eager to get a part in the film, predicting what a prestigious production it would be. For the three leading characters, Stevens considered casting Grace Kelly, William Holden and Montogomery Clift. Alan Ladd and Robert Mitchum were also under consideration for the role of Jett Rink, but Stevens chose to go with James Dean, a talented young man who was quickly making a name for himself at Warner Brothers.

The cast of Giant was primarily very youthful. Rock Hudson, only 29 at the time, was given one of his first opportunities to demonstrate his dramatic acting ability and proved to be excellent as Bick Benedict. This was a pivotal film for Elizabeth Taylor as well who, at only 23 years of age, was launched to new heights as a dramatic actress. In Giant she recreates the literary Leslie and gives her a depth which was lacking in the original novel.

Carroll Baker was making her debut film performance as Luz, the Benedict's daughter, even though she was three years older than Taylor. Dennis Hopper had a brief, but substantial role himself as Jordy, their independent-minded son.

Along with these youthful characters, Stevens cast a number of excellent seasoned supporting actors including tough-as-nails Mercedes McCambridge; the delightful Jane Withers as the Benedict's neighbor and best friend ( who had been called out of retirement for this part ); the lovable Chill Wills as Uncle Bawley, a gentle man whom Leslie particularly adores; and Paul Fix as Dr. Lynnton. Also rounding out the cast is Sal Mineo, Earl Holliman, Elsa Cardanas, Rod Taylor ( billed as Rodney Taylor ), Judith Evelyn, Carolyn Craig, and Victor Millan.

"Money isn't everything, Jett" 
"Not when you've got it"

Location shooting for Giant began on June 6, 1955 in Marfa, a small town south of Pecos, Texas, where the cast and crew spent two months filming the scenes in and around Reata. 

"It was such a happy time", Jane Withers recalled, sharing a sentiment felt by most of the cast. However, tragedy struck eight days after Dean's final scenes were shot, when the cast, assembled in the screening room at Marfa, heard that James Dean had been killed in a car crash. Warner Brothers had banned Dean from racing during the production for fear that he may injure himself while filming was progressing.

In addition to its fine script and cast, a major part of Giant's appeal lay in its magnificent score, composed by the Russian immigrant Dimitri Tiomkin, who was one of Hollywood's most talented western film composers. His score for Giant weaves strains of old Texan favorites such as The Yellow Rose of Texas with classical music ( Clair de Lune ) and heart-thumping melodies of grandeur.

George Stevens invested three years of his life into making Giant, taking no pay for his work as director, instead choosing to have part interest in the final film rights. Stevens had faith in the script, production crew, and his own directorial skill; he had profound respect for his audience and for this reason made certain that every scene was the best it could be, no matter how many retakes or different camera angles it took to get a scene just right.

"Well....after a hundred years the Benedict family is finally a success"

At one point, nearing the end of the long editing stage, George Stevens Jr. grew impatient to complete the picture. Stevens reminded him, "Just think how many man hours people will spend watching this film over the years. Don't you think it's worth a little more of our time making it a better experience for them?"

Giant was released at a unique time during the 1950s when America was at its grandest. Texas was huge and booming with energy and so was the rest of the country. When Giant premiered on Nov. 24, 1956, it earned critical acclaim and became the top grossing film in Warner Brothers history. In some theatres it played for three months straight. The film was nominated for 11 Academy Awards but went on to win only one Oscar ( for Best Director ) competing against Mike Todd's epic Around the World in 80 Days.

That extra effort that Stevens and the cast and crew put into making the film all that more special has been appreciated by audiences for nearly 60 years. In its gentle way Giant grows from an intimate portrait of two newlyweds to a film of gigantic proportions, equal to the entertainment it provides. Decades later, other sagas such as Dynasty, Dallas, and The Thorn Birds imitated Giant's scope which drew the audience into the individual characters and the family as a whole. 

The film inspires a love for the tumbleweed ridden country known as Texas, its cattle, its oil, its people, and its history. Giant makes you proud to be a Texan, whether you were born one or not, and inspired audiences around the world to share in an admiration for the state that has become so much apart of America's heritage. 

This post is our contribution to the Classic Movie Blog Association's marvelous Fabulous Films of the 1950s Blogathon. Be sure to head over to the main site to check out all the great coverage of your favorite films of the '50s. 

Picnic ( 1955 )

The Classic Film and TV Association is hosting The Fabulous Films of the 1950s blogathon and I have chosen to highlight two films of the 1950s that are particularly dear to me - Picnic and Giant. Every year, when the flowers awaken from their dormant slumber and the magnolias begin to blossom, a familiar urge, as certain in approaching as spring itself, begins to stir within - the urge to watch Picnic. The film is indelibly linked in my mind with spring and, regardless of its Labor Day setting, the glow of May can be observed in every scene. 

Picnic focuses on the impact a vagabond drifter makes on the womenfolk in a sleepy Kansas town during the course of one summer day. Hal Carter (William Holden) is a bum who has come to Kansas to seek out his old college roommate Alan Benson (Cliff Robertson) in the hopes that he will find him a job at one of his father's granaries.

"I gotta get someplace in this world. I just gotta."

Upon arriving fresh off of a freight train, he meets Helen (the marvelous Verna Felton) a kindly old lady who gives him some apple pie and introduces him to her neighbors, Flo Owens (Betty Field) and Flo's two daughters, the tomboy intellectual Millie (a miscast Susan Strasberg) and the bashful beauty queen Madge (Kim Novak) who is going steady with Alan. Rooming with the Owens is Rosemary Sydney (Rosalind Russell), a spinster schoolteacher. 

On the surface, each of these women are satisfied and content with their lives, but within themselves they are frustrated and longing for something more. Flo Owens was deserted by her husband years ago and wants to see her daughters married off to better men than he. Rosemary Sydney, the amiable teacher always "good for a laugh" is tired of being a spinster and wants to marry Howard Bevans (Arthur O'Connell), a local shopkeeper. Millie is jealous of her older sister's beauty, while Madge thinks her mother favors Millie and is frustrated at being admired for her looks alone. 

"I'm tired of just being called pretty". 

When Hal arrives, his raw virility awakens in the women memories of bygone romances or, in the case of Rosemary, long-awaited for love. Every movement he makes, every muscle he flexes, sexually arouses suppressed feelings within these gals. 

William Inge's Pulitzer Prize winning play Picnic set pulses racing to packed crowds and enjoyed a successful 477-run performance at New York's Music Box Theatre in the spring of 1953. The original cast featured Ralph Meeker as Hal, Janice Rule as Madge, Eileen Heckart as Rosemary, and Paul Newman as Alan Benson. Incidentally, it was during the run of Picnic that Newman met his future wife, Joanne Woodward. Newman was also understudy for Meeker and often rehearsed his scenes with Rule's understudy, Joanne Woodward. 

Columbia Pictures head Harry Cohn purchased the rights to the play at the sum of $300,000. Cohn knew that he wanted William Holden to play the lead role, but it took some coaxing to convince the 37-year-old actor that his age would not make a difference to the essence of the story. Holden reluctantly agreed and, as this was the final film in his seven picture contract with the studio, had to settle for a paltry $30,000 fee. Holden worked out at a gym to get into shape for the part and even permitted to have his chest shaven for his brawny sequences. Carroll Baker was tested for the role of Madge but it was decided that she was too childlike for the role, and Columbia's newest sensation Kim Novak was signed instead. 

Susan Strasberg was making her screen debut as Millie, fresh off of a Broadway success with the lead role in The Diary of Anne Frank. Cliff Robertson also earned his first big screen role as rich boy Alan Benson. The role of Howard Bevens suited Arthur O'Connell so well that director Joshua Logan asked him to reprise it for the film. This launched O'Connell on a long and steady career as a Hollywood character actor. 

Production on Picnic began on May 16, 1955, on location around Hutchinson, Kansas. The production crew on Picnic was top-notch and included cinematographer James Wong Howe, screenwriter Daniel Taradesh (From Here to Eternity) and composer George Duning. Duning revived the 1930s big-band classic "Moonglow" for the famous dance sequence and it became a hit song once again, with the dance itself becoming one of the best remembered love scenes of the 1950s. 

Logan, the director of the stage play, was selected to take the helm for the film version and made an impressive directorial debut, in his subtle but compelling filming. His master strokes are in the scenes of the Labor Day picnic itself. As the camera slowly pans across the people, it unobtrusively captures vignettes straight out of a Norman Rockwell painting. There are mothers with their children, elderly couples, rowdy boys, girls warbling a duet, speeches being made, the band playing old sweet songs and marching tunes, and through it all two babies wailing. All of these elements combine to create a tapestry of American life during the early 1950s. 

The principal characters are enjoying the picnic as much as anyone there and compete in all of the group events - the balloon blowing contest, ring toss, spoon catching games, and best of all, the pie eating contest, where Howard bribes a boy to push the contestant's faces into the pies. 

After the festivities of the day the group lazily gather together under the shade of a grove of cottonwoods and here Hal begins to realize what it is he has been searching for in life. It is a town, a place, a home that he wants. Proud as he is of his father and his old man's boots, he does not want to fill them and be a drifter all of his life. He wants a sense of belonging, either to someone or someplace. 

As evening begins to fall, everyone wanders off in pairs... Hal walks with Millie and tells her of his admiration for people with artistic talent and the love for the finer things in life; Howard and Rosemary share a bench to admire the sunset; Helen and Flo gently swing together grateful for each others company; and Alan and Madge retreat to the river's edge to discuss their future together. 

"Look at the sunset. It's like the daytime didn't want to end. It's like the daytime was gonna put up a big scrap and set the world on fire to keep the nighttime from creeping on."

The picnic is a focal point for all of the principal characters and it is after the sun sets that their emotions begin to sizzle and finally ignite and explode like the Labor Day fireworks themselves. 

Picnic is an extremely well-written film rich with characters of substance and at its core it is a story about the inevitability of change happening to the best laid plans. Sometimes this change is welcome and sometimes it is not. 

"I got so used to things as they were. Everything was so prim. The geraniums in the window, the smell of mama's medicine, and then he walked in and it was different . He clomped around like it was still outdoors. There was a man in the house and it seemed good". 

Hal is a character that we have all met at one time or another, in a variety of different forms. He represents that person that comes into your life when you were least expecting it and disrupts everything and everyone around you. He is an intruder, and whether it is for good or bad, the change these intruders bring about cannot be ignored. 

Picnic opened in limited release on December 7, 1955, and was distributed nationally on February 16, 1956. It won critical acclaim, was nominated for six Academy Awards ( Best Picture, Best Supporting Actor, Best Music, Best Color Art Direction and Best Editing ) and grossed a whopping $6.3 million upon its release. Sixty years later, Picnic remains a gem of a picture and rightly deserves its place as one of the Fabulous Films of the 1950s.