Scrooge (1970)

Film adaptations of A Christmas Carol by Charles Dickens date back to at least 1901 when Scrooge or Marley's Ghost was released. Over the years several movie adaptations of the novel have been made, including MGM's A Christmas Carol (1938) and Scrooge (1951) starring Alastair Sim, have been released. It was perhaps inevitable that there would be a musical version of A Christmas Carol. Scrooge (1970), starring Albert Finney, was the first movie musical version of  the novel. It was also the first movie adaptation of A Christmas Carol to be filmed in colour. 

For the most part, Scrooge (1970) is faithful to A Christmas Carol. It centres on Ebeneezer Scrooge (Albert Finney), a money-lender and miser with little concern for anything beyond making money. On Christmas Eve, he is visited by the ghost of his former partner, Jacob Marley (Alec Guinness), who tells him of three spirits who will visit him to give him a chance at redemption.

Scrooge (1970) was the product of composer, lyricist, and playwright Leslie Bricusse, who had written such musicals as Stop the World--I Want to Get Off (with Anthony Newley) and Pickwick (with Cyril Ornadel), as well as the movie musical Doctor Doolittle. Given his earlier work on Pickwick, based on Charles Dickens's novel The Pickwick Papers, it should perhaps be no surprise that Leslie Bricusse would think of adapting A Christmas Carol as a musical. 

Casting the lead role of Ebeneezer Scrooge would be all important to the success of the film. The role was first offered to Albert Finney. Albert Finney turned the role down, after which Richard Harris was signed to play the role. Richard Harris found himself tied up with the filming of his movie Bloomfield, and as a result he had to back out of Scrooge. The role was then offered to Rex Harrison, but it meant that the producers would have to buy him out of a play in which he was appearing at the time. Fortunately, Albert Finney reconsidered taking the role after having read the script. As mentioned earlier, Albert Finney was only thirty-four at the time he played Scrooge, younger than than Michael Medwin, who played Scrooge's nephew and was 46 at the time. Albert Finney had to spend over three hours in makeup in order to be transformed in to Scrooge.

Scrooge (1970) would prove to be be an unpleasant experience for Alec Guinness. In order to give the appearance that Jacob Marley's ghost was flying, Mr. Guinness had to be suspended in a harness for hours at a time. Ultimately, he developed a double hernia for which he had to have surgery. Amazingly enough, Alec Guinness never complained while he was on set, not even when he was in the harness. Other well-known British actors filled other roles in Scrooge (1970). Dame Edith Evans played the role of the Ghost of Christmas Past. Kenneth More played the role of the Ghost of Christmas Present. Because the Ghost of Christmas Present is a giant, as in the novel, and Kenneth more was 5' 7",  he had to wear twelve inch stilts so he would tower over Scrooge. Laurence Naismith and Kay Walsh played Mr and Mrs Fezziwig, while David Collings played Scrooge's clerk Bob Cratchit. 

Scrooge (1970) was filmed both on location in Buckinghamshire and in Shepperton Studios in Surrey between January and May 1970.  Shepperton Studios included its own Victorian streets and many of the sets used on Scrooge (1970) had recently been used on another Dickensian musical, Oliver! (1968), that had earlier filmed at Shepperton. Cinematographer Oswald Morris worked on both films.

Scrooge (1970) was directed by Ronald Neame, who already had experience with film adaptations of Charles Dickens movies. He was a camera operator on a 1934 adaptation of The Old Curiosity Shop (1934) and hee produced director David Lean's adaptations of Great Expectations (1946) and Oliver Twist (1948). He made his directorial debut with Take My Life in 1947 and would go onto direct The Million Pound Note (1954), Gambit (1966), The Prime of Miss Jean Brodie (1969), and The Poseidon Adventure (1972). 

Scrooge (1970) premiered in Los Angeles on November 5, 1970. It had a Royal charity premiere at the Dominion Theatre in London on November 30, 1970. The movie most received positive notices from critics. Roger Ebert gave Scrooge three out of four stars and wrote, "The notion of Albert Finney playing Ebenezer Scrooge is admittedly mind-boggling, and so is the idea of A Christmas Carol being turned into a musical. But  Scrooge works very nicely on its intended level and the kids sitting near me seemed to be having a good time." Charles Champlin in The Los Angeles Times also gave Scrooge (1970) a good review, calling it "a lovely movie."Vincent Canby of The New York Times gave the film a more mixed review, writing, "It is absurd, sentimental, pretty, never quite as funny as it intends to be, but quite acceptable, if only as a seasonal ritual." Pauline Kael in The New Yorker gave a rather more negative review in which she described the movie as an "Innocuous musical version of A Christmas Carol, starring Albert Finney looking glum. The Leslie Bricusse music is so forgettable that your mind flushes it away while you're hearing it."

Regardless of what critics thought, Scrooge (1970) proved to be popular with audiences. When it opened in limited release in Los Angeles and Chicago, it grossed $36,000 in its first week. The film even set a record at the time for a week's gross at Radio City Music Hall in New York City. It ultimately made $3 million in rentals. 

Scrooge (1970) would be nominated for four Academy Awards, including Best Art Direction, Best Costume Design, Best Original Song Score, and Best Song -- Original for the Picture for "Thank You Very Much, It was also nominated for the BAFTA Award for Best Art Direction.

Scrooge (1970) would be adapted to other media. In 1992, Leslie Briscusse adapted the film as a stage musical starring Anthony Newley. It opened at the Alexandra Theatre in Birmingham on November 9, 1992. In 2022, it was adapted as an animated feature film that was not particularly well-received. 

Fifty-five years after its release, Scrooge (1970) continues to be popular. While there have been other musical adaptations of A Christmas Carol since, none have attained the popularity that Scrooge (1970) has. Scrooge (1970) still appears on local stations around Christmas time, as well as the occasional cable channel (it has aired on Tuner Classic Movies in the past). It is widely available on streaming services, and this year can be sen on Amazon Prime Video, Frndly, Paramount+, Plex, Pluto, the Roku Channel, and YouTube, as well as for rent at Apple TV, Fandango at Home, and Google Play. Scrooge (1970) remains one of the most beloved adaptations of A Christmas Carol. 

The 80th Anniversary of "Star in the Night"

Donald Woods and J. Carroll Naish in "Star in the Night"

Chances are good that if you have watched a lot of Turner Classic Movies during the Christmas season, then you have have seen a short subject titled "Star in the Night." Through repeat showings on TCM over the years, "Star in the Night" has become a favourite of many TCM fans, to the point that it is no longer counted as a mere interstitial, but as a featured presentation appearing on the TCM schedule. "Star in the Night' turned 80 this year. It was released on October 13, 1945.

"Star in the Night" centres on Nick Catapoli (J. Carroll Naish), who operates a small motel in the desert. Nick is cynical when it comes to Christmas, arguing that people behave poorly the rest of year and then fake being kind simply for the holidays. Nick finds his attitude changed with the arrival of a mysterious hitchhiker (Donald Woods) and then a young pregnant woman (Lynn Baggett) and her husband (Tony Caruso). It is essentially a cross between A Christmas Carol and the story of the Nativity.

"Star in the Night" was based on a story by Robert Finch, who would go onto write for such TV series as Hour Glass, Lights Out, and The Clock. Its screenplay was written by Saul Elkins,. who had written such films as Charlie Chan at the Race Track (1936) and Women in Prison (1938). The film marked the directorial debut of Don Siegel, who would go onto direct such movies as The Verdict (1946), Invasion of the Body Snatchers ((1956), The Lineup (1958), and Dirty Harry (1971). He began his career at the Warner Bros. library and became part of the studio's editorial department, creating montages for movies from Confessions of a Nazi Spy (1939) to Casablanca (1942). After providing montages for several Warner Bros. films the studio let him direct the short "Star in the Night" and the documentary short "Hitler Lives." 

The cinematography on "Star in the Night" was by Robert Burks, who began working in the film industry as a special effects photographer on Marked Woman in 1937. His first film as a cinematographer was the short "Jammin' the Blues." "Star in the Night" was the fifth film for which he provided cinematography. He also provided cinematography for Don Siegel's aforementioned documentary short "Hitler Lives." He would go onto work with Alfred Hitchcock on several films, including Strangers on a Train (1951), I Confess (1953), Rear Window (1954), and North by Northwest (1959), among others. 

"Star in the Night" has a strong cast. It gave J. Carroll Naish what may be his best role in the form of of Nick, one of the many ethnic parts he played in his long career (Nick was Italian American). Donald Woods, who played the hitchhiker, may be best known today for playing Dennis Lindsay, the husband of  Carmelita Fuentes (Lupe Vélez) in the first few Mexican Spitfire movies. He also appeared in movies from A Tale of Two Cities (1935)  (1935) to 13 Ghosts (1960). The film also features legendary character actor Dick Elliott as one of the motel's customers. Dick Erdman, who later appeared in the movie Stalag 17 (1954),  provided voices for several cartoons, and made numerous guest appearances, played one of three cowboys who see Nick's sign (a rather big, neon star) and decide to ride to it. Another cowboy was played by Johnny Miles, who appeared in minor roles in several movies form 1944 to 1950. A third cowboy was played by Cactus Mack. Cactus Mack was a cousin of both Rex Allen and Glenn Strange, and made a career out of appearing in B-Westerns and later TV Westerns, He played multiple roles on such Western TV shows as Lawman and Gunsmoke. 

"Star in the Night" won the Academy Award for Best Short Subject (Two-Reel) at the 18th Academy Awards. It was at that same awards that Don Siegel's documentary short "Hitler Lives" won the Oscar for est Short Documentary Film. In winning Academy Awards in two different categories of short subjects allowed Don Siegel to finally break into directing feature films. He would make his directorial debut with the classic film noir The Verdict in 1946. 

"Star in the Night" launched the directorial career of Don Siegel and provided J. Carroll Naish with a rare starring role. It certainly stands out from other Christmas-themed, theatrical shorts made over the years. Indeed, eighty years after its premiere "Star in the Night" remains popular. 

The 57th Birthday of My Beloved Vanessa Marquez

It was on December 21, 1968 that actress Vanessa Marquez was born. She was perhaps best known for playing Ana Delgado in the classic movie Stand and Deliver (1988) and Nurse Wendy Goldman on the hit TV show ER. Of course, if you're a regular reader of this blog or you follow me on social media, you also know that she was a dear friend of mine. Even now, over seven years after her death, I still miss Vanessa. Today is then a bittersweet day for me.

Of course, I do have to point out that my friendship with Vanessa Marquez was in many ways nothing unusual. Perhaps because she suffered from agoraphobia at different times in her life, Vanessa made many friends online, many of whom she would stay in touch with through phone calls and texts as well as emails and social media. Even though she never met any of them in person, as was the case with me, she became very close to many of them. Indeed, she even named one of our mutual friends as next of kin. There are those who claim that friends made online are not "real" friends, but I know from experience that is not true, and I know that Vanessa would agree with me.

Regardless, there would be good reason that many would have affection for Vanessa. She was much more than just a talented, beautiful, well-known actress. She was a kind, compassionate, loving, and intelligent woman. She cared deeply for her friends. She worried about them if they were ill or not doing well, and was happy for them when they were successful. When Jaime Escalante (the teacher upon whom the movie Stand and Deliver was based) developed cancer, she was unflagging in raising funds for his treatment. Vanessa's compassion extended to living things beyond human beings as well. For at time, she volunteered at the animal shelter in Pasadena. Vanessa also had a wonderful sense of humour. Even when she was at her sickest, she remained upbeat. I could have an absolutely horrible day, and talking with Vanessa would cheer me up. 

This year for Vanessa's birthday, I thought I would do something special. I created a slideshow video as a tribute to her. Given I did it on my phone, it is fairly basic, with little in the way of editing, but it does feature several screen captures from her movie and TV appearances,as well as photos of Vanessa. For the song, I chose "In My Life" by The Beatles. I don't know if it was her favourite Beatles song or not, but I do know for a fact that she loved the song. Anyway, I do hope she appreciates it. Happy birthday, Vanessa. 

85 Years of Remember the Night (1940)

When many think of Barbara Stanwyck and the holidays, they may well think of Christmas in Connecticut (1945), but it was not the only Christmas movie she made, let alone the first. Five years earlier, Barbara Stanwyck appeared in a Christmas movie with a script by no less than Preston Sturges. Remember the Night( (1940) would be historic for multiple reasons. What is more, it remains popular over eighty-five years after its release.

Remember the Night (1940) starred Barbara Stanwyck as Lee Leander, a thief arrested for stealing a bracelet from a jewellery store in New York City. In charge of her case is assistant district attorney Jack Sargent (Fred MacMurray), who has the trial postponed as it started right before Christmas. Unfortunately for Lee, this means that she might well spend Christmas in jail. This fills Jack with guilt, and as a result he has her bailed out and offers to take her home to spend Christmas with her mother on his way to visit his own family. As it turns out, Lee's mother is a bitter, unloving woman, and as a result Lee spends the holidays with Jack's family. As might be expected, in the process the two of them find themselves falling in love against their better judgement.

Like many of his films, Preston Sturges drew inspiration from his own life for Remember the Night (1940). The idea of Lee and Jack falling in love while on a road trip to Indiana came from a road trip Preston Sturges took with Elanor Post Hutton to Palm Beach, Florida. The two would later marry. Jack's mother was based upon his third wife Louise Sargent's mother, who was a farm wife who lived near Fort Dodge, Iowa. It was from Louise Sargent's mother that Jack and his family received the surname "Sargent." Preston Sturges worked hard on Remember the Night (1940), and it was not a particularly easy script to write. According to his wife at the time, Louise Sargent, he only would only stop working it was clear his secretary Gillette could no longer continue. Curiously, while Remember the Night (1940) is one of Barbara Stanwyck's better known films, Preston Sturges wrote the movie with Carole Lombard in mind for the role of Lee. 

The film was not always going to be called Remember the Night (1940). Preston Sturges wanted to call the film, Beyond These Tears, from a traditional Scottish poem, a title that Paramount rejected. A working title was The Amazing Marriage, even though marriage does not appear in film. Another title suggested by Preston Sturges was Great Love.

The director on Remember the Night (1940) was Mitchell Leisen, who had earlier directed Preston Sturges's movie Easy Living (1937). Much to Mr. Sturges's chagrin, Mr. Leisen cut a good deal of his script. Much of the reason that Mitchell Leisen made changes to Preston Sturges's script was to play to his stars' strengths. In Preston Sturges's original script, the character of Jack (Fred MacMurray) was a somewhat showy lawyer who made epic speeches, something at odds with the quiet dignity of many of Fred MacMurray's characters. In cutting many of Jack's lines, Mitchell Leisen was better able to play to Fred MacMurray's strengths as an actor. As Mitchell Leisen reworked Preston Sturges's script, he shifted the focus of the film from Jack to Lee. Remember the Night (1940) does include some in-jokes referencing the earlier Preston Sturges script Mitchell Leisen had directed, Easy Living (1937). The song "Easy Living," which Ralph Rainger and Leo Robin had written for the movie Easy Living (1937), plays at the supper club to which Jack takes Lee. When Lee gives a false name at one point in the movie, it is "Mary Smith," the name of the lead character of Easy Living (1937) played by Jean Harlow.

Remember the Night (1940) proved to be a pivotal film for Barbara Stanwyck. It was the first film that she made with Fred MacMurray. The two of two of them would make three more films together, including the classic noir Double Indemnity (1940), The Moonlighter (1953), and There's Always Tomorrow (1956). Preston Sturges frequented the set and as a result he spent time talking with Miss Stanwyck. One day he told her that he would write a screwball comedy for her. It was the following year that Barbara Stanwyck starred in Preston Sturges's film The Lady Eve (1941). 

Mitchell Leisen was impressed by Barbara Stanwyck's professionalism. In the biography Mitchell Leisen, Hollywood Director by David Chierichetti, he is quoted as saying, "Barbara Stanwyck was the greatest . She never blew one line through the whole picture . She set that kind of pace and everybody worked harder , trying to outdo her." Mr. Leisen also related how Barbara Stanwyck had a bad back, but insisted on remaining on the set during a long scene despite the fact that the corset she was required to wear caused her a good deal of pain. Ultimately, Remember the Night (1940) was completed $50,000 under budget and eight days ahead of schedule, the credit for which Mitchell Leisen gave to Barbara Stanwyck and her professionalism. 

Beulah Bondi, who plays Jack's mother, actually was an Indiana native, much like her character.Remember the Night(1940) was one of only two films she made that was set in her home state. The other was the Disney movie So Dear to My Heart (1948), which was set in rural Indiana.

Strangely enough, even though most of the plot of Remember the Night (1940) unfolds from Christmas Eve to New Year's Day, the film went into limited release on January 1, 1940, and went into wide release on January 19, 1940. New York Times critic Frank S. Nugent praised the film, writing, "After dallying too long with the leftovers of 1939, the screen has awakened finally to a new year and new entertainment responsibilities. Remember the Night,  presented at the Paramount yesterday, is the real curtain-raiser for 1940, the first word of reassurance Hollywood has offered since '39 went into the past." The Hollywood Reporter also gave Remember the Night  a good review, writing, "All that Remember the Night needs to make it one of the best pictures to come from Paramount in many a day is a slight tightening up of one or two sags by eliminating some superfluous footage. Aside from this, it has everything, a heart-warming story based on a distinctly unique premise, sparkling comedy which always has a latent heart tug, superlative performances, an excellent script, top notch production and direction." Remember the Night (1940) was not a box office smash, although it proved to do moderately well. 

Remember the Night (1940) would twice be adapted to other media. On March 15, 1940, Lux Radio Theatre aired an hour-long adaptation with Barbara Stanwyck and Fred MacMurray reprising their roles as Lee and Jack. The show did another adaptation of the movie on December 22, 1941, this time with Jean Arthur as Lee and Fred MacMurray as Jack. On May 5, 1955, Lux Video Theatre did a television adaptation of the movie, with Jan Sterling as Lee and Don DeFore as Jack. 

As mentioned earlier, Remember the Night (1940) would prove to be a historic movie. In addition to being the first of four movies that Barbara Stanwyck and Fred MacMurray made together and leading Preston Sturges to write The Lady Eve (1940), it was also the last movie Preston Sturges wrote that he would not also direct. Frustrated by the cuts that Mitchell Leisen had made to his script and earlier instances in which his screenplays had been changed,  Preston Sturges decided that henceforth he would direct his own scripts. It was then that Preston Sturges made his directorial debut with The Great McGinty (1940).

In the Fifties, Remember the Night (1940) began airing on television. While it would often be shown during the Christmas station on local stations in the Fifties, Sixties, and Seventies, it was sometimes shown at such odd times as June and even August. It would be one of the Christmas classics that AMC would air every December when AMC was still American Movie Classics. It has also aired on such cable channels as Oxygen and The Disney Channel. Remember the Night (1940) has aired each year on TCM, introducing it to whole new generations of fans.

Through repeated showings on TCM over the years, Remember the Night (1940) has developed a following, to the point that it can quite rightfully be considered a beloved holiday classic. Over eighty-five afters its original release, Remember the Night (1940) is still picking up new fans. 

Some Old Time Christmas Cards

The first ever Christmas card was commissioned by Sir Heny Cole commissioned that first Christmas card on May 1, 1843, with its illustration provided by John Callcott Horsley. Christmas cards soon caught on and, by the late Victorian Era, they were popular on both sides of the Pond. Of course, by today's standards some Christmas cards from the Victorian and Edwardian Eras would seem downright bizarre and even morbid by today's standards. Here are a few vintage Christmas cards.

A dead robin hardly seems Christmasy, but I am guessing this card is rooted in Irish traditions surrounding St. Stephen's Day. The wren was thought to represent the old year, while the robin represented the New Year. Capturing one of these birds was then thought to be good luck.

The image of Santa Claus dumping a child into a sack is shocking to modern eyes, but at one time Santa was believed to pack the naughtiest of children away in a sack, not unlike Krampus. 

Another card with a robin, although this bird is much luckier than the one above. This card from circa 1880 features a group of elves serenading the robin with musical instruments, which the robin probably finds much more preferable to the fate some humans would deliver him. 

Not every Christmas card in the Victorian and Edwardian Eras were quite so bizarre. Cats were as popular in the Victorian Era as they are now. Here's a cute card of kittens drinking a bowl of milk. 

This card featuring cats buying oranges and eggs from a market stall, despite the fact that most cats I know have no use for oranges! This card came out in 1903 and was listed in the Raphael Tuck & Sons' Ltd. 1904/1905 catalogue.

While some Victorian and Edwardian Christmas cards seem downright bizzare, some could be rather pretty. Here is an example of one that is a pretty. It is a New Year's card featuring a British mail coach, probably form the 1870s or 1880s.

TCM Remembers 2025

No one does end-of-the-year memorials as well as Turner Classic Movies. Quite simply, TCM Remembers is the gold standard with regards to in memorial reels. I have no doubt that for many this year's TCM Remembers is particularly difficult to watch. We have lost so many legends this year, and some of them quite recently and even unexpectedly. Indeed, this year's TCM Remembers clocks in at over six minut3es. Anyhow, here is this years' TCM Remembers.

Three Recent Christmas Commercials

I have written regularly on this blog about vintage Christmas commercials, and they are generally decades old. Despite this, there are still quality Christmas commercials being made, with a few each year that stand out. Here are three that are somewhat memorable for me. 

The first is actually ten years, The "Say Sorry" spot for Temptations treats for cats proved popular when it came out in November 2015. The commercial features unfortunate felines who have been dressed up in holiday costumes by their humans, with the song "Sorry Seems to be the Hardest Word" by Elton John playing in the background. I have never dressed up my cats, but I have known people who have, and the poor cats always look miserable. For that reason, this commercial always resonated with me.



I have to confess that I am not particularly a fan of fast fashion, as it has too many environmental consequences for me to be entirely comfortable with it. Regardless, I do like this spot from 2022 for H&M. That year H&M had a marketing campaign centred around a fictional Parisian restaurant called Brasserie Hennes (the full name of H&M being H & M Hennes & Mauritz AB). For the holidays in 2022, Brasserie Hennes was, in the words of H&M's promotional material, "transformed into a disco-inspired snowscape for the holidays." Here I have to point out that the song playing in the commercial is not a disco song, but Linda Scott's version of "I've Told Ev'ry Little Star" set to a disco beat. The song goes back to 1932 musical Music in the Air and was written by Jerome Kern and Oscar Hammerstein II. In 1961, Linda Scott recorded her version, which reached no. 3 on the Billboard Hot 100. If some of the people in the commercial look familiar, it is because the ad features Anderson Paak, Chloe Sevigny, model Jill Kortleve, and others. This commercial resonated with me because it came out while I had and then recovered from Covid, and I liked the arrangement of "I've Told Ev'ry Little Star," not to mention the winter-themed imagery.

This is the most recent of the commercials I am posting. I have to confess, I like this commercial not so much because of the imagery (which more or less looks like every other jewellery commercial), but instead because of the song. It is "Dreamy Lady" by T. Rex. The song was released as a single in 1975. It did not do particularly well as T. Rex songs go, only peaking at no. 30 on the UK singles chart. Obviously, the song has nothing to do with Christmas, but it does fit a jewellery commercial.

80 Years of Christmas in Connecticut

A very good argument could be made that the 1940s were the Golden Age of Christmas Movies. Indeed, in a space of only two years It's a Wonderful Life (1946), It Happened on 5th Avenue (1947), Miracle on 34th Street (1947), Christmas Eve (1947), and The Bishop's Wife (1947) were all released. Yet another beloved holiday classic was released not long before these movies. Christmas in Connecticut (1945) was released on August 11, 1945, and proved to be a smash hit. It began airing on television in the Fifties, where it would also prove to be popular. Turner Classic Movies began showing Christmas in Connecticut (1945) in the mid-Nineties and has shown it nearly every year since, introducing the film to whole new generations of fans. A little over eighty years after its release, it continues to be one of the most popular Christmas movies of all time.

Christmas in Connecticut (1945) centres on one of the many independent career women that Barbara Stanwyck played during her career, Elizabeth Lane. Elizabeth Lane is a food writer for the popular women's magazine Smart Housekeeping. In reality Miss Lane cannot cook at all and lives in a New York City apartment rather than the Connecticut farm on which she claims to live in her columns. Every one of her recipes come from her good friend, restaurateur and chef Felix Bassenak (S.Z. Sakall). Smart Housekeeping's publisher, Alexander Yardley (Sydney Greenstreet), like the public at large, actually believes that she is this incredible cook and housekeeper living in Connecticut. Unfortunately for Elizabeth Lane, her charade is in danger of being revealed when Mr. Yardley invites himself and a Navy war hero, Jefferson Jones (Dennis Morgan), to Christmas dinner at her wholly non-existent farm. Her editor Dudley Beecham (Robert Shayne), Felix, and her gentleman friend John Sloan (Reginald Gardiner) must then scramble to keep Elizabeth Lane's secret intact. The inspiration for Elizabeth Lane was reportedly Family Circle columnist Gladys Taber. Unlike Elizabeth Lane, Gladys Taber actually could cook and keep house.

While the role of Elizabeth Lane would appear to have been written for Barbara Stanwyck (it's hard picturing anyone else in the role), Christmas in Connecticut (1945) was originally offered to Bette Davis, who turned the film down. The casting of Barbara Stanwyck was announced in the April 13, 1944, issue of The Hollywood Reporter. The romantic lead of Jefferson Jones would also change before the film started shooting. Originally John Alexander was announced as playing the role. He was replaced by Dennis Morgan. Ultimately, Christmas in Connecticut (1945) would have one of the best casts of any comedy in the Forties. Not only did Sydney Greenstreet play publisher Alexander Yardley and S.Z. Sakall play chef Felix Bassenak, but the great Una O'Connor played John Sloan's housekeeper Norah. Character Dick Elliott had a humorous turn as a judge who is totally unaware of what is going on.

If it was made today Christmas in Connecticut (1945) might well be shot on location in Connecticut. Location shooting being rare in the Forties, the film was shot entirely on the soundstages of Warner Bros.' Burbank studios. In fact, viewers with keen eyes might even recognize one of the sets. The set for Sloan's Connecticut house was previously used in Bringing Up Baby (1938).

As mentioned earlier, strangely enough for a movie with a Yuletide theme, Christmas in Connecticut (1945) was released on August 11, 1945. Despite its unusual release date, the film proved to be a hit. In fact, it was the only wartime, non-musical comedy to make over $3 million. Of course, this also made it the highest grossing non-musical comedy of the war years. 

While Christmas in Connecticut (1945) would not become as famous as other holiday movies from the Forties, such as It's a Wonderful Life (1946), Miracle on 34th Street (1947), and The Bishop's Wife (1947), it would retain a loyal following over the years. On March 20, 1952,  it was adapted for the radio show Stars in the Air with Gordon MacRae and Phyllis Thaxter in the lead roles. In 1992, it was remade as a television movie with Dyan Cannon and Kris Kristofferson in the lead roles. Arnold Schwarzenegger directed the TV movie. It was not well received and is generally considered terrible even by the standards of TV movies.

While the 1992 television remake is best forgotten, if anything the reputation of the original Christmas in Connecticut (1945) has only grown. Shown every year on Turner Classic Movies around Christmas (usually multiple times), the film has gained an even larger following than it previously had. It is easy to see why. As mentioned earlier, Christmas in Connecticut (1945) has one of the best casts of any 1940s comedy. Barbara Stanwyck is in perfect form as Elizabeth Lane. Not only is Elizabeth intelligent and independent, but I personally think Miss Stanwyck was at the height of her sex appeal in this film. As might be expected, S.Z. Sakall and Sydney Greenstreet are perfect as the lovable Felix and the blowhard Yardley respectively. Dennis Morgan and Reginald Gardiner are both well suited to their roles. Christmas in Connecticut (1945) is one of those films in which every single cast member delivers a good performance, right down to the supporting characters.

Beyond its cast Christmas in Connecticut (1945) benefits from a very good script. It is one of those comedies that is genuinely funny, with the laughs coming very quickly on top of one another. There are several great lines in the film, not only from Miss Stanwyck as Elizabeth Lane but from several other characters as well (particularly Felix). Given the presence of Sydney Greenstreet there should be no surprise that there are a few references to The Maltese Falcon. For a film made in the Forties Christmas in Connecticut (1945) can be a bit racy at times, with at least one line that makes one wonder how it got past the Breen Office. Indeed, the New York Times' critic complained that ;Christmas in Connecticut (1945) "... depends not so much on genuine humour as upon suggestive lines and situations for its merriment." Not surprisingly, the Legion of Decency gave Christmas in Connecticut (1945) a "B" rating, meaning it was "objectionable in part". Of course, what the New York Times critics and the Legion of Decency disliked about the film I rather suspect most modern viewers will love.

Aside from The Apartment (1960) and It's a Wonderful Life (1946), Christmas in Connecticut (1945) is my favourite holiday movie of all time. It would seem that I am not alone, as the film has grown in popularity ever since Turner Classic Movies started showing it regularly. And there is good reason for it to have done so. The film features Barbara Stanwyck doing some of her best comedy work, as well as character actors S. Z. Sakall, Sydney Greenstreet, and Una O'Connor in top form. What is more, it has a genuinely funny script with more jokes packed into a minute than many comedies have in ninety. It is little wonder why it was the highest grossing non-musical comedy of World War II.

My Beloved Cat Socks R.I.P.

I have always been of the mind that pets are family. It was certainly true of our cat Socks. He spent his entire life with us, from his birth onwards. He cuddled with us. He slept with us, sometimes my sister, sometimes me. He watched television with us. Socks loved us and we loved him. He was closer to us than all but our closest friends. Sadly, Socks died this morning, December 16, 2025, at the age of 13 years and 8 months. To say I am devastated would be an understatement.

Socks was born on April 3, 2012, behind our sofa. He had three siblings. His brother Boots was adopted by a nice family. Sadly, his sister Batgirl died when she was only a year old. His brother Sylvester disappeared when he was about two years old. We suspect he may have gone off to live with another family. Through it all, Socks remained. He was a cat as faithful as he was loving. He loved to sit on us and be petted, and he had the loudest purr. You could hear him clear across a room. When he got older, following the death of my cat Malcolm, he took Malcolm's place in watching television with him. For whatever reason, he seemed to like Midsomer Murders.  As I said earlier, he slept with us. 

Socks was also an extremely intelligent cat. He knew more words in English than any cat I have ever known. He not only knew his own name, but my name, my sister's name, my brother's name, and the names of the other cats. He knew several other words as well, including "food," "treats," and "chicken." Socks loved chicken. If we had chicken for dinner, he would actually beg for it, something he generally wouldn't do for any other food except maybe treats.

Socks was definitely the head of our house's pride of cats. The other cats generally acquiesced to him. They would often let him eat first and would not bother him if he was sleeping. Indeed, Socks was a bit of tough guy. I always called him "the James Cagney of Cats." He would chase stray cats off our place. And he thought nothing of attacking dogs, even ones much bigger than he was. One time he even chased a bobcat off. I honestly don't think Socks ever knew fear. 

While Socks was hardly a young cat, it still feels as if he died too soon. I keep expecting to see him somewhere around the house. I expect to see him lying on the sofa in the living room or on my bed in my bedroom. I will certainly miss petting him and cuddling him. Socks was a very good cat and one of the most loving cats I have ever had. It hurts that he is gone and I have already cried a good deal. Socks wasn't just a pet. He was one of the family.

The Late Great Rob Reiner

On December 14, 2025, actor and director Rob Reiner and his wife Michelle were found dead in their home in the Brentwood neighbourhood of Los Angeles. Mr. Reiner was 78 years old and his wife was 68. As an actor, he was best known for his role as Michael Stvic on All in the Family. As a director, he was known for several movies now regarded by many as classics, including This is Spinal Tap (1984), Stand by Me (1986), The Princess Bride(1987), and When Harry Met Sally (1989).

Rob Reiner was born on March 6, 1947, in the Bronx in New York City. His father was comic and writer Carl Reiner, who would become a living legend. His mother was Estelle Reiner (née Lebost), an artist and set designer. Once Carl Reiner's career was under way, the family moved to New Rochelle, New York, which would also be the home of Rob and Laura Petrie on Carl Reiner's sitcom The Dick Van Dyke Show. The family would eventually move to California, and Rob Reiner graduated from Beverly Hills High School in 1964.

Rob Reiner followed his father into the entertainment business. In the early Sixties, he was an apprentice at Bucks County Playhouse in Pennsylvania. He made his television debut in an episode of Manhunt in 1961. In the Sixties, he had guest appearances on the shows Batman; Hey, Landlord; The Andy Griffith Show; That Girl; The Mothers-In-Law; Gomer Pyle, U.S.M.C.; The Smothers Brothers Comedy Hour; The Beverly Hillbillies; Room 222; and Headmaster. He attended the UCLA Film School. He also wrote for television on such shows as The Steve Allen Comedy Hour and The Joey Bishop Show. He was a staff writer on The Smothers Brothers Comedy Hour and The Glen Campbell Goodtime Hour. He wrote an episode of the show Headmaster. He made his film debut in his father's movie Enter Laughing in 1967. He also appeared in the films The Big Mouth (1967), Where It's At (1969), Halls of Anger (1970), and Where's Poppa (1970).

It was in 1971 that Rob Reiner began playing Michael Stivic, the liberal son-in-law of conservative Archie Bunker on the classic sitcom All in the Family. He appeared in the role for eight seasons. He also guest starred on the shows The Odd Couple, The Rockford Files, and Archie Bunker's Place. He starred on the short-lived sitcom Free Country. He appeared in the movies Summertree (1971), How Come Nobody's On Our Side (1974), Fire Sale (1977), and The Jerk (1979). He wrote episodes of Shirley's World, The Super, All in the Family, Happy Days, and Free Country. He wrote the TV movie More Than Friends. He broke into directing in 1974 with the TV movie Sonny Boy.

It was in 1984 that Rob Reiner made his feature film directorial debut with the classic mockumentary This is Spinal Tap. While it did modestly well at the box office, This is Spinal Tap (1984) developed a cult following and has since become regarded as a classic. In the Eighties, he also directed the films The Sure Thing (1985), Stand by Me (1986), The Princes Bride (1987), When Harry Met Sally (1989), and Misery (1990). As an actor, he played documentary filmmaker Marty Di Bergi in This is Spinal Tap (1984). He also appeared in the films Throw Momma from the Train (1987), Postcards from the Edgie (1990), and The Spirit of '76 (1990). On television he appeared in the TV movies The Million Dollar Infield and Partners in Life, and the TV shows Tall Tales & Legends and It's Garry Shandling's Show.

In the Nineties, Rob Reiner directed the movies A Few Good Men (1992), North (1994), The American President (1995), Ghosts of Mississippi (1996), and The Story of Us (1999). He directed the TV movie I Am Your Child (1997). He hosted the mockumentary TV series Morton & Hayes. He guest starred on The Larry Sanders Show and reprised his role as Mary Di Bergi in the TV movie A Spinal Tap Reunion. He appeared in the movies Sleepless in Seattle (1993), Bullets Over Broadway (1994), Mixed Nuts (1994), Bye Bye Love (1995), For Better or Worse (1995), The First Wives Club (1996), Mad Dog Time (1996), Primary Colours (1998), EdTV (1999), The Muse (1999), and The Story of Us (1999).

In the Naughts, Rob Reiner directed Alex & Emma (2003), Rumor Has It... (2005), The Bucket List (2007), and Flipped (2010). He directed the TV movie Everyday Life. As an actor, he guest starred on the shows Curb Your Enthusiasm,The Simpsons, Hannah Montana, Wizards of Waverly Place, and 30 Rock. He appeared in the movies Alex & Emma (2003), Dickie Roberts: Former Child Star (2003), and Everyone's Hero (2006).

In the Teens, Rob Reiner directed the movies The Magic of Belle Isle (2012), And So It Goes (2014), Being Charlie (2015), and LBJ (2016), Shock and Awe (2017). As an actor, he appeared in the movies The Wolf of Wall Street (2014), And So It Goes (2014), Sandy Wexler (2015), and Shock and Awe (2017. He guest starred on the shows About a Boy, HAPPYish, The Comedians, and The Good Fight. He had a recurring role on the sitcom New Girl and appeared in the mini-series When We Rise and Hollywood.

In the 2020s, Rob Reiner directed Albert Brooks: Defending My Life (2023), God & Country (2024), and Spinal Tap II: The End Continues (2025). As an actor, he guest starred on The Bear and reprised his role as Marty Di Bergi in Spinal Tap II: The End Continues (2025).

Much like his father Carl Reiner, Rob Reiner was a national treasure. As an actor, he was not only loved for his role as Mike on All in the Family, but for his many guest appearances on shows from That Girl to The Rockford Files. And while he played a number of hippies on various shows prior to All in the Family, he played many more sorts of roles during his acting career. In the Rockford Files episode "The No-Cut Contract," he played the quarterback of a in a team in the football equivalent of the bush league. In The Wolf of Wall Street, he played Max Belfort, the father of stockbroker Jordan Belfort (Leonardo DiCaprio).

While Rob Reiner was beloved as an actor, he may have even more adored as a director. During his career, he directed a number of films that are now regarded as classics. This is Spinal Tap, Stand by Me, The Princess Bride, When Harry Met Sally, Misery, and yet other films directed by Rob Reiner are very highly regarded by critics, film buffs, and the average movie goer. Indeed, Rob Reiner's films were nominated for eleven Oscars and won one (Best Actress for Kathy Bates in Misery). If Rob Reiner enjoyed such respect as a director, it is perhaps because he was so original. While mocumentaries had existed before This is Spinal Tap, Rob Reiner laid the groundwork for all future mockumentary movies to come. With The Princess Bride, Mr. Reiner gave us a movie that blended adventure, fantasy, and comedy. Rob Reiner re-invented the romantic comedy with When Harry Met Sally. Rob Reiner's movies often defied genres, which is perhaps why so many of them are so popular.

Happy 100th Birthday to Dick Van Dyke

There are many people (most certainly every generation since Generation X) who have never known life without Dick Van Dyke. He has brought joy to people of all age for literally decades. Indeed, he is the consummate performer. He can act. He can do comedy. He can sing. He can dance. And he has appeared in many beloved projects, from The Dick Van Dyke Show to Mary Poppins (1964) to Chitty Chitty Bang Bang (1968). Dick Van Dyke was born 100 years ago today, on December 13, 2025, in West Plains, Missouri. His younger brother, the late Jerry Van Dyke, was born in 1931.

Arguably, Dick Van Dyke's entertainment career began when he was still serving in the latter days of World War II. He served as a radio announcer before being transferred to Special Services. He entertained troops throughout the United States. Following his service he worked as a DJ at WDAN in Danville, Illinois. He toured with pantomime performer Phil Erickson as part of a comedy team, Eric & Van--the Merry Mutes. Eventually, they settled in Atlanta, where they performed on television. Eventually, Dick Van Dyke went to work at television station WDSU-TV in New Orleans, where he was the emcee of a comedy program. It was in 1954 that he first appeared on a network television program, the talent show Chance of a Lifetime on DuMont. He eventually signed a seven year contract with CBS. He worked on one of their early CBS news and talk morning show simply called The Morning Show. In November 1959, he made his debut on Broadway in The Girls Against the Boys. It was in 1960 that he starred as Albert Peterson in Bye Bye Birdie on Broadway. For the musical, he won the Tony Award for Best Featured Actor in a Musical.

From stardom on Broadway, Dick Van Dyke went to stardom on television. It was in 1961 that The Dick Van Dyke Show debuted. While the series performed poorly in its first season, it was critically acclaimed even then and was nominated for the Emmy for Outstanding Directorial Achievement in Comedy for John Rich and won the Emmy for Outstanding Writing Achievement in Comedy for Carl Reiner. With its second season, it rose to no. 9 in the Nielsen ratings for the year and remained high in the ratings for the rest of the run. It turned Dick Van Dyke, as well as co-star Mary Tyler Moore, into superstars. The Sixties would see Dick Van Dyke become a very busy man.

I have to think it was from his work in the Sixties that many, if not most people, know Dick Van Dyke. When I was a kid, there were reruns of The Dick Van Dyke Show on every day. During the Sixties, he reprised his role as Albert in the movie version of Bye Bye, Birdie (1963), played Bert in Mary Poppins (1964), the title character in Fitzwilly (1967), and Caractacus Potts in Chitty Chitty Bang Bang (1968). I remember watching Chitty Chitty Bang Bang (1968) more than once on television in the Seventies. It made its television debut on CBS on Thursday, November 23, Thanksgiving night. Bye Bye Birdie (1963) had aired on network television in the mid-Sixties, but was still airing on local stations in the Seventies. I also remember watching the comedy Cold Turkey (1971) on television in the Seventies. 

Dick Van Dyke didn't do much in the way of movies in the Seventies, but he did appear quite a bit on television. From 1971 to 1974, he had another sitcom simply called The New Dick Van Dyke Show. He later had a short-lived variety show, Van Dyke and Company. He guest starred on such shows as Columbo, The Carol Burnett Show, and Supertrain. It was in 1981 that I finally got to see Mary Poppins (1964). It aired on CBS as a special movie presentation on November 22 of that year. If it seems odd that it took me that long to see it, consider that my family did not go to the movies and I was too young to go to the movies by myself when it was re-released in 1973. And in the Seventies, home video was not much of a thing. It would not be released on VHS until 1980.

The Eighties saw Dick Van Dyke guest star on such shows as American Playhouse, Matlock, Airwolf, and Highway to Heaven. He had a short-lived sticom, The Van Dyke Show, with his son Barry Van Dyke. The Nineties would see Dick Van Dyke find success in a television series again with Diagnosis:e Murder, which ran for eight seasons. His son Barry Van Dyke played his son on the show, a police detective whose doctor father insists on solving mysteries. In the Naughts, he appeared in a series of mystery movies on the Hallmark Channel called Murder 101. Of course, Dick Van Dyke also appeared in the Night att the Museum movies and made guest appearances on television.

Of course, through all of this, much of Dick Van Dyke's earlier works have remained widely available. Generations of fans have been introduced to Mr. Van Dyke through Mary Poppins (1964) and Chitty Chitty Bang Bang (1968). Even some of his more obscure films remain available. Fitzwilly (1967) airs on TCM every December, and is available on streaming. Many of his other movies also can be found on streaming, including  Lt. Robin Crusoe, U.S.N. (1966), Divorce American Style (1967), Never a Dull Moment (1968), and others can be seen on streaming services. And, of course, not only is The Dick Van Dyke Show on streaming, but it can be seen on such broadcast venues as MeTV, Catchy Comedy, and UP Faith and Family. 

As to why Dick Van Dyke has been so successful, it comes down to what I said earlier. He has a talent for acting, comedy, singing, and dancing. He is truly a quadruple threat. Actually, he could be called a quintuple threat when you consider the fact that he has written six books! More than anything else, Dick Van Dyke has a talent for bringing joy to people. I believe it is impossible not to see Dick Van Dyke and not find oneself smiling. Indeed, I have never heard anything bad about Dick Van Dyke. Every instance I have heard of someone having met him, they recount as very nice he is. We are truly lucky to still have Dick Van Dyke with us at 100 years of age. 

Downtown Bedford Falls

I grew up on a farm, but as a kid I always wanted to live downtown. Since childhood I have always been fascinated by the downtown areas of small towns and even cities, the sort that were dying out even as I was growing up. Of course, this has also led to a fascination with the downtowns of fictional small towns, such as Central City on Dobie Gillis,  Mayberry on The Andy Griffith Show, and Stars Hollow on Gilmore Girls. One fictional town whose downtown I have long been fascinated with is Bedford Falls in the classic movie It's a Wonderful Life (1946).

Downtown Bedford Falls was actually a set at thee RKO movie ranch in Encino. Genesse Street, the main street in Bedford Falls that cuts through its downtown, utilised portions of an earlier set called "Modern Street" at the ranch. Modern Street itself had been built for the fictional Oklahoma town of Osage in the Cimarron (1931), and was among the sets that won Max Rée the Oscar for Best Art Direction. Modern Street was also used on such films as Alice Adams (1935), Wells Fargo (1937), and The Magnificent Ambersons (1942), among others. Genesse Street in It's a Wonderful Life (1946) was particularly impressive. It was 300 yards long and boasted over 30 stores. 

In many ways, downtown Bedford Falls is as much a character in It's a Wonderful Life (1946) as George Bailey or Mr. Potter. Unquestionably, certain businesses play a central role in the film. This is certainly true of the Baily Brothers Building & Loan, the business founded by George's father and his Uncle Billy, and the business that keeps George from leaving Bedford Falls. Also central to the film is Gower's Drug Store, where George worked as a boy, owned by George's friend Mr. Gower. As the other financial institution in town, the bank also plays an important role in the film.

Of course, the Bailey Brothers Building & Loan, Gower's Drug Store, and the bank are not the only businesses downtown. In one scene George makes reference to the department store, and I have to think this is the Emporium that is prominently seen in some scenes, given "emporium" literally means a large store that sells a variety of merchandise. There is also the Bijou Theatre, seen prominently in the film's climax, the Tiptop Cafe, the town newspaper, (the Bedford Falls Sentinel), World Luggage and Sports Shop, a Western Union office, and an American Airlines office. As if that wasn't enough, downtown Bedford Falls also boasted an antique store, a bakery, a barber shop, a beauty shop, a bicycle shop, a bowling alley, a candy store, a florist, the Bedford Falls garage (seen prominently at the beginning), a grocery,  a hardware store, a hotel, a music store, pool hall,  a tailor, and  a toy store. Not all of Bedford Falls's businesses are located downtown. The bar Martini's is located on Bridge Street, near the town's canal. The town also boasts a railroad depot that figures prominently in the movie.

As an adult I live right off the downtown of my hometown. Like the downtown of Bedford Falls, it also boasted many businesses in its heyday, from two grocery stores to  a movie theatre. Sadly, it is a shadow of what it once was, with next to nothing in the way of stores. The downtowns of the sort seen in It's a Wonderful Life (1946) largely seem to be a thing of the past, something that makes movies like It's a Wonderful Life (1946), featuring a prosperous downtown, all the more poignant for those of us who loved the downtowns of old. 

The 70th Anniversary of Saturday Morning Cartoons

It was 70 years ago today that Mighty Mouse Playhouse, an anthology of animated theatrical shorts starring Mighty Mouse and other Terrytoons characters, debuted on CBS. It was very first Saturday morning cartoon, and it would not be the last. The success of Mighty Mouse Playhouse would lead to yet more animated cartoons on the American broadcast networks on Saturday morning, some made specifically for television (for more details on Saturday morning cartoons, read my post on the 60th anniversary of Mighty Mouse Playhouse from ten years ago). By 1963, the Saturday morning cartoon block as we know it would be established. For decades, cartoons would fill Saturday mornings on American broadcast network television. Indeed, one of my definitions of Generation X is that it is the first generation that never knew a childhood without Saturday morning cartoons.

For better or worse, the Saturday morning cartoon would go the way of the dinosaurs eventually. In the Eighties, cable television increasingly offered competition to the broadcast networks on Saturday mornings. It was in 1992 that NBC did away with Saturday morning cartoons entirely in favour of a Saturday edition of The Today Show and a programming block they called "TNBC," a programming block meant to appeal to teenagers. While CBS continued to show cartoons on Saturday mornings, they cut back on the programming block in 1997 with a Saturday edition of CBS News. In 2004, ABC added a Saturday edition of Good Morning, America. Saturday morning cartoons as a programming block came to an end in 2014, when The CW replaced their block of cartoons with live-action, educational programming.

Of course, Saturday morning cartoons would change and evolve over time. In the early days, Saturday mornings on the American broadcast networks were a mixture of anthologies of animated theatrical shorts (Mighty Mouse Playhouse, The Bugs Bunny Show), reruns of primetime animated shows (The Jetsons, The Bullwinkle Show), and a few cartoons made specifically for television (The Ruff and Reddy Show). The debut of The New Adventures of Superman, Space Ghost and Dino Boy, and other superhero cartoons in 1966 would see American broadcast network television on Saturday mornings dominated by superheros cartoons for a time. A moral panic over television violence would see the superhero cartoons replaced by comedy cartoons. A subset of these cartoons, in which music played a role (such as The Archie Show), would be common Saturday morning from 1968 with the debut of The Banana Splits and The Archie Show well into the Seventies. By the late Seventies, action/adventure cartoons (such as Tarzan) would make a comeback, so that the Eighties into the Nineties would be more of a mixture of genres.

Even though I can pretty much watch cartoons any time I want through cable television, DVDs, and streaming, I do miss Saturday morning cartoons. The fact that you could only watch these cartoons on Saturday morning made them special. In 1973, there was not much in the way of home media, and nothing in the way of streaming apps. Indeed, I know from others that most kids in the Sixties, Seventies, and Eighties had their own Saturday morning rituals. Even though they might want to sleep in on any other day, on Saturday morning they would get up as soon as the cartoons began airing (7 AM in the Central Time zone) and eat breakfast as the cartoons aired. In households with multiple kids, it might vary as to how it was decided which cartoons to watch. In some, it was the eldest child who controlled the television set. Others functioned more democratically. At their peak in the Seventies, Saturday morning cartoons generally took up all of Saturday morning. On CBS during the 1972-1973 season, the cartoons started at 7:00 AM Central and did not end until 12:30 PM Central. 

Like many in my generation, I have fond memories of Saturday morning cartoons and I enjoyed them a good deal growing up. Even as a young adult, I might tune into a few cartoons as I was eating breakfast and possibly recovering from a hangover. At a time when there wasn't a whole of programing for kids during the week, Saturday morning cartoons gave kids something to watch for several hours.

A Pictorial Tribute to Sammy Davis Jr. on His Centennial

It was 100 years ago that Sammy Davis Jr. was born in New York City. He was born into show business. His father was stage performer Sammy Davis Sr.  and his mother was tap dancer Elvera Sanchez. Sammy Davis Jr. was a little boy when he joined his father on stage. He would later become part of the Will Mastin Trio with his father and Will Mastin. 

Sammy Davis Jr. at age 9 as part of the Will Mastin Trio with his father and Will Mastin.

Chita Rivera and Sammy Davis Jr. The two of them appeared on Broadway in Mr. Wonderful in 1956. It got bad notices from critics, but proved to be a hit.

Sammy Davis Jr. and Dorothy Dandrige from Porgy and Bess (1959). Although the movie proved highly successful, it has not been seen for years. Samuel Goldwyn had only the rights for 15 years, after which it could only be shown with the permission of the estates of George and Ira Gershwin and DuBose Heyward. The Gershwin estate has consistently denied permission for its exhibition.

Sammy Davis Jr. was a friend of Frank Sinatra and hence very much a part of the Rat Pack. Here he is in the movie Ocean's 11 (1960). Sammy Davis Jr. made other films beyond Ocean's 11 (1960) with his fellow Rat Pack members, including Sergeants 3 (1962) and Robin and the 7 Hoods (1964).

Sammy Davis Jr. guest starred on several television shows through the years. He appeared on The Rifleman twice. Here he is in the episode "The Most Amazing Man."

Sammy Davis Jr. briefly had his own variety show, which aired on NBC from January 7, 1966, to April 15, 1966. It was historic as one of the earliest shows to be hosted by an African American. 

Although Sammy Davis Jr.'s movie career in the Seventies wasn't what it was in the Sixties, he continued to appear on television. In 1973 he appeared in a TV movie, Poor Devil, that was an unsold pilot. Here he is with Jack Klugman.

Sammy Davis's last appearance was in the 1990 TV movie The Kid Who Loved Christmas. It aired on December 19, 1990, in syndication, around seven months after Sammy Davis Jr.'s death on May 16, 1990 from throat cancer. He left behind a considerable legacy. As a singer he had multiple hit records, including "HeyThere," "What Kind of Fool Am I," "I've Gotta Be Me," and "The Candy Man." His appearances in both film and television would pave the way for other black performers. His fame continues to this day.

Netflix is Buying Warner Bros.

For those of you who don't know, Warner Bros. Discovery recently went up for sale, which resulted in a bidding war involving such companies as NBCUniversal, Paramount Skydance, and Netflix. It appears that Netflix has won that war. It will acquire the Warner Bros. Studio, HBO Max, Turner Classic Movies, DC Comics, the Warner Bros. catalog, and other companies.

I have to admit that in some ways this does cause me some concern with regards to the future of Turner Classic Movies. I don't know how committed Netflix would be to keeping the channel will going. With any luck they will look at what happened following layoffs at the channel in 2023. Not only were fans in an uproar, but such industry heavyweights as Martin Scorsese, Steven Spielberg, and Paul Thomas Anderson. As big as Netflix is (and they will be even bigger with Warner Bros.), they can't afford to offend talent of that calibre. I am not sure how much danger TCM would be once Netflix takes over.

While I am worried about the future of TCM under Netflix, I do have to say that to me Netflix is much more preferable than some of Warner Bros.' other suitors, namely Paramount Skydance. Paramount Skydance has already has a deleterious effect on CBS on everything from the network's journalistic independence to eliminating Diversity, Equity, and Inclusion programs across the board at CBS and all of Paramount. I could picture the effect a takeover by Paramount Skydance would have on TCM. Do you enjoy the movies they air for Black Heritage Month? Forget them. Do you enjoy what TCM shows for Hispanic Heritage Month. Forget about it. In fact, I think under Paramount Skydance, TCM would most likely be shut down completely.

At any rate, right now I guess all anyone can do is wait and see. I do hope Netflix will do the sensible thing and leave TCM (not to mention DC Comics and other Warner companies) do their own things. 

The 60th Anniversary of The Beatles' Rubber Soul

Today I am not particularly in the mood to write a full blog post (my oldest cat, who is 13 1/2 years old, is not doing well), but I wanted to acknowledge the 60th anniversary of The Beatles' album Rubber Soul. I did do a post on its 50th anniversary, if you want to read that. Anyway, here is my favourite track from the album in tribute to its 60th anniversary, "Nowhere Man."

MeTV and Everybody Loves Raymond

On October 13, 2025, MeTV added Everybody Loves Raymond to the schedule. The announcement proved unpopular with some viewers on Facebook. I checked Reddit, Instagram, and few other places around the web and the announcement proved somewhat unpopular there too. Some said they simply did not like the show. Others complained that the show had already aired everywhere else, with many pointing out it is still on TV Land. Yet others said that they did not think it fit MeTV, with some even saying that they liked the show but it should not be on the network.

In some ways, this situation is similar to when Monk started airing on Sunday nights on MeTV in .July 2021. I remember then people complaining that Monk was simply too new. Ultimately, Monk went off MeTV in May 2022. I don't know if the same thing will happen with Everybody Loves Raymond, but it is quite possible that it could. It seems to me a good number of MeTV viewers are insistent that the network only show TV series from the Fifties to the Eighties.  

I can understand the complaints of some of the viewers. While I like Everybody Loves Raymond, I can sympathize those who don't. I can imagine how I might feel if MeTV put Diff'rent Strokes on at 8:00 PM five days a week. As to those who complained it has aired everywhere else, they may have a point. Currently, Everybody Loves Raymond is airing on IFC and TV Land. In the past, it has aired on TBS and other cable channels, and from 2001 to 2016 in syndication. Now it is true that many other MeTV shows, such as The Andy Griffith Show and M*AA*S*H,  have pretty much aired "everywhere," but in their cases that was many years ago. Everybody Loves Raymond has aired "everywhere" fairly recently.

As to whether or not Everybody Loves Raymond fits MeTV, that is more difficult to answer. I think it all pivots on how one sees MeTV. Is MeTV a network that shows TV series from the Fifties to the Eighties or is it a network that shows classic TV series. If it is the former, then Everybody Loves Raymond certainly does not fit MeTV, as it is from the Nineties. If is the latter, well, Everybody Loves Raymond turned 30, so it is certainly old enough to be a classic. As to whether it is good enough to be a classic is entirely subject. I would say, "Yes," but from looking at MeTV's social media accounts, there are certainly those who would disagree.

I will say that while I have no major complaints with Everybody Loves Raymond, I would rather MeTV have picked up a show that hasn't aired anywhere for a while. Right now Get Smart can only be seen the streaming service Frndly TV and for rent on such outlets as Prime Video and Fandango at Home. WKRP in Cincinnati seems to be exclusive to Apple TV. The Phil Silvers Show isn't available anywhere. I would really rather see any of these shows on MeTV, not to mention others, than Everybody Loves Raymond.

Ultimately, it remains to be seen if Everybody Loves Raymond will become a mainstay on MeTV, much the way The Andy Griffith Show or M*A*S*H have if like Monk before it will be leaving the network after nine months.

Christmas Movies on TCM in December 2025

Every year I post a schedule of the Christmas movies airing on Turner Classic Movies in December. Here I have to mention that I only include movies that I think of as Christmas movies. I feel that to do otherwise would be dishonest, and I do have to draw the line somewhere. Otherwise I would be including every single movie airing on TCM in December! I also have to point out that as of yesterday, TCM's schedule only goes up to December 19, 2025. I had to use the TCM Detailed Schedule at Escapepress.com to complete it. I will check back at TCM's official schedule to make sure everything is correct. I do wish TCM would have the complete monthly schedule for the following month up during the last week of the current month! I miss the days when they had the schedule up three months ahead of time! Anyway, without further ado, here are the Christmas movies airing on TCM next month. 

Thursday, December 4:
10:30 PM The Bishop's Wife (1947)

Saturday, December 6:
1:00 PM It Happened on Fifth Avenue (1947)

Sunday, December 7:
7:00 PM Christmas in Connecticut (1945)

 Saturday, December 13:
11:00 PM Cash on Demand (1961)

Sunday, December 14:
9:00 PM Cash on Demand (1961)
11:00 AM Holiday Affair (1949)
1:00 PM In the Good Old Summetime (1949)
3:00 PM The Shop Around the Corner (1940)

Friday, December 19:
7:00 PM  Holiday Affair (1949)
8:45 PM The Shop Around the Corner (1940)
10:30 PM Bell Book and Candle (1958)
12:30 AM Bundle of Joy (1956)
2:30 AM Bachelor Mother (1939)
4:00 AM A Carol for Another Christmas (1964)

Saturday, December 20:
5:30 AM Tenth Avenue Angel (1948)
7:00 AM Love Finds Andy Hardy (1938)
11:00 AM Prancer (1989)
1:00 PM Three Godfathers (1936)
3:00 PM The Thin Man (1934)
4:45 PM The Apartment (1960)
7:00 PM Remember the Night (1940)
9:00 PM We're No Angels (1955)
11:00 PM Lady in the Lake (1947)

Sunday, December 21:
1:00 AM Alias Boston Blackie (1942)
2:30 AM Cover Up (1949)
4:00 AM The Curse of the Cat People (1944)
5:30 AM Hell's Heroes (1930) 
7:00 AM A Christmas Carol (1938)
10:30 AM Susan Slept Here (1954)
12:30 PM Desk Set (1957)
11:00 PM There Ain't No Santa Claus (1926)

Monday, December 22:
1:45 AM Mon Oncle Antoine (1971)
3:30 AM Period of Adjustment (1962)
7:00 PM It Happened on 5th Avenue (1947)
9:15 PM The Man Who Came to Dinner (1942)
11:15 PM Fitzwilly (1967)

Tuesday, December 23:
1:15 AM Lady on a Train (1945)
3:15 AM Miracle on Main Street (1939)
4:45 AM Roadblock (1951)
7:45 AM And So They Were Married (1936)
9:15 AM The Man I Love (1947)
11:00 AM Larceny, Inc. (1942)
1:00 PM Backfire (1950)
3:00 PM Mr. Soft Touch (1949)
5:00 PM My Reputation (1946)
9:00 PM In the Good Old Summertime (1949)
11:00 PM Meet John Doe (1941)

Wednesday, December 24:
6:00 AM Three Godfathers (1936)
7:30 AM Bachelor Mother (1939)
11:00 AM The Shop Around the Corner (1940)
1:00 PM It Happened on 5th Avenue (1947)
3:15 PM Holiday Affair (1949)
5:00 PM Christmas in Connecticut (1945)
7:00 PM The Bishop's Wife  (1947)
11:15 PM A Christmas Carol (1938)

Thursday, December 25:
12:45 AM O. Henry's Full House (1952)
3:00 AM Beyond Tomorrow (1940)
4:30 AM "Star in the Night" (1945) (short)
7:00 AM The Great Rupert (1950)
12:30 PM Pocketful of Miracles (1961)
3:00 PM The Man Who Came to Dinner (1942)
5:00 PM In the Good Old Summertime (1949)

5 Against the House (1955): A Thanksgiving Film Noir

Outside of the few film noirs set at Christmas, there aren't many film noirs set at a specific holiday. A notable exception is 5 Against the House (1955). The movie unfolds over Thanksgiving, and it can be argued that the holiday plays a large role in the plot. It certainly makes 5 Against the House (1955) unique among both film noirs and movies set at Thanksgiving. 

5 Against the House (1955) centres on four World War II veterans attending college on the G.I. Bill: Al Mercer (Guy Madison), Brick (Brian Keith), Ronnie (Kerwin Matthews), and Roy (Alvy Moore). Al's girlfriend is singer Kay Greylek (Kim Novack, with her singing voice dubbed by Jo Ann Greer). After a visit to Harold's Club Casino in Reno, Nevada, Ronnie becomes fascinated by the idea of robbing the casino. Ronnie's planned heist unfolds over Thanksgiving break. He then enlists his friends to help. 

5 Against the House (1955) was based on the novel of the same name by Jack Finney, which was serialized from July to September 1951 in Good Housekeeping. Stirling Silliphant got an option on the novel for United Artists. Initially, former Warner Bros. animator and director of such films as Son of Paleface (1952) and Red Garters (1954) Frank Tashlin was set to direct, with his wife Mary Costa playing the female lead. Eventually, Frank Tashlin dropped out of the project, along with his wife. Peter Godfrey, who had directed the classic Christmas in Connecticut (1945), was then picked up as the director. At some point, the project also moved from United Artists to Columbia.  As of October 1954, negotiations were underway to cast Milly Vitale as the female lead with  Guy Madison, Alvy Moore, Roddy McDowall and Robert Horton. The project changed directors again, with Phil Karlson, who directed Kansas City Confidential (1942), set to direct. As to the cast, Milly Vitale was replaced by Kim Novack, while Roddy McDowall and Robert Horton were replaced by Kerwin Matthews and Brian Keith. It was Harry Cohn, the head of Columbia, who insisted on the casting of Kim Novak. who had plans for the young actress to succeed their reigning star, Rita Hayworth.

As might be expected, much of 5 Against the House (1955) was shot in Reno, with a good deal of the movie unfolding in Harold's Club Casino itself. University of Nevada-Reno doubles as the college that the veterans are attending, while Virginia Street (with the Reno Arch in full view) is seen in the film's opening. Lake Tahoe also appears in the film. Oddly enough, the Desert Spa in Las Vegas also appears in the film As might be expected, many of the interiors were shot at Columbia/Sunset Gower Studios in Hollywood.

Despite being set at Thanksgiving, 5 Against the House (1955) was released in the spring. A. H. Weller The New York Times gave the film a good review, although reviews elsewhere were a bit more critical. The movie gave Kim Novak her first major role, and did well enough that the media did take notice of her. 

Youngsters watching 5 Against the House (1955) today might be puzzled by the fact that while most of the movie unfolds over Thanksgiving weekend, there are no Christmas decorations in sight. In 1955, most businesses did not decorate for Christmas until after Thanksgiving. Indeed, I seem to remember this was still the norm when I was growing up in the 1970s. This is in contrast to Ocean's 11 (1960), which is set on New Year's Eve when Christmas decorations are still evidence. Quite simply, back in the day business generally took their Christmas decorations down after New Year's Day, not the day after Christmas.

While 5 Against the House (1955) was an early film for Kim Novak, features an unusual premise, and is one of the few film noirs set at Thanksgiving, it is not the most respected movie out there. At IMDB, it is only rated 5.9 out of 10, which is terribly low for that site. At Rotten Tomatoes, it has an audience rating of only 25%., although notably the two critics who have reviews there give it positive marks. Personally, I am not sure why 5 Against the House (1955) gets bad marks from so many viewers. Okay, it is not a perfect film. Some of the performances could be better and the plot is a bit far-fetched and in one respect the film is dated (I can't reveal how without major spoilers), but 5 Against the House (1955) does not lack for excitement and Phil Karlson's direction is solid. At any rate, if someone wants to watch a Thanksgiving movie that is not Miracle on 34th Street (1947) or Planes, Trains and Automobiles (1987), then 5 Against the House could provide for a fun evening.