The 5th Annual Rule, Britannia Blogathon is Here!

The Fifth Annual Rule, Britannia Blogathon (formerly the British Invaders Blogathon) has arrived! The Rule, Britannia Blogathon is meant to celebrate classic, British films. While many think of Hollywood when they think of movies, the fact is that many classic films originated in the United Kingdom. From the Gainsborough melodramas to the Ealing comedies to the Hammer Horrors, the United Kingdom has made many contributions to classic film. The British Invaders Blogathon will last from today (August 3 2018) to Sunday (August 5 2018).

This year we have a wide range of posts lined up that span the history of British cinema. We also have a wide range of genres covered, from comedy to science fiction. For those participating in the blogathon, simply let me know in a comment here, a message on Twitter, or an email and I will add it to the list. And please remember to link to this page using one of the images from the introductory post! I want to thank everyone who is participating!

Anyhow, without further ado, here are the posts:

WadsWords: "Movie Crash Course: Blackmail"

The Midnite Drive-In: "Is That a Ray Gun in Your Pocket or Are You Just Happy to See Me?"

Caftan Woman: "The Rule Britannia Blogathon: The Mudlark (1950)"

Realweegiemidget Reviews: "Withnail and I (1987)" 

The Stop Button: : " Stormy Monday (1988)"

MovieRob: "5th Annual Rule Britannia Blogathon--Sink the Bismark! (1960)"

The Hitless Wonder Movie Blog: "The Rule, Britannia Film Blogathon--The Ghoul (1932)

Crítica Retrô: "As Oito Vítimas/Kind Hearts and Coronets"

 Silver Scenes: Now and Forever (1956)

Taking Up Room: "Wings on Our Heels"

A Shroud of Thoughts: "Evergreen (1934)"

MovieRob: "5th Annual Rule, Britannia Blogathon--Time Bandits (1981)"

Liberal England: "The Magnet (1950): Enjoying the Ealing Apocrypha" 

Silver Scenes: 'Turn the Key Softly (1953)"

Moon in Gemini: "Rule, Britannia Blogathon: The Crying Game (1992)"  

MovieRob: "5th Annual Rule, Britannia Blogathon--The Sound Barrier (1952)"

Cinematic Catharsis: Yellow Submarine 

Cinetmatic Scribblings: "A Foreign Country: The Go-Between (1971)" 

A Scunner Darkley: "Universal Soldier (1971, Cy Endfield)--Rule Britannia Blogathon" 

In the Good Old Days of Classic Hollywood: "John Hurt is Joseph Merrick in The Elephant Man (1980)"  

Doug Grindstaff Passes On

If you have watched very many episodes Star Trek or Dallas, then chances are good you have heard the work of Doug Grindstaff. Doug Griandstaff was the sound effects maestro responsible for many of the sounds one heard in several classic TV shows, everything from the beeps on the communicators of the crew of the Enterprise to the "whoosh" of the starship's lift doors. Mr. Grindstaff died on July 23 at the age of 87.

Doug Grindstaff was born on April 6 1931. He grew up in Los Angeles, California. He graduated from the California Institute of Arts. During the Korean War he served in the United States Army and saw combat.

Mr. Grindstaff's first credit was the TV movie Three Wise Boys in 1963. He worked on the films One Potato, Two Potato (1964) and Destination Inner Space (1966). In the mid-Sixties he began a very successful career working on various television studios. He served as sound effects editor for three classic shows that originated at Desilu: Star Trek, Mission: Impossible, and Mannix. In the Sixties he also worked on the TV shows Love, American Style; The Immortal; The Young Lawyers; The Odd Couple; and The Brady Bunch, as well as the TV movies Seven in Darkness and Weekend of Terror.  In the Seventies he worked on such TV movies as Medical Story (1976), A Killing Affair, Kill Me If You Can, and The Last Hurrah. He worked on the TV shows Police Story, Quark, and Beulah Land. He did uncredited work on the movie Cabaret (1972) and also worked on the film Sextette (1978).

In the Eighties Mr. Grindstarff worked on the night-time soap operas Dallas, Knot's Landing, and Falcon Crest, as well as such shows as Max Headroom, Our House, and Midnight Caller. He worked on the films St. Helen's (1981), Death Valley (1982), Mother Lode (1983), Tough Enough (1983), and Cross Creek (1983).

Doug Grindstaff served as the head of sound departments at Paramount, Columbia, and Pacific Sound. He also served as a vice president at Lorimar Pictures, and as president of the Motion Picture Sound Editors. Doug Grindstaff was nominated for multiple Emmy Awards, including one for his work on Star Trek. He won Emmys for his work on the TV show The Immortal, the TV movie Medical Story, the TV show Police Story, the TV movie Power, and the TV show Max Headroom.

There can be no doubt that Doug Grindstaff was a master of sound. He not only created the many unusual sounds heard on Star Trek, but sounds for classic shows from The Odd Couple to Knot's Landing. He was a master at creating sounds through means that might not occur to others. For example, he created the sound of Dr. McCoy's hypospray using an air compressor. He created the sound of one of Star Trek's most popular alien creatures, tribbles, by manipulating the sound of the coos of doves. Although he worked on many different shows, he seemed to have a particular gift for science fiction shows, creating sounds not only for Star Trek, but for Quark and Max Headroom as well. Few men were as talented at creating sounds as Doug Grindstaff was.

The Late Great Mary Carlisle

Mary Carlisle, the beautiful actress who played opposite such leading men as Bing Crosby, Lew Ayres, and Gene Autry and who was the last of the WAMPAS Baby Stars, died today. She was believed to be 104.

Mary Carlisle was born Gwendolyn Witter February 3 in either 1912 or 1914 in Boston, Massachusetts. It was after her father's death that her family moved to Los Angeles, California. Her uncle was film editor and producer Robert Carlisle, through whom she learned of a casting call for chorus girls at MGM. She hurriedly took dance lessons and was surprised when she was hired. Once the truth came out that she didn't know how to dance, she was made a substitute, someone to step in if one of the chorus girls couldn't perform.

Mary Carlisle made her film debut in an uncredited part in Long Live the King in 1923. She spent the late Twenties and very early Thirties appearing in similar uncredited roles (including one as Little Bo Beep in the notorious pre-Code film Madam Satan). Her first credited role was as Cassandra Phelps in This Reckless Age in 1932. Miss Carlisle would prove to be very busy during the Thirties. She played opposite Bing Crosby in three films: College Humour (1933), Double or Nothing (1937), and Doctor Rhythm (1938). She appeared as a young honeymooner in Grand Hotel (1932). During the Thirties she was very prolific, appearing in such films as The Sweetheart of Sigma Chi (1933), Should Ladies Behave (1933), Palooka (1934), Murder in the Private Car (1934), Kentucky Kernels (1934), One Frightened Night (1935), The Old Homestead (1935), Hotel Haywire (1937), Hold 'Em Navy (1937), Hunted Men (1938), Illegal Traffic (1938), Beware Spooks! (1939), Rovin' Tumbleweeds (1939), and Dance, Girl, Dance (1940).

In the Forties Mary Carlisle appeared in the films Rags to Riches (1941), Torpedo Boat (1942), Baby Face Morgan (1942), and Dead Men Walk (1943). In 1942 she married actor James Edward Blakeley and retired from acting not long afterwards. Mr. Blakeley later became a 20th Century Fox executive and served as production manager on Batman and other shows. The two remained married until his death, a full 65 years. For years she was the manager of an Elizabeth Arden salon in Beverly Hills.

For her whole career Mary Carlisle was generally cast as ingénues. There should be little surprise why. Blonde and possessing a delicate beauty, Miss Carlisle certainly looked the part. That having been said, she possessed more talent than many young actresses who played ingénues during the era. Miss Carlisle was always convincing in the roles she played and showed a particular gift for comedy. While most of her roles were in low budget programmers, she remained very much in demand. She acted for multiple studios, from MGM to Republic. She also played opposite an impressive array of leading men, including Lew Ayres, Joe E. Brown, Ralph Byrd, Leo Carillo, Bing Crosby, and Wheeler and Woolsey. Charming and remarkably pretty and possessed of a good deal of talent, Mary Carlisle was always a delight to see on screen.

Yale Udoff Passes On

Screenwriter and playwright Yale Udoff died on July 19 at the age of 83. The cause was cardiac arrest.

Yale Udoff was born in 1935 in Brooklyn, New York. He graduated from Michigan State University with a degree in history and served in the United States Army in the infantry. He later took a job as one of ABC's East Coast executives. While legend often credits Mr. Udoff with coming up with the initial idea for the Sixties TV show Batman after watching the Forties "Batman" serials at a Playboy Club, in truth the show was in development well before they were shown at the Playboy Club in Chicago. That having been said, it seems possible that the Playboy Club's showings of the serials and Columbia's subsequent re-released of the serials to theatres probably helped propel the TV show Batman to success. While at ABC Yale Udoff worked with producers Douglas Cramer and Edgar Scherick, and executive Roone Arledge.

Yale Udoff came up with the story for The Man From U.N.C.L.E. episode "The Pieces of Fate Affair". He wrote the screenplays for the TV movies Hitchhike! and Third Degree Burn, as well as episodes of Against the Law and Tales from the Cyrpt. He wrote the films Bad Timing (1980) and Eve of Destruction (1991).

Mr. Udoff also a playwright who wrote the full lengh plays A Gun Play, The Example, Magritte Skies, First Draft, Bring Back Doris Day, Favourite Photos, The Invitation, Exiles, and A New Life. He also wrote the one act plays Shade, The Academy of Desire, The Little Gentleman, The Club, Nebraska, and Flowers for Marilyn. He won Stanley Drama Awards for The Little Gentleman and The Club, and a McArthur Award for Magritte Skies.

The 200th Anniversary of Emily Brontë's Birthday

It was 200 years ago today that Emily Brontë was born in the village of Thornton, a small village now on the outskirts of the city of Bradford that was then in the West Riding of Yorkshire. While Miss Brontë's name might not sound familiar to many, most people have probably heard of the one novel she wrote: Wuthering Heights. Published in 1847, it would become one of the most influential novels of the 19th Century.

Very little is known about Emily Brontë. She was one of the famous Brontë siblings, which included fellow authors Charlotte and Anne and artist Branwell. For a time she was a teacher at Law Hill School in Halifax until her health failed due to the school's heavy workload. She wrote a number of poems, many of which were published in the anthology Poems by Currer, Ellis, and Acton Bell, which included poetry by Charlotte (who was Currer Bell) and Anne (who was Acton Bell). Wuthering Heights was published in 1847 under Emily Brontë's pen name of Ellis Bell. Initially receiving mixed reviews, Wuthering Heights would later be hailed as a classic.

Indeed, the influence of Wuthering Heights can be seen not only in other works of literature, but movies, television shows, and even songs. Sylvia Path wrote a poem titled "Wuthering Heights" in 1961, the poem drawing upon the novel's imagery for inspiration. Albert Camus referenced Heathcliff, the anti-hero of Wuthering Heights, in his essay "The Rebel". Wuthering Heights would inspire yet other novels. Lin Haire-Sargent's 1974 novel H: The Story of Heathcliff's Journey Back to Wuthering Heights detailed Heatcliff's time away from Wuthering Heights. In the 1995 novel Heathcliff and the Great Hunger, author Terry Eagleton put forth the idea that young Heathcliff had survived the Irish potato famine. Alice Hoffman's 1997 novel Here on Earth updated Wuthering Heights to modern times. This is only a short list of works inspired by Wuthering Heights, and the novel is referenced in works from Anne Carson's poem "The Glass Essay" to V. C. Andrews's novel Flowers in the Attic.

Of course, there have been numerous film and television adaptations of Wuthering Heights, so many that it would be difficult to list them all. The first film adaptation was made in 1920. Sadly it is believed to be a lost film. Perhaps the most famous adaptation is the 1939 version directed by William Wyler and starring Lord Laurence Olivier and Merle Oberon. The film adapted only the first part of the novel. The first television adaptation of the novel was made as an episode of the anthology series Studio One in 1950. Charlton Heston starred as Heathcliff. Since then the novel has been adapted several times to film and on television, with the most recent version being a film adaptation released in 2011. Even Monty Python's Flying Circus used Wuthering Heights as the source for a skit, "The Semaphore Version of Wuthering Heights" (in which Heathcliff and Cathy communicate through semaphore flags).

Even music has drawn inspiration from Wuthering Heights. The most famous song inspired by Wuthering Heights may well be Kate Bush's 1978 single "Wuthering Heights". The song has since been covered several times by other music artists. Interestingly enough, Kate Bush shares her birthday with Emily Brontë (July 30). Ten's song "Alone In The Dark Tonight" was inspired by Heathcliff's loss of Cathy. Among other songs inspired by Wuthering Heights are "Cath..." by Death Cab for Cutie, "Total Eclipse of the Heart"(performed by Bonnie Tyler and written by Jim Steinman), and "A Dark Congregation" by The Hush Sound.

Through the years several authors have been inspired by Wuthering Heights, including V. C. Andrews, Margaret Atwood, Sally Green, Ernest Hemingway (who included on a list of books he "..rather read again for the first time ... than have an assured income of a million dollars a year"), Henry Miller, and Kate Mosse.

Never particularly healthy, Emily Brontë died at the extremely young age of 30 on December 19 1848. It was only about a year after the publication of Wuthering Heights. While Miss Brontë's life was short, she left behind a legacy more lasting than some authors who lived to old age. Wuthering Heights would prove to be one of the most influential novels of its era. What is more, its influence is still being felt 200 years after Emily Brontë's birth.

Composer Patrick Williams Passes On

Composer Patrick Williams, who worked on such TV shows The Mary Tyler Moore Show and The Bob Newhart and worked on such movies as Don't Drink the Water (1969) and Shampoo (1975), died on July 25 2018 at the age of 79. The cause was complications from cancer.

Patrick Williams was born on April 23 1939 in Bonne Terre, Missouri, but grew up in Connecticut. He attended Duke University, where he received a degree in history. He later went to Columbia University, where he music composition. In New York City he soon had a thriving career as an arranger. It was in 1968 that he moved to California.

Mr. Williams' first work in television was as music director for the documentary A Funny Thing Happened on the Way to the White House in 1967. He served as music director on the show Music Scene and composer on San Francisco International Airport. In the Seventies he served as composer on The Mary Tyler Moore Show. The Bob Newhart Show, The Magician, The Streets of San Francisco, and Lou Grant. In the Sixties he was the composer on the movies How Sweet It Is! (1968) and Don't Drink the Water (1969). In the Seventies he served as composer on such movies as The Deadly Trackers (1973), Harrad Summer (1974), Shampoo (1975), The Cheap Detective (1978), and Used Cars (1980).

In the Eighties Patrick Williams worked on such shows as Mr. Smith, After MASH, Fathers and Sons, Heart of the City, and The Days and Nights of Molly Dodd. He worked on such movies as The Toy (1982), Swing Shift (1984), The Slugger's Wife (1985), and Cry-Baby (1990). From the Nineties onward Mr. Williams's work in television was primarily on TV movies. He worked on such films as The Cutting Edge (1992), Big Girls Don't Cry... They Get Even (1992), The Grass Harp (1995), and Julian Po (1997).

Mr. Williams won several Emmys and was nominated many more times. He won Emmys for Outstanding Music Composition for a Series for Lou Grant, Outstanding Achievement in Music Composition for a Limited Series or a Special (Dramatic Underscore) for The Princess and the Cabbie, Outstanding Individual Achievement in Music Composition for a Miniseries or a Special (Dramatic Underscore) for Jewels, Outstanding Music and Lyrics for the song "A Dream That Only I Can Know" from Yesterday's Children.

Patrick Williams also composed outside of television and film, composing such works as An American Concerto, Gulliver, Earth Day, and August. He also recorded several record albums and produced albums for artists from Steve Lawrence to Patti Austin.

Five Books on Film That Influenced Me

Most classic film buffs not only enjoy watching classic movies, but they also enjoy reading about them. I am no different and over the years I have read dozens of books on classic films. A few of these number among my favourite books I have ever read. Here are five books on classic film that had the most impact on me. I read all of them while I was still very young and all of them helped fuel my interest in classic movies. I am sure many of you haver read some of them as well.

I really could not say which one is my absolute favourite, so I am listing in order of their publication date.

An Illustrated History of the Horror Film by Carlos Clarens (1967):

If you are a fan of classic horror you have probably read this book. In fact, I believe it was the first book to treat horror movies with any seriousness. In the Sixties, horror movies (and genre films in general) were often not considered worthy of critical evaluation. Although considered classics today, such classic horror movies as Frankenstein (1931) and King Kong (1933) were often dismissed at the time. Carlos Clarens's An Illustrated History of the Horror Film helped changed attitudes towards the classic horror movies. Carlos Clarens gives us a history of the horror movie all the way from the earliest years of the Silent Era to the mid-Sixties. In doing so he treats the films with the serious consideration they long deserved. Having been a horror fan since I was a lad, I was delighted when I discovered An Illustrated History of the Horror Film when I was in college. I already knew about the classic Universal horror movies, the Val Lewton movies, and the classic Hammer Horrors, but An Illustrated History of the Horror Film introduced me to all new horrors spanning decades.

The Parade's Gone By by Kevin Brownlow (published 1968):

I am guessing the vast majority of classic film buffs have read this book, and there is a good reason for that. Not only is The Parade's Gone By one of the earliest books on silent movies, but is also still the best book on silent movies. Indeed, The Parade's Gone By helped revitalise interest in silent films. For those who haven't read it, don't expect a history book in the conventional sense. Instead what Kevin Brownlow gives us is a book that combines a critical survey of silent movies with photographs, the recollections of those who worked in silent film, historical accounts, and trivia. Among those whose anecdotes appeared in The Parade's Gone By are such names as Louise Brooks, Buster Keaton, William Wellman, and many others. I checked The Parade's Gone By out from one of our local libraries when I was only a teen and I had not seen much in the way of silent movies (not even Nosferatu). This book helped spur my interest in them.

From Sambo To Superspade: The Black Experience in Motion Pictures by Daniel J. Leab (published 1975):

Along with Donald Bogle's excellent 1973 book Toms, Coons, Mulattoes, Mammies and Bucks: An Interpretative History of Blacks in Films, From Sambo To Superspade: The Black Experience in Motion Pictures by Daniel J. Leab was among the first books on African Americans in the movies ever written. It covers a period from the early days of the Silent Era to the Blaxploitation Era (which was just winding down as the book was published) and addresses the many stereotypes perpetuated by Hollywood throughout the decades. I checked this out from one of our local libraries when I was in college and it taught me a lot about the history of African Americans in film. At the time I had no idea who Oscar Micheaux was and I had never heard of Million Dollar Pictures. This book was a real eye opener.

The World of Entertainment! Hollywood's Greatest Musicals by Hugh Fordin (published 1975):

This book was later republished under the name MGM's Greatest Musicals: The Arthur Freed Unit. Under any title it is a must read for fans of MGM musicals. It is a book that goes behind the scenes of MGM's musicals, giving an account of the many musicals made by MGM movie by movie. It covers a period from 1940 to 1970 and includes accounts of such classics as The Wizard of Oz, Meet Me in St. Louis, Singin' in the Rain, and practically every musical made by MGM from 1940 to 1970. I have been a fan of musicals ever since my father talked me into watching My Fair Lady (I believe I had seen Seven Brides for Seven Brothers before that, but somehow it was more palatable to a little boy...), so naturally I had to check The World of Entertainment! Hollywood's Greatest Musicals out from my college's library. I don't think any fan of MGM musicals would be disappointed by it.

Of Mice and Magic: A History of American Animated Cartoons  by Leonard Maltin (published 1980):

I would imagine most animation fans have read this book. It is quite simply the definitive history of American animation, from the early days of the Silent Era to modern times. Mr. Maltin not only discusses the key creative personnel involved in the creation of classic cartoons, but also how American animated films evolved over the years. Mr. Maltin even interviewed many of the animators behind some of America's most beloved cartoons. When I found Of Mice and Magic: A History of American Animated Cartoons in my college library I was already familiar with Leonard Maltin from the TV show Entertainment Tonight. I had also long been an animation fan and had seen many of the key classic films beyond those made by Disney and Warner Bros. I had even seen the Fleischer brothers' Gulliver's Travels. That having been said, Of Mice and Magic: A History of American Animated Cartoons taught me a lot, to the point that I used to joke that everything I learned about animation I learned from Leonard Maltin. That is not quite true now, but it is definitely a must read book for any student of animation history.