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Rhubarb (1951) This is a quite joyful little romp! Gene Lockhart is a crotchety old coot who is awed by the spunk of a stray cat. He adopts him and then leaves his immense fortune and holdings to him. One of these properties is a luckless baseball team. Ray Milland is the press secretary for the team and is made guardian of the cat. A complication is that the girl whom he is trying to marry is very allergic to it. The millionaire's daughter objects to the loss of the inheritance and does all in her power to get rid of the cat. I hesitate to tell of the more amusing twists in the story because they are spoilers. This is the first appearance of Orangey the cat. He did a wide range of movie and television roles including: Breakfast at Tiffany's (1961) and The Beverly Hillbillies (1963-1966). Ray Miiland might not be every person's first choice as lead in a slapstickish comedy but he acquits himself very well as a hapless and clueless man forced into a situation beyond his control with both the cat and his girl. 8/10.2 Availability was on a $1.25 pre-owned DVD purchased at: McKay's Used Books in Nashville, TN.

Tonight Is Ours (1933) Did you hear the one about the queen who falls in love with a commoner but is pulled away from him to perform her royal duties which involves marrying another royal that she barely knows? Fluffy yet elegant Paramount production retreads old fashioned material with so-so results. Claudette Colbert is beautifully photographed and delivers a delightful performance as the royal, this being her last of four occasions in which the studio co-starred her with Fredric March. March is okay but generally makes less of an impression. Probably the most noteworthy scene in the film is its opening sequence when Colbert and March meet "cute" at an elaborate costume party. Both are outrageously clothed, she in a mask and all sequin body length cape with a large white collar highlighting her face, while March is dressed in a tight fitting harlequin outfit with a black head mask covering his head and upper face, not unlike Batman. In watching this sequence I seriously wondered if director Josef Von Sternberg was influenced by it to create his far more elaborate but similar opening for The Devil Is A Woman, his final film with Marlene Dietrich, two years later. For those interested, a restored copy of Tonight Is Ours can be found at archive.org. There are still some scratches on the print and the sound is a little muffled, at times, but it remains watchable. 2.5 out of 4

Speedy, I'm on the same page as you and rosebette about Miriam Hopkins. I saw her first in The Old Maid and Old Acquaintance and thought she was hammy, a wannabe who couldn't compete with Bette. Then I saw her pre-Code films. Great in comedy (Trouble in Paradise, Design for Living). Great in drama (Dr. Jekyll and Mr. Hyde, The Story of Temple Drake). A star who holds her own against other stars. Parting ways with Paramount did not turn out to be a good move.

Last night, I watched Charade, although I've seen it at least ten times. Found the backstory interesting. One thing I thought that I had heard before regarding getting the movie made. I believe Cary Grant offered to produce or coproduce the film but wasn't an actor who wanted input (excuse awkwardness). It is very much like Hitchcock (including the bits of humor and the great soundtrack).

I'm so sorry, but I rewatched EVIL UNDER THE SUN and I have to tack a few things on. spoilers spoiler spoilers The costumes are MARVELOUS and DIANA RIGG LOOKS AMAZING I also reiterate that this same story TOLD WITH SOME COMEDY could have really been something. It was written, I discovered by ANTHONY SCAEFFER- who also wrote one of my favorite films- THE WICKER MAN (another isolated island tale as well.) there is ONE brilliant line "ODELL, if you were A MAN I would divorce you!"- but the rest of the script needs a second pass to put tongue in cheek...some of the lines are really quite bad- ie "she runs like a dromedary with dropsy" would be funnier as "God she runs like a camel." it strains for wit when the ingredients are right in front of it, and so many scenes play up to the edge of comedy (especially with JAMES MASON) they should have GONE FOR IT and made it LIGHT PARODY as opposed to a divine retread. [I also note that PETER USTINOV was quite a funny man...I also also note that because I have watched him as POIROT so often, it is REALLY WEIRD TO ME whenever I see him talking in his actual British accent.) I also have to say that I THINK IT WOULD MAKE A MARVELOUS MUSICAL, even using THE SONGS OF COLE PORTER, there is one outright musical number and many would say it's the highlight of the film. also I LIVE FOR THE MOMENT JANE BIRKIN WALKS DOWN THE STAIRCASE AT THE END AND SHE IS DONE, HONEY. RULE OF FASHION: IN LIFE, ONE SHOULD ALWAYS DRESS FOR THE MURDER ONE MIGHT COMMIT (I am not always "in" to JANE BIRKIN, but I think she is delightful in this film, ESPECIALLY when she turns into ONE OF THE SIAMESE CATS from LADY AT THE TRAMP when we find out she's eeeeeeeeeeeeeville.)

From January 16-19, 1921, the Poli featured The Fighting Shepherdess, starring Anita Stewart as Kate Prentice, Wallace MacDonald as Hughie Disston, Noah Beery as Mormon Joe, and Walter Long as Pete Mullendore. The film’s release date is uncertain. It was six reels, and is presumed lost. I found several stills which included lines of dialogue. Plot: Kate Price goes through life with her mother Jezebel, who runs an unruly roadhouse. Her mother hits the bottle, and Kate pleads “no more to drink tonight.” Pete Mullendore, a half-breed customer, intercedes on behalf of Jezebel, sneering “are you going to let that child the bottle away from you?” Later, Mullendore attacks Kate while in a state of drunkenness. Kate goes to live with Mormon Joe, who kindly takes her in. She becomes his partner in sheep herding. Soon, the town gossips start calling her “Mormon Joe’s Kate.” An easterner named Hughie Disston arrives in town and meets Kate and Mormon Joe. To win a wager, Disston invites Kate to attend a dance. At the affair, Kate is shunned by the others. On the way home, Disston tells Kate he loves her, and when his college career is completed, he will return for her. But Joe is unconvinced, and warns Kate: “You stay away from these city dudes after this. He took you to the dance on a bet.” That night, Mullendore kills Mormon Joe and Kate is accused of the murder. However, Kate is released because of lack of evidence, but the townspeople are unmoved and uninterested in finding the real killer. “I’ll run down the murderer of Mormon Joe, if it takes me a life time,” Kate declares. She meets with a local official and says “I want to know what you are doing to catch the murderer of Mormon Joe.” “Nothing,” he replies, “and you better drop it and beat it out of this town.” Instead, Kate eventually becomes wealthy, but the townspeople are still against her. When Disston returns, he finds that she has changed, so he returns to the city. Mullendore, who is now a wealthy sheepherder, makes trouble for Kate. But when Mullendore is mortally wounded in a fight, he confesses to murdering Mormon Joe. The townspeople finally come around to Kate’s side, and the fighting shepherdess is also reunited with Disston. Wid’s Daily was generally positive in their review, writing “Miss Stewart is provided with a part that is nearer suited to her talents and ability than anything she has had in quite some time. Although she is deprived of the opportunities of wearing beautiful gowns, the locale and atmosphere, together with appreciable performances on the part of the star and her supporting company, will be sure to make a hit with audiences. …Walter Long gives a very forceful and villainous portrayal and Noah Beery presents a humble, kindly hearted shepherd.” The Moving Picture World wrote that the film was “novel, gripping and fast in action.” But Motion Picture Magazine flatly stated “it is certainly not a good picture, for, lacking any suspense, it has no psychological unweaving or character studies to hold the interest. Anita Stewart wears the shepherdess garb thruout, with the exception of the last scene, and we must admit that she is far more beautiful when she wears Parisian models.” A critic for The Bridgeport Times and Evening Farmer agreed, writing “the story is impossible. Its characters are poorly drawn. In fact the whole drama is shabbily contrived and ignorantly put together. But the play will please. Here is adventure, shooting, love and marriage in it, but unfortunately, nobody shoots the author.” The top attraction on the bill was the Kilties Band, a concert band from Canada, consisting of 22 men and a female dancer named Gertrude Douglas. A local reviewer wrote that the band “in the Dominion enjoys the same enviable reputation that Sousa’s band does here in the States.”

Last night I watched my TCM recording of THE BURGLAR '57. I mostly recorded this to see Jayne Mansfield in a dramatic role. I like Mansfield but generally dislike her work, it always seems beneath her, exploitative. I wasn't disappointed for her and this movie seals my admiration for Dan Duryea, being the second film of his seen this week. This movie starts off a typical crime story of a jewelry theft perpetrated by 3 guys. Jayne is Duryea's "ward" (like little sister) and is only involved in the crime as a scout, casing the joint for the burglars. Duryea is the cool leader and his 2 accomplice thugs are more emotionally volatile, always creating tension. The heist is fascinating to watch, the camera work is particularly clever and sometimes more dramatic than the action. I can't reveal ANY plot points but let's just say, I gasped out loud & yelled at the screen a few times. I've come to the conclusion all crime stories have to have weird quirks or there would be no story intrigue. But we know something's up when the camera keeps certain character's faces cleverly hidden from the viewer. Jayne Mansfield was perfect-especially her appearance-she's not glitzy or overly made up. She actually looks like a sweet young gal who was taught the ropes of thieving from childhood. She played her part sincerely and believably, I wish her career had gone a different path. Duryea was great. I'm really beginning to appreciate his skill as an actor, he is pretty intense but keeps understated, reminding me of a less manic Richard Widmark. Duryea has kind of a thin voice despite his size, but he knows just how to use it for full effect. His face somewhat reminds me of William H. Macy at times. On the recently watched NO WAY OUT dvd, there were interviews with Duryea's sons who were surprised when as adults, they saw their father act in films. He strikes me as being a normal guy who just acted for a living, his job. But he took it seriously & was really great at it. I don't think he minded being typecast, he was just happy to be supporting his family. I bet he had fun acting too, since he pretty much always played outrageous charactors. Like the aforementioned JEOPARDY '53, you need to suspend belief for some wholly illogical plot points and just go with the story. For example, much hinges on a toll collector calling police after recognizing the criminals from a drawing! Is crime fighting now DOOMED with EZPASS replacing live toll collectors on the lookout? The Philly & Atlantic City locations gave the film an authentic vibe. Of note is the very old stone houses shown indicative of the Philly area. In the 50's they are crumbling "old" houses & thankfully today are revered treasures worthy of costly maintenance & restoration. Atlantic City shows long gone touristy businesses* & amusement rides...I'm always a sucker for amusement parks shown in a movie, suspended in time. LOVED THIS! *omigod a guy in white shorts, socks & loafers saunters by....a crime of fashion!

Our fourth post-code star is JACK NICHOLSON From ONE FLEW OVER THE CUCKOO’S NEST (1975) To TERMS OF ENDEARMENT (1983) To BATMAN (1989) there's only one Jack Nicholson.

Good Girls Go to Paris

All the Marbles Henry Winkler as The One and Only

I watched the Miriam Hopkins/Bette Davis double feature last night - The Old Maid (1939) and Old Acquaintance (1943) - and after watching them both, realized while Hopkins career waned in the 1940s. I enjoyed her in the pre-codes last week. She was really delightful in The Smiling Lieutenant and Design for Living, and quite sexy in Dr. Jekyll and Mr. Hyde. However, in both of the pictures with Davis, she appears to be mugging and overacting, especially Old Acquaintance. Her character in the latter is so obnoxious that one wonders why the Davis character, Kit, would ever maintain a long-term friendship with her (and it's a wonder the husband stayed with Millie for as long as 9 years). It's a testament to Davis that she recognizes that to hold the scene, she must deliberately underplay her role. Hopkins' performance in both films seems dated and histrionic.

Tulip Fever (2017)

Stanton started acting in 1954. Since I love 50s - 60s westerns he pops up in The Rifleman, Have Gun Will Travel, Rawhide, Gunsmoke, The Big Valley, The Virginia, and Bonanza. When I first saw him I had to look up when he was born because I was surprised. It was 1926! He died in 2017 at the age of 91. What a long and fruitful career.

Beginning at 6AM ET Jan 22, a "tribute" to Femme Fatales. Don't think any of them are new to TCM, but good entertainment anyway. Did a quick skim and Audrey Totter is any several. Seen most of them and The Narrow Margin is my favorite. The Narrow Margin (1952), The Unholy Wife (1957), Any Number Can Play (1949), The Unsuspected (1947), Lady in the Lake (1947), High Wall (1947), Tension (1950), The Sellout (1951)

She claimed the same thing, but I'm not buying it.

Social media notwithstanding for me and purely from the standpoint of being an observer, this has been an interesting journey. I am vindicated as I saw the potential for all of this to happen with social media back in 2008/2009 around when it started to take off. I thought MySpace was a stupid idea at the time, and thought the subsequent "big social media" services to come were stupid ideas too. I recommended to everyone I knew that they not store anything personal there, or better yet just don't do it - you don't know the motives of those who operate it. At the very least they were massive data harvesting operations and these days they "unperson" people and block access to their data. It does more harm than good anymore and just needs to go away.

Rosemary's Baby (1968) "I can't stay on too long, they'll be looking for me"

You're correct. The guitar George plays is a 1964 José Ramírez Guitarra de Estudio classical guitar. I play an instrumental version of the song, slightly faster, with a Bossa Nova beat. (hey, if I could sing even half as good as Paul, I would attempt to sing it,, but a man must know his limitations). George sounds nice but his very short solo just follows the melody line. I always wished The Beatles had re-recorded some of their best written songs as 4 - 6 minutes versions allowing all of these fine musicians to stretch out. (but trust me, I'm not complaining,,, the lads left a legacy that will never be topped (IMO).

the film was made in 1981 and the fashion in it has a slight 80's vibe- lots of primary colors and patterns. sadly, it was not nominated for the COSTUME DESIGN OSCAR, the ignomy of which we have discussed before.

This movie was worth watching just for the clothes, especially Diana Rigg's ensembles. The bathing costume with matching turban and robe was my favorite. She really was a knockout.

I'm Happy Just To Dance With You is one of my top 5 early Beatles songs. Just solid all around. Written by Paul, with an interesting chord progression, and, as noted, with George singing the lead. This allows for John and Paul to sing harmony, and both are in fine form. I mean really,,,,, having those two as the back-up singers! The ending lyric change of "I discovered I'm in love with you, 'Cause I'm happy just to dance with you",,,, still melts my heart after over 40 years of hearing this classic.

Yes, Ray Milland doesn't come to mind as a slapstick type comedian but he cut his teeth with some very talented people in 1937's Easy Living, with Jean Arthur and Edward Arnold, and director Mitchell Leisen (with a screen-play by the iconic 40s comedic director Preston Sturges). While Ray was no Cary Grant (who was), he held his own with a good sense of comedic timings and charm.

Hollywood legend Dick Van Dyke and folk icon Joan Baez are among those receiving this year's Kennedy Center Honors, one of America's most prestigious arts awards, which will be distributed at a scaled-back event reimagined due to the pandemic. Choreographer and actress Debbie Allen, country singer-songwriter Garth Brooks and violinist Midori round out the 43rd class of honorees. YAY JOAN BAEZ!

Safety Last! (1923) Next: on a roof

Gaslight and Angel Street

Sadly, THESE DAYS, there are A LOT OF MONKEY BRAINS to be found ALL OVER DC!!!!!!

I am SO JEALOUS you can shop McKays! Once we discovered McKays, most of our vacation was spent (minimum 4 hours) perusing each branch store. The Prius was draggin' bottom all the way home.

I suspect it's because the question was deliberately limited to the best picture nominees of that year. If it hadn't been, I would have chosen Rope.

1938

I would agree with you re: Miriam in her pre-codes versus her in her films with Bette. While Bette wasn't above scenery chewing and upstaging, it seems that Miriam's attempts to do so somewhat upstages her own performance. It's almost as if Bette upstages Miriam by holding back and looking more restrained by comparison. I especially agree with you re: Old Acquaintance. I can only imagine Bette's joy when she got to shake Miriam. Apparently during the first take, Miriam, once again had to upstage Bette and allowed herself to go limp so when Bette shook her, Miriam's head was all over the place. They had to re-film it so that Miriam would flail around less. I used to not be a fan of Miriam, I think it's because I saw these two films with Bette first. I thought that Miriam's character was so irritating that I figured she was like that in all of her films. Even in Virginia City, where she isn't trying to upstage Errol Flynn, because really, who can? But I digress, she's a little more subdued, but she and Flynn have absolutely zero chemistry. I would have rather seen a Buddy Western with Flynn, Bogart, and Bogart's bad mustache and bad Mexican accent. Then I saw Miriam in Dr. Jekyll and Mr. Hyde and loved her. I thought she was fantastic. I also saw Design for Living and Trouble in Paradise and loved those films as well. She was fantastic in The Story of Temple Drake. I even liked her in These Three. Later in her career, she's good in The Heiress and The Children's Hour.

THE PEOPLE AGAINST O'HARA 1951

Lilac Time (1928)

Wait till you see his unflinching portrayal of a suspected chicken thief on Petticoat Junction. You could cut the moral ambiguity with a knife, man. Did he or didn't he? And if he did, is it kinda ok? And is he ... you know ... ?

You have a good ear. I Call Your Name is the best written song from a musical POV. Use of many flat chords (E.g. Db7) and a chord progression that was innovative for its time. Clearly my favorite on the album and a song I play often to show that John and Paul were ahead of all the others in the rock and roll genre.

UNDER THE YUM YUM TREE 1963

FERNGULLY: THE LAST RAINFOREST (1992)

Buster Crabbe as Tarzan (1933). He's not bad in the role, although he must have been experiencing continuous wedgies.

THE GREAT ZIEGFELD (1936)

SUMMERTIME (1955)

After a quick search I found several places carrying this story.. And you know, Trump has such a brief scene in the movie, that it's inconsequential that he's even in it. Much as I don't care (and never did) for "The Donald", I say leave it be. It's just like my wife told my daughter once..... While looking over some old photos with her, there were several where my wife was shown sitting with or standing next to her first husband, whom she really grew to hate and divorced him because he was a physical and verbally abusive a-hole who molested a nine year old cousin of hers. My daughter asked why she didn't throw away, destroy or cut his image out of the pictures, and my wife told her.... "It's part of my history and of who I was and still am. To do that would be like ignoring the past, and you know what's said about doing that." Sepiatone

1935

I think Eric Fleming probably would have done another TV series in the 70s or 80s. I see his career going the way Michael Landon's did, or David Janssen's did...someone who started in films in the mid-50s, but became a household name in a hit television series in the 60s. In Janssen's case, he was not really able to transition back into films but still had a successful career in TV movies and miniseries. That's what Fleming probably would have done. Also if Fleming had continued to write scripts for television, he might have a longer career that way. Clint of course was doing supporting work on television in the 60s, gradually became a lead on TV, but then transitioned to films and the rest is history. In one of the interviews I saw on the Television Academy website, it was said that the producers were trying to pit Fleming and Eastwood against each other in the fifth or sixth season (probably to keep their salaries under control, by saying "hey we can always write you out because the other guy is just as popular")...but Fleming admired Eastwood a great deal and refused to think badly of him. One of Fleming's best performances is his last performance on a two-part Bonanza which he did the season after he left Rawhide. He plays a Mormon settler with two wives. It's interesting to see him play such a different character and to see him in color since all of the Rawhide episodes were in black-and-white.

CHINA (1943)

Somehow it seems appropriate that this post is made by someone with the username and icon of a blind old man.

The World According to Garp (1982)

From January 6-8, 1921, the Poli ran Oh, Lady, Lady, starring Bebe Daniels as Mary Barber, Harrison Ford as Hale Underwood, and Walter Hiers as Willoughby Finch. The film was released in November of 1920 at five reels, and is presumed lost. Plot: Willoughby Finch says goodbye to his country sweetheart, Mary Barber, promising her that he’s a “one woman man.” But as time goes by, Finch becomes engaged to society girl Molly Farringdon. Mary, who has become a famous actress and uses the stage name of Rilla Rooke, returns from a trip abroad, and while on a train, meets Hale Underwood. Underwood is to be the best man at Finch’s wedding. He falls for Mary. Arriving at the hotel, Mary discovers Finch is about to get married. She phones Finch that she is coming to see him. Her intention is to congratulate him, but Finch misinterprets her motives, believing she wants to break up his impending marriage. So he enlists a press agent to cover up his prior relationship. But the press agent makes a mess of the situation. He decides to hire an actress to play a vamp, pretend to be Finch’s lover, and scare away Mary. He inadvertently hires Mary for the part, not realizing who she is. Mary thinks she is helping Finch escape from an unhappy engagement, and she arrives, dressed as the vamp, during the wedding rehearsal, which shocks Finch: The wedding is called off. Worse, Underwood is now confused about Mary. Mary confesses to Underwood that she was only playing a part, and all concerned are reunited. One clever scene involves Bebe Daniels castigating her press agent. The effect is magnified on screen by having the press agent actually shrink in size, getting smaller and smaller the more he is berated, until he finally has to tip-toe to reach the door knob to let himself out. The still below (probably a publicity shot) shows Walter Hiers with Bebe Daniels and Harrison Ford: The next still (also probably a publicity shot) shows Hiers with Daniels: The still below shows director Maurice Campbell working with Hiers and Daniels, probably in a scene from the first part of the film: The film was adapted from a musical comedy of the same name, written by Guy Bolton and P.G. Wodehouse. Wid’s Daily wrote “there’s some really fine comedy contained in it and the complications that arise over the hero’s attempt to marry a society girl afford opportunity for exceptionally good comedy business. … the comedy business all the way through is natural and not forced. The titles are great. Whoever wrote them knows how to do it.” Motion Picture News remarked that the film contained “enough values of a farcical nature to provide a pleasant vehicle for the display of Bebe Daniels’ charm and talent. One must characterize it as wholesome entertainment which is exceedingly frail, but which conquers for its comedy highlights.” The Moving Picture World said that the film had “a radiance all its own. There is plenty of snap to the clever subtitles, and the action is never for a moment dull.” Also on the bill was a comedy short entitled Kids Is Kids, with Carter DeHaven and his wife. The two-reeler was released September 12, 1920. The DeHavens play a young married couple who volunteer to take charge of several orphans after an orphanage has burned down. When the couple also babysit for a young boy named Cicero, the orphans shave his head, sending his mother into a rage. There is also an overflowing bathtub, and, according to Wid’s Daily, “the ice cream scene and the business with the piano all get over very nicely.” Exhibitor’s Herald wrote “the picture is good fun and will be enjoyed, especially by those who have young children in their homes.” I did find a still, without context, of DeHaven encountering a dog:

From December 19-22, 1920, the feature at the Poli was The Sin That Was His, starring William Faversham as Raymond Chapelle, Lucy Cotton as Valerie Lafleur, and Pedro de Cordoba as Father Aumont. The film has its world premiere on November 7, 1920, at the Columbia Theatre in Washington D.C. It was released at six reels, and is presumed lost. Plot: Although he had been educated for the priesthood, Raymond Chapelle has become a professional gambler in an Alaskan mining town. He has a change of heart and returns winnings to a young gambler. For his good deed, Chapelle is put out of camp. Thus, he loses his faith. Chapelle’s dying friend Blondin asks him to take a bag of gold to his mother in Quebec. On the train to the city, Chapelle makes the acquaintance of a priest named Father Aumont, who is to take over the parish where the two are heading. They arrive in Quebec just as a tremendous storm hits. Chapelle discovers Mrs. Blondin is an old hag who has a useless son. The son is ready to take the gold in place of his mother. A scuffle ensues, and the mother, intending to shoot Chapelle, kills her son. She then swears it was Chapelle who did the shooting. Chapelle escapes, and encounters Father Aumont, who has been injured by a falling tree. Noting the resemblance between the two, Chapelle changes clothes with the priest and assumes his identity. He takes the real Father Aumont, now wearing Chapelle’s clothes, to the rectory, where the housekeeper, Madame Lafleur, along with her daughter Valerie, care for him. The police arrive and accuse the injured man of murder. On several occasions, Chapelle is tempted to strangle the priest to save himself, but the faith of Valerie prevents him from doing so. Eventually, as Chapelle takes up duties as Father Aumont, he wins the love of the community, and his character changes due to Valerie’s influence. When the real Father Aumont regains his faculties, he is taken to prison. He is convicted and sentenced to die. Chapelle worries day and night about what he should do, and imagines confronting his former self. The bishop of the diocese unexpectedly visits the town and realizes that Chapelle is an impostor. Chapelle confesses everything to the bishop and is ready to go to the authorities. Just then, Madame Blondin falls ill on the doorstep of the church, and confesses to the accidental killing of her son. Father Aumont is freed and Chapelle is also free to pursue a romance with Valerie. The still below could not be placed in context. It shows Faversham at right. The actor at left could not be positively identified, although it may be Robert Conville, who portrayed Blondin: Wid’s Daily gave the film a favorable review, writing “producers seem to have come to realize that picture patrons are about “fed up” on sex theme productions and “The Sin That Was His” is among those to break away from it. …William Faversham’s splendid performance goes a long way toward the picture’s success and both as Raymond Chapelle, gambler-outlaw and in his impersonation of Father Aubert, his work is creditable.” The Moving Picture World pronounced the film “absorbing and gripping,” adding that it “should prove successful.” A French-Canadian village was built on vacant land along the Hudson River. The stills below show the progression. In the first still, the initial miniature model of the village, made of cardboard, is shown. In the second still, the work is well along. The final still shows the finished product: A short time after filming, the set was destroyed when a gale swept across the Atlantic coast. Lucy Cotton, who portrayed Valerie, made barely a dozen films, and retired a year after The Sin That Was His was released. But she managed to stay in the news, by marrying five times. In 1924, she married Edward Russell Thomas, publisher of the New York Morning Telegraph. The couple had one child. Thomas died two years after the marriage, leaving a $27,000,000 trust fund. Husband number two was Colonel Lytton Ament, a close friend of President Herbert Hoover. After their divorce, Cotton married Charles Hann, and after that divorce, married William McGraw. Cotton made headlines in 1934 by shaving her head and announcing she would only wear wigs of any color she liked. “This hairdressing business has become a racket,” she remarked. “They get a woman in, give her a shampoo and a wave, and for the rest of her life she is their slave.” McGraw was quoted as saying “it’s all right with me if she wants to wear red, green or purple hair.” That same year, Cotton announced she was going to manage heavyweight boxer Steve Hamas. “People ask me why I am doing this,” she stated. “Well, I am always interested in anything uplifting and constructive. You know Hamas’ nose is absolutely straight and he has small, perfectly shaped ears, and he has perfectly marvelous legs. We are going to play up his legs.” (Hamas had a decent career, and, although he never won the championship, he did defeat former heavyweight champion Max Schmeling in 1934.) After divorcing McGraw, Cotton married for the final time. Her fifth husband was an exiled Russian Prince named Vladimir Eristavi-Tchitcherine. After that marriage, she began referring to herself as the Princess. This marriage also ended in divorce. Years later, Cotton became the owner of the MacFadden-Deauville Hotel in Miami Beach. On December 12, 1948, her butler discovered the former actress unresponsive in her Miami home. She was later pronounced dead at St. Francis Hospital. Detective Sergeant John Deas, of the Miami Homicide Bureau, reported that an empty bottle of sleeping pills had been found on Cotton’s bedroom dresser. Prince Vladimir stated that he had talked to his former wife by phone a few days earlier. “She was very sick at that time,” he remarked. “I can not understand why she did it.” Cotton’s physician claimed the actress had been suffering from a nervous breakdown.