Golden age: Roll call

[TopBilled]

 

Her given name was Gertrude, but her nickname was Binnie. So that’s how she was billed in movies, as Binnie Barnes. She had her start in a short film with experimental sound in 1923, when she was just twenty. But she didn’t start appearing in British features until 1931. These were sizable supporting roles, and in 1933, she had one of the better ones, playing a wife of the king in THE PRIVATE LIFE OF HENRY VIII.
 

In 1934 she went to Hollywood where she was put under a long-term contract with Universal. She would make many films for the studio during the 30s. For her first American production, she costarred with Frank Morgan and a young Robert Taylor in the original version of THERE’S ALWAYS TOMORROW. It was a hit and Universal was eager to cast Binnie in more of its motion pictures.
 

The roles that followed varied in scope. For example, she was paired twice with Edward Arnold– in DIAMOND JIM (where she played Lillian Russell); and in SUTTER’S GOLD (where she turned up as a countess). She was then loaned to United Artists for its remake of THE LAST OF THE MOHICANS. And back at Universal, she had top billing in the first musical featuring Deanna Durbin, THREE SMART GIRLS.
 

When Binnie wasn’t working in Hollywood, she usually returned to her home in England and picked up more film work there– appearing opposite people like Leslie Howard and Laurence Olivier. She remained busy due to her ability to play both light and serious roles. Binnie’s versatility prevented her from being typecast and made her a much-sought after performer in all kinds of comedies and dramas. Also, she wasn’t afraid to take secondary roles in between leads, and her lack of ego in this regard made her very employable and kept her in demand until 1950.
 

During the war, she became a naturalized U.S. citizen– she had recently wed an American producer named Mike Frankovich, with whom she remained married for over fifty years. They adopted three children and while motherhood became a main focus, at first it did not seem to slow her career down. In the mid-50s, however, she did scale back her workload. She still took occasional roles in popular films– she appeared in THE TROUBLE WITH ANGELS; and returned for its sequel. In 1973, at the age of 70, she costarred with Gene Kelly in the adaptation of the Broadway hit 40 CARATS. Her husband produced and co-directed it.
 

1. counsel’s opinion (1933); london films; romantic comedy; henry kendall; 75 mins.
2. the private life of henry viii (1933); london films; biopic; charles laughton; 97 mins.
3. one exciting adventure (1934); universal; comedy; neil hamilton; 70 mins.
4. there’s always tomorrow (1934); universal; romance drama; frank morgan; 86 mins.
5. forbidden territory (1934); gaumont; thriller; gregory ratoff; 82 mins.
6. the lady is willing (1934); columbia; comedy; leslie howard; 76 mins.
7. diamond jim (1935); universal; biopic; edward arnold; 88 mins.
8. the last of the mohicans (1936); ua; adventure; randolph scott; 91 mins.
9. magnificent brute (1936); universal; drama; victor mclaglen; 80 mins.
10. three smart girls (1936); universal; musical comedy; deanna durbin; 84 mins.

[TopBilled]

 

Richard Greene’s parents and grandparents were actors. He continued the family tradition and was on stage at the age of 15 in a production of Julius Caesar. By 18, he was touring Britain with a theatrical company. He gained success early as the juvenile lead in Terence Rattigan’s first play ‘French without Tears,’ which also established Rex Harrison as a star.
 

Richard’s success in Rattigan’s play brought him to the attention of British and American film execs. When he wasn’t appearing on stage, he was also working as a model. So his acting talent and good looks made him a fit for 20th Century Fox, the studio that signed him. Richard moved to American in 1938, and he was quickly featured in several motion pictures that year. His debut occurred in John Ford’s FOUR MEN AND A PRAYER, costarring Loretta Young. He and Young were repaired in KENTUCKY, a horse-racing story. And there were also a role in another Ford film, SUBMARINE PATROL; plus he had the lead in a Sonja Henie picture.
 

The young actor was equally busy in 1939. He had a role in Fox’s THE HOUND OF THE BASKERVILLES with Basil Rathbone and Nigel Bruce. There was above-the-title billing with Spencer Tracy in the studio’s adventure biopic STANLEY AND LIVINGSTONE. And he also appeared with Anita Louise in THE LITTLE PRINCESS, where he was cast as Shirley Temple’s soldier father. In real life, Richard Green would soon go off to the military, when Britain entered the war.
 

Leaving Hollywood to voluntarily serve in the war was considered the patriotic thing to do. However, his movie career would lose significant momentum. There were still pictures during the war years– he was occasionally granted furloughs to make British propaganda films. These included one with Anna Neagle, and another one with Richard’s wife Patricia Medina. After the war, he and Medina returned to America because she had been signed by Fox. During this time, he also worked for Fox again– in FOREVER AMBER and THE FAN. But then he began to freelance, and in the early 50s found himself typecast in swashbucklers.
 

His greatest fame as a swashbuckler came in 1955 when he was lured back to England to star in a weekly television series about Robin Hood. The Adventures of Robin Hood ran for five seasons and made him more popular than he had been in movies. After the show ceased production, he appeared in a feature film version produced by Hammer Films called SWORD OF SHERWOOD FOREST. It was also a hit with audiences. He took a break from acting for several years and traveled with his second wife and young daughter. In the late 60s, he returned in some Hammer horror films with Christopher Lee. And in 1972, he made his last film by appearing in a segment of TALES FROM THE CRYPT for Fox.
 

1. four men and a prayer (1938); fox; adventure; loretta young; 85 mins.
2. submarine patrol (1938); fox; adventure; nancy kelly; 95 mins.
3. the little princess (1939); fox; drama; shirley temple; 93 mins.
4. here i am a stranger (1939); fox; drama; richard dix; 82 mins.
5. i was an adventuress (1940); fox; drama; vera zorina; 81 mins.
6. unpublished story (1942); columbia; war film; valerie hobson; 92 mins.
7. yellow canary (1943); rko; drama; anna neagle; 95 mins.
8. forever amber (1947); fox; romance drama; linda darnell; 138 mins.
9. the desert hawk (1950); universal; adventure; yvonne de carlo; 77 mins.
10. the black castle (1952); universal; mystery; stephen mcnally; 82 mins.

[rayban]

 

 

Richard Greene’s parents and grandparents were actors. He continued the family tradition and was on stage at the age of 15 in a production of Julius Caesar. By 18, he was touring Britain with a theatrical company. He gained success early as the juvenile lead in Terence Rattigan’s first play ‘French without Tears,’ which also established Rex Harrison as a star.

 

Richard’s success in Rattigan’s play brought him to the attention of British and American film execs. When he wasn’t appearing on stage, he was also working as a model. So his acting talent and good looks made him a fit for 20th Century Fox, the studio that signed him. Richard moved to American in 1938, and he was quickly featured in several motion pictures that year. His debut occurred in John Ford’s FOUR MEN AND A PRAYER, costarring Loretta Young. He and Young were repaired in KENTUCKY, a horse-racing story. And there were also a role in another Ford film, SUBMARINE PATROL; plus he had the lead in a Sonja Henie picture.

 

The young actor was equally busy in 1939. He had a role in Fox’s THE HOUND OF THE BASKERVILLES with Basil Rathbone and Nigel Bruce. There was above-the-title billing with Spencer Tracy in the studio’s adventure biopic STANLEY AND LIVINGSTONE. And he also appeared with Anita Louise in THE LITTLE PRINCESS, where he was cast as Shirley Temple’s soldier father. In real life, Richard Green would soon go off to the military, when Britain entered the war.

 

Leaving Hollywood to voluntarily serve in the war was considered the patriotic thing to do. However, his movie career would lose significant momentum. There were still pictures during the war years– he was occasionally granted furloughs to make British propaganda films. These included one with Anna Neagle, and another one with Richard’s wife Patricia Medina. After the war, he and Medina returned to America because she had been signed by Fox. During this time, he also worked for Fox again– in FOREVER AMBER and THE FAN. But then he began to freelance, and in the early 50s found himself typecast in swashbucklers.

 

His greatest fame as a swashbuckler came in 1955 when he was lured back to England to star in a weekly television series about Robin Hood. The Adventures of Robin Hood ran for five seasons and made him more popular than he had been in movies. After the show ceased production, he appeared in a feature film version produced by Hammer Films called SWORD OF SHERWOOD FOREST. It was also a hit with audiences. He took a break from acting for several years and traveled with his second wife and young daughter. In the late 60s, he returned in some Hammer horror films with Christopher Lee. And in 1972, he made his last film by appearing in a segment of TALES FROM THE CRYPT for Fox.

 

1. four men and a prayer (1938); fox; adventure; loretta young; 85 mins.
2. submarine patrol (1938); fox; adventure; nancy kelly; 95 mins.
3. the little princess (1939); fox; drama; shirley temple; 93 mins.
4. here i am a stranger (1939); fox; drama; richard dix; 82 mins.
5. i was an adventuress (1940); fox; drama; vera zorina; 81 mins.
6. unpublished story (1942); columbia; war film; valerie hobson; 92 mins.
7. yellow canary (1943); rko; drama; anna neagle; 95 mins.
8. forever amber (1947); fox; romance drama; linda darnell; 138 mins.
9. the desert hawk (1950); universal; adventure; yvonne de carlo; 77 mins.
10. the black castle (1952); universal; mystery; stephen mcnally; 82 mins.

 

Magnificent-looking man!

[TopBilled]

 

Celia Johnson started performing in public at the age of eight, playing in charity benefits. When she was old enough to start earning a living for herself, she decided acting was something she should do full-time– because she knew she was good at it. By the time she began making films, she was even better. She not only brought her extensive stage experience to the cinema, but she also brought a much-needed wisdom that was welcomed on screen during WWII.
 

She appeared in Noel Coward’s IN WHICH WE SERVE, and this led to her most highly regarded part as a tempted housewife in Coward’s other production, BRIEF ENCOUNTER. David Lean directed Celia and leading man Trevor Howard, and their unconventional “love story” was a hit on both sides of the Atlantic. Years later, in observance of what would have been Celia’s 100th birthday, one of her daughters remarked how this performance ensured her mother’s work as an actress would not be forgotten.
 

After the war, she remained off screen for the next five years and concentrated on the raising of her daughters. In the early 50s, there were more roles on stage, and she returned to moviemaking in another collaboration with Noel Coward. They costarred in THE ASTONISHED HEART, based on one of his shorter plays, about a wife who must contend with the fact her doctor husband has fallen for a patient. The following year Celia was nominated for a BAFTA as Best Actress in Basil Dearden’s I BELIEVE IN YOU; and two years later, she had another nomination for her work in a comedy with Alec Guinness.
 

Celia finally earned a BAFTA for her supporting work in the 1969 film version of THE PRIME OF MISS JEAN BRODIE. She was cast as Miss Mackay, the austere headmistress of an all-girls school, opposite Maggie Smith who portrayed a controversial instructor. Four years later, Celia received another award for her work in a telefilm called MRS. PALFREY AT THE CLAREMONT. She continued to act for the next decade, mostly on television, and was nominated two more times in the early 1980s.
 

1. in which we serve (1942); british lion; war film; noel coward; 115 mins.
2. this happy breed (1944); eagle-lion; drama; robert newton; 115 min.
3. brief encounter (1945); eagle-lion; romance drama; trevor howard; 86 mins.
4. the astonished heart (1950); gainsborough; drama; noel coward; 85 mins.
5. i believe in you (1951); ealing; drama; cecil parker; 95 mins.
6. the holly and the ivy (1952); british lion; drama; ralph richardson; 83 mins.
7. the captain’s paradise (1953); british lion; comedy; alec guinness; 93 mins.
8. a kid for two farthings (1955); london films; diana dors; 96 mins.
9. the good companions (1957); associated british; musical comedy; eric portman; 104 mins.
10. the prime of miss jean brodie (1969); fox; drama; maggie smith; 116 mins.
     

 

 

[TopBilled]

Can you guess the ones I will be spotlighting..?

 

Names on radio

 

 

Thursday February 2-- #451: Musician who appeared in Preston Sturges' comedies

Friday February 3-- #452: George Burns' better half

Saturday February 4-- #453: Wanted to know if anyone would buy a duck

Sunday February 5-- #454: One of Hollywood's busiest character actresses

Monday February 6-- #455: Worked for Jack Benny

Tuesday February 7-- #456: Costarred with W.C. Fields and Doris Day

Wednesday February 8-- #457: Found out he wasn't really married to Ginger Rogers

[TopBilled]

 

Rudy Vallee was one of the top crooners of his day. He was a star on radio and one of his generation’s teen idols. It was inevitable that a movie studio would want to cash in on his popularity. Of course, appearing in films was probably not his original goal. Primarily, he was a musician; he had achieved success in the mid-1920s touring with his band. He was given a recording contract by the end of the decade, and his vocals were heard in homes across America. He inspired many other crooners who came after him, like Bing Crosby and Frank Sinatra.
 

In 1929, at the height of his popularity as a vocalist, RKO signed him to make his first motion picture, THE VAGABOND LADY. Costars included Sally Blane and Marie Dressler. It was a hit, one of RKO’s top films of the year. In addition to his newfound success on screen, Rudy also began hosting a weekly radio series that would run for quite a few years. In the meanwhile, he appeared in several musical-type short films, until his next feature which was produced at Paramount– 1933’s INTERNATIONAL HOUSE. This production found him cast alongside people like W.C. Fields and Rose Marie. A year later he had a starring role in GEORGE WHITE’S SCANDALS (1934) at Fox. His acting was still a bit wooden, but he had another hit. After this he starred in two pictures at Warners– SWEET MUSIC and GOLD DIGGERS IN PARIS.
 

It wasn’t until 1939 when Rudy Vallee began to find his niche as a more relaxed supporting player in musical comedy pictures. He earned good notices for his turn in SECOND FIDDLE with Sonja Henie and Tyrone Power. It would lead to his casting in several Preston Sturges films during the 1940s. The first collaboration was THE PALM BEACH STORY where he supported Claudette Colbert and Mary Astor. He and Sturges also worked together in Harold Lloyd’s last feature THE SIN OF HAROLD DIDDLEBOCK; in UNFAITHFULLY YOURS which starred Rex Harrison; and in THE BEAUTIFUL BLONDE FROM BASHFUL BEND with Betty Grable. In between these assignments, Rudy took roles in other pictures. Most of these were musicals or light romantic comedies, though there was a noteworthy exception when he took a dramatic role in RKO’s I REMEMBER MAMA.
 

In the 50s and 60s, Rudy appeared less frequently in movies and turned like so many stars of his generation to television. Usually guest appearances on variety shows and sitcoms helped him remain in the public eye. Though he hadn’t had a hit record since the late 30s, he was still producing albums and performing with a band before live audiences. He was a legendary talent, a man who entertained the masses for decades in more than one artistic and commercial medium.
 

1. the vagabond lover (1929); rko; musical comedy-drama; sally blane; 65 mins.
2. george white’s scandals (1934); fox; musical; jimmy durante; 80 mins.
3. sweet music (1935); warner brothers; musical; ann dvorak; 100 mins.
4. gold diggers in paris (1938); warner brothers; musical; rosemary lane; 97 mins.
5. second fiddle (1939); fox; musical romance; sonja henie; 85 mins.
6. time out for rhythm (1941); columbia; musical comedy; ann miller; 75 mins.
7. the fabulous suzanne (1946); republic; romantic comedy; barbara britton; 71 mins.
8. the bachelor and the bobby-soxer (1947); rko; comedy; cary grant; 95 mins.
9. so this is new york (1948); independent; comedy; henry morgan; 79 mins.
10. how to succeed in business without really trying (1967); ua; musical comedy; robert morse; 121 mins.

[rayban]

 

 

Rudy Vallee was one of the top crooners of his day. He was a star on radio and one of his generation’s teen idols. It was inevitable that a movie studio would want to cash in on his popularity. Of course, appearing in films was probably not his original goal. Primarily, he was a musician; he had achieved success in the mid-1920s touring with his band. He was given a recording contract by the end of the decade, and his vocals were heard in homes across America. He inspired many other crooners who came after him, like Bing Crosby and Frank Sinatra.

 

In 1929, at the height of his popularity as a vocalist, RKO signed him to make his first motion picture, THE VAGABOND LADY. Costars included Sally Blane and Marie Dressler. It was a hit, one of RKO’s top films of the year. In addition to his newfound success on screen, Rudy also began hosting a weekly radio series that would run for quite a few years. In the meanwhile, he appeared in several musical-type short films, until his next feature which was produced at Paramount– 1933’s INTERNATIONAL HOUSE. This production found him cast alongside people like W.C. Fields and Rose Marie. A year later he had a starring role in GEORGE WHITE’S SCANDALS (1934) at Fox. His acting was still a bit wooden, but he had another hit. After this he starred in two pictures at Warners– SWEET MUSIC and GOLD DIGGERS IN PARIS.

 

It wasn’t until 1939 when Rudy Vallee began to find his niche as a more relaxed supporting player in musical comedy pictures. He earned good notices for his turn in SECOND FIDDLE with Sonja Henie and Tyrone Power. It would lead to his casting in several Preston Sturges films during the 1940s. The first collaboration was THE PALM BEACH STORY where he supported Claudette Colbert and Mary Astor. He and Sturges also worked together in Harold Lloyd’s last feature THE SIN OF HAROLD DIDDLEBOCK; in UNFAITHFULLY YOURS which starred Rex Harrison; and in THE BEAUTIFUL BLONDE FROM BASHFUL BEND with Betty Grable. In between these assignments, Rudy took roles in other pictures. Most of these were musicals or light romantic comedies, though there was a noteworthy exception when he took a dramatic role in RKO’s I REMEMBER MAMA.

 

In the 50s and 60s, Rudy appeared less frequently in movies and turned like so many stars of his generation to television. Usually guest appearances on variety shows and sitcoms helped him remain in the public eye. Though he hadn’t had a hit record since the late 30s, he was still producing albums and performing with a band before live audiences. He was a legendary talent, a man who entertained the masses for decades in more than one artistic and commercial medium.

 

1. the vagabond lover (1929); rko; musical comedy-drama; sally blane; 65 mins.
2. george white’s scandals (1934); fox; musical; jimmy durante; 80 mins.
3. sweet music (1935); warner brothers; musical; ann dvorak; 100 mins.
4. gold diggers in paris (1938); warner brothers; musical; rosemary lane; 97 mins.
5. second fiddle (1939); fox; musical romance; sonja henie; 85 mins.
6. time out for rhythm (1941); columbia; musical comedy; ann miller; 75 mins.
7. the fabulous suzanne (1946); republic; romantic comedy; barbara britton; 71 mins.
8. the bachelor and the bobby-soxer (1947); rko; comedy; cary grant; 95 mins.
9. so this is new york (1948); independent; comedy; henry morgan; 79 mins.
10. how to succeed in business without really trying (1967); ua; musical comedy; robert morse; 121 mins.

 

Along with Claudette Colbert, Joel McCrea and Mary Astor, Rudy Vallee was memorable in Preston Sturges' one-of-a-kind comedy, "The Palm Beach Story".

[TopBilled]

Along with Claudette Colbert, Joel McCrea and Mary Astor, Rudy Vallee was memorable in Preston Sturges' one-of-a-kind comedy, "The Palm Beach Story".

 

Yes, great film. Not long ago I caught Vallee on an episode of Here's Lucy on Hulu. Made in 1970. There's a cute scene where Lucille Ball and Lucie Arnaz perform with him on stage while he plays the saxophone. It probably seemed corny and old-fashioned when it was first broadcast, but it's fun to see.

[TopBilled]

 

Like so many others from her generation, Grace Allen started in vaudeville at a very young age. In fact, she was just three when she made her first public appearance as an entertainer. By the time she was in her teens, she and her sisters were touring all over the place as a musical-comedy group. During this time, she refined her skills as a dancer and as a comedienne.
 

She didn’t meet George Burns until she was 27 years old, and they didn’t marry until a few years later. She eventually left her sisters and formed a new act with Burns. In the beginning she set up the jokes, and he had the punch lines. But she was still managing to get more laughs because of her wacky delivery, so George switched roles with her. He began to play the ‘straight man’ and in his humble estimation, she pretty much became the show. Though a lot of their routines focused on Gracie’s famous illogical thought processes, it was clear they both had the brains to realize this was a winning formula with audiences.
 

From the stage, they went to films and radio. Some of their routines were recorded in a series of short films. Next, they signed with Paramount and were put into a series of features. In these pictures they costarred with W.C. Fields and their friend Jack Benny. Eventually, Paramount gave them their own movies to star in, but they remained more popular with audiences on radio. By 1940, their movie career was in decline but their revamped radio show, which changed from a variety show to more of a sitcom format, became an even greater hit. In the meantime, Gracie did two films without George at MGM, but their fans preferred them performing together.
 

In the late 40s, they signed with CBS to develop their own television series. It was basically an extension of their radio sitcom. The George Burns & Gracie Allen Show was an enormous success, running for eight seasons and producing nearly 300 episodes. The couple’s son Ronnie played their son on the program during its later seasons; and their daughter Sandra occasionally had bit parts. In 1958, Gracie decided to retire from performing, citing health issues. She passed away six years later after a heart attack. Of course, George’s film career experienced a major resurgence in the 1970s and 1980s but probably his best-loved routines will always be the ones he and Gracie did together.
 

1. the big broadcast (1932); paramount; musical comedy; bing crosby; 80 mins.
2. many happy returns (1934); paramount; comedy; george burn; 64 mins.
3. six of a kind (1934); paramount; comedy; w.c. fields; 62 mins.
4. love in bloom (1935); paramount; comedy; george burns; 75 mins.
5. here comes cookie (1935); paramount; comedy; george burns; 65 mins.
6. college holiday (1936); paramount; comedy; jack benny; 86 mins.
7. a damsel in distress (1937); rko; musical comedy; fred Astaire; 98 mins.
8. college swing (1938); paramount; comedy; george burns; 86 mins.
9. honolulu (1939); mgm; musical; eleanor powell; 102 mins.
10. the gracie allen murder case (1940); paramount; mystery; warren william; 78 mins.

[rayban]

 

 

Like so many others from her generation, Grace Allen started in vaudeville at a very young age. In fact, she was just three when she made her first public appearance as an entertainer. By the time she was in her teens, she and her sisters were touring all over the place as a musical-comedy group. During this time, she refined her skills as a dancer and as a comedienne.

 

She didn’t meet George Burns until she was 27 years old, and they didn’t marry until a few years later. She eventually left her sisters and formed a new act with Burns. In the beginning she set up the jokes, and he had the punch lines. But she was still managing to get more laughs because of her wacky delivery, so George switched roles with her. He began to play the ‘straight man’ and in his humble estimation, she pretty much became the show. Though a lot of their routines focused on Gracie’s famous illogical thought processes, it was clear they both had the brains to realize this was a winning formula with audiences.

 

From the stage, they went to films and radio. Some of their routines were recorded in a series of short films. Next, they signed with Paramount and were put into a series of features. In these pictures they costarred with W.C. Fields and their friend Jack Benny. Eventually, Paramount gave them their own movies to star in, but they remained more popular with audiences on radio. By 1940, their movie career was in decline but their revamped radio show, which changed from a variety show to more of a sitcom format, became an even greater hit. In the meantime, Gracie did two films without George at MGM, but their fans preferred them performing together.

 

In the late 40s, they signed with CBS to develop their own television series. It was basically an extension of their radio sitcom. The George Burns & Gracie Allen Show was an enormous success, running for eight seasons and producing nearly 300 episodes. The couple’s son Ronnie played their son on the program during its later seasons; and their daughter Sandra occasionally had bit parts. In 1958, Gracie decided to retire from performing, citing health issues. She passed away six years later after a heart attack. Of course, George’s film career experienced a major resurgence in the 1970s and 1980s but probably his best-loved routines will always be the ones he and Gracie did together.

 

1. the big broadcast (1932); paramount; musical comedy; bing crosby; 80 mins.
2. many happy returns (1934); paramount; comedy; george burn; 64 mins.
3. six of a kind (1934); paramount; comedy; w.c. fields; 62 mins.
4. love in bloom (1935); paramount; comedy; george burns; 75 mins.
5. here comes cookie (1935); paramount; comedy; george burns; 65 mins.
6. college holiday (1936); paramount; comedy; jack benny; 86 mins.
7. a damsel in distress (1937); rko; musical comedy; fred Astaire; 98 mins.
8. college swing (1938); paramount; comedy; george burns; 86 mins.
9. honolulu (1939); mgm; musical; eleanor powell; 102 mins.
10. the gracie allen murder case (1940); paramount; mystery; warren william; 78 mins.

 

I would love to experience them again - maybe their TV show can be found on some classic TV stations.

[TopBilled]

I would love to experience them again - maybe their TV show can be found on some classic TV stations.

 

I think it can. Not sure which one(s). 

[AndreaDoria]

"A Damsel In Distress,"  is my favorite Fred Astaire movie, mainly because George and Gracie are in it.  They're just adorable together.

 

Many episodes of the old "Burns and Allen" shows are on YouTube.

[TopBilled]

"A Damsel In Distress,"  is my favorite Fred Astaire movie, mainly because George and Gracie are in it.  They're just adorable together.

 

Many episodes of the old "Burns and Allen" shows are on YouTube.

 

I'm glad you mentioned A DAMSEL IN DISTRESS. I read they auditioned for Astaire before they were cast. At the time, they were considered comedians and not dancers. Because Joan Fontaine did not dance, Astaire needed supporting actors who would be able to do the musical numbers with him. He didn't realize they had these skills until they auditioned. Gracie had started dancing as a kid with her sisters in vaudeville so she was quite accomplished in this regard.

[TopBilled]

 

Comedian Joe Penner perfected many zany routines during his early years in vaudeville. He also gained valuable experience in two Broadway productions when he was still making a name for himself. When he wasn’t on stage, he found an opportunity to bring his brand of humor to radio audiences on Rudy Vallee’s variety show. His sketches were well-received by Vallee’s listeners. As a result of his increasing popularity, Joe was offered the chance to headline his own weekly program. His absurd shtick went over like gangbusters, and he offered up memorable catchphrases such as ‘wanna buy a duck?’
 

Hollywood studios did not want to buy a duck, but they did want to buy Joe’s movie services. Quickly he was signed for his first feature film. He made people laugh in two college musicals at Paramount in which he costarred with Jack Oakie. The success of the first picture, plus the success of his radio series, led to Joe being named top comedian of 1934. He would continue to be a fan favorite for most of the 1930s. After he left Paramount, Joe signed with RKO to made a series of modestly budgeted screwball comedies. In these productions, he was cast opposite Lucille Ball in GO CHASE YOURSELF; and he starred with Betty Grable in THE DAY THE BOOKIES WEPT.
 

Joe’s slapstick foolishness enlivened the pictures he made, and his style made him extremely well-liked by kids. In some ways, he was the PeeWee Herman of his time. When he finished at RKO, Joe appeared in the big screen adaptation of THE BOYS OF SYRACUSE at Universal. He had a dual role (twice the fun) and worked with Martha Raye. It would be his most popular movie, but unfortunately it was also his last one. A short time later, he was touring in a comedy show and suffered from a heart attack. He was only 36 years old.
 

1. college rhythm (1934); paramount; musical comedy; jack oakie; 86 mins.
2. collegiate (1936); paramount; musical; jack oakie; 80 mins.
3. new faces of 1937 (1937); rko; comedy; milton berle; 100 mins.
4. the life of the party (1937); rko; comedy; gene raymond; 77 mins.
5. go chase yourself (1938); rko; crime comedy; lucille ball; 70 mins.
6. i’m from the city (1938); rko; western comedy; richard lane; 66 mins.
7. mr. doodle kicks off (1938); rko; comedy; june travis; 75 mins.
8. the day the bookies wept (1939); rko; comedy; betty grable; 64 mins.
9. millionaire playboy (1940); rko; comedy; linda hayes; 64 mins.
10. the boys from syracuse (1940); universal; musical comedy; allan jones; 73 mins.
     

[TopBilled]

 

Virginia Gregg started on radio when she played bass as part of a popular musical group. She and her fellow musicians enjoyed mild success, but Virginia became more interested in doing roles on dramatic series. From the late 1930s until the early 1960s, she worked with practically everyone on radio. For example, listeners heard her in shows with Dick Powell and Jack Webb. Webb became a close friend, and hired her often.
 

Also, she began to perform small roles in feature films. She was usually typecast as stern, authoritarian types who could instill the wrath of God in others. She had a memorable turn in the big screen version of DRAGNET. Webb had already used her for the radio program, and later she would be a frequent guest star on both his television versions. In addition to her work on DRAGNET, she provided the voice for Mother Bates in Alfred Hitchcock’s PSYCHO. She would reprise the character in two sequels decades later.
 

In between films Virginia continued to take other roles. During the 60s, after radio dramas gave way to television, she appeared on virtually every major TV series. Audiences recognized her voice and her face, though they might not have always known her name. In the 70s, she was still working steadily. She had a good supporting role in A WALK IN THE SPRING RAIN, opposite Anthony Quinn and Ingrid Bergman. And she was fourth-billed in a blaxploitation picture called NO WAY BACK.
 

When Virginia was not on screen, she was involved in charity work. Utilizing skills she had developed in radio, she would lend her voice to make recordings that assisted the blind. By the time Virginia passed away in 1986, she had amassed countless radio credits and over 200 screen credits.
 

1. dragnet (1954); warner brothers; crime; jack webb; 88 mins.
2. crime in the streets (1956); allied artists; crime; sal mineo; 91 mins.
3. portland expose (1957); allied artists; crime; edward binns; 72 mins.
4. operation petticoat (1959); universal; comedy; cary grant; 124 mins.
5. psycho (1960); universal; horror; anthony perkins; 109 mins.
6. house of women (1962); warner brothers; crime; shirley knight; 85 mins.
7. spencer’s mountain (1963); warner brothers; drama; henry fonda; 108 mins.
8. joy in the morning (1965); mgm; drama; richard chamberlain; 103 mins.
9. two on a guillotine (1965); warner brothers; horror; connie stevens; 107 mins.
10. a walk in the spring rain (1970); columbia; romance drama; anthony quinn; 98 mins.

[rayban]

 

 

Virginia Gregg started on radio when she played bass as part of a popular musical group. She and her fellow musicians enjoyed mild success, but Virginia became more interested in doing roles on dramatic series. From the late 1930s until the early 1960s, she worked with practically everyone on radio. For example, listeners heard her in shows with Dick Powell and Jack Webb. Webb became a close friend, and hired her often.

 

Also, she began to perform small roles in feature films. She was usually typecast as stern, authoritarian types who could instill the wrath of God in others. She had a memorable turn in the big screen version of DRAGNET. Webb had already used her for the radio program, and later she would be a frequent guest star on both his television versions. In addition to her work on DRAGNET, she provided the voice for Mother Bates in Alfred Hitchcock’s PSYCHO. She would reprise the character in two sequels decades later.

 

 

In between films Virginia continued to take other roles. During the 60s, after radio dramas gave way to television, she appeared on virtually every major TV series. Audiences recognized her voice and her face, though they might not have always known her name. In the 70s, she was still working steadily. She had a good supporting role in A WALK IN THE SPRING RAIN, opposite Anthony Quinn and Ingrid Bergman. And she was fourth-billed in a blaxploitation picture called NO WAY BACK.

 

When Virginia was not on screen, she was involved in charity work. Utilizing skills she had developed in radio, she would lend her voice to make recordings that assisted the blind. By the time Virginia passed away in 1986, she had amassed countless radio credits and over 200 screen credits.

 

1. dragnet (1954); warner brothers; crime; jack webb; 88 mins.
2. crime in the streets (1956); allied artists; crime; sal mineo; 91 mins.
3. portland expose (1957); allied artists; crime; edward binns; 72 mins.
4. operation petticoat (1959); universal; comedy; cary grant; 124 mins.
5. psycho (1960); universal; horror; anthony perkins; 109 mins.
6. house of women (1962); warner brothers; crime; shirley knight; 85 mins.
7. spencer’s mountain (1963); warner brothers; drama; henry fonda; 108 mins.
8. joy in the morning (1965); mgm; drama; richard chamberlain; 103 mins.
9. two on a guillotine (1965); warner brothers; horror; connie stevens; 107 mins.
10. a walk in the spring rain (1970); columbia; romance drama; anthony quinn; 98 mins.

 

Virginia Gregg turns up so often on classic TV stations and she is always a most capable actress, too.

 

I loved her along with Connie Stevens and Dean Jones in "Two On A Guillotine".

[TopBilled]

Virginia Gregg turns up so often on classic TV stations and she is always a most capable actress, too.

 

I loved her along with Connie Stevens and Dean Jones in "Two On A Guillotine".

 

I debated including her with the other "stars" but felt she deserved a mention. She's a major presence in the golden age of radio and she worked constantly on television and in films. You can't escape her. Her performances on Jack Webb's shows (Dragnet and the other series he produced in the 70s) are always entertaining.

[wouldbestar]

Thank you, thank you for profiling Virginia Gregg.  She was the total personification of an actress and probably spent more times on screen than the stars she most ably supported.  Just seeing her many performances on the Jack Webb shows validates her talent and those were just for starters.  Even my Mom would recognize her and stop to watch. 

[TopBilled]

Thank you, thank you for profiling Virginia Gregg.  She was the total personification of an actress and probably spent more times on screen than the stars she most ably supported.  Just seeing her many performances on the Jack Webb shows validates her talent and those were just for starters.  Even my Mom would recognize her and stop to watch. 

 

You're welcome. What strikes me about her is the incredibly versatility she had. Some character actors and actresses get pigeonholed as a certain 'type' and it's pretty much all they play. But Virginia Gregg knew how to change her voice and her mannerisms to suggest different kinds of women. She basically became a stock player for Webb's Mark IV production company. It's easy to see why, because they could plug her into almost any role. 

[TopBilled]

 

Eddie Anderson’s given name was Edmund, but to audiences he was better known as Rochester– the personal valet and butler of Jack Benny. Benny’s radio show had already been a hit when Eddie took guest roles on the series. Usually he played train porters, restaurant waiters and other servant-type characters. At first he didn’t appear in every broadcast, and when he wasn’t featured, the show was flooded with mail from people who wanted to know where he was.
 

Quickly, Benny and his writers realized how important Eddie was and the type of regular character he could play in their on-going stories. He soon became a great foil to Benny– greater than the rest of the cast, including Benny’s own wife. His character was given the name Rochester, and in a reference to his first appearance playing a porter, it was explained that Benny had acquired Rochester’s services after inadvertently getting him fired on the train. The Rochester-Benny relationship became so special that Eddie Anderson became a bonafide celebrity in his own right.
 

He had already appeared in minor roles in films, when he began to join Benny in the comedian’s pictures at Paramount. He usually played Rochester or else a variant of Rochester in the movies he made during the 1940s. One notable exception was his lead role in MGM’s musical CABIN IN THE SKY with Lena Horne. In the 50s, he and the rest of Benny’s staff headed into television. As a result of his long-running role as Rochester, he became very wealthy (and probably had his own butler and valet).
 

The Benny gig lasted until 1965. There was a reunion special a few years later. In the meantime, Eddie Anderson turned up in other programs of the late 60s and early 70s, taking assorted guest roles. He also landed a job in a Broadway production but had to bow out due to declining health. When he wasn’t working as an entertainer, he kept busy with his race horses (he owned several), and he looked after business investments and charities he helped fund.
 

1. the green pastures (1936); warner brothers; drama; rex ingram; 93 mins.
2. you can’t cheat an honest man (1938); universal; comedy; w.c. fields; 79 mins.
3. man about town (1939); paramount; comedy; jack benny; 85 mins.
4. buck benny rides again (1940); paramount; western comedy; jack benny; 82 mins.
5. kiss the boys goodbye (1941); paramount; musical; don ameche; 85 mins.
6. birth of the blues (1941); paramount; musical; bing crosby; 87 mins.
7. the meanest man in the world (1943); fox; comedy; jack benny; 57 mins.
8. cabin in the sky (1943); mgm; musical; ethel waters; 98 mins.
9. brewster’s millions (1945); ua; comedy; dennis o’keefe; 79 mins.
10. the show-off (1946); mgm; comedy; red skelton; 83 mins.

[rayban]

 

 

Eddie Anderson’s given name was Edmund, but to audiences he was better known as Rochester– the personal valet and butler of Jack Benny. Benny’s radio show had already been a hit when Eddie took guest roles on the series. Usually he played train porters, restaurant waiters and other servant-type characters. At first he didn’t appear in every broadcast, and when he wasn’t featured, the show was flooded with mail from people who wanted to know where he was.

 

Quickly, Benny and his writers realized how important Eddie was and the type of regular character he could play in their on-going stories. He soon became a great foil to Benny– greater than the rest of the cast, including Benny’s own wife. His character was given the name Rochester, and in a reference to his first appearance playing a porter, it was explained that Benny had acquired Rochester’s services after inadvertently getting him fired on the train. The Rochester-Benny relationship became so special that Eddie Anderson became a bonafide celebrity in his own right.

 

He had already appeared in minor roles in films, when he began to join Benny in the comedian’s pictures at Paramount. He usually played Rochester or else a variant of Rochester in the movies he made during the 1940s. One notable exception was his lead role in MGM’s musical CABIN IN THE SKY with Lena Horne. In the 50s, he and the rest of Benny’s staff headed into television. As a result of his long-running role as Rochester, he became very wealthy (and probably had his own butler and valet).

 

The Benny gig lasted until 1965. There was a reunion special a few years later. In the meantime, Eddie Anderson turned up in other programs of the late 60s and early 70s, taking assorted guest roles. He also landed a job in a Broadway production but had to bow out due to declining health. When he wasn’t working as an entertainer, he kept busy with his race horses (he owned several), and he looked after business investments and charities he helped fund.

 

1. the green pastures (1936); warner brothers; drama; rex ingram; 93 mins.
2. you can’t cheat an honest man (1938); universal; comedy; w.c. fields; 79 mins.
3. man about town (1939); paramount; comedy; jack benny; 85 mins.
4. buck benny rides again (1940); paramount; western comedy; jack benny; 82 mins.
5. kiss the boys goodbye (1941); paramount; musical; don ameche; 85 mins.
6. birth of the blues (1941); paramount; musical; bing crosby; 87 mins.
7. the meanest man in the world (1943); fox; comedy; jack benny; 57 mins.
8. cabin in the sky (1943); mgm; musical; ethel waters; 98 mins.
9. brewster’s millions (1945); ua; comedy; dennis o’keefe; 79 mins.
10. the show-off (1946); mgm; comedy; red skelton; 83 mins.

 

He was terrific in "Cabin In The Sky".

[TopBilled]

 

She comes from an Italian family and her last name is Mazetta. But the world knows her as Rose Marie. And in the early days, she was known as Baby Rose Marie. She was performing at age three, and by five she was on radio. She had her own hit records on the music charts by the time she was ten, and she was also making short films around that time.
 

During the Depression, her popularity continued. She recorded tunes with big name orchestras, and when she wasn’t singing, she made a feature at Paramount with W.C. Fields. But in those days, her focus was on music, not acting. As a teen she drew crowds in nightclubs and she did successful shows in Las Vegas. During her Vegas years, she was the darling of mobsters and tourists. And she formed lifelong friendships with people like Frank Sinatra.
 

In the early 50s, Rose Marie was on Broadway with Phil Silvers. Their show, TOP BANANA, was turned into a motion picture. And while she would occasionally do films over the years, she segued from music recordings and nightclub shows to work on television. In the early 60s, she had a supporting role on a TV version of My Sister Eileen; then, the following year, she was cast on The Dick Van Dyke Show. After the series ended, she turned up on game shows.
 

For two years, she was featured on Doris Day’s hit sitcom. She played a coworker and all-purpose “partner in crime” alongside Doris’ character. She followed this with recurring roles in other programs. She has returned to the big screen several times, and she’s always good for a laugh. In recent years, she published her autobiography, and currently there is a documentary in the works about her long career and life.
 

1. international house (1933); paramount; comedy; w.c. fields; 70 mins.
2. top banana (1954); ua; comedy; phil silvers; 100 mins.
3. the big beat (1958); universal; musical; william reynolds; 81 mins.
4. don’t worry we’ll think of a title (1966); ua; comedy; morey amsterdam; 83 mins.
5. dead heat on a merry-go-round (1966); columbia; crime; james coburn; 104 mins.
6. cheaper to keep her (1980); independent; comedy; mac davis; 92 mins.
7. witchboard (1986); independent; horror; todd allen; 98 mins.
8. psycho (1998); universal; horror; vince vaughn; 105 mins.

[rayban]

 

 

She comes from an Italian family and her last name is Mazetta. But the world knows her as Rose Marie. And in the early days, she was known as Baby Rose Marie. She was performing at age three, and by five she was on radio. She had her own hit records on the music charts by the time she was ten, and she was also making short films around that time.

 

During the Depression, her popularity continued. She recorded tunes with big name orchestras, and when she wasn’t singing, she made a feature at Paramount with W.C. Fields. But in those days, her focus was on music, not acting. As a teen she drew crowds in nightclubs and she did successful shows in Las Vegas. During her Vegas years, she was the darling of mobsters and tourists. And she formed lifelong friendships with people like Frank Sinatra.

 

In the early 50s, Rose Marie was on Broadway with Phil Silvers. Their show, TOP BANANA, was turned into a motion picture. And while she would occasionally do films over the years, she segued from music recordings and nightclub shows to work on television. In the early 60s, she had a supporting role on a TV version of My Sister Eileen; then, the following year, she was cast on The Dick Van Dyke Show. After the series ended, she turned up on game shows.

 

For two years, she was featured on Doris Day’s hit sitcom. She played a coworker and all-purpose “partner in crime” alongside Doris’ character. She followed this with recurring roles in other programs. She has returned to the big screen several times, and she’s always good for a laugh. In recent years, she published her autobiography, and currently there is a documentary in the works about her long career and life.

 

1. international house (1933); paramount; comedy; w.c. fields; 70 mins.
2. top banana (1954); ua; comedy; phil silvers; 100 mins.
3. the big beat (1958); universal; musical; william reynolds; 81 mins.
4. don’t worry we’ll think of a title (1966); ua; comedy; morey amsterdam; 83 mins.
5. dead heat on a merry-go-round (1966); columbia; crime; james coburn; 104 mins.
6. cheaper to keep her (1980); independent; comedy; mac davis; 92 mins.
7. witchboard (1986); independent; horror; todd allen; 98 mins.
8. psycho (1998); universal; horror; vince vaughn; 105 mins.

 

Rose Marie - and William Reynolds - in a musical, "The Big Beat" from Universal-International?  - I cannot wait!!

[TopBilled]

 

Fred Allen was the stage name of an Irish comedian born John F. Sullivan. He was raised by an aunt after his mother died, and there was a lot of commotion in the family– especially when his father remarried, and his younger brother left to live with their father. Maybe it’s ironic that while juggling family loyalty and early jobs as a teenager, he took up juggling for real. He also developed a ventriloquist act and several other comedy routines.
 

During one of his early jobs, he was chosen to entertain coworkers at a party and was an overwhelming hit. He was encouraged to quit and hit the road as a comedian and juggler (at least that’s what he writes in his autobiography). He toured for quite a few years, perfecting his act. Some of his travels took him to other countries, but eventually, he wound up back on the east coat. Now billed as ‘Fred Allen,’ he really began to make his mark. He was appearing in vaudeville as well as in more legitimate stage shows. Plus he and a girlfriend (who became his wife) began to get small jobs on radio.
 

By the mid-30s, Fred had become a major star on national radio. His witty sense of humor and ease with audiences made him quite popular. In real life, he and fellow radio star Jack Benny were very close friends. But the two men and their gag writers cooked up a long-running “feud” that went back on forth on their various shows. This so-called rivalry, which people believed was real, lasted for over a decade. It was also the basis for a film the two made together at Paramount in 1940, called LOVE THY NEIGHBOR.
 

In the mid-40s, Fred Allen had a starring role in the film IT’S IN THE BAG!, which also featured Benny. On radio, his format changed, and he became a lot more topical. He made wry quips about his bosses, his sponsors, about the increasing popularity of television, and other things that sometimes found him censored. His style would influence comedians who came after him, like Johnny Carson. In the early 50s, he was semi-retired due to hypertension and other related health issues. But 20th Century Fox managed to get his services for two anthology films in ’52. In one of these, he was a radio star (what else?) with Ginger Rogers.
 

1. thanks a million (1935); fox; musical comedy; dick powell; 87 mins.
2. sally, irene and mary (1938); fox; musical comedy; alice faye; 86 mins.
3. love thy neighbor (1940); paramount; musical comedy; jack benny; 82 mins.
4. it’s in the bag! (1945); ua; comedy; jack benny; 87 mins.
5. we’re not married! (1952); fox; comedy; ginger rogers; 86 mins.
6. o. henry’s full house (1952); fox; drama; oscar levant; 117 mins.

[TopBilled]

Can you guess the ones I will be spotlighting..?

 

Republic Pictures contract players

 

 

Friday February 10-- #458: Married to studio boss Herbert Yates

Saturday February 11-- #459: One of the Mesquiteers

Sunday February 12-- #460: Popular starlet in the late 40s and early 50s

Monday February 13-- #461: Versatile lead actor known for westerns and comedies

Tuesday February 14-- #462: Hillbilly singer and comedienne

Wednesday February 15-- #463: Known for countless villain roles

Thursday February 16-- #464: Mrs. Roy Rogers