Funny Face (1957)

Audrey Hepburn's male partners are a good case study for Hollywood sexism and ageism. In the 1950s and 1960s, she was often paired with older men, some old enough to be her father (Bogart, Cooper, Astaire, Fonda and Cary Grant - although he was in a category of his own). While we are expected that this bright, gorgeous creature could fall in love with older men; older women often had to suffer if they dared wishing to be interested in virile young men. This is one of the more extreme cases in this series - at some stage Astaire actually says that he doesn't care for her intellect. In the same vein, there is a scene where domestic violence turns rebellious women into devoted ones (this is set in France, so it could be aimed at French women). In fact, faced with Astaire's irrestitible charm, she abandons all intellectual preocupations for love.

Stanley Donen directed "Funny Face", which tells the story of a pretty young girl with intellectual ambitions that accepts a job as a modelling job in Paris so she can meet her favourite philosopher. Recycling Gershwin songs, it really intended to cash on Audrey Hepburn's stardom.

The satire has dated badly (the intellectual circles, the philosopher more interested in more material pursuits), and the romantic bits are over the top (the swans and the barge are really good examples). Hepburn is beautifully photographed (and the new restoration looks impeccable) and murders a few Gershwin songs (particularly "How long has this been going on?") but she has nothing else to do other than showing pretty clothes - although she does it well, creating an iconic image in the Louvre sequence. As for Astaire, all he does is repeat all he had spent the previous two and half decades doing. And while it's fun to see Paris in the 1950s (and how little the city centre has changed) and Givenchy and Edith Head get to show off their talent as designers, I fear this one is for hardcore Audrey fans only.

The sole redeeming feture of the film is Kay Thompson who gets the best number ("Think Pink!") and lightens up the others she appears. Oh, and Audrey's photographs within the film are very good indeed.

Al Hirschfeld and The Ultimate Solution of Grace Quigley (1984)

I love Al Hirschfeld's work, but it's always a pleasant surprise when I accidentally stumble against a new poster or cover art, or a caricature that I particularly like. Due to his longevity, his work covered the 20th century greats of Hollywood, Broadway and the West End. If there's no Hirschfeld drawing of you and you were working at that time, you really didn't make it.

So, by accident, I found the poster for "The Ultimate Solution of Grace Quigley" (1984), which has the distinction of being Katharine Hepburn's last film starring role (opposite Nick Nolte). I had never heard of the film, and from online clips it looks a lot like a cheap TV film. It has a interesting premise, though - but best of all, is the poster (particularly Kate's drawing).

Harold Ramis (1944-2014)

"Animal House", "Ghostbusters" and "Groundhog Day". No need to say add anything else.

I Married a Witch (1942)

Veronica Lake is a strange one in Hollywood stardom. She had an iconic hairstyle which propelled her to stardom. She was in a few movies ("Sullivan's Travels", the Alan Ladd noirs) which have endured well, and partly because of this, she has a reasonable cult following. What she didn't have was a wide range in her acting skills, and in René Clair's "I Married a Witch" she is absolutely dreadful - and I am aware I am in a minority here.

Actually the whole film is somewhat odd, on and off screen. Produced by Paramount, it was sold by the studio to United Artists when Paramount had a surplus of films and UA not enough. Assuming the film was sold after Lake's peekaboo hair made its first screen appearance (I have no evidence for making this assumption), Paramount only would have sold it either they thought the film was a sure hit and a lot of money passed hands or if the studio had little faith in the film and disposed of it as quickly as it could. I have to say that with the film as the only evidence, I am inclined for the second option.

The film tells the story of a witch falling in love and marrying a man (Fredric March) whose family condemned her to burn centuries before. It is perhaps better known as one of the inspirations of the TV series "Bewitched". Originally set to be produced by Preston Sturges and starring Joel McCrea, that might have resulted in a better film, as March and Lake famously didn't get along. This occasionally shows - Lake lacks the catlike playfulness she should have had while seducing him (I keep thinking what Barbara Stanwyck, Carole Lombard or Irene Dunne could have done with it). Only at the very end of the film (when she sorts things out), was I happy with her performance.

Of course, the film fails elsewhere and I am not blaming Lake for it all. March is best described as competent here (and he could so much better) and the film takes a while to gather pace, with the first half dragging a bit. It does improve in the second half, particularly in the wedding scenes and the build-up to the climax. I also loved the epilogue (possibly the most Paramount-like moment of the whole film). The supporting cast, particularly a young Susan Hayward as the always nagging fiancée, is very good. She also would also have been a good choice for the lead. Oh, and the posters are great (and Lake does look very good indeed).

Family Honeymoon (1948)

"Family Honeymoon" is the last pairing of Claudette Colbert and Fred MacMurray. And of the six I have seen (I am missing the elusive "Practically Yours"), it is the dullest and most uninspired. It is also the most reactionary, even if it starts off with a good premise. A widow with three children is to marry an academic. However, the kids babysitter (her spinster sister) breaks her leg and is unable to manage the kids who tag along on the honeymoon.

Up to the end of WWII, marriage meant the couple was finally allowed to have sex (e.g. Minnelli's "The Clock"). This meant that the film (and its leads) could, particularly in comedy, increase and escalate tension with the audience knowing that at the end there would be some release (yes, I know awful pun). Whereas here the children are the excuse to keep everything censor friendly. Colbert dexterously avoids any move from MacMurray; one scene has her giving a stern look, completely emasculating him: MacMurray is an an absent minded professor who is not will not be rewarded until he ascertains his masculinity over an over feminine Colbert, who seems to have failed to notice her children are unruly until she looses her man - the double implication that a) a woman can't raise children without a man and b) a woman needs a man to guide her to life. These are lazy post-war Hollywood stereotypes at their worst.

The plot is also full of preposterous incidents (a mother not paying attention to their kids at a train stop?!) and a predatory woman (Rita Johnson, failing to do what Gail Patrick could do so well) to keep the story moving to its 90th minute. This latter point is actually extraordinarily annoying, as it passes all possible suspension of disbelief, with Johnson's character too eager to disrupt the honeymoon. Although I must confess that the party sequence at the end was a slight improvement over the rest of the film.

Neither Colbert or MacMurray do more than the bare minimum and I would suggest that all they thought of was the pay check, and honestly I can't blame them. Hattie McDaniel has a small role, just a bit more than a cameo, and looks very ill in what was one of her last film roles. Only Lilian Bronson as Colbert's sister manages to make something interesting of what is an disappointing
farewell of one of my favourite actor pairings of old Hollywood.

Shirley Temple (1928-2014)

The most famous child film star of all time. No two ways about it.

Juanita Moore (1922-2014)

Oscar nominated for "Imitation for Life", I recently saw one of her (uncredited) performances in "A Child is Waiting".

A fine actress, whose skin colour prevented her go as far as her talent would have let her.

PS - She may have been born in 1914, but that date seems to have been mentioned only in obituaries.