Showing posts with label Doris Day. Show all posts
Showing posts with label Doris Day. Show all posts

Sunday, September 28, 2025

2024-25 Saturdays with the Stars Recap

Debbie Reynolds & Audrey Hepburn, two of
our stars this year
It took longer than I expected, but we have finished up our sixth season of Saturdays with the Stars.  I will be honest-I don't entirely know whether or not this will be our final season.  I have two ideas rolling around my head for a theoretical seventh season (I do love this series...along with the My Ballots, it's my favorite thing I do here), both of which would be interesting, but I also am respecting that I chose to step away from longer-term blog commitments for a reason, and to some degree I'm making more of that time (exercising more, watching more OVP movies, reading considerably more), while other writing projects I've not yet gotten a good routine around in the way I used to have for this blog.  If we do do another season, it won't be until January, so we will for sure be getting a few months off regardless as I attempt two writing projects in the meantime.  I am unequivocally glad that I decided to finish this season up, though, regardless, as I don't love an unfinished project, and this had been bugging me.

One of the things that I'm struck by this season is that, for a large part, the movies this season were not as well-received by me as our past five years.  Part of this is my self-imposed rule that I don't repeat films I've already seen.  Some of these women have been in great movies, occasionally (like Audrey Hepburn in Roman Holiday and Julia Roberts in Notting Hill) in movies that I would happily name-check as all-time favorites.  But I will also own that the title of being "America's Sweetheart" means that, even more than our second season focusing on sex symbols, the public limits how much risk the studio is willing to take on you.  With the exception of Sally Field, none of the women we talked about this month were able to have the same level of financial success when they were America's Sweetheart as they would after they would free themselves of that title, and thus while there are definitely good performances...they aren't as frequent.  I did still see some great work (and great movies), but I will own that none of the 12 films that I saw this year looks like a future medalist in our My Ballot Best Picture category (at best, it'll be one of the other titles that fill up the ten-wide Best Picture field), and only a couple of the performances will likely end up as My Ballot nominees for acting.  Still, there's more to life than awards, and there's lots of fluff & fun to recommend here.  Below, find my superlatives from our sixth season of Saturdays with the Stars.

Favorite Performance from Each Star 

August: Sandra Dee, Gidget
November (but really August 2025): Julia Roberts, Mystic Pizza
December (but really September 2025): Meg Ryan, Joe Versus the Volcano

5 Favorite Performers (Alphabetical, and based solely on the films we watched as a collective & not on the rest of their careers)


5 Favorite Performances of the Year (Alphabetical)


12 Favorite Films of the Year (Alphabetical)


Top 12 Performances of the Year (Not By Our Stars...and Yes, Alphabetical)

Frankie Avalon, Beach Party
Jimmy Durante, Two Girls and a Sailor
Timothy Hutton, Ordinary People
Tommy Kirk, Babes in Toyland
Hattie McDaniel, The Little Colonel
Jimmy Stewart, The Glenn Miller Story
Donald Sutherland, Ordinary People
Elizabeth Taylor, Little Women
Denzel Washington, Courage Under Fire

Saturday, May 25, 2024

The Glass Bottom Boat (1966)

Film: The Glass Bottom Boat (1966)
Stars: Doris Day, Rod Taylor, Arthur Godfrey, John McGiver, Paul Lynde, Dom DeLuise, Dick Martin
Director: Frank Tashlin
Oscar History: No nominations
Snap Judgment Ranking: 3/5 stars

Each month, as part of our 2024 Saturdays with the Stars series, we are looking at the women who were once crowned as "America's Sweethearts" and the careers that inspired that title (and what happened when they eventually lost it to a new generation).  This month, our focus is on Doris Day: click here to learn more about Ms. Day (and why I picked her), and click here for other Saturdays with the Stars articles.

Doris Day's film career ended pretty quickly after she stopped being persistently bankable, which is not the case for most leading actors (where they get at least 5-7 years of grace period before Hollywood quits on them entirely, albeit they do so in lesser and lesser parts).  The Glass Bottom Boat in 1966 was her final major hit (keeping her in the Top 10 most bankable stars in Hollywood despite being a woman of 44, a death knell age at the time), and she would only make movies for another two years.  We're going to talk about this below, but the back half of Day's career, when she would move away from film, was rough, and involved quite a few scandals for the girl who, more than any actress of her generation, inhabited the "girl next door" motif, and many of them involved the men in her life, one of whom was her husband Marty Melcher, a film producer who was one of the producers on The Glass Bottom Boat.

(Spoilers Ahead) Before we get into that, though, we're going to talk about The Glass Bottom Boat, which features Day as widow Jennifer Nelson who spends her time split between helping her dad's tourism company (where she dons mermaid apparel and swims underneath the titular glass bottom boat), and working at an aerospace company in public relations.  There she meets her boss Bruce Templeton (Taylor), whom she already fought with when he hooks the bottom half of her mermaid outfit during her routine in the film's opening scene.  The two start up a friendship, and it's clear that he has access to important government secrets.  While Bruce is falling in love with Jennifer, the rest of the men in the company (including comedians Paul Lynde, Dom DeLuise, & Dick Martin) go about trying to prove that Jennifer is a spy.  They find out that she's not, but instead it's another man posing as a CIA official who is the spy, but Jennifer & Bruce stop him, and end up getting married, driving off in a boat that they quickly crash.

Your patience with The Glass Bottom Boat will depend on two things: how much you like late-1960's slapstick comedy (which is very similar to the sitcom-y style you also would've found on television) and with Day as a performer.  Day is too old to be playing such an idiot this far into her career, and it makes sense that she was starting to become a punchline to audiences at the time.  In a similar fashion to John Wayne (who weirdly never made a movie with Doris Day, and should've as I honestly think they would've been great onscreen together), audiences were tired of the "World's Oldest Virgin" routine and while there was still a market for her (again, much like Wayne), her star power was feeling strong but one-note in 1966.  I liked The Glass Bottom Boat because I've found this month that I'm a sucker for Doris Day even in bad movies (I was already a fan, this solidified it for me, and I plan on seeing more of her as I can), but I will admit it's not a particularly good movie, and doesn't take enough advantage of the strong cast of comedians it has at its disposal until the final thirty minutes of the picture.

As I said above, Day's career ended soon after this.  Her film Caprice was a high-profile flop, and while With Six You Get Eggroll was a hit, it wasn't enough to keep her wanting to make movies, and it would be her final picture.  What soon happened, though, were two major scandals.  The first involved her husband Marty Melcher, who died of an enlarged heart in 1968 at the age of 52.  Melcher had embezzled all of the fortune that Day had made in the previous two decades for her film & music work, and had contracted her to a television show, which she had to do as she was now broke.  She sued Melcher's business partner and got some of her money back, and her television show was a hit that ran for five seasons, but she never made another movie.

Day also had her name in the paper due to her son Terry's association with the Manson Family (you read that right-America's Sweetheart had a direct connection to the most notorious murders of the 1960's).  This is a story that could take up a whole other article, but Melcher had regularly visited the Manson Family at Spahn Ranch, and had lived at one point (with his then-girlfriend Candice Bergen) in the house that Sharon Tate was murdered in (testimony from the Manson Family indicates they knew that Melcher didn't live there anymore, but that they wanted to send a message to him that he might be next).   All of this took a toll on Day, who would largely retreat from the spotlight, only occasionally doing television, despite entreaties to come back to movies (including most famously her refusal to play the Anne Bancroft role in The Graduate), and toward the end of her life, refusals toward the AFI, Kennedy Center, & the Oscars to accept career achievement awards they wanted to bestow on her.  She deemed that to be part of her past life as a movie star, and indeed that was a long time gone when she died in 2019 at the age of 97.

Next month we're going to spend time with one more movie queen of the 1950's & 60's who would take on the title of America's Sweetheart alongside Doris Day & Audrey Hepburn, an actress who, like Day, struggled to get the critical respect she wanted during her lifetime (and again like Day, had a husband she shouldn't have let handle her finances).

Saturday, May 18, 2024

OVP: Teacher's Pet (1958)

Film: Teacher's Pet (1958)
Stars: Clark Gable, Doris Day, Gig Young, Mamie van Doren, Nick Adams
Director: George Seaton
Oscar History: 2 nominations (Best Supporting Actor-Gig Young, Original Screenplay)
Snap Judgment Ranking: 2/5 stars

Each month, as part of our 2024 Saturdays with the Stars series, we are looking at the women who were once crowned as "America's Sweethearts" and the careers that inspired that title (and what happened when they eventually lost it to a new generation).  This month, our focus is on Doris Day: click here to learn more about Ms. Day (and why I picked her), and click here for other Saturdays with the Stars articles.

Doris Day would never win an Academy Award in her career, and would only be nominated once, for Pillow Talk in 1959.  There are actresses we're going to profile this season who enjoyed genuine critical success (like Audrey Hepburn) and others who never got that kind of recognition (like June Allyson).  Day's Oscar nomination theoretically puts her in the middle, but to be honest-that's being charitable to the Academy.  Day's movies were not meant to be critically-acclaimed-they were meant to make money.  Her citation for Pillow Talk was considered to be something of a surprise, even to Day herself, and less about her acting & more an acknowledgement that she'd been the biggest actress of the decade (and should have an Oscar nomination to show for it).  But the next year, when she got actual buzz for Midnight Lace (a film, it's worth mentioning, that's not very good even if Day was lauded at the time), they felt she'd had enough praise.  This is true for most of the serious or seriously-considered films of Day's, including our film today, Teacher's Pet.  The movie got Golden Globe nominations for Clark Gable & Gig Young, Young got an Oscar nomination, and it was cited by the WGA & Academy for writing, as well as the DGA for its direction.  But Day-not a mention...proof that she was never really taken seriously by the powers-that-be as anything other than a way to make some money.

(Spoilers Ahead) The movie honestly has a cute premise.  We've got James Gannon (Gable), a grizzled news reporter who grew up in a newsroom (and only knows that life) who writes a letter to the instructor of a journalism school saying he won't speak in her class because he doesn't believe in journalism school.  When he's forced to apologize, he finds the instructor, Erica Stone (Day) to be less mockable (and far prettier) than he had thought in his letter.  He assumes the guise of a student, one who shows intense promise, and the two start a professional (and romantic) relationship, one that falls apart when James's identity is revealed.  The movie then meanders a bit, both sides softening their stances, and ends with him respecting her and her ending up on his arm, both in love.

The movie's premise and first thirty minutes is really smart, and almost justifies the casting.  Gable & Day are professional movie stars, and both know how to sell a two-dimensional plot, and we get some really fun dialogue about the benefits of both education and real-world experience.  I liked seeing Day in smart woman mode, and not just "preaching from books" but it's clear the writers want her to actually be good at her job and not just "seems good" until Gable shows her the ways of the world.  That theme continues throughout the movie, but it fails once the two start being romantically involved.  Gable is too old for this part, and not necessarily the romance, but the idea that he's going to learn more from Day given his background.  He doesn't sell the transformation particularly well (the script doesn't help him there), and by the last thirty minutes they introduce a whole new topic (the economics of a newspaper) as a bizarre 11:00 number to the plot that feels tacked on because they didn't know how to end the picture.

Honestly, the Oscar nominations perplexed me here.  The film was a hit, so maybe that was the driving factor, but most of Day's movies were hits...I don't get why Teacher's Pet got all of this love when she'd also been in serious films like Julie and The Man Who Knew Too Much a few years earlier with little notice.  Anyway, the two Oscar nominations are quickly discarded.  The screenplay, as I said, suffers after thirty minutes (the movie is two hours long), and really doesn't know how to end this with the two of them both respecting each other AND falling in love AND staying in character (and so it doesn't).  The nomination for Gig Young is even more bewildering, not necessarily because he's bad, but because he's so ancillary.  He's meant, I think, to be a romantic rival to Gable but there's no actual rivalry, and honestly I think he'd 100% be the "gay best friend" if this was a 1990's rom-com.  He's meant to be the comic side piece, but only a couple of his jokes are funny, and there's nothing meaty or showy in his work, or even admirable in adding to the picture.  He's just sort of there-definitely one of the weirder Classical Hollywood acting nominations I've come across...the only way it makes sense is if Teacher's Pet was far closer to Best Picture or Director nominations than I'm giving it credit for (which given the DGA & WGA nominations, may have been the case).

Saturday, May 11, 2024

The Pajama Game (1957)

Film: The Pajama Game (1957)
Stars: Doris Day, John Raitt, Carol Haney, Eddie Foy, Jr., Reta Shaw, Barbara Nichols
Director: George Abbott & Stanley Donen
Oscar History: No nominations
Snap Judgment Ranking: 3/5 stars

Each month, as part of our 2024 Saturdays with the Stars series, we are looking at the women who were once crowned as "America's Sweethearts" and the careers that inspired that title (and what happened when they eventually lost it to a new generation).  This month, our focus is on Doris Day: click here to learn more about Ms. Day (and why I picked her), and click here for other Saturdays with the Stars articles.

Doris Day's popularity and more so the length of how long she was popular is kind of hard to grasp.  Day became a box office draw, a consistent one, as early a 1951's I'll See You in My Dreams, her most successful film for Warner Brothers at the time.  After that she would enjoy 15 years where not only she made a string of successes, she made a successful film every single year; very few actors of her era achieved that king of longevity.  Day's popularity, and the ubiquity of it, makes her easy to underestimate because so many of her films are similar, but it's worth noting how much she added to her pictures.  A good example of this would be today's, film The Pajama Game, which was brought to Hollywood as a vehicle for Frank Sinatra, but when Sinatra didn't do it, Day was brought in because the studio wanted a movie star as box office insurance given that the rest of the cast was unknown.  The result is a pretty much textbook lesson in why movies & the theater are different, and a lesson that very much comes out in Day's favor.

(Spoilers Ahead) The movie is about the Sleeptite Pajama Factory, a small-town company that produces loungewear and where the workers are threatening to go on strike.  They are led by Babe Williams (Day), who must go toe-to-toe with the factory's superintendent Sid (Raitt), but the two find this difficult when they fall in love with each other.  Babe leads a "slow-down" at the factory as a union tactic, but when that doesn't work, she breaks one of the machines, leading to her being fired by Sid.  They split apart, but it becomes clear after he does some investigating that the raises that the workers are asking for had already been approved, and the plant's manager is the one who has been stealing the cash himself.  The film ends with Babe & Sid getting together, and we get a fashion show of the pajamas before the closing credits.

The best part about The Pajama Game is the music.  I was struck while watching this how many totally grand musical numbers are in this show that is rarely revived on Broadway.  Everything from "Hey There" to "Hernando's Hideaway" to "I'm Not At All in Love" are wonderful productions, really catchy tunes.  There's honestly not a bad song in the film, and that makes you wonder why the movie isn't better-regarded.  Other films of that era based on big-time Broadway musicals (like South Pacific or West Side Story) were Oscar-nominated or at least huge box office bonanzas, and The Pajama Game doesn't stand out as a particularly important film (and received no nominations, not even for scoring).

The reason for that is the cast.  Day is perfectly cast in this film-she's always good as a virginal noblewoman who is discovering love for the first time.  But the rest of the call sheet was actually a carry-over from the Broadway production, including Tony-Winning dancer Carol Haney in her only speaking role in a movie.  But they don't work.  Film and theater are two different mediums, and in movies you have to sort of seduce the camera.  Raitt, especially, feels like a disappointment compared to Day, even though he's in fine vocal performance and is handsome (just not in the way that movie stars are supposed to be handsome).  It's hard not to wonder what it might've been like had Frank Sinatra & Shirley MacLaine replaced Raitt & Haney (casting movie stars of the time, that's what would've happened), as while it would've been a bit gaudier, it would've been less of a curio and more of a fully-fledged movie spectacular.  I think in the end, it would've been a better movie (even if this isn't bad).

Saturday, May 04, 2024

On Moonlight Bay (1951)

Film: On Moonlight Bay (1951)
Stars: Doris Day, Gordon MacRae, Jack Smith, Leon Ames, Rosemary DeCamp, Mary Wickes, Ellen Corby, Billy Gray
Director: Roy del Ruth
Oscar History: No nominations
Snap Judgment Ranking: 2/5 stars

Each month, as part of our 2024 Saturdays with the Stars series, we are looking at the women who were once crowned as "America's Sweethearts" and the careers that inspired that title (and what happened when they eventually lost it to a new generation).  This month, our focus is on Doris Day: click here to learn more about Ms. Day (and why I picked her), and click here for other Saturdays with the Stars articles.

All of the women we'll profile this year bore the title of "America's Sweetheart" at some point during their career.  But few of them got bogged down with that title in quite the same way as Doris Day did in her career.  As we'll find in the coming weeks, Day was wildly successful as America's Sweetheart, holding that banner for nearly twenty years, and it was the primary foundation for most of her movies, to the point that by the end of her career, she'd practically become a punchline for being the "world's oldest virgin."  But a film like On Moonlight Bay shows exactly why she was so good at that.  Virtually all of the tropes we associate with being America's Sweetheart, Doris Day lived in her time as a leading lady, which by 1951 was starting even if she wasn't the proven box office phenomenon she would eventually become.

(Spoilers Ahead) The movie follows Marjorie Winfield (Day), whose father George (Ames) has moved his entire family to a more respectable & wealthier part of town to live in a nicer neighborhood.  Initially something of a tomboy, Marjorie falls for an idealistic young man named Bill (MacRae), in the process becoming far more traditionally feminine in hopes of pleasing him, though both of them don't feel that they think marriage is the correct path for them as a romantic couple.  As the film progresses, they fall deeper in love, even though her father doesn't want her to pursue such an untraditional young man, but after he goes off to war (and adjusts his views on marriage), he condones the union and they end up in each other's arms before the film finishes.

On Moonlight Bay is not a direct remake of Meet Me in St. Louis, but it is clearly borrowing from the film.  The movie is about Day, but it's really about her family-her kid brother Wesley (Gray) might honestly have more screen-time than she does if you get out a stopwatch, much in the same way that a lot of the other actors in Meet Me in St. Louis share the spotlight with Judy Garland.  There's even a Christmas scene to complete the comparison.  The issue here is that Meet Me in St. Louis is a sentimental masterpiece, with bright costumes, moody cinematography, & toe-tapping musical numbers, and On Moonlight Bay...isn't.  The film was a big hit, and even got a sequel out of the deal called By the Light of the Silvery Moon (with pretty much the entire cast returning, including Day & MacRae), but it's just too feather-light and the music doesn't have enough panache.

Day's part here is one that she'd know well.  One of the more psychological tropes of the America's Sweetheart genre is a woman who doesn't at first present to the norms of respectable femininity, but by the end of the movie the man in her life has convinced her that's what she needs to do to be happy.  This is true for everyone from June Allyson (Little Women) to Audrey Hepburn (My Fair Lady) to even modern examples like Reese Witherspoon in Legally Blonde or Julia Roberts in Pretty Woman.  This is something that Doris Day excelled at, starting this film as a tomboy in dirt & pigtails, and then transforming into a blonde goddess.  It's not hard to see the appeal to the male gaze on this one-the idea that beneath every girl is a ravishing movie queen, if only she'd listen to the man in her life.  I'm hopeful as we continue this month that we'll see Day step out of that shadow, as her pluck & talent deserve a movie that sees those first, before catering to her lesser co-leads.

Wednesday, May 01, 2024

Saturdays with the Stars: Doris Day

Each month of 2024 we are taking a look at an actress who bore the title "America's Sweetheart" during the peak of her film fame, and what she did with the title (including when it was passed on to the next Hollywood princess).  Last month, we discussed Audrey Hepburn, a Belgian-born actress who would eventually become the most beloved actress in America.  This month, we're going to talk about a performer who also retired for decades after her stardom (refusing virtually all public appearances, including an Oscar & a Kennedy Center Honor), but in her heyday, enjoyed financial success at the box office that was pretty much unparalleled while she ruled as an "America's Sweetheart" for well over a decade.  This month's star is Doris Day.

Day was born the daughter of a music teacher in Cincinnati, Ohio, and was named after actress Doris Kenyon.  While initially she pursued dance, a car accident & a broken leg put an end to that, and she started to sing on radio programs and eventually in acts with famed bandleaders like Bob Crosby & Les Brown, and eventually became a performer on Bob Hope's weekly radio program.  During this time, she signed a contract with Warner Brothers, making a series of forgettable musicals while also having massive success as a radio star (in 1952, if you asked people whether or not Day was an actress or a singer, they would have undoubtedly said the latter).  Calamity Jane was a monster success for Warner Brothers, getting Day her biggest hit song to date with "Secret Love," and it was enough that Day decided she was ready to leave her contract with Warner and strike out on her own in the mid-1950's.

Day would then enjoy one of the longest, most successful runs at the top of the American box office of any actor in the history of the movies, being in the Top 10 most successful actors all the way until 1966, when at the age of 44, she was operating in a field usually reserved for actresses a decade younger than her.  Day's legacy is fascinating in retrospect.  Famously conservative and one could even admit a bit prudish, her films have not survived in the same way as someone like Hepburn's, as her persona was built on a girl-next-door appeal that occasionally ran against the real-life woman behind the part.  Oscar Levant once said of Day "I knew her before she was a virgin" and indeed, Day toward the end of her career had to wear the snarky moniker "the world's oldest virgin" considering she kept playing naive women onscreen.  This month, though, I want to talk about Day's unusual personal life (which had some really rough chapters, including her son being involved with the Manson Family and her third husband squandering her fortune), and maybe see if there was more to the actress than the homespun America's Sweetheart persona let on.

Wednesday, January 11, 2023

What if Singers Got Nominated for Best Original Song?

Whitney Houston with Bruce Springsteen at the Oscars
I recently was reading an article online (if I could find it, I'd reference it, but alas I cannot) about the new Whitney Houston biopic I Wanna Dance with Somebody.  In it, they talked about how Houston who won an Emmy & a Grammy, had gotten halfway to the entertainment honorific the "EGOT," coming short a Tony & an Oscar.  In the article, though, they erroneously stated that Houston had been nominated for an Oscar for her songs "I Have Nothing" and "Run to You" from The Bodyguard...which is not true.  Houston was in The Bodyguard, she did sing those songs, and they were cited for Academy Awards (eventually losing to Aladdin), but she wasn't nominated for them because she was not one of the composers or lyricists of the songs.  At the Oscars, the people who sing the Best Original Song nominees in their movies are not nominated-that only goes to the people who write the songs...

...but this got me thinking-what if they did get nominated?  The Best Original Song category started in 1934 at the Oscars, and though the number of nominees have changed through the years, it has been omnipresent ever since.  A quick google search bore out that it was somewhat easy to find the number of people who had sang the most Oscar-winning songs, but not when it came to the Oscar nominees.  And so over Christmas break, I decided that it was my duty to answer that question.  Today we're going to discuss who would be the biggest victors if Oscar gave nominations to the people who sang songs in movies.

Starting this off, it was a lot harder to ascertain who actually sang the songs in some movies than you would expect.  For starters, a lot of songs in movies are sung by choruses or large groups of non-famous people.  Think of a song like "Days of Wine and Roses" where the initial song in the movie is clearly sung by a chorus of singers.  This happens by my count 22 times, including for three winning songs, so I didn't count those for my nomination total.

Secondly, a lot of the most popular versions of Oscar-winning songs weren't sung by those artists in the original movie.  "Days of Wine and Roses," for example, you'd normally associate with Andy Williams, but he didn't sing it in the original movie.  Debby Boone's version of "You Light Up My Life" isn't in the movie of the same name despite being a Number 1 hit for most of 1977, and Nat King Cole's "Mona Lisa" is not only not sung by him in Captain Carey USA, it's not even sung in English.  So there was a lot of bubble bursting, particularly for films I hadn't seen, in researching this article.

It also has to be noted that dubbing is frequently used, especially in older films.  If you watched the movies alone, you'd assume that people like Jeanne Crain, Deborah Kerr, & Rita Hayworth would get nominated for Oscars this way, but you'd be wrong-they're all dubbing.  Sally Sweetland, who was a prolific voice dubber for women like Joan Leslie & Martha Vickers in the 1940's, would've gotten three nominations despite never appearing in her movies.

And lastly, I have to admit in some cases it's difficult to know where to draw the line on "who is a principal vocalist or not."  If the Academy allowed this, there'd be rules about it, but I tried my best judgment.  If a song only had one singer, obviously they got it, but in duets or group songs, I went with the primary artists.  This resulted in 376 musicians or musical acts (occasionally I just gave the nomination to a group), singing Oscar nominated songs.  We're going to break down below who benefits the most from this rule change.

14 nominations:
The one, undisputed king of nominations this way would be Bing Crosby, who has sung 14 Oscar-nominated songs onscreen, and would've gotten four Oscar statues this way alone to go with his Best Actor citation in 1944.  Everything from legendary songs like "White Christmas" in Holiday Inn and "Swinging on a Star" from Going My Way to songs you'd be forgiven for not knowing ("Zing a Little Zong" being the deepest cut) number among Crosby's nominations.  Crosby's the only person who gets to double digits this way.

9 nominations: Coming in behind Crosby is Fred Astaire, who never won a competitive Oscar, but would've gotten nine nominations and a trophy for "The Way You Look Tonight" from Swing Time.  Astaire's nominations largely come from his work with Ginger Rogers in the 1930's, and only one of his songs comes post 1943 ("Something's Gotta Give" from 1955's Daddy Long Legs).  For comparison's sake, Ginger Rogers only gets two nominations this way, though she'd double her win count for being a vocalist on "The Continental" in The Gay Divorcee (I watched the scene specifically to see if Astaire sang in it, and he doesn't).

7 nominations: Four singers tie for third, with seven songs a piece, and we have a couple of firsts with this quartet.  Barbara Streisand, Frank Sinatra, Judy Garland, & Randy Newman all sang seven songs, and it's worth noting that while all of these people are Oscar winners (Garland is the only one who never won a competitive trophy in her career), two of them are noted songwriters.  Both Streisand & Newman have not only been nominated for Best Original Song, but they've also won it (Streisand for 1976's "Evergreen," Newman for 2001's "If I Didn't Have You" and 2010's "We Belong Together").  Both are also still living & work regularly, so if anyone's going to come close to at least tying Astaire, these are your candidates.

6 nominations:
Only one singer gets sixth place, and that's Doris Day, who would've gotten two trophies for singing 1953's "Secret Love" (in Calamity Jane) and 1956's "Que Sera Sera" (in The Man Who Knew Too Much).  Day is a first on our list for a very big reason.  While she was nominated for an Oscar in real life (as Best Actress in 1959 for Pillow Talk), she never won an Oscar, not even an honorary trophy, which would make her the first person on this list to not have a statue of some sort from the Academy.  However, you have to go one step down to have the title of "Oscar nominee" bestowed on someone for the first time through this method.

5 nominations: Three singers would get five nominations this way, and while Julie Andrews won Best Actress in 1964, neither Johnny Mathis nor Betty Grable ever were nominated for an Oscar in their lifetimes (Mathis, at age 87, is still alive and still performs, though his last Oscar-nominated song was 1978's "Same Time, Next Year").  Before writing this article, it never would've occurred to me that Mathis should get an Honorary Oscar, but given this distinction...maybe he deserves to at least be in the conversation?

4 nominations: That gets us through the Top 10, though I'll call out some notables for the 3-4 nomination mentions.  Four people have sung four Oscar-nominated songs: Sting, Phil Collins, Jennifer Warnes, & Deanna Durbin.  Sting & Collins are both Oscar-nominated songwriters (Collins has an Oscar), while the other two never won competitive statues (Durbin won a Juvenile Oscar).  Warnes would've cleaned up under these rules-of her three Oscar-nominated songs, only one (1981's "One More Hour") didn't win.

3 nominations: Once you get below 4 nominations, the number of singers get increasingly large, here 15 singers have sung three Oscar-blessed songs.  Three nominations is where Whitney Houston would land (she also sang 1998's "When You Believe," which would've gotten her the Oscar for her hypothetical EGOT if these rules existed).  Alice Faye & Bob Hope are here, both actors who never got Oscar nominations in real life, and we have active singers who could definitely add to their counts in this lineup (Celine Dion, Dolly Parton, & AR Rahman all still work regularly).  For those keeping track at home, this year we'll almost certainly add Lady Gaga to this list, though she's gotten a nomination for each of her songs and would again even if she weren't singing for "Hold My Hand" from Top Gun: Maverick.

Saturday, June 25, 2022

Please Don’t Eat the Daisies (1960)

Film: Please Don't Eat the Daisies (1960)
Stars: Doris Day, David Niven, Janis Paige, Richard Haydn, Spring Byington
Director: Charles Walters
Oscar History: No nominations
Snap Judgment Ranking: 3/5 stars

Each month, as part of our 2022 Saturdays with the Stars series, we highlight a different Classical Hollywood star who made their name in the early days of television.  This month, our focus is on Spring Byington: click here to learn more about Ms. Byington (and why I picked her), and click here for other Saturdays with the Stars articles.

Jumping from 1948 to 1960 is a big gap in Spring Byington's career, and a large part of that jump happens because during that time, Byington found the sort of leading lady stardom that had alluded her in her career in movies.  In 1952, Byington had started to work on the CBS radio program December Bride, where she plays a woman who has been widowed, but is intent on finding a new husband (hence, becoming a "December Bride").  Desilu Productions thought that this would make a good companion to I Love Lucy, and brought the radio show to television, putting it on immediately after I Love Lucy, which meant it was a Top 10 hit for the first four seasons it was on.  This allowed Byington, now in her seventies, to be the lead in one of the most-watched shows in America.  Byington even got two Emmy nominations for the series (losing both to Jane Wyatt on Father Knows Best), but when the series moved out of the comfy slot behind I Love Lucy, it tanked and was quickly cancelled.  Byington would only briefly return to one last movie after that, today's film Please Don't Eat the Daisies.

(Spoilers Ahead) The movie is about Kay Mackay (Day) a housewife with four sons who is living in a cramped New York apartment with her drama critic husband Larry (Niven).  The two find out that they're being evicted, and rather than stay in the city, they move to a dilapidated old house in the middle of the country, with Kay's mother Suzie (Byington) in tow.  This causes friction in their marriage, with Larry leaving the city frequently, and letting his newfound fame as a viper-tongued critic go to his head.  This is particularly a problem when an actress he lambasted, Deborah Vaughn (Paige) initially makes a scene, slapping him at a restaurant, and then realizing the publicity this could get both she & Larry, starts to coordinate moments for more publicity, trying to start an affair with him.  Suzie eventually convinces Kay that she needs to fight for her husband, and she does, with the two of them making up, now happily settled into their country domesticity.

Your mileage with this film will largely depend on your thoughts on Doris Day as a leading woman.  Few actresses enjoyed the kind of sustained success that Day did from the early 1950's to the late 1960's, and Please Don't Eat the Daisies was no exception (it was a huge hit for MGM), but I get that her movies tend to be a bit repetitive and somewhat reductive (that the onus on fixing her husband's wandering eye falls to Day's wife rather than Niven's character is not lost on me).  But I generally like Doris Day's movies, and this is cute.  Janis Paige is fun (as always) as a vamp, and I think it's always enjoyable.  There should've been more antics from the sons (particularly the adorable baby obsessed with Coca-Cola), and more singing from Day (she only does the film's bizarrely-monikered title song), but this is enjoyable.

It's also a fitting sendoff for Byington, playing yet another charming mother character.  Though she'd live until 1971, dying from cancer at the age of 84, she'd never make another movie, working in television instead on programs as varied as The Tab Hunter Show, Dennis the Menace, Mister Ed, The Flying Nun, and in a recurring role on the western Laramie.  Next month, we're going to switch gears a little bit as we focus on an actress who, unlike Byington, was not only a leading lady, but throughout the 1930's & 40's was a big star...but whom modern audiences, if they remember her at all, recall her for her immaculately-bedecked television show in the 1950's.

Monday, May 13, 2019

Doris Day (1922-2019)

You don't always know, especially as a teenager, what you're discovering for the first time and when you're falling headfirst into a cliche.  This was the case for me when it came to Doris Day and my first moments in her filmography.  I started watching Doris Day's films when I was very, very young...before, in fact, I'd really say I was "into movies."  Like all of the "classic" films that I watched regularly at the time, this was due to my mother, who would play Calamity Jane regularly in our house, to the point where I had it memorized despite not owning a cast recording or really a song from it...except for "Secret Love," which I eventually got a copy of on CD.  Not knowing that it is has famously been appropriated by the gay community as an anthem ("my secret love's no secret anymore") I used to dance dreamily around my bedroom, earphones in of course, thinking of whatever boy I had a crush on at the time with Day's flawless vocals ringing in my ears.

Day as a movie star was a strange supernova, the complete antithesis of Marilyn Monroe.  She was blonde, funny, and beautiful, but while Monroe oozed sex, Day was the girl-next-door who could never dream of going to bed with a man without a ring on her finger (Oscar Levant supposedly made a crack that he "knew Day before she was a virgin," a quote you desperately hope was real).  Her filmography reflected this.  Even the sauciest films that she came out with, like Pillow Talk or That Touch of Mink, were wholesome compared to what Elizabeth Taylor or Gina Lollobrigida were doing at the same time.  As a result of making movies that some would call dated now, she was an icon, but one that never gained the critical reputation of a Sophia Loren or Audrey Hepburn.

But Day was a brilliant movie star.  Her films were always charming, her onscreen persona effortless. She had some twenty years of stardom between film and television before quietly disappearing into the background of celebrity, using her platform to protect animals, but she left behind a long legacy of truly wonderful movies to enjoy on a cozy Friday night.  From Calamity Jane to Pillow Talk to Please Don't Eat the Daisies, she was no secret love...film fans proclaimed her a star so even the golden daffodils could here, and thanks to her work as an actress, Doris Day will continue to live on at the movies.

Saturday, February 02, 2019

OVP: The West Point Story (1950)

Film: The West Point Story (1950)
Stars: James Cagney, Virginia Mayo, Doris Day, Gordon MacRae, Gene Nelson
Director: Roy Del Ruth
Oscar History: 1 nomination (Scoring of a Motion Picture)
Snap Judgment Ranking: 3/5 stars

Each month, as part of our 2019 Saturdays with the Stars series, we highlight a different actress of Hollywood's Golden Age.  This month, our focus is on Virginia Mayo-click here to learn more about Ms. Mayo (and why I picked her), and click here for other Saturdays with the Stars articles.

If you've been following this blog at all over the past year, you know that one of my main quests has been about creating a better, more sustainable breath of classic cinema on streaming, and to start investing once again into physical media until streaming is able to sustain what we once counted on a Blockbuster Video to do.  A perfect example of this happened to me last night when I found out that the Virginia Mayo film I wanted to start out our month dedicated to the actress with was unavailable despite having been available when I began researching her in November.  Unfortunately, none of the early leading work of Ms. Mayo's career was available on streaming; either it was films that she had a supporting role in (against the rules for the project) or it was from arguably the peak of her career, 1949 or later.  As a result, we're going to be starting in the middle of Ms. Mayo's career as a headliner, which is a bummer as I quite liked the storytelling angle of watching her from beginning to end, and will be substituting in a different picture in two weeks from her career (where she's lead, but was arguably  more important for her male costar).  At this point, Mayo had been a leading lady opposite the likes of Bob Hope & Danny Kaye for several years at Warner Brothers, and had starred in the two true classics of her career (The Best Years of Our Lives and White Heat, both of which are splendid but I've already seen them so I couldn't cheat & include them, though you should check them out if you haven't seen any of Mayo's work as she's great in both).  Here, oddly enough, she's about to be upstaged by a star far-better remembered today in a musical, a genre tailor-made for the former Vaudeville star.

(Spoilers Ahead) The film follows Bix Bixby (Cagney), a tempestuous Broadway director who is out-of-work, and is recruited by a producer to go and produce an annual variety show at West Point, in hopes that Bixby can recruit the producer's nephew Tom (MacRae) to quit the military and instead join show business.  Bixby convinces his assistant/long-suffering girlfriend Eve (Mayo) to join him on the excursion, though they've broken up (sometimes they're dating, sometimes they aren't-the movie is weirdly fluid on the subject), and quickly upturn the show, and in order to get Bixby to stay on as the director, he has to join the military (because, you know, it's the movies and a 51-year-old James Cagney seems like a good recruit for such an endeavor).  Antics and romance follow, with Bixby & Eve falling back in love while Tom falls for a movie star friend of Bixby's named Jan Wilson (played by a young Doris Day in one of her first major roles).  The film ends with them performing, as Bixby regains his mojo, along with the book of the hit show he's put together at West Point.

The film is silly fun, and was even nominated for an Oscar for its score (which, while good, only features one properly memorable song in "By the Kissing Rock," which is basically a song supporting date rape so it's hard to raise the flag for it too high).  Cagney had just finished filming White Heat at this point in his career with Mayo, arguably his best performance, so he can be forgiven for this feeling a bit phoned-in at times, particularly considering the (by-then) song-and-dance man had done this schtick before more memorably.  As I said when I introduced the series, I'd never seen Mayo in a song-and-dance picture, and while her voice is dubbed, she's really lovely in this film and a helluva hoofer.  She likely owes the costume designer some thanks for making her legs so eye-popping (also, I'd thank God as when you could give Rita Hayworth a run for your money in the gams department, genetics are playing a part), but she's charming and has a ribald chemistry with Cagney.  She'd be the highlight of the film were it not for Doris Day coming in late in the movie and basically stealing it out from under her.

Day is lovely as Jan Wilson, playing the quintessential Doris Day girl-next-door, but in doing so from the sidelines you see how America quickly fell in love with her.  She has a polish and magnetic quality that's impossible to ignore, and while MacRae is hardly her equal as an actor, they're both ace singers & they sparkle when they dance and sing.  The film follows a familiar pattern with its script (such is the curse of a musical), but Day keeps it from veering off-course in the third act when you know exactly what's about to happen  (and are a bit frustrated at how convoluted the plot is getting), and within a year she'd be starring in I'll See You in My Dreams with Danny Thomas, a film that made her one of the biggest stars of the 1950's.  Mayo would also have one of her biggest hits of the 1950's coming within a year, but we'll get there next week.  In the meantime, share what your favorite early (starring) film of her career was in the comments, so that I can reach out for it someday even if it won't make the cut for this project.

Tuesday, July 10, 2018

Tab Hunter, and 18 Remaining Stars of Hollywood's Golden Age

Tab Hunter
A few years ago, I did a series of articles where I (for some reason that was likely related to a TCM screening or perhaps just my love of classic cinema nostalgia), I went through the American Film Institute's "100 Years...100 Stars" list comprehensively taking a look at my interactions with the stars, and which stars I was surprised to see on the lists, which stars I was happy were on the list, and which stars were still living from the list.

I was reminded of that this week when Tab Hunter, at the age of 86, passed away.  Hunter was hardly what one could consider a "master thespian," but was certainly a proper movie star, and one of the few Golden Age headliners of his era.  The blond Adonis, who would later lean into his camp factor with pictures like Polyester and Grease 2, gained a second act in his career when he wrote a bestselling memoir called Tab Hunter Confidential, and became one of the few men of his era to actually come out of the public during his lifetime.  In honor of Hunter, I thought it would be fun to revisit the articles I wrote a few years back with a look at specifically the actors and actresses who are still alive who were nominated for the list, including the three stars who actually made the Top 25: Sidney Poitier (#22), Kirk Douglas (#17), and Sophia Loren (#21).  Without further adieu.

The Living Actors...


Kirk Douglas (1916-Present)

Oscar Nominations: Douglas would receive a trio of Oscar nominations in his career, all for Best Actor, but would lose every time (he probably came the closest to winning for 1956's Lust for Life).  Douglas would deservedly win an Honorary Award in 1996 from the Academy.
Most Known For: Living forever?  Hopefully that's the case-it clearly helps your star exponentially to have some longevity around it.  Douglas has been one of those great, enduring links to Hollywood's classical age, and still frequently does interviews & appearances, oftentimes with his famous son Michael or his daughter-in-law Catherine Zeta-Jones.  During his career, of course, he was perhaps best known as Spartacus.
Is He Still Working?: He is not-Douglas retired in 2004, with his last film being an independent film called Illusion, though I always think of his last film being Diamonds, where he reunited with his Young Man with a Horn costar (and lifelong pal) Lauren Bacall.
My Favorite Performance: I'd pick either his iconic work in Spartacus, a truly spectacular feat of movie star-quality, or his sleazy performance as Whit Sterling in Out of the Past.
Glaring Miss in His Filmography: Though I'm slowly working my way through Douglas' filmography, as he was a star for so many years, I'd say Lust for Life would be toward the top of the list, as would Paths of Glory, both pictures I'll get to hopefully soon.


Sidney Poitier (1927-Present)

Oscar Nominations: Poitier received two Oscar nominations in his career, winning Best Actor for Lilies of the Field (becoming the first black man to win Best Actor).  Poitier also won an Honorary Award in 2002.
Probably Best Known Today For: Being an iconic and celebrated figure in the Civil Rights movement in the United States, and along with Dorothy Dandridge, Lena Horne, and Harry Belafonte, being one of the very first black movie stars (he's also Ambassador from the Bahamas to Japan, as he actually has dual citizenship with both the Bahamas and the United States-random fact!).  Poitier is one of the most widely-respected actors in the industry, and one of its most enduring stars.
Is He Still Working?: Poitier quit acting in 2001, with the television movie The Last Brickmaker in America-his final theatrically-released film was 1997's The Jackal with Richard Gere & Bruce Willis.
My Favorite Performance: I know that some like to quibble about how Poitier never received an Oscar nomination for In the Heat of the Night, but part of me thinks it was more to do with vote-splitting (he also had Guess Who's Coming to Dinner and To Sir, with Love out that year) than racism.  Still, he certainly deserved an Oscar nomination for his iconic Virgil Tibbs.
Glaring Miss in His Filmography: I've never actually seen the movie that landed Poitier his Academy Award.  For whatever reason Lilies of the Field has never made it to the top of my queue, though I've seen a lot of Poitier films through the years.


Dean Stockwell (1936-Present)

Oscar Nominations: Stockwell has received one Oscar nomination, for 1988's Married to the Mob (he lost to Kevin Kline).
Most Famous For: The career of Dean Stockwell is a fascinating one, as he is one of those rare child actors who went on to have a very strong career as an adult, though in this case in character actor parts. Starting acting as a cherubic-faced youth in movies like Gentleman's Agreement and Anchors Aweigh, he eventually became a hit actor as an adult, dropped out of acting to get involved in the hippie subculture, reappeared in the 1980's in the art house cinema of David Lynch and Wim Wenders, and is most well-known today for playing Al Calavicci in Quantum Leap and Brother Cavil in the revival of Battlestar Galactica.
Is He Still Working?: Absolutely, and in a variety of different pictures (including Max Rose with Claire Bloom and Jerry Lewis, the late actor's final picture).
Glaring Miss in His Filmography: I've actually seen a few Stockwell pictures, and thought he was terrific if terrifying singing Roy Orbison's "In Dreams" in the exceptional Blue Velvet.  I'll go with his Oscar-nominated work as my missing piece, though I have always meant to watch the revived Battlestar Galactica.

Max von Sydow (1929-Present)

Oscar Nominations: Two nominations, one for Pelle the Conquerer, and another one for Extremely Loud and Incredibly Close (he lost both).
Most Famous For: Being a titan of acting.  He is frequently referenced by people who want to name check someone of great acting gravitas.  He is particularly well-known for his work in the films of Ingmar Bergman, but also has appeared opposite Tom Hanks, Sandra Bullock, Tom Cruise, Russell Crowe, Leonardo DiCaprio, and Susan Sarandon in recent years.
Is He Still Working?: Absolutely.  He's been in a bit of a blockbuster mode lately, with appearances in the Star Wars and Game of Thrones franchises (the latter winning him his second Emmy nomination).  He'll next be seen in Kursk with Colin Firth and Lea Seydoux.
Glaring Miss in His Filmography: I would do myself a disservice here if I didn't mention that I love von Sydow's work and he is one of my most beloved performers, particularly his films The Seventh Seal and Winter Light (Bergman being one of my all-time favorite directors).  Of the films I'm missing from von Sydow's filmography, I'd probably say The Emigrants would be the most egregious.

The Living Actresses...


Claire Bloom (1931-Present)

Oscar Nominations: Never nominated
Most Famous For: For her long and illustrious career on the British stage, as well as her many tabloid romances.  Ms. Bloom made her stage debut at sixteen opposite John Gielgud and a young Richard Burton, whom she had a passionate love affair with (Burton claimed he loved two women before Liz Taylor-his wife Sybil and Claire Bloom).  She would perform on in the West End for decades, and continue having tabloid-worthy relationships, including marriages to Rod Steiger and Philip Roth, as well as affairs with Laurence Olivier and Yul Brynner.
Is She Still Working?: Yes!  She actually appeared recently in the Best Picture winner The King's Speech, playing Queen Mary in the film, and will be playing Salvador Dali's sister in Spain's Miss Dali.
Glaring Miss in Her Filmography: With Bloom it's hard not to pick her first international starring role in Limelight, where she plays a suicidal ballerina in the only film that features both Charlie Chaplin and Buster Keaton.

Ann Blyth (1928-Present)

Oscar Nominations: 1 nomination (for Mildred Pierce)
Most Famous For: Portraying the selfish daughter from hell in Mildred Pierce.  Her work opposite Joan Crawford won her an Oscar nomination early in her career, and she eventually went on to become a major star of musicals, at one point being a rival for Kathryn Grayson at MGM.  She eventually moved completely away from the cinema, instead starring in a series of television guest spots, including a memorable turn as a potential murderer opposite longtime friend Angela Lansbury in Murder, She Wrote and as an actress with a secret on The Twilight Zone in "Queen of the Nile."
Is She Still Working?: Blyth quit working in film after her role in The Helen Morgan Story with Paul Newman.  She quit television in the 1980's, though she does occasional do interviews still.
Glaring Miss in Her Filmography: I've actually seen Mildred Pierce and The Great Caruso, the two most important pictures in her filmography, so maybe Brute Force with Burt Lancaster, where she plays a woman dying of cancer whose husband is in prison.

Doris Day (1922-Present)

Oscar Nominations: Despite a dazzling career and being a major public draw for fifteen years, she only received one nomination in 1959 for Pillow Talk (she would lose to Simone Signoret).  Every year, though, like clockwork, the rumors spread that she'll win an Honorary Award.
Most Famous For: A Box Office superstar, she was all the public could demand from the mid-1950's to the mid-1960's and starred in a string of romantic comedy hits.  Even today her name is extremely well-known with audiences (even if her movies aren't necessarily) and everyone knows her as one of America's Sweethearts.
Is She Still Working?: No-while she did some TV appearances in the 1970's on her eponymous show, Day retired from movies in 1968 in With Six You Get Eggroll costarring alongside Brian Keith and a young Barbara Hershey.
My Favorite Performance: I've seen many Doris Day films through the years (my mom was a big fan of hers), so I'm going to go with a childhood favorite right now in Calamity Jane.  It doesn't age particularly well (some of the songs are pretty sexist), but the music and sets and in particular Day are incredibly game and "Secret Love" is heavenly (and an oddly resonant coming out song for anyone who reads between the lines).
Glaring Miss in Her Filmography: There's a few options here, but since I've seen some of the biggest pictures of her career, I'm going to go with one that intrigues me most: Move Over, Darling, where Day is united with James Garner and Polly Bergen.  The film was a huge hit and kept the lights on at 20th Century FOX after Cleopatra (not to mention I want to see how Day does in a role that was originally intended for Marilyn Monroe).


Olivia de Havilland (1916-Present)

Oscar Nominations: De Havilland would receive five Oscar nominations during her career, winning twice in 1946 and 1949 for To Each His Own and The Heiress, respectively.
Most Famous For: Certainly her best-known film is Gone with the Wind, and her work as Melanie Wilkes continues to be a career high-point.  Perhaps she's best known today as a last link to the classic age of Hollywood, which was highlighted once again when she sued Ryan Murphy regarding Feud where she was upset about her life being dramatized, though really she should have been angry at how awful Catherine Zeta-Jones was in portraying her.
Is She Still Working?: De Havilland still makes public appearances and does interviews (she became the oldest person ever to be named a Dame Commander by the Queen last year), but she has been away from cinemas for decades.  She did a spattering of TV work in the 1980's, including winning a Golden Globe for playing Dowager Empress Maria in a TV movie about Rex Harrison, but her final film performance was opposite Beau Bridges & Ursula Andress in The Fifth Musketeer
My Favorite Performance: I'm going to go cliche with her bravura work as Melanie Wilkes in Gone with the Wind, though I've always had a soft spot for her work as Catherine Sloper in The Heiress.
Glaring Miss in Her Filmography: I have never seen The Adventures of Robin Hood, which is one of the few classic films of that era that I haven't caught yet that I'm genuinely looking forward to seeing, and I believe that it's actually toward the top of my Netflix queue, so we'll be getting there pretty quickly.


Rhonda Fleming (1923-Present)

Oscar Nominations: Never nominated
Most Famous For: Being the "Queen of Technicolor."  Along with Maureen O'Hara and Arlene Dahl (the latter of which oddly wasn't on the AFI ballot list, though she would have been eligible and is still alive, so clearly being a red-headed movie star is good for your longevity-hooray for Julianne Moore!), Fleming's red hair made her a major motion picture star, and one that photographed particularly well in Technicolor, which was very in fashion during the height of her fame.  Her best known films are probably from the 1940's, when she had supporting roles in Alfred Hitchcock's Spellbound and the brilliant Out of the Pastbut she was a bigger headliner in the 1950's when she appeared opposite Dana Andrews, Ronald Reagan, Burt Lancaster, and Kirk Douglas.  Like a number of women on this list, she was an ardent Republican in her personal life, particularly as an advocate for school prayer.
Is She Still Working?: No-her most recent film would be 1990's Waiting for the Wind with Robert Mitchum, her Out of the Past costar.  She still frequently makes appearances, though, and has participated in the Turner Classic Film Festival.
Glaring Miss in Her Filmography: I've seen Spellbound and Out of the Past, so I would probably go with the classic Western Gunfight at the O.K. Corral with Burt Lancaster as Wyatt Earp and Kirk Douglas as Doc Holliday.

Mitzi Gaynor (1931-Present)

Oscar Nominations: Never nominated
Most Famous For: Being Krusty the Clown's go-to name drop?  Just kidding (Simpsons reference!).  Gaynor was in fact one of 20th Century FOX's biggest stars in the 1940's and 1950's, starring in a number of hit musicals.  While she could boast costarring roles with Bing Crosby and Gene Kelly, it was with Rossano Brazzi, a little-known Italian actor, that she enjoyed her biggest and most enduring cinematic success.  The movie?  Rodgers and Hammerstein's South Pacific, with Gaynor as the main character of Nellie Forbush, forever washing that man right out of her hair before a very enchanted evening.  She also had one of the most famous numbers in Oscar history (though she wasn't nominated for or even in the film) when she got one of the longest-standing ovations in the history of the ceremony for her performance of "Georgy Girl" in 1967.
Is She Still Working?: While she no longer acts, she frequently is featured in documentaries chronicling the Golden Age of the musical, and actually won an Emmy for her 2010 documentary "Mitzi Gaynor: Razzle Dazzle!"
Glaring Miss in Her Filmography: I've come to really admire Gaynor's work over the past couple of years, but somehow am still missing her most famous performance, as Nellie Forbush in South Pacific.


Marsha Hunt (1917-Present)

Oscar Nominations: Never nominated
Most Famous For: Her politics.  You may be wondering where all of the Hollywood liberals are after so many conservatives highlighted on this list, but you're about to get one in Ms. Hunt, a star for both Paramount and MGM in the 1930's and 1940's who watched her career unravel during the 1950's as part of the blacklist.  Hunt was a vocal advocate for free speech and freedom to petition, and refused to denounce her activities protesting Congress on behalf of the blacklist...and therefore didn't work for most of the 1950's, extinguishing her career.
Is She Still Working?: Not really.  She made two random appearances in those films that only seem to exist on IMDB recently, but hasn't regularly worked in film since 1971's Johnny Got His Gun with Timothy Bottoms and Donald Sutherland.
Glaring Miss in Her Filmography: I'm going to go with Born to the West, starring an extremely handsome John Wayne in his twenties, which gives Hunt an unusually robust screenplay to work with for a love interest role in the 1930's.

Angela Lansbury (1925-Present)

Oscar Nominations: 3 (for Gaslight, The Picture of Dorian Gray, and The Manchurian Candidate, as well as an Honorary Oscar she won earlier this year).
Most Famous For: Lansbury has enjoyed an incredible amount of succcess throughout her career, principally on Broadway (she has won five Tony Awards) and on television (as J.B. Fletcher on the long-running CBS show Murder, She Wrote).  Of course, Lansbury has had a plethora of film roles as well that have become part of her own personal lore.  Her work in John Frankenheimer's The Manchurian Candidate and Disney's Beauty and the Beast would be toward the top of the public consciousness.
Is She Still Working?: Yep!  She's in the hunt for her 19th Emmy nomination for the BBC's Little Women and will be seen later this year in Mary Poppins Returns.
Glaring Miss in Her Filmography: Here I've seen enough of her work (I've even seen her on-stage) to have a favorite performance (The Manchurian Candidate, though honestly I've loved almost everything-she's a personal favorite) and have all three of those Oscar-nominated roles done, so I'll go with the comic classic The Court Jester, which I have for some reason never gotten around to and in which she plays Princess Gwendolyn opposite Glynis Johns (who like Arlene Dahl didn't quite make the cut of the 250 finalists for the AFI Award, but is also still alive at age 94 and would have been eligible).

Piper Laurie (1932-Present)

Oscar Nominations: 3 (for The Hustler, Carrie, and Children of a Lesser God)
Most Famous For: We'll continue the list of actresses that you've actually heard of with Piper Laurie, who did make her first screen appearance in 1950 (just making the AFI eligibility cutoff), and who is most known to film audiences as the mother from hell in Carrie (oddly enough, Angela Lansbury arguably plays the cinema's other most famous mother from hell on-screen).  Laurie also was Paul Newman's love interest in The Hustler, and got a Best Actress nomination for it and was Catherine Martell on Twin Peaks.
Is She Still Working?: After an eight year absence, Laurie will be on movie screens once again later this year opposite Matthew McConaughey and Jennifer Jason Leigh in White Boy Rick.
Glaring Miss in Her Filmography: I cannot believe I am admitting this, but I have somehow never seen The Hustler, one of those great films from the 1960's and one of the most important roles of Paul Newman's (and of course Piper Laurie's) careers.  I should get on this quickly.

Gina Lollobrigida (1927-Present)

Oscar Nominations: Never nominated
Most Famous For: Look at the picture to the left and I'll give you one (err...two) guesses.  Lollobrigida was the Italian sex symbol, a counterweight to the American Marilyn and the French Bardot.  She did make a handful of films with the leading men of the era (Burt Lancaster, Anthony Quinn, Frank Sinatra), but quite frankly it was her incredible beauty and her bizarre change in careers late in life (she became a journalist, and eventually managed to land an interview with Fidel Castro of all people in the 1970's) that made her a household name.
Is She Still Working?: She is not acting, but she does still stay in the papers, recently auctioning off $5 million worth of jewelry to benefit stem cell therapy.
Glaring Miss in Her Filmography: I don't know if I've ever actually seen a Lollobrigida film, so I would probably make it a bit of a marathon to catch up.  I'd start with her Golden Globe-winning work in Come September with Rock Hudson, follow it with her Esmerelda opposite Anthony Quinn in The Hunchback of Notre Dame, and finish things with her Solomon and Sheba with Yul Brynner, which has the distinction of being King Vidor's final film.


Sophia Loren (1934-Present)

Oscar Nominations: Loren received two Oscar nominations in her career, winning for Two Women in 1961 (the first person to win for a foreign-language film).  She would go on to win an Honorary Oscar in 1991 for her body of work.
Probably Best Known Today For: For starters, thankfully being alive and still working (the only woman on the Top 25 still with us).  Loren's most recent film is Rob Marshall's Nine, but is probably best known for her enduring beauty.  Consistently considered one of the most striking and attractive women in the history of cinema, she was a major star at the height of America's fascination with foreign language cinema. (Completely Random Aside-I once had a car that I named after Loren because the car was so pretty...my brother still drives it).
Is She Still Working?: Other than a random voice spot in Cars 2, Loren seems to have ended her career with Nine.
My Favorite Performance: Is it terrible to say Houseboat?  I genuinely loved this movie as a kid, and it's the sort of film I suspect I'd still adore as an adult.
Glaring Miss in Her Filmography: I am going to go with Yesterday, Today, and Tomorrow, which unites Loren with one of her favorite directors (Vittorio de Sica) and won the Academy Award for Best Foreign Language Film.


Rita Moreno (1931-Present)

Oscar Nominations: One nomination (which she won for-Best Supporting Actress for 1961's West Side Story)
Most Famous For: For thoroughly enjoying life in Ame-RIC-a.  Moreno starred in one of the great American musicals in 1961, taking over the role made famous by Chita Rivera on Broadway and becoming a household name as a result (as well as an Oscar-winner).  Though at that time she had been featured in three of the best-loved musicals of all-time (she was also in Singin in the Rain and The King and I), she didn't star in a lot of high-profile films again (a Latina actress in the 1960's frequently had to rely on stereotypical roles, which Moreno refused to partake of).  Instead she forged a bold multi-platform career, winning an Emmy, Grammy, and Tony in the 1970's to complete her EGOT.  She is best known from this period for her work on The Muppets and The Electric Company (with Morgan Freeman).  Moreno also had a pretty spectacular personal life, being romantically involved with both Marlon Brando and Elvis Presley during her career.
Is She Still Working?: Absolutely-she can be seen on Netflix's critically-acclaimed One Day at a Time as Lydia.
Glaring Miss in Her Filmography: I've seen her three iconic musicals, so I'm going to go with The Ritz, which earned Moreno a Tony Award on Broadway and a Golden Globe nomination on film.

Margaret O'Brien (1937-Present)

Oscar Nominations: None, though she won the Juvenile Academy Award in 1944.
Most Famous For: Being one of the biggest child stars on the planet.  Margaret O'Brien was to the 1940's what Shirley Temple and Judy Garland were to the 1930's.  She even appeared opposite Garland in the most famous of O'Brien's movies: Meet Me in St. Louis, where she played Tootie.  O'Brien was a major star, but couldn't jump to adult roles like Garland, whom she is oftentimes compared to, and instead only made the occasional television or film appearance.  If you ever want a fun story, read about O'Brien's Oscar and how she lost it for some fifty years before it finally returned to her.
Is She Still Working?: I think so-it looks like she has a relatively long recent IMDB cast page but it's not entirely clear if these are just clips of her in her youth or her actually playing a role.  If the 2017 movie where she stars opposite Mickey Rooney in a retelling of Dr. Jekyll and Mr. Hyde actually exists, I need to see it immediately.
Glaring Miss in Her Filmography: I'd probably go with the film that made her a star, Journey for Margaret with Robert Young and Fay Bainter, as I've seen (and loved) Meet Me in St. Louis before.

Jane Withers (1926-Present)

Oscar Nominations: Never nominated
Most Famous For: Being insufferable.  Or rather, playing insufferable, in the Shirley Temple classic Bright Eyes, where Withers plays her bratty nemesis.  Withers became one of the biggest stars of the late 1930's, joining Shirley Temple as a major box office draw despite being a child star, and then eventually going into supporting roles, like her work in Giant (she and James Dean were good friends) and eventually commercials, taking on what would become her most famous role for the Baby Boomer generation: Josephine the Plumber in the Comet commercials (for comparison's sake, think of Flo from the Progressive commercials and her ubiquity).  And continuing our streak, she was in several episodes of Murder, She Wrote and appears to be politically conservative.
Is She Still Working?: From what I can tell her most recent work would be voiceover contributions to The Hunchback of Notre Dame and its direct-to-video sequel, so I'm going to go with no since that was 16 years ago, though who knows-she may still be willing to give it a go.
Glaring Miss in Her Filmography: I think Bright Eyes, Withers' most noted work, would probably have to be at the top of the list.