Filmland Follies

                   To me, nothing says soulmates like co-starring in a string of movies. And yes, I know that screen teams were set up by studio executives and had no real control over whether they made two films together or ten. But some on-screen couples had off-screen chemistry, and it just begs the question of what might have been.                Errol Flynn and Olivia de Havilland made eight movies together between 1935 and 1941. Beloved by audiences for their charm, wit, swashbuckling, and screen chemistry, their adventure romances were some of Warner Brothers' biggest hits of the late 1930s. After their partnership ended, Olivia went on to win an Oscar while Errol faced a steady decline in both health and reputation. However, for a few shining years, they were Hollywood's golden couple. Of all the co-stars who never got together, Errol and Olivia might have been the closest.             Errol and Olivia made their first movie together, Captain Blood , in 1935. They were

            I recently watched Sabrina for the first time and fell in love with the costumes (which is easy to do when they're designed by Edith Head and worn by Audrey Hepburn). The most famous gown from the film is the one I'm analyzing for this article - my fourth Dress in Detail! If you haven't read my others, you can check out the Scarlett O'Hara dress , the "I Don't Care" dress , and the "Never Gonna Dance" dress here!               Audrey Hepburn is well-known for her status as a fashion icon. She regularly worked with European fashion houses, and her stardom helped launch some of these designers to the same level of fame. Audrey's tendency to favor these expensive foreign designers sometimes caused friction with her costume designers, which is exactly what happened on the set of Sabrina .                Edith Head was the official costume designer, but many of Audrey's outfits in the film were hand-selected by the actress in Pa

              After their success in Flying Down to Rio and the Gay Divorcee , Fred Astaire and Ginger Rogers were teamed for the third time in 1935's Roberta . Strangely enough, the duo was billed under star Irene Dunne and relegated to comedic relief. They only dance together twice in the film - but those two dances are some of their best work.               Fred plays Huck Haines, a band leader from Indiana who's been hired to play a gig in Paris. He brings his band overseas only to discover he's out of a job because the man who hired Huck's Indianians wanted Indians instead. Huck and his friend John (Randolph Scott) remember they both know people in Paris who might be able to help them out - Huck's childhood neighbor Lizzie Gatz and John's Aunt Minnie, known as the famed dress designer Roberta.               The band shows up at Roberta's where they meet Stephanie, the designer's assistant, and the fiery Countess Scharwenka - none other than Lizzie!

                 A few days ago, on July 16, Ginger Rogers would have been 112 years old. A regular kid who turned dance champion then Broadway star then Hollywood sensation, Ginger inspired generations of movie audiences. She fought for fair pay for female actresses, spoke out about the man's world that was - and still is - Hollywood, and showcased a rare combination of comedic timing and musical talent. Ginger's onscreen characters are a magic blend of clever, witty, emotional, and genuine - and it's hard to find a more classic Ginger character than Top Hat 's Dale Tremont.               Dale's first appearance is in a gloriously ruffly nightgown, rising from her palatial hotel bed to the sound of tap dancing. In normal circumstances, she'd probably be tap dancing too, but right now she's trying to sleep. Fred Astaire giving himself a solo in the room upstairs isn't helping. She marches upstairs to confront him about his "affliction" and stor

              "Hello, friends and enemies." Oh, The Philadelphia Story . One of the best romantic comedies out there, Old Hollywood or not. With a cast of familiar favorites, filled with one-liners and Oscar-winning acting and Jimmy Stewart singing "Over the Rainbow," it's hard not to love this movie.             After Top Hat , this was the second classic film I watched, and the one that I've rewatched the most. It also has one of the most compelling backstories. Katharine Hepburn, spurred by a late 1930s lull in her popularity (which included a feature on 1938's list of "Box Office Poison" actors), had made her way to New York City to return to her Broadway roots. In 1939, she was starring in Philip Barry's play The Philadelphia Story, which he had written specifically for her. The show was a smash hit, and completely reversed the Great Kate's negative publicity - the only remaining question was, would Hollywood welcome her back?     

              Katharine Hepburn and Laurence Olivier in a romantic period drama directed by George Cukor - sounds like a dream come true, right? Well, maybe if it was made in 1945. Here we are 30 years later, and while both actors are still undeniable stars, a lot of their talent gets lost in a muddled script and a strange plot. It's rare that I review a movie I didn't genuinely enjoy, but I found myself disagreeing with the glowing reviews of Love Among the Ruins .                  The movie begins in a rainstorm, as a wig-clad lawyer races from the courtroom to his office. He's late, but thankfully his client is later, and he spends the first ten minutes of the movie rushing around and shouting in preparation. This is our introduction to Sir Arthur Granville-Jones (Laurence Olivier), apparently the best lawyer in the business, but also the most erratic. It's clear the client he's waiting for is no ordinary person (unless it's Sir Arthur's normal routine