The future is a dead Issue.
Once again we've chosen what we think is the best poster for a vintage film. In this case it's the urban drama Dead End with Humphrey Bogart, and the poster is one painted by Jean Mascii for the French release as La rue sans issue. Bogart features prominently in both the art and film, but the rest of cast includes Sylvia Sidney, Joel McCrea, Claire Trevor, and Wendy Barrie. We're talking good, solid actors—two of them future Academy Award winners—and they make Dead End an excellent movie. In addition it was based on a play by Sidney Kingsley, with the script penned by Lillian Hellman, more top talent. Kingsley had already won a Pulitzer Prize, and Hellman had written many hit plays.
The plot of Dead End covers a day on a slummy dead end street in Manhattan on the East River, and the characters that interact there. The area is in the midst of gentrification, with fancy townhouses displacing longtime residents mired by the effects of the Great Depression. Because of construction on the next block the cosseted owners of a luxury home must for several days use their back entrance, which opens onto the dead end street. Thus you get interaction between all levels of society. There are the lowliest streets punks, an educated architect who can't find work, a woman who intends to marry for security instead of love, a gangster who's returned to his old neighborhood hoping to reconnect with his first love, and the rich man and his family.
There's plenty going on in the film, but as always we like to keep our write-ups short, so for our purposes we'll focus on the gangster, Humphrey Bogart, and his former girl, Claire Trevor. Bogart has risen to the top ranks of crime through smarts and ruthlessness, but to him Trevor represents a cleaner past and possibly a better future. He waits on the street for a glimpse of her, and when that finally happens he's thrilled. Trevor is less so, but there's no doubt she still loves Bogie. When he says he'll take her away from the slum she balks. It soon dawns on Bogie that she doesn't intend to leave, and he's devastated and confused. Trevor is evasive at first, then, pressured by Bogart, finally shouts, “I'm tired! I'm sick! Can't you see it! Look at me good! You're looking at me the way I used to be!” With that she moves from shadow:
Bogart takes a good look, from bottom to top:
And he realizes she is sick. Though it's unspoken, he realizes she has syphilis. All his dreams come crashing down in that devastating moment. He's disgusted, and it leads to an astonishing exchange of dialogue.
Bogart: Why didn't you get a job?
Trevor: They don't grow on trees.
Bogart: Why didn't you starve first?
Trevor: Why didn't you? Well? What did you expect?
Bogart escaped the poverty of that dead end street through organized crime, and killed on his rise to riches. Trevor had to survive through prostitution. Bogart thinks he's better than her; she tells him he's not. In his toxic male world, murder is less offensive than sex. He's the one who's twisted—not her. In addition to a great film moment, it's a clever Hays Code workaround. Nothing about sex, prostitution, or venereal disease could be stated, but through clever writing, acting, context, and direction—by William Wyler—the facts were clear to audiences. The rest of the story arcs are just as involving, and the movie on the whole is a mandatory drama. Dead End premiered in the U.S. in 1937, and in France today in 1938.
In show business the camera never sleeps.
Night and Day, for which you see the cover of an issue—its very first issue, actually—that was published this month in 1948, billed itself as America's Picture Magazine of Entertainment. It was launched in New York City by Alho Publishing, and as you'll see it came out of the gate swinging for the fences with its visual content, from its bisected cover featuring burlesque dancer Lili St. Cyr and actress Ramsey Ames, to its tongue-in-cheek feature on the twenty-seven types of kisses, to its approving look at George White's Scandals revue at Hollywood's Florentine Gardens. Interesting side note on Scandals—Wikipedia says it ended in 1939. Well, obviously not quite. Elsewhere Night and Day touches on college hazing, professional football, and the Greenwich Village art scene. In total, it's a gold mine for vintage photos.
Our favorite offering in the magazine is its quiz on Hollywood stars and their stand-ins. You just have to take a good look at twenty performers, and try to determine which twenty random people are their stand-ins. To score well on such a quiz you'd have to be either the biggest Hollywood head in history or someone who has the opposite of face blindness, whatever that would be. Face unforgettability, maybe. Even though we don't expect many people to try the quiz, we worked hard to put it into internet-usable form. In the magazine the photos were five-across on the page, which made them too small for the column width of our website. So we rearranged them to be two-across, and thus enlarged, they're clear, though you have to do a lot of scrolling. Nevertheless, it's there if you want, along with fifty other panels to eat your time with marvelous efficiency. Please enjoy.
The Hollywood movie star stand-in quiz begins below. First you get twenty famous actors and actresses:
And below are their twenty stand-ins. If you get more than half of these right you're a human face recognition algorithm. Quit your day job immediately and report to the FBI.
Below are the answers.
Tired of checkers, chess, and cards? Has he got a game for you.
Man hunted in the wild by a supposedly more intelligent and powerful foe is a concept used numerous times in Hollywood with great success, perhaps reaching its pinnacle with 1987's sci-fi actioner Predator. The idea goes all the way back to The Most Dangerous Game, a pre-Code chiller starring Joel McCrae, Leslie Banks, and Fay Wray. When a luxury yacht of upper crust types runs aground off the Pacific coast of South America, only McCrae survives. He's landed on a jungle island owned by a mad Russian named Count Zaroff, played with walleyed fervor by Banks, who hunts humans for kicks.
Zaroff's creepy ole stone mansion doesn't look like a place where one might hope to find aid, but McCrae has no choice but to go there. He isn't the only stranded raw meat hanging around. Boats occasionally crash because the Count moved the channel markers that are supposed to warn boaters away from the rocks. With each shipwreck he has new game to hunt. Wray is already on the island, having run aground before McCrae. She has an inkling things are not kosher, and she turns out to be correct.
The movie is stagy and clunky in its expository sequences, like most pre-Code productions, and Wray's acting is a sheer hoot, but there are positives. There's striking outdoor footage shot around Rancho Palos Verdes, which adds excellent imagery to a film that is indisputably a high visual achievement, and that in turn helps the action sequences come across as both gripping and believable. And of course the basic idea always works. Hunter and hunted, a battle of wits, a match to the death. The Most Dangerous Game premiered today in 1932.
*sigh* I'm getting mighty fucking bored on this island. Even my best formal wear doesn't lift my mood anymore. My God. I suddenly have the most dastardly idea. And now we shall play a very dangerous game! Staring like cats! We'll be in danger of enjoying ourselves! Stand against the wall and I'll throw this knife at you. I mean—not at you. Close enough to be dangerous. I mean— Okay, I can see you're not into it. How about a little Russian roulette? That's a fairly dangerous game. Erm... Joel? I think we should flee before he gets to the most dangerous game. We're lost aren't we? I said flee. I didn't say flee with no goddamn idea which way you were going. Are you sure we shouldn't have turned left back there at the bog of doom? Just admit you're lost, Joel. And not to add to your worries, but I'm getting pretty hungry. If I'm snippy it's your fault. Okay, now we're just going in circles. See? He's found us! You never listen! Count! Can you hear me? I'll make you a deal! Take her, and let me leave! |
The headlines that mattered yesteryear.
1947—Edwin Land Unveils His New Camera
In New York City, scientist and inventor Edwin Land demonstrates the first instant camera, the Polaroid Land Camera, at a meeting of the Optical Society of America. The camera, which contains a special film that self-develops prints in a minute, goes on sale the next year to the public and is an immediate sensation.
1965—Malcolm X Is Assassinated
American minister and human rights activist Malcolm X is assassinated at the Audubon Ballroom in New York City by members of the Nation of Islam, who shotgun him in the chest and then shoot him sixteen additional times with handguns. Though three men are eventually convicted of the killing, two have always maintained their innocence, and all have since been paroled.
1935—Caroline Mikkelsen Reaches Antarctica
Norwegian explorer Caroline Mikkelsen, accompanying her husband Captain Klarius Mikkelsen on a maritime expedition, makes landfall at Vestfold Hills and becomes the first woman to set foot in Antarctica. Today, a mountain overlooking the southern extremity of Prydz Bay is named for her.
1972—Walter Winchell Dies
American newspaper and radio commentator Walter Winchell, who invented the gossip column while working at the New York Evening Graphic, dies of cancer. In his heyday from 1930 to the 1950s, his newspaper column was syndicated in over 2,000 newspapers worldwide, he was read by 50 million people a day, and his Sunday night radio broadcast was heard by another 20 million people.
1976—Gerald Ford Rescinds Executive Order 9066
U.S. President Gerald R. Ford signs Proclamation 4417, which belatedly rescinds Executive Order 9066. That Order, signed in 1942 by President Franklin D. Roosevelt, established "War Relocation Camps" for Japanese-American citizens living in the U.S. Eventually, 120,000 are locked up without evidence, due process, or the possibility of appeal, for the duration of World War II.
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