Our September Guest Star: Karen Burroughs Hannsberry

Past chats with our guests.
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mongoII
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Re: Our September Guest Star: Karen Burroughs Hannsberry

Post by mongoII »

Hi Karen. Thanks a lot for responding to my question.

I would imagine that June Lockhart adored her father.

Joe
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Gypsy1962
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Re: Our September Guest Star: Karen Burroughs Hannsberry

Post by Gypsy1962 »

moirafinnie wrote:I was delighted to read that I'm not alone in my soft spot for Richard Conte, but was wondering if you could please write a bit about the many character actors who have enriched film noir, making every gunsel, crooked cop and rummy believable. I've always found that fine supporting actors such as Roy Roberts (always an untrustworthy authority figure), Leon Ames, (ditto, in spades), James Whitmore, Hope Emerson, Marc Lawrence, Lee Patrick, Esther Ralston, Jay Adler, and of course Elisha Cook, Jr. added enormously to the believability of these movies. Have you any favorite film noir character actors? Are there any movies you would recommend watching just for the character work of these too often unsung men and women?
There were so many great character actors who peppered the dark streets of film noir, Moira. I have several favorites – Elisha Cook, Jr., comes to mind first. He’s another one of those actors who I could watch in just about anything. He was a scene stealer in Born to Kill where, with his relationship with Lawrence Tierney, he epitomized the phrase “loyal to the end.” He knew his best friend was a murderous maniac, but he (usually) knew just how to handle him and he was always in his corner. We could all use such a friend. Another favorite Cook performance came in The Killing, where he was a highlight of the film for me as the mild-mannered race track cashier who would go to any lengths to hang onto his young, sexy wife. I also greatly enjoyed the work of Luther Adler – he was superb in House of Strangers, as the embittered oldest of four sons who feels cheated out of his birthright by his favored younger brother; D.O.A., where he was positively scary as a refined and soft-spoken, but totally ruthless, racketeer; and M (the 1951 version), where he was a standout as an alcoholic ex-lawyer. I also enjoyed watching Agnes Moorehead, who first came to my notice as a child when I watched her on Bewitched – and she could have been described as “witchy” (among other adjectives) in my favorite noir role that she played, the shrewish, thoroughly nasty Madge Rapf in Dark Passage. There are so many others whose work I admire – in addition to those you named, there’s Wallace Ford, Ed Begley, Thelma Ritter (who was exceptional in Pickup on South Street), Fred Clark, Howard DaSilva, George Tobias, Mike Mazurki (always a joy to watch), John Hoyt, Thomas Gomez, and Paul Stewart.

I can think of two films off the top of my head that contain a number of excellent character actor performances. The first is The Killing. In addition to Elisha Cook, the film featured memorable roles played Jay C. Flippen, Ted DeCorsia, Timothy Carey, Joe Sawyer, and Jay Adler. The other is The Asphalt Jungle, which offers a veritable feast of outstanding character actors – Jean Hagen, Louis Calhern, Sam Jaffe, James Whitmore, Barry Kelley, Marc Lawrence, and Anthony Caruso. Interestingly, these films are similar in theme – a motley group of vastly disparate small-time hoods (and would-be hoods) unite to plan and execute an intricately detailed robbery, only to see it all unravel before their eyes. They are two of my most-watched and best-loved noirs, and I’d venture to say that the character actors in these films is a big reason why.
Gypsy1962
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Re: Our September Guest Star: Karen Burroughs Hannsberry

Post by Gypsy1962 »

Dewey1960 wrote:My question revolves around the actresses who appeared in poverty row noirs, most notably . . . Jean Gillie . . .
Hi, again, Dewey --

I'd intended to mention last night that the May/June 2007 of my bimonthly film noir newsletter, The Dark Pages, contains an excellent cover story on Jean Gillie by one of our regular writers, Kristina Dijan. It has some interesting information about Decoy as well as Gillie's life -- including that she was married for a time to director Jack Bernhard, who helmed Decoy and another low-budget noir gem, Blonde Ice.
Last edited by Gypsy1962 on September 25th, 2009, 12:34 pm, edited 1 time in total.
Gypsy1962
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Re: Our September Guest Star: Karen Burroughs Hannsberry

Post by Gypsy1962 »

CineMaven wrote:Tell me, us...what is your next project? What do you have in the works? I just finished watching "Kiss of Death" and "Road House" (on the Fox Movie Channel). I wasn't quite taken by Ida Lupino in this as I was with Celeste Holm. I know she's not NOIR but do you have any thoughts on her? And as for Richard Widmark (in both films)...has there ever been anyone before (maybe Peter Lorre) or since who was so hateful as to pin a human being down under his thumb as soon as pull the wings off a butterfly? And how has he turned his screen persona around to be seen as a hero?
To be honest, Cinemaven, I don’t have anything in the works except for working on my newsletter, The Dark Pages (in which I hope to soon include articles by Moira!). After I finished Bad Boys, I had ideas for two more film-related books, but I discovered to my surprise that it's a lot harder to write when you (a) are getting older every day and loving sleep a whole lot more than you used to, and (b) have two growing girls whose choir practices, dance lessons, and cheerleading (not to mention homework and – gasp – science fair projects!) increasingly start to take over your very existence. One day, though – one day . . .

I’ve always liked Celeste Holm, and while I loved Ida Lupino in Road House (as I do most of her performances), I agree that Celeste Holm was an excellent addition to the cast. I only recently discovered that she played the unseen Addie Ross, the narrator of Letter to Three Wives, and she was also simply terrific in one of my favorite non-noir films, All About Eve, where she more than held her own against Bette Davis. I’m glad that she’s still with us, and still going strong – she has roles in two films that are due to be released soon!

Richard Widmark is another one of those film noir icons that I love to watch. He was in so many marvellous noirs, but I most enjoyed him in Night and the City. What a great role – as Harry Fabian, he suffered from what one character termed “a highly inflamed imagination, coupled by delusions of grandeur.” He made you pity him, root for him, despise him, love him, and mourn for him – all in one film. He was truly something special here. As you say, however, he was equally compelling as the hero – in Panic in the Streets and a number of his non-noir features, he was able to capably and believably capture that same intensity, fortitude, and strong sense of resolve, and channel it on the right side of the law.
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MissGoddess
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Re: Our September Guest Star: Karen Burroughs Hannsberry

Post by MissGoddess »

Hi Karen! One last question if I may. Do you personally feel that film noir is confined to specific
perameters
such as:

Period of time (i.e., post-WWII up to...???)

Black-and-white photography only

American/Hollywood produced pictures only

....or do you consider it a style applicable to all sorts of pictures from all times and countries? I ask
because many people disagree on this, and it can be confusing to someone new to the style. I tend
to stay on the fence with it because I had been watching films noir for so long thinking of them
only has "dramas". It wasn't until a little later that I noticed people ascribing to them the qualities
of this particular genre/style.

Last question: What would you say was the "first" pure film noir? many thanks for joining us!
"There's only one thing that can kill the movies, and that's education."
-- Will Rogers
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Dewey1960
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Re: Our September Guest Star: Karen Burroughs Hannsberry

Post by Dewey1960 »

Karen, thanks so much for your thorough (and thoroughly enlightening) responses. I'm more anxious than ever to dig into your books---you have a keenly intense knowledge of your subject and your writing is a delight to read. Thanks again!
-Dewey
klondike

Re: Our September Guest Star: Karen Burroughs Hannsberry

Post by klondike »

Dewey, put that key away!
It can't be time to shut this thread down yet, can it?
(I haven't asked my question yet!)
Karen, thank you so much for visiting with us here at the Oasis this week; it would certainly be delightful if you could continue to drop-in on us, and share your thoughts & insights about our on-going film discussions.
My question is: in your opinion, why wasn't Sterling Hayden used more thoroughly than he was, in the Noirs of the 50's?
He was very striking & memorable in the ones he did do, for visionaries from Kubrick to Coppola, so it would seem that he would have been utilized more than the body of his work indicates. Was this due to decisions of Hayden's, or of the studios, or the result of forces & consequences beyond anyone's direct control?
And once again, thank you for all your time, Karen!
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moira finnie
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Re: Our September Guest Star: Karen Burroughs Hannsberry

Post by moira finnie »

Hi Karen,
I can't believe that this week has flown by so quickly. Your nightly visits and sprightly answers have really made me want more and more film noir...and we didn't even have time to discuss at length the cosmic injustice of Dan Duryea's neglect as an unsung prince of this corner of the dark cinematic kingdom...Oh well, thank you for spending so much time and careful thought into each of our queries. Please come back for a visit anywhere and anytime on this discussion board. You were wonderful.
Gratefully,
Moira
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Gypsy1962
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Re: Our September Guest Star: Karen Burroughs Hannsberry

Post by Gypsy1962 »

MissGoddess wrote:Do you personally feel that film noir is confined to specific perameters such as:
Period of time (i.e., post-WWII up to...???)
Black-and-white photography only
American/Hollywood produced pictures only
....or do you consider it a style applicable to all sorts of pictures from all times and countries? I ask
because many people disagree on this, and it can be confusing to someone new to the style. I tend
to stay on the fence with it because I had been watching films noir for so long thinking of them
only has "dramas". It wasn't until a little later that I noticed people ascribing to them the qualities
of this particular genre/style. Last question: What would you say was the "first" pure film noir? many thanks for joining us!
Hi, again, Miss Goddess –

I have to say, in all sincerity, that I absolutely love your questions – and I’m not just trying to butter you up because yours is my first question on the last night of my visit and I’m feeling all sentimental. Really not!

With regard to film noir, I have very definite opinions. To me, film noir is an era in American film that started in 1940 with Peter Lorre’s Stranger on the Third Floor and ended in 1959 with Odds Against Tomorrow. While most films noirs were filmed in black and white, I do believe there are some color exceptions, most notably Leave Her to Heaven, Slightly Scarlet, Niagara, I Died a Thousand Times, and Party Girl.

I think that there are “offshoots” of film noir – features that were filmed in other countries, such as those known as “Brit Noir,” or films that appeared after 1959, like The Last Seduction, Red Rock West, Farewell, My Lovely, and Body Heat, which I consider to be in the category of “neo noir.” But these features, to me, are not true film noir. Only film noir is film noir. That’s my story and I’m sticking to it.
Gypsy1962
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Re: Our September Guest Star: Karen Burroughs Hannsberry

Post by Gypsy1962 »

Dewey1960 wrote:Karen, thanks so much for your thorough (and thoroughly enlightening) responses. I'm more anxious than ever to dig into your books---you have a keenly intense knowledge of your subject and your writing is a delight to read. Thanks again!
Thank you for your kind words, Dewey -- I have loved answering your questions!
Gypsy1962
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Re: Our September Guest Star: Karen Burroughs Hannsberry

Post by Gypsy1962 »

klondike wrote:Karen, thank you so much for visiting with us here at the Oasis this week; it would certainly be delightful if you could continue to drop-in on us, and share your thoughts & insights about our on-going film discussions. My question is: in your opinion, why wasn't Sterling Hayden used more thoroughly than he was, in the Noirs of the 50's? He was very striking & memorable in the ones he did do, for visionaries from Kubrick to Coppola, so it would seem that he would have been utilized more than the body of his work indicates. Was this due to decisions of Hayden's, or of the studios, or the result of forces & consequences beyond anyone's direct control?
Hi, Klondike! I would love to come back. I’m not good at keeping up with websites these days (hence, my once-every-two-months visits to Facebook), but visiting y’all here would be a priority!

Of Sterling Hayden’s six films noirs, five were filmed during the 1950s – Asphalt Jungle, Crime Wave, Suddenly, The Killing, and Crime of Passion. I can’t say for sure why he didn’t appear in more, but I can share some of his off-screen experiences during that time that may have served as contributing factors.

First off, after he was seen, to great critical acclaim, in The Asphalt Jungle, Hayden rightfully expected a spate of first-rate roles to come his way, but he was disappointed to find that he was mistaken. (“I thought that would crack everything wide open. I’d just sit back and be turning down offers. Well, I got a few, but none good.”) So here, we have Hayden rejecting the few offers he received during this period – who knows what they might have been? Then, the following year, he was called as a “cooperative witness” before the House Un-American Activities Committee, which had been investigating Communism in Hollywood since the late 1940s. Admitting that he’d joined the Party in 1946, he termed his act “the stupidest, most ignorant thing I ever did in my life,” and went on to name several others, including screenwriter Abraham Polonsky (who penned Body and Soul and Force of Evil). Years later, Hayden regretted his actions, calling it its “one-shot stoolie show.” This, too, may have had an impact on his career.

Aside from his noir features, all of which are well worth watching, Hayden was seen in a number of clunkers throughout the 1950s – perhaps as the years progressed, he grew a little less selective than he’d been at the start of the decade. There certainly were some good ones (including The Star, opposite Bette Davis, and So Big, the third film version of the Edna Ferber novel), but I’d venture to say that more often than not, they were fairly forgettable. Then, in 1958, Hayden entered a bizarre period in his personal life, becoming embroiled in a nasty and lengthy court battle with his ex-wife, Betty deNoon. The sordid details included Hayden’s revelation that he’d had deNoon investigated in the mid-1950s and discovered that she’d “engaged in intimacies” with several men; Hayden taking his four children, against deNoon’s wishes, on an extended sea voyage; deNoon accusing Hayden of kidnapping; and charges against the actor of conspiracy and child stealing – all of which was reported daily in the press. Who has time to appear in film noir when your life is film noir?

An interesting footnote is Hayden later told reporters that he’d always hated acting. “It was an easy way to make money. It was an escape. They give you a check for doing nothing.”

Incidentally, during the decades that followed, Hayden remarried, spending half of each year with his wife and their two children and the other half fulfilling his lifelong desire for adventure by living alone on a Dutch canal barge in France. He also wrote a well-received autobiography, called Wanderer, as well as an epic novel of the sea, Voyage; appeared in such acclaimed films as Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, The Godfather, The Last Goodbye, King of the Gypsies, and 9 to 5; and fought the battle of the bottle, only to later extol the virtues of marijuana and hashish. He was quite a character, to say the least.
Gypsy1962
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Re: Our September Guest Star: Karen Burroughs Hannsberry

Post by Gypsy1962 »

moirafinnie wrote:Hi Karen,
I can't believe that this week has flown by so quickly. Your nightly visits and sprightly answers have really made me want more and more film noir...and we didn't even have time to discuss at length the cosmic injustice of Dan Duryea's neglect as an unsung prince of this corner of the dark cinematic kingdom...Oh well, thank you for spending so much time and careful thought into each of our queries. Please come back for a visit anywhere and anytime on this discussion board. You were wonderful.
Gratefully,
Moira

To borrow a phrase from my favorite song, Interjection, from Schoolhouse Rock -- darn, that's the end.

I can't tell you all how much I have enjoyed being here this week -- whatever will I do with my evenings now??? I deeply appreciate your invitation, Moira, and I thank each of you for your insightful, challenging, and entertaining questions and commments. I am gratified to know that a forum like this, and people like you, exist in the world. You've made me feel most welcome, and it would be a privilege to return and join your family of classic film lovers.

Sincerely,
Karen
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