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Thelma Todd SUTS Day?

Posted: August 26th, 2010, 5:26 pm
by ziggy 6708
any recommendations on what to record? Not that familiar with her. :)

Re: Thelma Todd SUTS Day?

Posted: August 26th, 2010, 6:35 pm
by moira finnie
I'm really glad that you brought this up, Ziggy. I tend to prefer Thelma when she was teamed with Zasu Pitts and have laughed quite a bit over Catch as Catch Can (1931), which was very amusing. Of course, the don't miss items probably belong to Laurel and Hardy and the Marx Bros. movies, but I also liked the antic, silly stuff like The Devil's Brother, which I haven't seen in quite awhile.

I really like Mervyn LeRoy's fast-paced films from the early '30s, so I think I'll be checking out Broadminded (1931)--and it also has the legendary Ona Munson in the cast along with Bela and Joe E. Brown. What a mix!

For drama, I really enjoyed The Maltese Falcon (1931) with its pre-code raciness and Mary Stevens, MD is a pip of a story as well. It would have been interesting to see what direction Thelma Todd's career might have taken if she had not died so young, (she was a bright girl, so maybe she would have bailed out of Hollywood entirely.)

Here's the entire schedule for Monday, August 30th:

30 Monday
6:00 AM
Broadminded (1931)
A rejected suitor leaves town and gets mixed up in an international chase. Cast: Joe E. Brown, Ona Munson, Bela Lugosi. Dir: Mervyn LeRoy. BW-72 mins, TV-G

7:15 AM
Son Of A Sailor (1933)
A lovesick fool bumbles into espionage and finds a stolen plane. Cast: Joe E. Brown, Jean Muir, Thelma Todd. Dir: Lloyd Bacon. BW-73 mins, TV-G

8:30 AM
Charlie pretends to be a hillbilly to impress country girl Thelma Todd in hopes of making her his girlfriend. Cast: Charley Chase, Thelma Todd Dir: Warren Doane BW-21 mins, TV-G

9:00 AM
Charley hires three "party girls" to help him land a business deal. Cast: Charley Chase, Thelma Todd Dir: James W. Horne BW-21 mins, TV-G

9:30 AM
Short Film: DOLLAR DIZZY (1930)
Two millionaires try to escape the suitors out to marry them for their money. Cast: Charley Chase, Thelma Todd, Edgar Kennedy. Dir: James W. Horne. BW-26 mins, TV-G

10:00 AM
Short Film: HIGH C'S (1930)
An entertainer serving in World War I puts music before military service. Cast: Charley Chase, Thelma Todd, Carlton Griffin. Dir: James W. Horne. BW-29 mins, TV-G

10:30 AM
Charley agrees to go on a blind date to a dance to help out his friend. Concerned it will be a big disaster like his last blind date Charley tries to be as off putting as possible and goes all out trying to make himself look bad. He is rude to her on the phone, refuses to shave, wears his friend's old suit and even eats garlic. Unfortunately for him, however, his date turns out to be the lovely Thelma Todd. Cast: Charley Chase; Thelma Todd Dir: James Parrott BW-21 mins, TV-G

11:00 AM
Short Film: NICKEL NURSER, THE (1932)
A millionaire hires an efficiency expert to get his daughter in line. Cast: Charley Chase, Thelma Todd, Billy Gilbert. Dir: Warren Doane. BW-21 mins, TV-G

11:30 AM
Hips, Hips, Hooray (1934)
Two salesmen try to market a flavored lipstick. Cast: Bert Wheeler, Robert Woolsey, Ruth Etting. Dir: Mark Sandrich. BW-68 mins, TV-G

12:45 PM
Cockeyed Cavaliers (1934)
Two nitwits are mistaken for the king's physicians in medieval England. Cast: Bert Wheeler, Robert Woolsey, Thelma Todd. Dir: Mark Sandrich. BW-72 mins, TV-G

2:00 PM
Short Film: CATCH AS CATCH CAN (1931)
ZaSu Pitts is a hotel phone operator who finds love in a wrestler with a little matchmaking help from friend Thelma Todd. Cast: Thelma Todd, ZaSu Pitts, Big Boy Williams Dir: Marshall Neilan BW-20 mins, TV-G

2:30 PM
Short Film: RED NOSES (1932)
Comedic duo Thelma Todd and ZaSu Pitts get sent to a spa while recovering from being sick, but it turns out not to be the relaxation they need. Cast: Thelma Todd, ZaSu Pitts Dir: James W. Horne BW-21 mins, TV-G

3:00 PM
Short Film: SHOW BUSINESS (1932)
Comedic duo Thelma Todd and ZaSu Pitts travel along with their musical monkey to a show but their antics on the train antagonize the show director. Cast: Thelma Todd, ZaSu Pitts Dir: Jules White BW-20 mins, TV-G

3:30 PM
Short Film: ASLEEP IN THE FEET (1933)
Comedic duo Thelma Todd and ZaSu Pitts try their hand at being charitable by working at a dance club to raise money for a friend. Cast: Thelma Todd, ZaSu Pitts Dir: Gus Meins BW-19 mins, TV-G

4:00 PM
Short Film: MAIDS A LA MODE (1933)
Hal Roach's comedic duo Thelma Todd and ZaSu Pitts find themselves in a jam when they get caught by their boss at a party. Cast: Thelma Todd, ZaSu Pitts Dir: Gus Meins BW-18 mins, TV-G

4:30 PM
Short Film: Bargain of the Century (1933)
Hal Roach's comedic duo Thelma Todd and ZaSu Pitts find themselves in a jam once again when they are the cause of a police officer losing his job. Cast: Thelma Todd, ZaSu Pitts Dir: Charley Chase BW-19 mins, TV-G

5:00 PM
In this Todd/Kelly short, the girls crash a high society party and have trouble fitting in. Cast: Patsy Kelly, Thelma Todd Dir: Gus Meins BW-18 mins, TV-G

5:30 PM
The girls buy a farm in Paradise Acres and get scammed. Cast: Thelma Todd, Patsy Kelly Dir: Gus Meins BW-17 mins, TV-G

6:00 PM
Patsy looses her job and needs a place to stay over night after getting kicked out of her apartment. She convinces Thelma to let her spend the night at the hospital where Thelma works as a nurse. Cast: Patsy Kelly, Thelma Todd Dir: James Parrott BW-19 mins,

6:30 PM
Thelma Todd and Patsy Kelly move into an apartment together and become roommates. They end up driving each other crazy and Patsy moves out! Cast: Thelma Todd, Patsy Kelly Dir: James Parrott BW-20 mins, TV-G

7:00 PM
Short Film: HOT MONEY (1935)
In this Todd/Kelly short, Patsy and Thelma come across some much needed money that happens to be stolen. Cast: Thelma Todd, Patsy Kelly Dir: James W. Horne BW-17 mins, TV-G

7:30 PM
TOP FLAT (1935)
In this Todd/Kelly short, Thelma tries to convince Patsy that she's struck it rich. Cast: Thelma Todd, Patsy Kelly Dir: William Terhune BW-19 mins, TV-G
8:00 PM Monkey Business (1931)
Four stowaways get mixed up with gangsters while running riot on an ocean liner. Cast: The Marx Brothers, Thelma Todd, Rockliffe Fellowes. Dir: Norman Z. McLeod. BW-78 mins, TV-G, CC

9:30 PM
Horse Feathers (1932)
In an effort to beef up his school's football team, a college president mistakenly recruits two loonies. Cast: The Marx Brothers, Thelma Todd, David Landau. Dir: Norman Z. McLeod. BW-67 mins, TV-G, CC

10:45 PM
Short Film: Another Fine Mess (1930)
Two vagabonds move into a deserted mansion and pretend to be its owners. Cast: Stan Laurel, Oliver Hardy, Thelma Todd. Dir: James Parrott. BW-28 mins, TV-G

11:30 PM
Short Film: Chickens Come Home (1931)
A man risks his marriage to help his best friend deal with blackmailers. Cast: Stan Laurel, Oliver Hardy, Thelma Todd Dir: James W. Horne BW-30 mins, TV-G

12:15 AM Devil's Brother, The (1933)
Two wannabe bandits are hired as servants by the real thing. Cast: Laurel & Hardy, Dennis King, Thelma Todd. Dir: Hal Roach. BW-90 mins, TV-G, CC

2:00 AM
Short Film: Bohemian Girl (1936)
Two pickpockets raise a stolen child, not realizing she's royalty. Cast: Stan Laurel, Oliver Hardy, Thelma Todd. Dir: James W. Horne, Charles Rogers. BW-71 mins, TV-G

3:15 AM
Maltese Falcon, The (1931)
In the first screen version of The Maltese Falcon, detective Sam Spade investigates the theft of a priceless statue. Cast: Bebe Daniels, Ricardo Cortez, Dudley Digges. Dir: Roy Del Ruth. BW-79 mins, TV-G, CC

4:45 AM
Mary Stevens, M.D. (1933)
A woman doctor decides to have a baby without benefit of marriage. Cast: Kay Francis, Lyle Talbot, Glenda Farrell. Dir: Lloyd Bacon. BW-72 mins, TV-G

Re: Thelma Todd SUTS Day?

Posted: August 26th, 2010, 8:12 pm
by silentscreen
Love Thelma! Haven't seen enough of her stuff.

Re: Thelma Todd SUTS Day?

Posted: August 26th, 2010, 9:08 pm
by movieman1957
The best stuff is saved for prime time but if you have any interest in Charley Chase or Thelma's shorts with Zasu Pitts that is where I would look. These shorts are pretty rare. Some have been shown before but this is your chance to catch a bunch at once.

Re: Thelma Todd SUTS Day?

Posted: August 26th, 2010, 9:44 pm
by silentscreen
movieman1957 wrote:The best stuff is saved for prime time but if you have any interest in Charley Chase or Thelma's shorts with Zasu Pitts that is where I would look. These shorts are pretty rare. Some have been shown before but this is your chance to catch a bunch at once.
I have seen one of her shorts with Zasu at a friend's home on 16mm. Like Charley Chase too- seen some of him at the same friend's house. Priviledged to know some avid film collectors in Texas. Seen some of her stuff with Groucho and L&H too!

Re: Thelma Todd SUTS Day?

Posted: August 31st, 2010, 2:07 pm
by MikeBSG
I came late into "Son of a Sailor" yesterday and saw something surreal: Bela Lugosi and Thelma Todd in the same scene. As a romantic item.

I guess Lugosi was a theatrical agent and Todd was a secretary. It just didn't seem real to me.

Re: Thelma Todd SUTS Day?

Posted: August 31st, 2010, 7:57 pm
by Birdy
Due to the lack of TCM in my life, I wasn't able to see Thelma's day, but love her in the few things I've seen. Would anyone be able to share some of these with me? I'm especially interested in her shorts with Zasu Pitts. I read her biography earlier this year; her life was quite a ride.
Thanks, Birdy

Re: Thelma Todd SUTS Day?

Posted: September 9th, 2010, 10:26 pm
by Birdy
I received the shorts from one of our friends here, (Thanks, wink!) and watched them first chance! They are such a hoot and I love how they use their real name. And just love those costumes. I loved that Patsy had the dance routine down but Thelma didn't!
Hope you all enjoyed these as much as I did.

Re: Thelma Todd SUTS Day?

Posted: September 20th, 2010, 3:36 pm
by Gary J.
The great thing about Thelma Todd having her own day on TCM was the showcasing of the great Roach shorts shown without the annoying TCM logo (they call it a bug) on constantly. It makes for better recordings. And it is her work in the comedy shorts that I would like to elaborate on. During Todd's eight short years working in Hollywood six of them were at the Hal Roach studio. Even though she was concurrently signed with Paramount and was allowed to freelance at both the minor and major studios it was at the Roach studio that she was allowed to shine. It was here that she created the performances that she is most remembered for. For many of us our first exposure to her was through her appearances with Laurel & Hardy. Ironically, she worked with the star duo far less than anyone else on the lot. She was there with the boys for their talkie debut "Unaccustomed As We Are" – (1929) but her two highlights were "Another Fine Mess" – (1930) and "Chickens Come Home" – (1931). In the latter she plays Ollie’s loyal and loving social-climbing wife who slowly turns into anything but as her suspicions grow over hubbies infidelities (who would cheat on Thelma!). The couples’ elegant dinner party degenerates into icy glares and sneering retorts before it culminates with Oliver attempting one last pathetic alibi only to have Thelma respond with a quick right jab to his face that would have left Ali proud. In the former film she is given a delightful scene with Stan disguised as 'Agnes the maid'. Their "girl talk" is filled with double entendres that would make Will Hays blush and ends with backs slapped, feathers flying and Thelma's patented wide-eyed takes.

During this time she was also supporting the studio’s other main headliner Charley Chase as he was getting a feel for the sound medium. While Chase’s output of silent shorts during the twenties are now considered classics in the field many of Chase's talkies come off as bizarre oddities. They don't contain the constant laugh quota that L&H's do but they all carry tremendous charm and wit. Chase obviously was not content at carrying over his silent film persona intact and was always experimenting with different forms of humor --hence the quirky nature of his films. That said, Thelma's appearances with Charley do the most to recall his silent successes. He is always working at impressing the comely blonde which only propels him into socially embarrassing situations – such as his agreeing to become her stage partner in the early talkie “Crazy Feet” – (1929) only to end up swinging across the proscenium on a tether. Their on screen chemistry is on display in the opening soda fountain scene from "All Teed Up" – (1930), during the hillbilly shenanigans of “The Real McCoy” – (1930) (Charley comes-a-courtin’ wearing a coon skin cap which is actually a live skunk and Thelma keeps opening windows trying to air out the room) and throughout “Looser Than Loose” – (1930) as Charley and Thelma suffer through a double date with the wrong partners. “Dollar Dizzy” – (1930) plays as that films polar opposite with the pair playing millionaires mistaking each other for fortune hunters. The comedy veers close to abuse as Charley repeatedly picks up Thelma, carries her out into the hotel hallway and bodily throws her to the ground. The entire premise of "A Pip From Pittsburgh" - (1931) --Charley being burned by so many bad blind dates that he makes himself as disagreeable as possible-- hinges on the blind date (the 'Pip') to look exactly as someone like Thelma in order to spur our hero on to great heights to undo the harm he did to himself. Charley's initial reaction at meeting her in the hallway is a hoot.

In some of their films together Thelma is merely a member of a trio of girls Charley has to deal with plot-wise--the good-time girls of "Whispering Whoopee" – (1930) and the spoiled rich daughters of the "Nickel Nurser" – (1932), but she always ends up standing out in Charley's eyes. Probably the best example of their on screen coupling are the two WW1 themed shorts they made together, "High C's" – (1930) and it's sequel "Rough Seas" – (1931). Thelma as a French coquette is at her flirtatious best. A great iconic image appears in “Rough Seas” when Charley smuggles Thelma aboard his troop ship by stuffing her in a laundry bag. As he heads up the gangplank Thelma’s leg rips through the bag creating a sight gag that is both conspicuous and slightly erotic as a more perfectly shaped lone leg one is ever apt to come across in a comedy. It is easy to see why doughboy Charlie would rather sit out the war and serenade the spirited blonde than dodge bullets in the trenches. It is also easy to see that they could have been an item off screen for a time and it is rumored that Chase pined for her long after her death (not that he lived much longer). Their work together needs to be re-evaluated as more of Chase's talkie films come out of the shadows.

Another comic on the Roach lot that Thelma supported was Harry Langdon. Although it was a come-down for the silent star to return to the making of two-reelers after being a feature star Roach went all out promoting Harry’s return to the screen. These shorts are even more rarely seen than Chases'. The only short from that series that is easily accessible is "The Head Guy" – (1930) and Thelma's role is more of a dry run for her part in Keaton's "Speak Easily" – (1932) (minus the drunk scene). In fact, outside of the "Taxi Boys" the only top Roach series that Thelma didn't appear in would be the "Our Gang" series, although one suspects that the casting of the gangs’ dreamy school teacher, Miss Crabtree, was originally slated for her since the eventual casting of June Marlowe was made up to look like Thelma. Unfortunately Miss Marlowe couldn't act like Miss Todd. The closest Thelma got to working with "The Gang" would be the grown up teen age version developed by George Stevens titled "The Boyfriends". "Love Fever" - (1930) was the sixth of the new series and Thelma is delightful as an actress rehearsing a script while fending off the three teens, Grady, David, and Mickey, who take turns falling for her. The short is a showcase for her charms as she flirts, emotes and then sends the boys packing back to their respected girlfriends.

It was shortly after this performance that Roach put her in her own starring series. After a little over two years on the Roach lot Todd began filming the first of her 16 shorts teamed with comedienne Zasu Pitts (who received top billing) to be followed by 21 more with Patsy Kelly (who received second billing – deservingly so..). The series was always described as a female version of Laurel & Hardy but the least successful shorts were those that actually played up the smart/dumb subservient relationship (which seemed to happen more often when Kelly joined the series). At its heart the series worked best when the girls portrayed two average dames trying to get by in the depression without resorting to street walking. The humor is mostly gentle and low-keyed in their early shorts so when the slapstick scenes appear--Thelma taking a header into a bathtub in "The Pajama Party" – (1931) --it is unexpectedly all the funnier. At times it seems that Thelma takes a backseat to Zasu's antics - such as all of the hat chasing of Zasu’s bonnet in “Catch As Catch Can” – (1931) - but her comedy training seemed to instill in her the professionalism to participate in any manner in order to keep the laughs coming. She became a very good reactor, in much the way that Oliver Hardy developed, by letting the comedy bounce off of her. From “War Mamas” & "On The Loose” – (1931), "Alum & Eve" – (1932) to "Maids a la Mode" – (1933) the girls wander in a typical Roach universe trying to keep their aplomb as dresses are torn off, moving walk ways run amok and little Spanky is made their charge. (See, she did make an "Our Gang" short after all!)

The series hit its stride with "Red Noses" – (1932). The girls are sent to a spa to recover from sever head colds and the visit is anything but restful. After being jostled and twisted like pretzels by masseurs they retaliate with mud packs. The gals loyalty to each other begins getting played up in connection with the gags. Zasu starts flinging mud when she thinks Thelma is being assaulted, when in actuality she is being given a beauty mud treatment. Billy Gilbert attacks Zasu for stealing his clothes and it is Thelma who steps in and sends Billy into a sauna mud bath. Their loyalty for each other permeates in “Show Business” – (1932) as the girls travel by train to their next vaudeville gig and run afoul of the star of the troupe, a snooty Anita Garvin. When they attempt to get into an upper berth they are just as inept at it as Stan & Ollie, ending up sprawled on the floor. Some things never change. If this short seems familiar that’s because the Three Stooges remade it almost scene for scene as “A Pain in the Pullman” – (1936). “Alum & Eve” – (1932) is a funny outing as Thelma tries to get out of a speeding ticket by telling the cop that Zasu needs to get to the hospital. Of course the cop insists on escorting the girls to the hospital and Zasu spends the rest of the short riding a gurney. “The Soilers” – (1932) is rambunctious slapstick with Thelma showing quite a bit of leg. Those legs are put to use in “Asleep In The Feet” – (1933) as the girls become taxi dancers to raise money for a renter about to be evicted. As Thelma is being monopolized by a lout of a sailor Zasu is constantly spurned as a dance partner. Billy Gilbert is the owner of the and when the local puritan squad enters he gets the word out that all of the dancing must be respectable. Zasu takes this moment to be a hotsy-totsy (wearing hideously garish makeup) and not only flirts with the head of the church group but takes him for a wild spin around the floor. The ending illustrates how their personalities had affected the series. During a black-out Thelma receives a black eye and Billy Gilbert pays off in lieu of being sued. Once back home Zasu breaks down and confesses (ala Stan Laurel) that she did it in order to get the rent money. As Zasu sobs away Thelma begins to burn until she suddenly breaks out in a wide grin, begins laughing and pulls her friend into her arms for a warm embrace. It makes for a surprisingly sweet and tender ending. “Maids a la Mode” – (1933) is a breezy outing bracketed between two slapstick sequences involving hemlines. The girls work at Billy Gilbert’s dress shop and disrupt his fashion show while on the moving catwalk. Maybe the brainiac who thought of installing a moving catwalk should had been the object of Gilbert’s rage. A protracted bit involving a discarded mattress in the street falls flat as the girls are not trained physical comedians but the short rebounds nicely when the girls appear at the dinner party. Zasu’s dress begins falling apart so Thelma hides behind a curtain to baste her pal’s dress back together (just as Harold Lloyd’s tailor did in The Freshman (1925)) only to attache Zasu to the entire curtain. Soon she is swinging back and forth like a pendulum as we head to a fade out. “The Bargain of the Century” – (1933) is a solid entry from the opening havoc of the department store ‘white sale’ to Billy Gilbert’s plaintive cry at dinner (“no more ice cream, please…”) this short hums along. It plays almost like a Charley Chase short, maybe because it was directed by Thelma’s former co-star - Charley Chase. It would be the last collaboration between these two colleagues. And “One Track Minds” – (1933) would be the last collaboration between Thelma and Zasu and they go out in fine fashion with a very funny short set on a train ride to Hollywood where Thelma has been selected for a screen test. The girls continually have run-ins with an egotistical train passenger who just happens to be the director who has hired Thelma. Our Gang’s newest star Spanky McFarland is along for the ride as Zasu’s little brother.

To replace the departing Zasu Pitts (she wanted to return to features) Hal Roach selected a young Irish lass who had recently made a splash on Broadway, Patsy Kelly. Brash, wisecracking, common – one who definitely wore her ethnicity on her sleeve – Kelly was the direct opposite of Zasu Pitts, which is exactly what Roach was looking for. The new partnership brought changes in attitude to the series. Kelly is definitely the instigator in most of these shorts with her loud, brassy (some would call it obnoxious) demeanor so in order to make her more sympathetic to the audience Thelma now portrays more of a vain, social climber wannabe. This can create more comedic situations but what it does sacrifice is the genuine warmth that was exhibited between Thelma and Zasu. That said, many of these shorts are still filled with good gags and funny situations in the best of the Roach studio fashion. The girls come out a winner with their first short together “Beauty and the Bus” – (1933) when they win a car in a local raffle and end up demolishing it along with every car in the neighborhood. “Air Fright” – (1933) is an audience-pleaser with the girls working as stewardesses on an experimental plane equipped with ejection passenger seats. What could go wrong? The majority of the running time is a variation of how many times Patsy can unwittingly release another passenger into the wild blue yonder. “Babes in the Goods” – (1934) features a funny bit by Arthur Housman as the sidewalk observer who refuses to allow the girls to let up in their demonstration job in a department store window. “One Horse Farmers” – (1934) has surprisingly good production values at a time when the studio was constantly cutting corners on their shorts. The girls are suckered into purchasing a home directly in the heart of the dust bowl disasters. There are acres of gags involving sand (It’s even in Thelma’s sandwich) and climaxes with a sandstorm that tilts the poor little home around like Chaplin’s cabin in The Gold Rush (1925). As original as those shorts appear many others seem to rehash previous shorts. “Opened By Mistake” – (1934) has Patsy running around the hospital trying to avoid an operation, “Soup and Fish” – (1934) once again involves the girls crashing a dinner party and “The Misses Stooge” – (1935) have the girls ruin yet another stage act.

By 1935 the handwriting was on the wall for the end of quality shorts being made in the Hal Roach tradition. The last three shorts made in the Todd series “Hot Money” – (1935), “Top Flat” – (1935) and “All American Toothache” – (1936) are all frantic farces which play as very mechanical but with moments of joy from the two leads. And Thelma Todd left the movie-going audience with many moments of joy. Had she not died tragically young would she had followed the career trajectory of the likes of a Carole Lombard and became a hit in screwball comedies? One can only surmise, but we can be thankful that in her lifetime she and the Hal Roach studios came together and created timeless moments that film buffs to this day still rejoice in.

Gary J.

Re: Thelma Todd SUTS Day?

Posted: September 20th, 2010, 3:46 pm
by movieman1957
Thanks so much for the write up. Having seen and saved some of these from TCM I am getting to learn and enjoy a good many of these. I must pay more attention to the Chase shorts in general. I have some of the sound shorts and they liked to incorporate some songs in them which is novel to me.

For those who really only know her from the Marx Bros they are in for a treat.

Re: Thelma Todd SUTS Day?

Posted: September 20th, 2010, 4:00 pm
by Gary J.
It seems that all of the major Roach stars had some kind of musical abilities in them.
When Leo McCarey was on the lot he always had a piano on the set and when ever they
were stuck for an idea they would stop working and who ever was nearby (Chase, Laurel
& Hardy) would gather around Leo's piano and sing until inspiration struck.

A lot of that impromptu musical feel would permeate these shorts.

Gary J.

Re: Thelma Todd SUTS Day?

Posted: September 22nd, 2010, 10:52 pm
by Birdy
Gary - I really enjoyed your write-up about Thelma Todd. I had read her biography earlier this year but had only seen her in a couple of movies. I have watched the shorts I received and laughed out loud alone in my house! I'm looking forward to watching the features. She was a fabulous gal whose career was sadly short.