Baby Jane wants an Oscar and she wants it right now!

Bette Davis, Jack Warner and Joan Crawford in 1962.

Bette Davis, Jack Warner and Joan Crawford in 1962.

Some trivia on Baby Jane and the golden guy …

Oscar statuetteBette Davis earned an Oscar and Golden Globe Best Actress nomination for her work in “What Ever Happened to Baby Jane?” She lost the Oscar to Anne Bancroft in “The Miracle Worker” and lost the Globe to Geraldine Page in “Sweet Bird of Youth.”

Davis desperately coveted that Oscar as it would have made her the first performer to win three Best Actress awards; she later claimed that Joan Crawford had campaigned against her. (Davis won in 1935 for “Dangerous” and in 1938 for “Jezebel”).

At the ceremony, Crawford (who had one Best Actress Oscar for 1945’s “Mildred Pierce”) accepted for the absent Bancroft. Crawford brushed by Davis, saying, “I have an Oscar to accept.”

In the category of Best Supporting Actor, Buono contended for both an Oscar and Golden Globe, but Ed Begley snagged the Oscar for “Sweet Bird of Youth” and Omar Sharif got the Globe for “Lawrence of Arabia.” (Interestingly, the handsome and charming Peter Lawford had been the first choice for Buono’s part and, by some accounts, even filmed a few scenes before dropping out.)

Bette Davis kisses her daughter B.D., who married at age 16.

Bette Davis kisses her daughter B.D., who married at age 16.

Director Robert Aldrich (along with Robert Mulligan for “To Kill a Mockingbird”) was nominated for the Palme D’Or director’s prize at the Cannes Film Festival, but that went to Luchino Visconti for “The Leopard.” It was at the film fest that Bette’s daughter B. D. met husband-to-be Jeremy Hyman; she married at age 16, with her mother’s approval.

Ernest Haller got an Oscar nod for best B&W cinematography. He lost to the lensmen behind “The Longest Day.” But “Baby Jane” is great looking and full of choice compositions, such as the shot of Jane’s bleary face shot through a cupboard full of empty liquor bottles.

“Baby Jane’s” wardrobe designer Norma Koch took home the prized statuette for B&W costume design. Blanche has a slightly Victorian vibe, wearing her dark silk dresses with oversize bows (Crawford insisted on wearing falsies) and an old-fashioned up-do. Jane fills out her faded, frilly frocks and scuffs around resentfully in shabby slippers. Hey, at least she’s practical – with all her boozing, heels might precipitate a tumble. Unbeknownst to Davis, the ratty blonde wig Jane wore was reportedly the same one Crawford wore in “The Ice Follies of 1939.”

Astonishingly, there was no Oscar for best makeup and hairstyling. That category was not introduced until 1981.

On the radar: James Garner remembered; Grace Kelly set released; ‘Gun Crazy’ and ‘The Lineup’ on the big screen

RIP James Garner: April 7, 1928 – July 19, 2014.

RIP James Garner: April 7, 1928 – July 19, 2014.

Who didn’t love hunky James Garner? The plain-talking, straight-shooting Oklahoma boy was best known for his roles as TV’s wry Western gambler Bret Maverick and as private eye Jim Rockford on the 1970s show “The Rockford Files.” Garner died in Los Angeles on Saturday, July 19. He was 86. TCM remembers Garner on July 28 with an all-day marathon, including 1969’s “Marlowe.” Click here to see TCM’s tribute video.

The Grace Kelly Collection box setWarner Bros. has released a divine Grace Kelly box set.  The collection includes six of  Kelly’s most popular films brought together for the first time on DVD: “Mogambo” (1953, John Ford), “Dial M for Murder” (1954, Alfred Hitchcock), “The Country Girl” (1954, George Seaton), for which she won the Best Actress Oscar, “The Bridges at Toko-Ri” (1954, Mark Robson), “To Catch a Thief” (1955, Alfred Hitchcock) and “High Society” (1956, Charles Walters).

Essential viewing for any sultry blonde or princess-type. It’s easy to dismiss Kelly as a pretty, privileged face but she was, in fact, a fine actress and a bold woman, especially in “Dial M” where she fights off her attacker.

Don’t get too excited about the special-feature interview with Pierre Salinger, conducted in 1982, just months before she died. Salinger shows a knack for asking inane questions and, though the still-lovely Kelly makes the best of it, the result is very dull viewing indeed.

The Alex Theatre in Glendale will show a “car-crazy” film noir double feature on Saturday night: “Gun Crazy” (1950, Joseph H. Lewis) and “The Lineup” (1958, Don Siegel). You can read more here.

The Film Noir Foundation’s Alan K. Rode will introduce the films.

 

With thanks and sadness, let’s raise a glass to Kate

I think of my spiritual ancestors as Joan Crawford, Barbara Stanwyck, Gloria Grahame, Lauren Bacall, Joan Bennett and Bette Davis. Their hard-won independence, their juicy scandals and their irrepressible willful streaks on and off screen laid the groundwork for all of us femmes fatales to call the shots, own our dramas and embrace the concept of high maintenance. Put simply: to be a bitch.

Kate's, at the corner of Wilshire and Doheny, opened in 1987.

Kate’s, at the corner of Wilshire and Doheny, opened in 1987.

That said, there are many other vixens, vamps and troublemakers who, though far less famous, are equally inspirational. One of these role models by extension, as it were, was Kate Mantilini, the namesake of a terrific Beverly Hills restaurant that is closing its doors on June 14, after 27 years in business.

Owner Marilyn Lewis says a recent rent increase prompted her decision.

Kate Mantilini was a feisty woman of the 1940s and the mistress of Marilyn Lewis’ uncle. (Marilyn and her late husband Harry Lewis were also the founders of the enormously popular Hamburger Hamlet chain. Harry died last June; he was 93.)

Says Marilyn Lewis: “My mother wouldn’t let me speak to her, nobody would allow us to mention her name, but she was a very strong woman and I wanted to name my restaurant after her.”

Actors, writers and execs gathered at the famous Beverly Hills restaurant.

Actors, writers and industry execs gathered at the famous Beverly Hills restaurant.

Of Irish and Italian descent, the unconventional Kate reportedly liked to do things her way and one of the things she really liked to do was to run businesses. The restaurant’s boxing mural is a nod to the fact that Kate worked in the male-dominated field of fight promotion.

The first time I went to the famous spot was for a late-night supper after seeing a Murnau double-bill at Lacma’s Bing Theater. I was visiting from Chicago and my friend Mickey Cottrell, a veteran film publicist and top-notch performer, suggested to the little group that had gathered that we nosh there. “Let’s head to Kate’s,” he said, as if Kate were a friend who had missed the movie but invited us to her place afterward.

Kate’s hasn’t changed much since it opened in 1987. Outside, by night, a blazing red neon sign pierces the inky blackness of Wilshire Boulevard. The building sits on the northwest corner of Wilshire and Doheny. Kate’s is walking distance from the Academy; the Weinstein Company is across the street.

Michael Mann shot a scene of "Heat" here.

Michael Mann shot a scene of “Heat” here.

Inside, the long, narrow room pulses with talk and laughter; fleet servers fly by, their crisp white aprons flash against the muted gray and cream walls. Glasses, plates and silverware clink and chime.

“I’m definitely moving here,” I thought to myself as we walked in that night, now long-ago. “This is so much cooler than Chicago.”

Mickey had a regular booth he liked; he suggested I order the sand dabs. Delightful. Our party was delightful too. Boisterous, funny, quick to argue fine points about films.

The kind and generous writer/producer/filmmaker Myron Meisel picked up the tab. Critic Michael Wilmington pointed out that the character actor Wallace Shawn was sitting in another booth.

Kate’s has always been popular with industry folk; celebs like Billy Wilder and Mel Brooks were regulars. Writers too, such as Susan Orlean and Tere Tereba, stopped by. Michael Mann, a master of filming Los Angeles by night, chose Kate’s for the scene in “Heat” (1995) when Al Pacino and Robert De Niro talk about their lives as cop and criminal.

Heat posterHarry Lewis was in the entertainment business before he and his wife became restaurateurs. As a contract player with Warner Bros. in the ’40s; Harry had a part in the film-noir classics “Key Largo” starring Humphrey Bogart and Edward G. Robinson as well as in “Gun Crazy” with John Dall and Peggy Cummins.

My friends and I may have been the last ones out that night and I’ve been back many times since. (I moved to Los Angeles in November of 2007.) I celebrated birthdays there, met girlfriends for drinks, marked triumphs big and small, stopped by for a slice of lemon ice-box pie and a cup of coffee after seeing a film at the Wilshire screening room.

It’s tough to think that after next Saturday I won’t be able to go to Kate’s anymore. I was a fan of the food (in particular the Cannes Film Festival salad and the split-pea soup) and the building and the vibe. By vibe I mean a sort of magic that’s absent from lots of trendy new restaurants.

Dessert is a must! Shown: the candy bar ice cream pie.

Dessert is a must! Shown: the candy bar ice cream pie.

You felt when you went to Kate’s that you were truly “in” – you might rub shoulders with Hollywood power brokers – but more importantly you were in for really good food and a really good time. Every time you went.

The Beverly Hills Cultural Heritage Commission is considering the property for landmark status to protect the building in the event that new owners decide to remodel. The land parcel (9101, 9107 and 9111 Wilshire Blvd.) features the work of architects Pereira and Luckman, Maxwell Starkman and Thom Mayne.

I hope that happens. But in the meantime, I’m going to raise a glass to Kate – who liked a good fight – and to the strong women she inspired – who doubtless have healthy appetites and never skip dessert.

FNB holiday gift guide 2012: Part Two

I’m back today with more stuff to covet. First, a few classics that any film noir fan should own. These books have been out for a while but I wanted to mention them because the Library of America editions are particularly well done.

Crime Novels: American Noir of the 1930s and 40s” (Vol. 1) includes The Postman Always Rings Twice, They Shoot Horses, Don’t They?, Thieves Like Us, The Big Clock (Library of America), $35.

Raymond Chandler: Stories and Early Novels: Pulp Stories” includes The Big Sleep, Farewell, My Lovely, The High Window (Library of America), $40.

Raymond Chandler: Later Novels and Other Writings” includes The Lady in the Lake, The Little Sister, The Long Goodbye, Playback, Double Indemnity screenplay, selected essays and letters (Library of America), $35.

And now for some newly released titles.

Film Noir Graphics: Where Danger Lives by Alain Silver and James Ursini, $40.

Hollywood Sketchbook: A Century of Costume Illustration by Deborah Nadoolman Landis, $75.

The Hollywood Canteen: Where the Greatest Generation Danced With the Most Beautiful Girls in the World by Lisa Mitchell and Bruce Torrence, $23.

W: The First 40 Years by Stefano Tonchi, Christopher Bagley and John B. Fairchild, $75.

How the French Invented Love: Nine Hundred Years of Passion and Romance by Marilyn Yalom, $16.

Another Insane Devotion: On the Love of Cats and Persons by Peter Trachtenberg, $24.

The Rolling Stones 50 by The Rolling Stones, Mick Jagger, Keith Richards and Charlie Watts, $60.

An Extraordinary Theory of Objects: A Memoir of an Outsider in Paris by Stephanie LaCava, $24.

The Blue Bottle Craft of Coffee by James Freeman, Caitlin Freeman and Tara Duggan, $25. Jeffrey Steingarten recommends this coffee; nuff said.

As a curator for the History Channel Shop, I’ve recommended 30 of my favorite film noir titles. You can’t go wrong with the Film Noir Classic Collection Vol. 1 (Warner Bros.). This essential set includes: The Asphalt Jungle, Out of the Past, Murder My Sweet, Gun Crazy and The Set-Up. (You can read mini-reviews of the first four titles on the Shop page or search for full-length reviews on this site.)

Film Noir Classic Collection Vol. 1, $50.

Last month, Paramount released “Sunset Blvd.” on Blu-ray, $27. Here’s a special-feature clip, a discussion of the mansion and pool in the film.

Alfred Hitchcock: The Masterpiece Collection (Universal), Blu-ray, $300.

New from Criterion: Purple Noon, Blu-ray, $32.

Book ’em: Parry, Keller, Kardos, Braver, Baker, Winter, Black, Nakamura, Lehane, Vincelette

Lately I’ve been getting up a little earlier than usual so I that I can read a few pages of a good book as I drink my morning coffee. It’s a lovely way to start a morning, assuming you’re into murder and the dark mysteries of the human heart. In the past few weeks, I’ve been lucky – there’s a feast of new books to choose from. I’m making progress on many of these titles and plan to run full reviews in upcoming posts.

People Who Eat Darkness” by Richard Lloyd Parry (FSG, $16) A British journalist’s unforgettable account of a true crime that took place in Tokyo in 2000: the disappearance and murder of bar hostess Lucie Blackman, just 21 when she died.

A Killing in the Hills” by Julia Keller (Minotaur, $24.99) Keller, a Pulitzer Prize-winning journalist (Chicago Tribune), crafts a spellbinding murder mystery set in her home state of West Virginia.

The Three-Day Affair” by Michael Kardos (The Mysterious Press, $24) A debut thriller about three longtime friends who make one mistake, forcing a chain of decisions that will haunt them forever.

Misfit” by Adam Braver (Tin House Books, $15.95) Braver gives a literary, imaginative rendering of the final days of Marilyn Monroe, who died Aug. 5, 1962 in her Brentwood home.

The Empty Glass” by J.I. Baker (Blue Rider Press, $25.95) The LA County deputy coroner discovers Marilyn Monroe’s secret diary and starts to probe the sad and sinister details of the star’s death in this first-time novel by a veteran magazine journalist.

The Twenty-Year Death” by Ariel S. Winter (Hard Case Crime, $25.99) A mystery divided into three sections. Part one, set in 1931, is an homage to the marvelously prolific French author Georges Simenon. Part two takes place in 1941 and honors noir great Raymond Chandler. And last the darkly compelling Jim Thompson gets his due in a 1951 setting.

Vengeance” by Benjamin Black (Henry Holt, $26) A Dublin-based pathologist finds himself in the middle of a battle between two families. Noir with a 1950s Irish twist by this Booker prize-winning author (aka John Banville).

The Thief” by Fuminori Nakamura (Soho Press, $23) The first novel by the celebrated Japanese author to be translated into English, “The Thief” is a minimalist sliver of Tokyo noir told in the first person by an anonymous pickpocket, says Laura Wilson of the Guardian newspaper. As she puts it: “This isn’t for those who prefer the conventional crime novel. It is, however, an intelligent, compelling and surprisingly moving tale, and highly recommended.”

Live by Night” by Dennis Lehane (Morrow, $27.99) According to Publishers Weekly, Warner Bros. and Leonardo DiCaprio have optioned the film rights to this police saga set in Prohibition-era Boston. (Releases Oct. 2)

Polynie” by Melanie Vincelette (McArthur & Co., $18.95) This novel about a lawyer whose body is discovered in the hotel room of a stripper was shortlisted for a Governor General’s literary award when it appeared in French, according to Quill & Quire. An English-language version will appear in November.

‘They Drive by Night’: a noir gem of the Bogart box set

Bogart has a supporting role.

The WHV/TCM set

They Drive by Night /1940/Warner Bros./          95 min.

Humphrey Bogart gets fourth billing in “They Drive by Night” (1940, Raoul Walsh). Cool, cocky wisecracks are in short supply and there are no dustups with lanky, gum-chomping weasels or fat men with spats and cravats.

That said, he brings depth and dimension to the part of Paul Fabrini, a salt-of-the-earth, devoted husband (his wife is Gale Page) eking out an existence as a truck driver with his brother Joe (George Raft). Of the two, Joe is brainier and more charming – he is also a bit of a ladies’ man until he meets salty/sweet diner waitress Cassie Hartley (Ann Sheridan).

But, not surprisingly in film noir, Joe’s past taps him on the shoulder in the form of cold-blooded, social-climbing, dressed-to-the-nines Lana Carlsen (Ida Lupino). Apparently, the two of them had a fling, though we don’t learn much about it, lest that info detract from Joe’s decent, stand-up character. Lana is married to blustery, ever-chuckling, Teddy-bearish Ed Carlsen (Alan Hale), who is also Joe’s boss at the trucking company. But. Lana. Wants. Joe. Back. See? If that involves murder, then so be it.

Ida Lupino as slinky but psycho Lana dominates the movie.

As the film’s social-conscience premise is put on the back burner and the melodrama heats up, it really becomes Lupino’s show. In the hands of a lesser director, this would likely be a misstep, but Walsh makes it work. Walsh was known for action-packed storytelling and Lana’s deadly ploy to win Joe back is one of many dramatic high points.

In keeping with the rollicking drama, Walsh establishes a mysterious yet upbeat vibe unlike many of his noir contemporaries who specialized in creating moods of angst, alienation, entrapment and doom.

Here, the supporting players – Bogart, Sheridan, Hale and Page – give sharp, piquant performances, a cause that’s aided by a fast, witty script from Jerry Wald and Richard Macaulay, based on A.I. Bezzerides’ novel, “Long Haul.” Raft and Lupino also shine.

Arguably, by the time Lana goes off the deep end, Lupino’s overdoing it a bit. Look at where she starts, though, and you’ll see subtlety as her simmering emotions build to a crescendo of fury. Upon seeing Joe at Ed’s office, she tells him icily: “I wonder what I ever saw in you, anyway. You’re crude, you’re uneducated. You’ve never had a pair of pants with a crease in them. And yet I couldn’t say no to you.” When he retorts, “Don’t worry about it. I’m not asking you,” the look that flickers over her face leaves no doubt that this is just the end of a round and her menacing intensity grows as she gears up for the rest of the fight.

Walsh also directed Bogart and Lupino in 1941’s “High Sierra” and I’ll be reviewing that title as part of next month’s giveaway.