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Paul Muni and Ann Dvorak in ‘Scarface: The Shame of the Nation’, 1932.

Why’s Judith Anderson looking glum in this beautiful portrait from Blood Money (1933)? Could it be b

Why’s Judith Anderson looking glum in this beautiful portrait from Blood Money (1933)? Could it be because this blog has been rather quiet lately?! 

Unfortunately, I’ve been unwell since early September. But I’m hoping, now that I’m having some good/goodish days as well as bad, to return to blogging.

After all, the Dame deserves to be celebrated!


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Why’s Judith Anderson looking glum in this beautiful portrait from Blood Money (1933)? Could it be b

Why’s Judith Anderson looking glum in this beautiful portrait from Blood Money (1933)? Could it be because this blog has been rather quiet lately?! 

Unfortunately, I’ve been unwell since early September. But I’m hoping, now that I’m having some good/goodish days as well as bad, to return to blogging.

After all, the Dame deserves to be celebrated!


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When Joan Blondell serves herself some jail time, she encounters these two broads playing checkers.  One of them gives her the sage advice: “Just make up your mind not to get tangled up with a man again.  Any man.”  Ahem.  And then she looks down contemplatively at her checkers before being interrupted by the prison matron, who is probably a candidate for Secret Lesbian herself based on her job title.

The Smiling Lieutenant is mostly about Claudette Colbert and Miriam Hopkins being in love with Maurice Chevalier, which is very straight, but they share one very charged scene with each other, which is very gay.  In it, they go from enemies to friends over the course of a song, mainly through Colbert teaching Hopkins how to be a bad girl.  A slap fights leads to weeping and then comforting each other and then showing each other their underwear and then singing about lingerie and then kissing.  It’s basically the gayest makeover montage ever.

While the Louise Brooks lesbian movie of choice is and ever shall be Pandora’s Box,Beggars of Life is no slouch in the queer department.  It involves her dressing as a boy in order to avoid the police after killing a man in self-defense.  Basically it’s a movie in which she looks the way she does in the above photo for around 80% of her screen time.  You know, if that’s something you’re into.  

Here’s 5 to watch during this week’s Summer Under the Stars lineup on TCM.

1. Anatomy of a Murder (1959) at 11:45 pm ET/8:45 pm PT Monday, Aug. 23: There’s lots of wonderful films airing during Eve Arden’s SUTS day, but her wistful performance as James Stewart’s secretary in this courtroom drama is one of our favorites.

2. The Love Parade (1930) at 9:45 pm ET/6:45 pm PT Tuesday, Aug. 24: French actor Maurice Chevalier’s SUTS day brings lots of excellent pre-code fare, including this frothy Lubitsch-directed confection about the amours of a vivacious queen (Jeanette MacDonald), whose roving eye soon alights on Chevalier’s charming soldier.

3. Stage Fright (1950) at 4 pm ET/1 pm PT Wednesday, Aug. 25: This under-rated Hitchcock thriller about a murder in London’s theatrical community is airing during Jane Wyman’s SUTS lineup. Hitchcock’s daughter, Pat, who passed away recently, has a droll supporting part as Wyman’s good-natured chum, Chubby Bannister.

4. ‘Til We Meet Again (1940) at midnight ET/9 pm PT Friday, Aug. 27: If you caught the iconic romance One Way Passage (1932) during Kay Francis’ SUTS day, you might want to check out the remake, which stars SUTS honoree Merle Oberon and George Brent. It isn’t quite as good as the original, but it’s still makes for a great night of movie escapism; plus, Frank McHugh reprises his role from the original as a small-time con man.

5. Finally, we’ll always have Casablanca (1942), which is airing at 6 pm ET/3 pm PT Sunday, Aug. 29 during Ingrid Bergman’s SUTS lineup.

unrepentantnerdshit:

chaotic-carnifex:

borinquenaqueer:

depiction is not the same as glorification and I need people to get that 

depiction from the POV of a character who thinks it’s okay is still not glorification

But…. But the Hayes Code clearly states…

Ann Dvorak in “Scarface”, 1932 directed by Howard Hawks

Ann Dvorakin “Scarface”,1932 

directed by Howard Hawks


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Barbara StanwyckBaby Face, Alfred E. Green (1933).

Barbara Stanwyck
Baby Face, Alfred E. Green (1933).


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 Marlene DietrichDishonored, Josef von Sternberg (1931).

Marlene Dietrich
Dishonored, Josef von Sternberg (1931).


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Paul MuniScarface, Howard Hawks & Richard Rosson (1932).

Paul Muni
Scarface, Howard Hawks & Richard Rosson (1932).


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Sylvia Sidney & Gary CooperCity Streets, Rouben Mamoulian (1931).

Sylvia Sidney & Gary Cooper
City Streets, Rouben Mamoulian (1931).


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@tcmparty live tweet schedule for the week beginning Monday,  February 07, 2022. Look for us on Twit

@tcmparty live tweet schedule for the week beginning Monday,  February 07, 2022. Look for us on Twitter…watch and tweet along…remember  to add #TCMParty to your tweets so everyone can find them :) All times  are Eastern.

Saturday, Feb. 12 at 8:00 p.m.
RED-HEADED WOMAN (1932)
An ambitious secretary tries to sleep her way into high society.


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Black Moon (1934) - Roy William NeillCinematography: Joseph H. AugustBlack Moon (1934) - Roy William NeillCinematography: Joseph H. AugustBlack Moon (1934) - Roy William NeillCinematography: Joseph H. AugustBlack Moon (1934) - Roy William NeillCinematography: Joseph H. AugustBlack Moon (1934) - Roy William NeillCinematography: Joseph H. AugustBlack Moon (1934) - Roy William NeillCinematography: Joseph H. AugustBlack Moon (1934) - Roy William NeillCinematography: Joseph H. AugustBlack Moon (1934) - Roy William NeillCinematography: Joseph H. AugustBlack Moon (1934) - Roy William NeillCinematography: Joseph H. AugustBlack Moon (1934) - Roy William NeillCinematography: Joseph H. August

Black Moon (1934) - Roy William Neill

Cinematography: Joseph H. August


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(via Ginger Rogers - photos and quotes - Bizarre Los Angeles)“I like to do something with snap to it

(viaGinger Rogers - photos and quotes - Bizarre Los Angeles)

“I like to do something with snap to it. I don’t know why I should prefer more peppy roles, but that’s the way I’m constituted. I’ve tried often enough to get romantic leads in serious productions, but people don’t seem to think of me that way.” – Ginger Rogers in 1932Photo: Elmer Fryer (1933)


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 “[Marian Marsh] is the epitome of Du Maurier’s doomed heroine. She was an unusual talen

[Marian Marsh]is the epitome of Du Maurier’s doomed heroine. She was an unusual talent who captured all the imperiled beauty of a classic horror heroine, who seemed to have wandered out of a storybook.” – Gregory William Mank author of “Women in Horror Films, 1930s.”


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