Monday, October 26, 2020

Psycho's Shower Scene

I'm on a roll with creepy movies this month, and one of the scariest is Psycho. The infamous shower scene is one of the most frightening around. After seeing it, many people didn't take a shower for months, or even years! 

I mentioned last week that I don't like blood and gore slasher movies. But even though there's lots of slashing in this particular scene, and even some blood, it's more implied than visual, which makes the scene so masterful!

Psycho was directed by Alfred Hitchcock and starred Janet Leigh, who usually played a good girl, but in this film was cast as wayward secretary Marion Crane. In a surprising twist, she's killed off in the first 45 minutes of the film. Her murderer is cross-dressing, psychotic hotel manager Norman Bates played by Anthony Perkins. Where is Marion killed? In the shower, of course.  The scene took a week to film and I found some fascinating facts about it at History.com. Take a look at some of them below:

Psycho became Hitchcock’s most successful film at the time—its box-office take, $32 million, was the second best of 1960, after Spartacus. But it was made despite much resistance. Paramount, the studio that had produced several of the director’s 1950s successes, refused to bankroll it. So Hitchcock financed its budget himself, against the advice of his own producers. The film also rattled the censors who executed Hollywood’s slackening Motion Picture Production Code, also known as the Hays Code, which was in effect from 1934 to 1968.

The censors balked at what they perceived as nudity in the shower sequence. Leigh wore moleskin patches to hide sensitive areas, as did her body double, pin-up model and future Playboy cover star Marli Renfro, who took over for more exposed moments. But there also was the opening scene, in which Leigh’s Marion wears only a bra and slip, sharing a hotel room with her divorced lover. The censors wanted that changed, too, but the savvy director tricked them. He sent back a copy of the shower scene that was unchanged, confusing the censors as to whether they had seen something or not. He also invited them to the set where he would reshoot the offending opening scene, but none of the censors showed up.


Much of the scene, which was storyboarded in consultation with the legendary designer Saul Bass (and took a week to film), was shot in extreme close-ups, with swift edits, so that the nudity and violence is implied—felt—but never actually seen. The shower set was constructed so that any of its walls could be removed, allowing the camera to get in close from every angle. And Hitchcock employed a fast-motion reverse shot to make it look like the blade actually pierced Marion’s abdomen.

The shrieking strings of composer Bernard Herrmann’s score ratchet up the tension.(It was a novel use of violins, which had usually been employed in film soundtracks to enhance a sense of romance or pathos.) Hitchcock at first resisted them, planning to use no soundtrack at all for the scene. To make the experience even more palpable, the sound of Marion’s flesh yielding to the knife was created by stabbing a casaba melon. Hitchcock had his crew audition multiple varieties of melon until they found the right kind.

Audiences have had six decades to adjust to such visual frenzy, but in 1960, the same year when wholesome, traditional films like 
Swiss Family Robinson and Please Don’t Eat the Daisies also dominated the box office, watching it might have induced panic.

For the complete article, click here, and to watch the shower scene, click here! Have you ever seen Psycho? Thanks for visiting and have a great week!

Monday, October 19, 2020

The Cat People

I thought I'd feature another creepy movie this week for Halloween. I don't like blood and gore slasher movies, but I do enjoy unnerving movies that keep me on the edge of my seat. When a lot is left to my imagination, I don't mind being scared, but I don't want to be emotionally scarred by the trauma of visual violence.

Therefore, the 1942 version of The Cat People is just the kind of scary movie I like! There was no CGI back then, so animation was used to create some rather hair-raising special effects that I found quite effective! A newer version of this film was made in 1982. I haven't seen it, but I doubt it's as good as the original. Remakes seldom are.

Here's a partial synopsis of the 1942 version of The Cat People from Wikipedia:

At the Central Park Zoo in New York CitySerbian born fashion illustrator Irena Dubrovna (Simone Simon) makes sketches of a black panther. She catches the attention of marine engineer Oliver Reed (Kent Smith), who strikes up a conversation. Irena invites him to her apartment for tea. 


At her apartment, Oliver is intrigued by a statue of a medieval warrior on horseback impaling a large cat with his sword. Irena informs Oliver that the figure is 
King John of Serbia and that the cat represents evil. According to legend, long ago, the Christian residents of her home village gradually turned to witchcraft and devil-worship after being enslaved by the Mameluks. When King John drove the Mameluks out and saw what the villagers had become, he had them killed. However, "the wisest and the most wicked" escaped into the mountains. Oliver is dismissive of the legend even though Irena clearly takes it seriously.

Oliver buys her a kitten, but upon meeting her, it hisses. Irena suggests they go to the pet shop to exchange it. When they enter the shop, the animals go wild in her presence, and Irena becomes uneasy. Irena gradually reveals to Oliver that she believes she is descended from the cat people of her village, and that she will transform into a panther if aroused to passion. Despite this, Oliver asks her to marry him, and she agrees. 

To see what happens next, click here. Or better yet, to watch it, click here!


The Cat People was created as a B movie and opened to mixed reviews. However, it was selected by the Library of Congress for preservation in the National Film Registry in 1993, and because of its atmosphere and sophistication, Roger Ebert describes it as one of the landmark films of the 1940s. That's good enough for me!

Have you ever seen The Cat People? Any thoughts? Thanks for visiting and have a great week!

Monday, October 12, 2020

The Bad Seed

It's October and Halloween is right around the corner. Lots of creepy, scary and unsettling movies will be on television this month, and one of the most unsettling to me is The Bad Seed.

I'm referring to the 1956 version. One was released in 2018, but I haven't seen it. I'm sure the recent release is even more unnerving than the original!

Here's part of the synopsis from Wikipedia:

Kenneth and Christine Penmark dote on their eight-year-old daughter, Rhoda. They say their farewells before he goes away on military duty. Their neighbor and landlord, Monica Breedlove, comes in with presents for Rhoda – a pair of sunglasses and a locket. Rhoda, pristine and proper in her pinafore dress and long, blonde pigtails, thanks Monica for the gifts. She dances in tap shoes and tells Monica about a penmanship competition that Rhoda lost to her schoolmate, Claude Daigle; Monica speaks of it as a childish disappointment, but Rhoda's face darkens with fury. Christine and Rhoda leave for the school picnic at a nearby lake.
Later, Christine is having lunch with Monica and friends when they learn on the radio that a child has drowned in the lake where Rhoda's school was having their picnic. Christine worries that the drowned child could be her daughter, but a follow-up report indicates that it was Rhoda's schoolmate, Claude, the winner of the penmanship medal. Relieved that Rhoda is alive, Christine worries that her daughter might be traumatized by seeing the boy’s corpse. When Rhoda returns, however, she is unfazed by the incident and goes about her daily activities.
Rhoda's teacher, Mrs. Fern visits Christine, revealing that Rhoda was apparently the last person to see Claude alive and that she was seen grabbing at Claude's medal. Mrs. Fern alludes to the fact that Rhoda might have had some connection to the boy's death, but stops short of actually accusing her of it, and says that Rhoda would not be welcome at school the following year. As the two women talk, Claude's parents, Mr. and Mrs. Daigle, barges in. Claude's mother is both distraught and drunk. She accuses Rhoda's teacher of knowing something that she is not telling. Mr. Daigle steps in, apologizing for the scene.
When Christine finds the penmanship medal in Rhoda's room, she demands an explanation. Rhoda lies that Claude let her have the medal after she won a bet. Later, Christine's intuition about having been adopted is confirmed: she is the biological daughter of a notorious serial killer, Bessie Danker, and was adopted at two years of age by her foster father, Richard Bravo, and his late wife. Christine now worries that Bessie (and therefore Christine herself) is the cause of Rhoda's sociopathy and that her behavior is genetic, not subject to influence or reversal by good parenting or a wholesome environment.

For the complete synopsis, click here, or if you don't mind being unsettled for an evening, watch the movie!  If you've seen it already, what did you think?  And if you've seen the newer version, did it creep you out? Thanks for visiting and have a great week! 

Wednesday, October 7, 2020

Hair Care Through the Ages



Ever given much thought to shampooing your hair? Check out this fascinating article from Myhairdressers.com:

Most of us take health and hygiene seriously and wash and cleanse our body and hair on a daily basis. But it wasn’t always so. Throughout history, different civilisations have had different approaches to sanitation and cleanliness, and hair care was often pretty low on the scale of importance. Much of the emphasis was placed on reducing unpleasant odours and dressing.

So, let’s take a journey back in to the mists of time to discover some of the odd potions and techniques our ancestors used for their historical hair care.

1. ANCIENT EGYPT HAIR CARE
Ancient Egypt was a hot, dry place in the desert. A bit like modern Egypt. Hair moisturisers gave protection from the arid climate, and Egyptian women would use a healthy dose of castor oil and almond oil, which they believed also promoted hair growth by massaging it into the scalp.
 2. ASSYRIAN HAIRSTYLING TIPS
Assyrian kings and nobility around 1500 BC liked curly hair, and to achieve the look they had their hair curled with iron bars heated in a fire, starting a trend that lasts today – albeit a little more safely.

3. RENAISSANCE HAIR CARE
An early Renaissance era hair gel recipe from around 1300 used lizard tallow blended with swallow droppings. Tallow is rendered from the fat of animals. Like the soap in Fight Club. Women also conditioned their hair with dead lizards boiled in olive oil.

4. ELIZABETHAN HAIR CARE IDEAS
In the 1600s, at the time of Shakespeare and Queen Elizabeth I, women would set their hair with lard. The smell would attract rats at night, so they would sleep with nightcaps, or in more extreme cases, with cages over their heads to ward off the little nibblers.
5. FINE FRENCH HAIRDRESSING
Try this recipe for a French pomade from the 1700s:
“Take some beef marrow and remove all the bits of skin and bone. Put it in a pot with some hazelnut oil and stir well with the end of a rolling pin. Add more oil from time to time until it is thoroughly liquefied. Add a little essence of lemon. Bear grease can be a substitute for bone marrow.”

6. WIG POWDER
Lice were a major problem during the Enlightenment, so men would shave their heads and wear wigs instead. In the 18th Century the predominant style was for the wig to be as white as possible. If you were poor, this meant adding copious amounts of flour to the wig. The rich would use a combination of starch and pleasant smelling oils such as lavender.

7. THE WORLD’S FIRST COMMERCIAL SHAMPOO
A German chemist named Hans Schwarzkopf developed a water-soluble powder shampoo and sold it in his pharmacy. It was an instant hit and he soon was taking orders from every pharmacy in Berlin, then Holland and Russia. He followed this up with the first liquid shampoo in 1927, establishing Schwarzkopf as the world’s first hair care business empire.

8. NEW YORK TIMES HAIR ADVICE
In 1908 the New York Times printed:
“…specialists recommend the shampooing of the hair as often as every two weeks, but from a month to six weeks should be a better interval if the hair is in fairly good condition.”

It went on to recommend white castile soap or tar soap, while split ends could be treated by singeing and clipping.

I'm glad I missed out on all those time periods! Any thoughts? Thanks for visiting and have a great week!


Monday, September 28, 2020

Great Things About Fall

 


I'm a summer girl! I love hot weather, I love wearing shorts, sundresses, and sandals. I love being able to go outside and not bundle up. With that said, I know there are many out there who love fall. I certainly don't mind it. 


I enjoy a change of season and that crisp smell of turning leaves in the cooler air. Fall weather seems to put me in the mood for root vegetables and homemade soup. It also stirs up the holiday spirit. Cooler weather reminds me that Thanksgiving is right around the corner!


As much as I hate to say goodbye to summer, I'll welcome the fall by enjoying these wonderful things, especially the edible ones!



  • The colorful sight of autumn leaves
  • Crisper air and crunchy leaves
  • Big comfortable sweaters
  • Cozy fires in the fireplace
  • Thanksgiving
  • Pumpkin pie
  • Hot apple cider
  • Hot chocolate

What do you like most about fall? Thanks for visiting and have a great week!

Monday, September 21, 2020

Passing Strange

 

Seems like there's a lot of  reverse passing going on these days, so I thought I'd re-post this article from March of 2012.

I love exploring tales of forbidden love, and one of the most interesting I've ever read about was that of Clarence King and Ada Copeland.  Their story is told in Martha A. Sandweiss's book, Passing Strange.

Clarence King is a hero of nineteenth century western history.  He was also a brilliant scientist, best-selling author and architect of the great surveys that mapped the West after the Civil War. Secretary of State John Hay declared King “the best and brightest of his generation.”

However, King hid a secret from his friends, as well as the prominent Newport family from which he hailed:  He lived a double life.  For thirteen years King was known  as a celebrated white explorer, geologist and writer.  But he was also known as James Todd, a black Pullman porter and steel worker.

The fair skinned blue-eyed son born to a wealthy China trader passed across the color line.  This was not the usual case of a black man passing as white--but a white man passing as black!  And he didn't reveal his secret  to his black common-law wife, Ada Copeland, until his dying day.

Why did King do this?  To be with the woman he loved.  To marry Ada publicly, as the white man Clarence King, would have scandalized him and destroyed his career.

Passing Strange is a fascinating account of a sacrifice made for love.  If you like history, romance and forbidden love stories, then you'll enjoy Passing Strange!

Can you share a rather strange love story you've heard about?

Thanks for visiting and have a great week!

Monday, September 14, 2020

Effa Manley: Another White Woman Passing as Black

 

I'm finally blogging again after a couple of weeks with no computer access. It's nice to be back, and I'm surprised that "passing" is back in the news again! A few years ago, it was former college instructor and NAACP chapter president Rachel Dolezal, now it’s former University professor Jessica Krug. Both of these white women chose to pass as black. 

Everyone is familiar with the term trans-gender, so should a new term be created for what these women were doing? In other words, if someone chooses to racially pass, should they be considered trans-racial? If you're unfamiliar with the term "passing," here's a definition from Wikipedia:

Racial passing refers to a person classified as a member of one racial group attempting to be accepted as a member of a different racial group. The term was used especially in the U.S. to describe a person of mixed-race heritage assimilating into the white majority during times when legal and social conventions...classified the person as a minority, subject to racial segregation and discrimination.

Back in the days of segregation, lots of mixed race individuals of black and white ancestry chose to pass as white for social and economic reasons.  Effa Manley, however, was a white woman who chose to pass as black!  Her biological parents were white, but she was raised by her white mother, and her step-father who was African-American.

I'd never heard of Effa Manley, but here's some of her story from a Negro Leagues Legacy article, "The First Lady of Black Baseball," by Aimee Crawford.  

Effa Manley was ahead of her time.


In the 1930s and '40s, women were often viewed as second-class citizens, and blacks were accorded few rights. According to the established rules of society, neither were considered qualified to contend at baseball's highest level. But Effa Manley had little use for those rules -- or for establishment, for that matter.

Like greats Jackie Robinson and Larry Doby, she was a pioneer in breaking down baseball's racial barriers. Unlike those two, Manley faced the additional obstacle of gender bias.

Aggressive and progressive, glamorous and magnanimous, Manley overcame each to make her mark as one  of the most fascinating and significant figures in Negro League history. 

"She was unique and effervescent and knowledgeable," says Monte Irvin, the Hall of Famer who played shortstop and outfield for the Newark Eagles, the Negro League team Manley co-owned with her husband, Abe. "She ran the whole business end of the team."

 A born entrepreneur, Manley was the only female in the history of Negro Leagues.  Effa and Abe ran the Eagles, a Negro National League team, from 1935-48. And her considerable influence extended beyond baseball as well; she was also active in the black civil rights movement.


Manley was born March 27, 1900. Her birth, like much of her life, was controversial. Within the black community, Manley rarely discussed her heritage, and most people assumed she was a light-skinned black. But Manley claimed in an interview in 1973 that she was white.

Her mother, Bertha Ford Brooks, was white, of German and Asian-Indian descent. Effa explained that Bertha, who earned a  living as a seamstress, became pregnant by her white employer, John M. Bishop, a wealthy Philadelphian. Manley's black stepfather, Benjamin Brooks, sued Bishop and received a settlement of $10,000 before he and Bertha divorced. Bertha remarried, and Effa was raised in a household with a black step-father and black half-siblings, and so chose to live as a black person.

Effa Manley was a fascinating individual, and the first woman I'd ever heard of to "pass as black!" Had you ever heard of her, or perhaps someone else who chose to pass as something other than white?

Thanks for visiting and have a great week!

Monday, August 24, 2020

Tignon Laws of Louisiana

Since so many of us are wearing mandated masks in public these days due to COVID-19, I thought I'd re-post this article I wrote back in February of 2018.

Hubby found some interesting information yesterday and suggested that I use it for a blog post. I thought this was a fascinating topic, and only recently learned about myself (like literally last week in the book I'm reading White Like Her). So, thanks to Hubby, here's an article from Royal Tours of New Orleans that explains just what the tignon laws of Louisiana were: 

The tignon was the mandatory headwear for Black Creole women in Louisiana during the Spanish colonial period, and the style was adopted throughout the Caribbean island communities as well. This headdress was required by Louisiana laws in 1785. Called the Tignon Laws, they prescribed appropriate public dress for females of color in colonial society, where women of color and some white women tried to outdo each other in beauty, dress, ostentation and manners.
A Black Creole woman with a tignon
Beginning in the 1800s, tignon was a local New Orleans word for the headwrap, a variation on the French word, chignon which refers to a smooth knot or twist or arrangement of hair that is worn at the nape of the neck.

According to the Code Noir, a mother’s slave condition passed to her newborn infant.  But, due to the lack of White women in early New Orleans, it was common for White men to take a woman of color as a mistress.  Many but not all of the children born from these relationships were free.  The children would be classified as mulatto, quadroon, or octoroon according to the fraction of Black blood in the child.  With so many quadroons and octoroons in the community, it was occasionally difficult to distinguish a free or slave Black woman from a White woman.
Marie Constance, born a mulatto slave, wearing a tignon
When Spain acquired Louisiana in 1763, the concept of coartación was introduced which acknowledged the right of slaves to purchase their freedom. The policy of self-purchase originated in the Spanish perception of slavery as an unnatural human condition.  This method became a popular means for enslaved Blacks to gain their freedom.
Mulatto women wearing tignons
By the time of the Louisiana Purchase of 1803, New Orleans free blacks constituted nearly 20% of the urban population while enslaved Africans and African Americans represented nearly 38% of the city’s residents. But, even years before, the increasing assertiveness of black New Orleanians and the growing numbers of free blacks alarmed Spanish officials. The then Spanish Governor attempted to restrict black mobility by suppressing free black assemblies and banning concubinage.
In an effort to maintain class distinctions in his Spanish colony at the beginning of his term, Governor Esteban Rodriguez Miró (1785 – 1791) decreed that female gens de couleur, slave or free, should cover their heads with a knotted headdress and refrain from “excessive attention to dress.”  Miró criticized black women for their “idleness,” “incontinence,” and “libertinism” and demanded that they renounce their “mode of living.”
In 1786, while Louisiana was a Spanish colony, the governor forbade “females of color … to wear plumes or jewelry”; this law specifically required “their hair bound in a kerchief.”  But the women, who were targets of this decree, were inventive & imaginative with years of practice. They decorated their mandated tignons, made of the finest textiles, with jewels, ribbons, & feathers to once again outshine their white counterparts and defy the law without actually breaking it.
Consequently, Miró’s decree had a somewhat different effect as what was intended as a means of controlling and identifying women gens de couleur became instead a fashion statement that remains to this day.
Had you ever heard of tignon laws? Thanks for visiting and have a great week!

Monday, August 17, 2020

Double Take!

I got a kick out of this story when I first heard about it, and when I told my kids, they had a hard time believing it. Fun story! Here it is reprinted from The New York Post.
There’s a set of biracial twins in the UK who are turning heads because one is black and the other is white.
Born in 1997 to a white father and a half-Jamaican mother, the sisters have grown accustomed to getting mistaken for being just friends — and they have even had to produce their birth certificates in order to prove they are in fact related, Barcroft Media reports.

Modal Trigger
Lucy and Maira Aylmer pose with their mother, Donna, father, Vince, and siblings George, Chynna and Jordan. 

“No one ever believes we are twins because I am white and Maria is black,” Lucy explained. “Even when we dress alike, we still don’t even look like sisters, let alone twins.”
After giving birth naturally, the twins’ mother, Donna Douglas, did a double-take as she looked at her daughters for the very first time.
“It was such a shock for her because obviously things like skin color don’t show up on scans before birth,” Lucy said. “So she had no idea that we were so different. When the midwife handed us both to her, she was just speechless.”
And when it comes to the girls’ personalities, they are nearly as different as their looks.
Lucy, who has red hair and a very fair complexion, studies art and design at Gloucester College, according to Barcroft.

Modal Trigger
“No one ever believes we are twins because I am white and Maria is black,” says Lucy. 

Maria, who has brown hair with a caramel complexion, studies law and psychology at Cheltenham College. They have three siblings, who all have mixed skin color.
“All our older brothers and sisters have a skin color which is in between Maria and I,” Lucy said. “We are at opposite ends of the spectrum and they are all somewhere in between.”
Lucy says one of the great things about having a twin who looks completely different is that people don’t mistake them for one another.
“We were in the same class at infant school, but no one ever had a problem telling us apart,” she explained. “Most twins look like two peas in a pod — but Maria and I couldn’t look more different if we tried. We don’t even look like we have the same parents, let alone having been born at the same time."

Were you familiar with this story? Thanks for visiting and have a great week!  

Monday, August 3, 2020

Deanna vs. Judy

Garland and Durbin in Every Sunday
(neither one of them looks fat to me)
I love film trivia and the story of Deanna Durbin and Judy Garland is interesting and amusing at the same time. 

Although few remember Deanna Durbin, practically all of us know superstar Judy Garland! Perhaps that's because of The Wizard of Oz, which used to be shown on television every spring when I was growing up, or the fact that those old MGM musicals used to be shown on TV before the days of cable and Turner Classic Movies.

Both actresses started out at MGM as young girls. When they appeared together in Every Sunday singing a duet, Garland using her powerful jazzy vocals and Durbin in her extraordinary operatic voice, MGM executives wondered if it would be wise to keep the two young singers under contract. 


Here's what happened next from Deanna Durbin Devotees:


Judy Garland
The story goes that while Louis B. Mayer was away on a trip he instructed his people at MGM to "drop the fat one." They misunderstood and mistakenly let Deanna go. 

When Mayer found out that Judy Garland was still at the studio and that Deanna was gone – he was very upset. That's just one of the reasons Mayer was never overly fond of Judy. He also preferred Deanna's classical singing over Judy's jazzy repertoire.

Soon after Deanna was released by MGM, Universal Studios gave her a contract on the 13th of June and cast her in the September production of THREE SMART GIRLS which became a major smash hit. An executive from MGM was overheard speaking about the two girls saying: "Universal got Tiffany's and we're stuck with Woolworth's."



Deanna Durbin
To this day, Deanna Durbin is the only actress in motion picture history to have ten hits in a row. The first ten were both artistic and financial successes. All of that money rolling into Universal certainly bothered Louis B. Mayer.

And the rest is history... Judy Garland eventually became a huge star at MGM and she certainly has greater name recognition to this day!

I know you must be familiar with Judy Garland, but have you ever heard of Deanna Durbin?

Thanks for visiting and have a great week!

Monday, July 27, 2020

Goodbye to Olivia De Havilland

Olivia de Havilland, who played Melanie in the 1939 classic movie Gone With the Wind, died over the weekend at 104. What a long and exciting life she led!

I looked her up on Wikipedia and learned an interesting tidbit. She made eight films with Australian heart-throb Errol Flynn, but despite their many pairings, fireworks between them never ignited. Here's why:

Although known as one of Hollywood's most exciting on-screen couples, de Havilland and Errol Flynn were never involved in a romantic relationship.Upon first meeting her at Warner Bros. in August 1935, Flynn was drawn to the 19-year-old actress with "warm brown eyes" and "extraordinary charm." In turn, de Havilland fell in love with him,but kept her feelings inside, later recalling, "He never guessed I had a crush on him ... it never occurred to me that he was smitten with me, too."

Flynn later wrote, "By the time we made The Charge of the Light Brigade, I was sure that I was in love with her." Flynn finally professed his love on March 12, 1937, at the Coronation Ball for King George VI at the Ambassador Hotel in Los Angeles, where they slow danced together to "Sweet Leilani" at the hotel's Cocoanut Grove nightclub. "I was deeply affected by him," she later remembered, "It was impossible for me not to be." The evening ended on a sobering note, however, with de Havilland insisting that despite his separation from his wife Lili Damita, he needed to divorce her before their relationship could proceed. Flynn reunited with his wife later that year, and de Havilland never acted on her feelings for Flynn. 

I thought I'd read somewhere that she couldn't stand him. Guess I was wrong!

These are the films they appeared in together: 
Captain Blood (1935) 
The Charge of the Light Brigade (1936) 
The Adventures of Robin Hood (1938) 
Four's a Crowd (1938) 
Dodge City (1939) 
The Private Lives of Elizabeth and Essex (1939) 
Santa Fe Trail (1940) 
They Died with Their Boots On (1941)

I haven't viewed all of them, but of the ones I have, I think I enjoyed Robin Hood best! Have you seen any of them?  If so, which are your favorites?  

Thanks for visiting and have a great week!