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Monday, May 25, 2020

The Best Years of Our Lives

It's Memorial Day and I'd like to send a huge thank you to all of the brave men and women who have served and are currently serving our country in the military.

Reflecting on this day last night, an old movie came to mind that I haven't seen in years. The Best Years of Our Lives is one of my favorite movies, perfect for Memorial Day or any day. I've posted the original November 22, 1946 New York Times movie review by Bosley Crowther below:

It is seldom that there comes a motion picture which can be wholly and enthusiastically endorsed not only as superlative entertainment but as food for quiet and humanizing thought. Yet such a one opened at the Astor last evening. It is "The Best Years of Our Lives." Having to do with a subject of large moment—the veteran home from war—and cut, as it were, from the heart-wood of contemporary American life, this film from the Samuel Goldwyn studio does a great deal more, even, than the above. It gives off a warm glow of affection for everyday, down-to-earth folks.

Virginia Mayo's character is such a tart!

These are some fancy recommendations to be tossing boldly forth about a film which runs close to three hours and covers a lot of humanity in that time. Films of such bulky proportions usually turn out the other way. But this one is plainly a labor not only of understanding but of love from three men who put their hearts into it—and from several others who gave it their best work. William Wyler, who directed, was surely drawing upon the wells of his richest talent and experience with men of the Air Forces during the war. And Robert E. Sherwood, who wrote the screen play from a story by MacKinlay Kantor, called "Glory for Me," was certainly giving genuine reflection to his observations as a public pulse-feeler these past six years. Likewise, Mr. Goldwyn, who produced, must have seen this film to be the fulfillment of a high responsibility. All their efforts are rewarded eminently.

For "The Best Years of Our Lives" catches the drama of veterans returning home from war as no film—or play or novel that we've yet heard of—has managed to do. In telling the stories of three veterans who come back to the same home town—one a midde-aged sergeant, one an air officer and one a sailor who has lost both hands—it fully reflects the delicate tensions, the deep anxieties and the gnawing despairs that surely have been experienced by most such fellows who have been through the same routine. It visions the overflowing humors and the curious pathos of such returns, and it honestly and sensitively images the terrible loneliness of the man who has been hurt—hurt not only physically but in the recesses of his self-esteem.
This scene always makes me teary.

Not alone in such accurate little touches as the first words of the sergeant's joyful wife when he arrives home unexpectedly, "I look terrible!" or the uncontrollable sob of the sailor's mother when she first sees her son's mechanical "hands" is this picture irresistibly affecting and eloquent of truth. It is in its broader and deeper understanding of the mutual embarrassment between the veteran and his well-intentioned loved ones that the film throws its real dramatic power.Especially in the readjustments of the sailor who uses prosthetic "hooks" and of the airman who faces deflation from bombardier to soda-jerker is the drama intense. The middle-aged sergeant finds adjustment fairly simple, with a wife, two grown-up kids and a good job, but the younger and more disrupted fellows are the ones who really get it in the teeth. In working out their solutions Mr. Sherwood and Mr. Wyler have achieved some of the most beautiful and inspiring demonstrations of human fortitude that we have had in films.
Myrna Loy and Frederic March are great together!

And by demonstrating frankly and openly the psychological blocks and the physical realities that go with prosthetic devices they have done a noble public service of great need. It is wholly impossible—and unnecessary—to single out any one of the performers for special mention. Fredric March is magnificent as the sergeant who breaks the ice with his family by taking his wife and daughter on a titanic binge. His humor is sweeping yet subtle, his irony is as keen as a knife and he is altogether genuine. This is the best acting job he has ever done. Dana Andrews is likewise incisive as the Air Forces captain who goes through a gruelling mill, and a newcomer, Harold Russell, is incredibly fine as the sailor who has lost his hands. Mr. Russell, who actually did lose his hands in the service and does use "hooks," has responded to the tactful and restrained direction of Mr. Wyler in a most sensitive style.

As the wife of the sergeant, Myrna Loy is charmingly reticent and Teresa Wright gives a lovely, quiet performance as their daughter who falls in love with the airman. Virginia Mayo is brassy and brutal as the latter's two-timing wife and Cathy O'Donnell, a new, young actress, plays the sailor's fiancée tenderly. Hoagy Carmichael, Roman Bohnen and Ray Collins will have to do with a warm nod. For everyone gives a "best" performance in this best film this year from Hollywood.

One great movie! Have you ever seen it? 

Thanks for visiting and have a great week!  

Monday, May 18, 2020

The Real Inspiration for Betty Boop

What you can find while doing research on the internet is always fascinating. Today I'll share something I stumbled upon. 

So you've heard of Betty Boop, but do you know where the idea for her, or at least her singing, was originally conceived? I didn't, so here's some interesting information about her from Wikipedia!

Betty Boop made her first appearance on August 9, 1930, in the cartoon Dizzy Dishes, the sixth installment in Fleischer's Talkartoon series. Although Clara Bow is often given as being the model for Boop,she actually began as a caricature of singer Helen Kane. The character was originally created as an anthropomorphic French poodle.
Max Fleischer finalized Betty Boop as a human character in 1932, in the cartoon Any Rags. Her floppy poodle ears became hoop earrings, and her black poodle nose became a girl's button-like nose. Betty Boop appeared as a supporting character in 10 cartoons as a flapper girl with more heart than brains. In individual cartoons, she was called "Nancy Lee" or "Nan McGrew" – derived from the 1930 Helen Kane film Dangerous Nan McGrew – usually serving as a girlfriend to studio star, Bimbo.
Helen Kane
In May 1932, Helen Kane filed a $250,000 infringement lawsuit against Max Fleischer and Paramount Publix Corporation for the "deliberate caricature" that produced "unfair competition", exploiting her personality and image. While Kane had risen to fame in the late 1920s as "The Boop-Oop-A-Doop Girl", a star of stage, recordings, and films for Paramount, her career was nearing its end by 1931. Paramount promoted the development of Betty Boop following Kane's decline. 
The case was brought in New York in 1934. Although Kane's claims seemed to be valid on the surface, it was proven that her appearance was not unique. Both Kane and the Betty Boop character bore resemblance to Paramount top-star Clara Bow. On April 19, Fleischer testified that Betty Boop purely was a product of the imaginations of himself and detailed by members of his staff.
The most significant evidence against Kane's case was her claim as to the uniqueness of her singing style. Testimony revealed that Kane had witnessed an African American performer, Baby Esther (Esther Jones), using a similar vocal style in an act at the Cotton Club nightclub in Harlem, some years earlier. An early test sound film was also discovered, which featured Baby Esther performing in this style, disproving Kane's claims. 
Baby Esther Jones
Theatrical manager Lou Walton testified during the Fleischer v. Kane trial that Helen Kane saw Baby Esther's cabaret act in 1928 with him and appropriated Jones' style of singing, changing the interpolated words "boo-boo-boo" and "doo-doo-doo" to "boop-boop-a-doop" in a recording of "I Wanna Be Loved By You". Kane never publicly admitted this. Jones' style, as imitated by Kane, went on to become the inspiration for the voice of the cartoon character Betty Boop.
New York Supreme Court Justice Edward J. McGoldrick ruled, "The plaintiff has failed to sustain either cause of action by proof of sufficient probative force". The ruling concluded that the "baby" technique of singing did not originate with Kane.
So there you have it, the "Betty Boop" style of singing originated with African American nightclub singer Baby Esther Jones! Here's an end-note to the story: Esther Jones had no say in the matter. In court, it was presumed that she had since died. 
Had you ever heard this story? Thanks for visiting and have a great week!

Monday, May 11, 2020

African Chicken Stew

"He who pursues a chicken often falls, but the chicken has to run." African proverb, Amaka

This recipe is a delicious chicken stew that can be served alone, over couscous, or over rice.  It's hot and hearty and features one of my favorite veggies, the sweet potato! 

Growing up, I always ate sweet potatoes as a pudding or souffle. But as an adult, I've discovered lots of recipes that use them in savory dishes, which my husband prefers over the sweet ones.

This stew is easy to prepare, but unfortunately involves a little cutting and chopping (so just pretend it's therapeutic).  I've adapted my version from one I originally found in Woman's Day Magazine. Hope you enjoy it!

African Chicken Stew

3 lbs boneless, skinless chicken thighs
1/2 t salt
1/2 t pepper
2 t onion powder
3 sweet potatoes
3 t garlic powder
1 1/2 t chili powder
20 ounces canned diced tomatoes
12 ounces frozen peas
1 1/2 T lemon juice
1/2 cup peanut butter

Season chicken with salt pepper and onion powder. Coat a large pot with cooking spray. place over medium high heat. Add chicken and cook about three minutes until browned.

Peel potatoes and cut in bite sized pieces; set aside. Sprinkle chicken with garlic powder and chili powder. Cook about 30 seconds or until fragrant.

Add potatoes and tomatoes. Bring chicken to the top. Bring pot to a boil, reduce heat. Cover and simmer about thirty minutes, or until potatoes are soft and chicken is cooked through. Sprinkle with peas, cover and cook 10 minutes longer. Add peanut butter and lemon juice. Stir until blended and hot. Makes 4 servings.

How do you like your sweet potatoes, sweet or savory?

Thanks for visiting and have a great week!