Mrs. Taylor’s Expecting

This gallery contains 11 photos.

Modern Screen, March 1955 By Richard Moore. Robert Taylor is now a completely happy man.  He has a new wife, a new life, a new happiness–and a baby on the way! There may be luckier girls in the world than … Continue reading

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Three Robert Taylor Movies Are Playing on TCM on May 8 (USA)

May 8 has a bonanza of Robert Taylor Movies on Turner Classic Movies:  Lucky Night, Times Square Lady and Her Cardboard Lover, from 1935-1942.

Lucky Night, 1939, is playing at 6:00 a.m. est.  Not closed captioned.

I fell in love with Bill Overton before they left the park; Cora’s inability to commit to a man before she had a sense of herself was decades ahead of its time…Bill’s “Peter Pan” tendencies are really a profound commitment to joy and surprise, and Henry O’Neill as Cora’s father is the great remediator and earns every bit of Cora’s loyalty, “high, wide and handsome”. Modern, full of stylish characters and character it’s a jaunty little Jane Austen-like morality tale of the delicate balance between taking life seriously and the honorable pursuit of never-ending impulse, of maintaining your backbone and honesty in the face of losing face, and of the rewards facing up all wrapped into one romantic comedy. Review by misshambone-581-998467 for the IMD

The second half of the movie is all about applying the frolic of the first half to the reality of day to day life…and well worth looking forward to, much less sitting through. Bill’s “idea” is to seize every opportunity, much less day, and Cora’s “practicality” is the deadening effect being reasonable at all costs can have. Henry O’Neill was a great find, and you’ll notice him more often than you’d think once you’ve identified him: as Bill’s worst enemy at the beginning of the movie, it is he, as Cora’s dad, who brings not only the couple but the theme together by the end of the movie. Deeper than it appears, it is charming through and through. Review by bonefork from the US for the IMDb.

Here are some promotional materials for the film:

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Times Square Lady, 1935, is playing at 10:30 a.m. Not closed captioned.

MGM studios released two films with Robert Taylor early in 1935. Society Doctor, starring Chester Morris, Virginia Bruce and Robert Taylor premiered in January. Times Square Lady followed in March, starring Robert Taylor. Virginia Bruce and Pinky Tomlin. Lady is a solid gangster film, with a strong cast backing Taylor and Bruce. Isabel Jewell is Bruce’s wise-cracking sidekick, Nat Pendleton is his valet, Helen Twelvetrees his girl. The rest of the cast consists mostly of a wonderfully slimy bunch of crooks played by Jack Kramer, Henry Kolker, Raymond Hatton, Russell Hopton, Fred Kohler and Robert Elliott.

The plot is fairly straightforward. A wealthy promoter dies and his shady underlings assume they will take over his considerable holdings. To their surprise, the deceased had a daughter (Bruce) who is his sole heir. With a paternalism bordering on contempt, they plan to report to her that there is no money for her to inherit but they will take his properties off her hands for a fraction of their worth.

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Robert Taylor and Helen Twelvetrees

To convince her to sell, the crooks stage some incidents to demonstrate how bad it all is. Gang member Robert Taylor is assigned to charm the lady out of her holdings. Taylor manages a nightclub and this introduces a subplot involving singer/songwriter Pinky Tomlin, creator of such songs as “The Object of My Affection” and “What’s the Reason (I’m Not Pleasin’ You?).

Taylor frequently played dubious characters who find redemption in such films as “Rogue Cop” and “Johnny Eager.” Here he is saved by his love for Miss Bruce’s character. As happened not infrequently they were also a couple off screen.

The last quarter of the film is filled with action, car chases, fights, shootings and a lot of double crossing. The film moves quickly and benefits from comic relief by Tomlin, Pendleton and a cow named either Daisy or Bossy.

Robert Taylor is very young and very thin. The physical differences between the Taylor of Times Square Lady (filmed late 1934) and His Brother’s Wife (filmed in 1936) are striking. Nonetheless he is effective here, combining toughness with energy and humor. Bruce and Taylor have good chemistry together. The film was generally well received in its day, with the New York Times calling it “a bit of light divertissement.” Review by me for the IMDB.

Her Cardboard Lover, 1942, is playing at 11:45 a.m.  Closed captioned.

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Robert Taylor and Norma Shearer in “Her Cardboard Lover,” 1942

What a delight! Robert Taylor is hired by Norma Shearer to be her Cardboard Lover to make her real love, George Sanders jealous. Taylor has been in love with Shearer but has never even spoken to her, too afraid to be rejected. When he finally speaks, he says “I love you” which makes Shearer think he is crazy. Later in the casino he loses $3000 dollars of which he has none, and he is employed by her to work off the debt. George Sanders is a cad but she is in love, and tells Taylor he is never to leave her alone, so that she can rid her mind of Sanders. Every time she tries to get to Sanders, he is there, in the hall, in the bedroom, on the balcony, eating a banana outside the door, totally insane. In one scene when Sanders comes to her bedroom to tell her they can be together if she accepts him as is, Taylor comes out of the bathroom in her pajamas with fluffy slippers and all, and hops into her bed, sending Sanders into a rage. Very, very funny indeed. They argue, he has a fist fight with Sanders, they wind up in jail, but in the end she realizes that it was Taylor all along that she loves, and all ends well. This film comes on the heels of “Johnny Eager” in which Taylor had the best of all roles as the sociopath gangster. Talk about versatility, they should never have sold this great actor short. He could play comedy or drama just as well. The teaming of Shearer and Taylor was their second, coming after “Escape” a pre-war drama about Nazi Germany. They are great together, and it is a shame that this film was Shearers last film. Review by mamalv for the IMDb.

Behind the scenes photos:

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Left to right: Taylor and Shearer; Director George Cukor and Taylor
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Left to right: Chill Wills, Taylor, Shearer; Cukor and Taylor; Taylor and Shearer

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When Ladies Meet, 1941, Is Playing on TCM on April 30 (USA)

When Ladies Meet, 1941, is playing on Turner Classic Movies on Sunday, April 30 at 8:00 a.m. est.  Closed captioned.

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Joan Crawford, Robert Taylor and Greer Garson in “When Ladies Meet,” 1941.

It is the story of a married couple, a lady author and a charming single journalist. Joan Crawford, the author, considers herself a “modern woman” freed from tiresome conventions and moral imperatives. Despite the movie’s 1941 date, the author’s relativistic attitude toward marriage and fidelity would be right at home in today’s left-wing intellectual circles. Her gradual evolution towards a different attitude is the meat of the movie. Mirroring the situation in her book is the situation of the married couple, Greer Garson and Herbert Marshall. The fourth member of the group is Robert Taylor as a journalist whose surface gaiety hides a serious moral foundation.The four actors make the movie much better than the script. Garson and Crawford strike sparks off each other in every scene they share. Herbert Marshall is suitably smooth and sleazy. But it’s Robert Taylor in a role involving physical comedy whose work is the most impressive. As it turns out, he is the person most grounded in reality–and the hidden hand behind everything.

Everything has the expected MGM gloss–extravagant costumes, beautiful sets, excellent photography. Highly recommended.  Review by me.

Here’s a couple of behind the scenes photos:

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Left to right: wardrobe shot; Robert Taylor’s birthday party with Herbert Marshall, Mr. Taylor,  Joan Crawford and L.B. Mayer.

 

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Camille, 1937, Is Playing on TCM on April 20 (USA)

Camille, 1937, will be playing on Turner Classic Movies on Thursday April 20 at 1:45 p.m. est.  Closed captioning.  This is the love story of all love stories and shouldn’t be missed.

???? This film further proves that the assembly-line system of Hollywood studios back then should also be taken seriously in terms of artistry. Just because movies were produced run-of-the-mill doesn’t mean that they weren’t paid critical attention to by their makers. The usual impression on studio-era Hollywood is: take a formulaic narrative style, maybe adapt a stage play for the screen, blend in a handful of stars from the stable and the films rake in the profit at the box office. Not quite, that’s the easy perception. George Cukor, another of those versatile directors, made it apparent with Camille that filmmaking as an art may still flourish despite (and even within) certain parameters. Camille is beautiful, in so many respects. And it’s not just because of Greta Garbo.

Sure, the acting is amazing, the casting is perfect. Garbo is luminous, mysterious, cruel, and weak at the same time. Robert Taylor surrenders himself to be the heartbreakingly young and vulnerable Armand. Henry Daniell’s coldness and sadism is utterly human and familiar. The others are just plain wonderful. The writing contains so much wit and humor, devotion and pain – but it never overstates anything. The rapport and tensions between lovers, friends, and enemies are palpable and consistent. The actions flow so naturally, just like every scene, that checking for historical inconsistencies seem far beside the point.

There is so much that I love about Camille that it’s hard to enumerate them all, but with every little discovery comes the realization that this is “but” a studio production, so it makes the experience more exquisite. Camille is a gentle, poignant romantic movie that, like Garbo, takes its place delicately and self-effacingly in the history of American cinema, but makes itself indelible in the heart and mind of the lovelorn individual viewer. Review by tsarevna for the IMDb.

Some behind-the scenes photos from Camille.

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RT649019361936He also plays baseball-in costume on the set.

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RT3881RT7407Greta Garbo Pointing at George Cukor

Making Marguerite’s Dresses:

RT7386936: A dressmaker working on one of Greta Garbo's dresses for the MGM film 'Camille' which were designed by Adrian. (Photo by Hulton Archive/Getty Images)circa 1936: Seamstresses working on a dress to


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Quo Vadis, 1951, Is Playing on TCM on April 17 (USA)

The epic Quo Vadis, 1951 is playing on Turner Classic Movies on Monday April 17 at 6:30 a.m. est.  Closed captioned.  If you haven’t seen this, you’ve missed something truly special.

RT6154The 1st century Roman Empire, the fire of Rome, early Christianity, martyrdom…this historical content was dealt with in many films before and after 1951. Yet, it is LeRoy’s Quo Vadis most viewers associate with the infamous period of Roman history, the reign of Nero (A.D. 54-68). Why? There are, I think, several reasons. One is, definitely, the source, a Noble Prize winner novel by Henryk Sienkiewicz. The Polish writer, being an acknowledged historian, contained detailed historical facts and a vivid fictitious story in his novel. As a result, Quo Vadis is a universal masterpiece, absolutely worth reading for anyone. But, since the film, though an adaptation of the book, skips many events or even characters, we may treat Mervyn LeRoy’s Quo Vadis as a separate Hollywood production. In this respect, the movie is also well known as a gigantic spectacle with great cast, lavish sets, crowds of extras, which constitutes a magnificent journey to ancient Rome, the Rome which was on the verge of becoming “Neropolis”. Then, a viewer does not have to know the novel and will enjoy the film.

THE STORY: If we consider Quo Vadis? as an entertaining movie only (which is, of course, a limited view), then anyone more acquainted with cinema will find much in common with Cecil B DeMille’s great epic The Sign of the Cross (1932). Yet, comparison does not work that well concerning the perspective of Quo Vadis (1951). After deeper analysis of the films, a lot of differences occur. While DeMille’s film based on Wilson Barret’s play shows early Christianity in Rome, it foremost concentrates on the clash between the new religion and the Roman order being put in danger. LeRoy’s movie, since based on Henryk Sienkiewicz’s, focuses on the undeniable victory of Christianity. Marcus Vinicius (Robert Taylor) at first finds a new faith meaningless. He has reasonable arguments from the Roman point of view (what about slaves, conquest, enemy treating, etc). Yet gradually, thanks to love for Lygia (Deborah Kerr) and the courageous faith of the martyrs, he shouts out with confidence “Christ, give him strength!” The story of Nero and “the imperial companions” is also much more developed. Yet, Nero (Peter Ustinov) is not only the one who heads for delicious debauchery but also wishes the crowd to have one throat that could be cut. He is an artist who burns Rome in order to create a song. He is a coward who blames the innocent for his own guilts. He is a cynic who collects tears in a weeping phial after the death of his “best friend” Petronius (Leo Genn). Finally, he is a lunatic who praises his “divine ego” and screams at his death seeing no future for Rome without him.

CAST: Anyone who has seen ancient epics must admit that most of them can boast great performances. Nevertheless, I believe that Quo Vadis is one of the top movies in this matter. Robert Taylor and Deborah Kerr are a gorgeous couple portraying a Roman leader  and a Christian girl. Taylor naturally expresses a change of heart. Kerr appealingly portrays innocence, gentleness and true love. Leo Genn is excellent as Petronius, a man of art and elegance who is fed up with Nero’s “secondary songs and meaningless poems.” Peter Ustinov gives a fabulous performance as Nero combining all wicked features of his character. I also loved Patricia Laffan as lustful empress Poppaea with her two pet leopards. There is no milk bath of hers, she does not imitate Ms Colbert but Laffan’s Poppaea is foremost a woman of sin, a woman of lust, and a woman of revenge. The Christians, except for a number of extras, are portrayed by very authentic-looking actors: Abraham Sofaer as Paul and Finlay Currie as Peter…not more to say than that they look identical to the old paintings.

SPECTACLE: The movie is a visually stunning epic that can be compared in its magnificence to Ben Hur (1959) and even Gladiator (2000). There are numerous breathtaking moments: arena scenes, lions, bull fighting, triumph in the streets, and foremost the fire of Rome. We see the real horror within the walls of the burning city. A moment that is also worth consideration is Vinicius hurrying to Rome on a chariot being chased by two other men. When he comes nearer, we see the red sky… The authenticity is increased by a lovely landscape of Cinecitta Studios near Rome where the film was shot. For the sake of spectacle, I went once to see Quo Vadis on a big screen in cinema and felt as if I watched a new film made with modern techniques. It was a wonderful experience.

All in all, I think that Quo Vadis by Mervyn LeRoy is a movie that has stood a test of time. Although it is 55 years old, it is still admired in many places of the world. It’s one of these movies that are the treasures of my film gallery. Not only a colossal spectacle, not only great performances but a very profound historical content at which Henryk Sienkiewicz was best.

Quo Vadis Domine? Where are you going, Lord? These are the words that Peter asked Christ while leaving Rome. After the answer that Peter heard from his Lord, he turned back… in order to proclaim peace to the martyrs and to be crucified. Yet, where once stood decadent “Neropolis” now stands the Holy See where people yearly pilgrim to the tombs of the martyrs and where the blessing “Urbi et Orbi” is goes to all the corners of the world. Sienkiewicz writes about it in the touching final words of the novel. Yet, LeRoy changes it a bit in the film…

A small group of Christians who survived, including Lygia and Marcus, are on a journey. But after a short stop at the place where Peter met Christ, the journey seems to turn into a pilgrimage towards “the Way, the Truth and the Life”   Review by Marcin Kukuczka from Cieszyn, Poland for the IMDB

Robert Taylor, Deborah Kerr and Mervyn LeRoy touring Rome:

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The Hollywood Crew Arriving in Rome: writer John Lee Mahin, producer Sam Zimbalist, director Mervyn LeRoy, Robert Taylor

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Overlooking the Roman Forum
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A Carriage Tour Arrives at the Colosseum


Bored before the photo; fascinated while being photographed.


Mr. Taylor doing his own photography

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An Afternoon of Robert Taylor Films: Ivanhoe and Valley of the Kings on April 15 (USA)

Two Robert Taylor movies are playing one after the other on Saturday, April 15.  At 2 p.m. est it’s Ivanhoe, 1952, co-starring Elizabeth Taylor, Joan Fontaine and George Sanders.  Closed captioned.  Ivanhoe was one of the most successful films of the year and brought in over $10 million at the box office, about $89,823,018.87 in 2015.

The other film is Valley of the Kings, 1954,  playing at 4 p.m. est.  This is one of my personal favorites.  Mr. Taylor and the lovely Eleanor Parker had great chemistry.

Ivanhoe.  Wonderful movie! This film is an exciting adventure-romance which never once loses its pace or feel. Robert Taylor brings depth to a potentially dull lead character. Jean Fontaine is great as his love, the Lady Rowenna. Elizabeth Taylor, though, steals the show with her stunning portrayal of Rebecca of York! This film has aged very well and shows first-hand to a young generation just why Elizabeth Taylor was such a star.

Although this film is an extremely enjoyable adventure, it also has the guts to tackle some complicated issues and resolve them in a very non-Hollywood fashion. As Ivanhoe feels his love for the beautiful Rebecca grow will he defy convention and pursue the lovely Jewish girl or remain with the safe charms of the blond, Anglo-Saxon Rowena The answer is intelligently handled and surprising. This film is one of the greatest examples of the classic adventure.  Review by David Arbury for the IMDB

Here are a few behind the scenes photos:

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Left to right: Mr. Taylor and Peter Ustinov; waiting; with unknown person.

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Left to right: with Joan Fontaine who played Rowena; with Ms. Fontaine and director Richard Thorpe.

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Left to right: with Elizabeth Taylor; with Liz and Emlyn Williams

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Left to right: with George Sanders and Liz Taylor; with Liz Taylor.

Valley of the Kings.  Mark Brandon, the ruggedly handsome archaeologist played by Robert Taylor is thought to be the inspiration for Indiana Jones.

RT5571This is one of my favorite Robert Taylor pictures. Eleanor Parker and he had wonderful chemistry and both of them looked their best in this exotic action-adventure film.  The following is my review for the IMDb.

This isn’t a serious or “meaningful” film. It is pure entertainment, beautifully photographed on location in Egypt. The stars, Robert Taylor and Eleanor Parker, had great chemistry both off-screen and on. Taylor manages to be glamorous even when trapped in a sandstorm. The plot is relatively thin with Parker seeking to validate part of the Old Testament by finding the tomb of the Pharaoh who reigned in the time of the Biblical Joseph. She bats her eyelashes at Taylor who comes along happily. Then she introduces her husband, Carlos Thompson. There are horse and carriage chases, murders, the aforementioned sandstorm, a spectacular fight at Abu Simbel, a scorpion attack–all in ninety minutes. Given the slower pace of movies in the 1950s, there is also time for Taylor and Parker to discover each other more thoroughly (over some fermented goat). Egyptian belly dancer Samia Gamal shakes her stuff at the demure Parker. Highly enjoyable.

RT2304One of the best screen kisses–ever!

Some behind the scenes photos:

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From left: Robert Taylor horsing around with a donkey; looking insecure on a camel.

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From left: Robert Taylor with belly dancer; with Kurt Kazsnar and Carlos Thompson; at the sphinx.

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From left: Robert Taylor and Eleanor Parker at the Mena House Hotel; touring by carriage.

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From left: Mr. Taylor and Ms. Parker in Egypt.

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From left: Mr. Taylor and Ms. Parker, taking pictures; with director Robert Pirosh; saying hello to a camel.

Actress Eleanor Parker, on her kneels, helps Robert Taylor, dressed up as an archaeologist, to lace up a boot on the set of the movie 'Valley of the Kings'. Egypt, 1954. (Photo by Mondadori Portfolio via Getty Images)

Actress Eleanor Parker, on her knees, helps Robert Taylor, dressed up as an archaeologist, to lace up a boot on the set of the movie ‘Valley of the Kings’. Egypt, 1954. (Photo by Mondadori Portfolio via Getty Images)

Mr. Taylor injured his knee jumping off a camel and may have had difficulty lacing his boots.  They both look happy about it.

 

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A Yank at Oxford, 1938, Is Playing on TCM on April 2 (USA)

A Yank at Oxford, 1938, is playing on Turner Classic Movies on Sunday April 2 at 6:15 a.m. est.  Closed captioned.

RT6528A Yank at Oxford is one of several films intended to “toughen up” Robert Taylor’s image after his success in a number of boudoir romances. Taylor plays Lee Sheridan, a college boy who has been spoiled rotten by his newspaper owner father, played by Lionel Barrymore. Father Sheridan’s habit of holding the presses for Lee’s latest athletic triumph has only contributed to the boy’s swollen head.

Despite his lack of academic focus, Taylor is offered a place at Oxford. Upon his arrival, he immediately encounters a group of his fellow students, who begin a campaign to humiliate him. He also meets the leading lady, Maureen O’Sullivan.

The rest of the delightful and humorous picture focuses on the relationships among three people: Taylor and O’Sullivan, boyfriend and girlfriend; Taylor and Griffith Jones, his leading tormentor; O’Sullivan and Jones, brother and sister. A nymphomaniac Vivien Leigh adds spice to the mix.

A Yank at Oxford allows Robert Taylor to show that he is not only a fine actor but also a fine athlete. Granted that the script specified that he would always win, Taylor is believable as a runner and as a rower. He can also swim.

O’Sullivan is a charming coed torn between her boyfriend and her loyalty to her brother. Jones and Taylor cover up for one other for different peccadilloes. They evolve from antagonists to teammates to friends. A remarkable scene that deserves special mention concerns the venerable English tradition of “debagging.”

The cast is uniformly good. Taylor looks and acts younger than his twenty-seven years. Jones is one of a fine contingent of British actors including Edmund Gwenn, Robert Coote and Edward Rigby. Lionel Barrymore shines as the older Sheridan. A pre-Scarlett Vivien Leigh is lovely and engaging.

A Yank at Oxford was MGM’s first British-made film. Jack Conway, the American director keeps things moving at a brisk pace. Harold Rosson’s photography has a newsreel-like immediacy. And Oxford, of course, looks wonderful. Review by me for the IMDB.

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Some behind the scenes photos:

At Home in England. RT, while appearing in MGM's British Studios' "A Yank at Oxford," made his home at a 15th centur farmhouse near High Wycombe, Buckinghamshire. There, when hehad any spare time, he lived the lifeof an English county squire.

At Home in England. Robert Taylor, while appearing in MGM’s British Studios’ “A Yank at Oxford,” made his home at a 15th century farmhouse near High Wycombe, Buckinghamshire. There, when he had any spare time, he lived the life of an English county squire.

Rt and Edmund Gwenn, seen here with Director Jack Conway, discussing a scene of MGM British Studios' "AYaO," in which Maureen O'Sullivan and Lionel have leading roles.

Robert Taylor and Edmund Gwenn, seen here with Director Jack Conway, discussing a scene of MGM British Studios’ “A Yank at Oxford,” in which Maureen O’Sullivan and Lionel Stander have leading roles.

Robert Taylor and British Sculling Champion Ted Phelps during the filming of "A Yank at"Oxford.

RT and British Sculling Champion Ted Phelps during the filming of “A Yank at”Oxford.

Director Jack Conway & producer Michael Balcon with Robert Taylor on the set of film "A Yank at Oxford" filming in England.

Director Jack Conway and producer Michael Balcon with Robert Taylor on set of film “A Yank at Oxford” filming in England.

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Left to right: working out at USC; early in the film.

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Left to right: Maureen O’Sullivan and Mr. Taylor, with William Powell and another man on the set; with Griffith Jones.

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A very cold dip in the Thames (or Isis as it’s called at Oxford).

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During filming.

 

 

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