Almost There: Myrna Loy in "The Thin Man"

by Cláudio Alves

A story of revisits and returns. The Criterion Channel's current Myrna Loy Collection provides us with an ideal opportunty to discuss the the Old Hollywood star. This marks her as the first performer to have three episodes in the Almost There series. So it's time to delve into two of my favorite subjects: The Thin Man franchise and the chaotic Best Actress category of 1934. For the latter, you can check out the analysis of Bette Davis' historical snub in Of Human Bondage. For the former, I once reviewed the first Thin Man movie, describing its star power and alluding to the sequels' decreasing merits, all eminently entertaining despite their drop in quality.

After reading those pieces for some added context, come back to explore the specificities of Myrna Loy's rightfully legendary turn as Nora Charles…

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Jean Harlow on Criterion

by Cláudio Alves

During the past years, the Criterion Channel has highlighted the careers of many Old Hollywood stars. After Carole Lombard, Mae West, Joan Crawford, Jean Arthur, Rita Hayworth, and many more, it's time to celebrate Jean Harlow. In this case, the selection of titles entices because of how encompassing it is. The Criterion Channel presents 14 films, every feature the starlet did while on contract with MGM, from 1932 to her untimely death in 1937. By watching these works, one can get a good sense of Harlow's meteoric rise, how her persona evolved, how it changed to accommodate personal and physical transformations, a transfiguration of industry ideals and popular tastes. Furthermore, the movies showcase other great stars and the work of such vital 1930s screenwriters as Anita Loos and Dorothy Parker. It's a perfect treasure trove of Old Hollywood moviemaking, history, and scandal…

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Almost There: Myrna Loy in "The Best Years of Our Lives"

by Cláudio Alves

The 19th Academy Awards were, in some regard, a celebration of the war's end, a reckoning with its immediate consequences. We can see it in the embrace of European cinema, an industry rising from the ashes, with nods for films like the Italian Neorealist Rome, Open City, and the French poetry of Children of Paradise. American cinema, America itself, was also still reeling from its hard-won victory. The scars were fresh and bloody when William Wyler's The Best Years of Our Lives won the Best Picture Oscar. The production portrays the lives of three military men returning home after the war's end, traumatized and still recovering, adapting back to civilian life. It was the perfect champion for these postwar Oscars.

Nevertheless, not even the picture's awards success could spell away some of its performers' chronic bad luck when it came to movie awards. After decades as one of Hollywood's greatest stars, Myrna Loy still couldn't get herself an Oscar nomination…

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Let’s have a blast with Nick and Nora!

by Cláudio Alves

The power of movie stars shouldn't be underestimated. A glamourous screen presence, a straight shot of charisma, can make even the least impressive piece of cinematic fluff into a must-see event. At the very least, the difference between unwatchable mediocrity and a jolly good time can often be someone who electrifies the screen with a look, someone who enchants the camera and conquers our attention with no effort. You'll be hard-pressed to find a better example of the wonders of stardom than The Thin Man series…

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Monty @ 100: The martyrdom of "Lonelyhearts"

by Cláudio Alves

For the first half of his career, Montgomery Clift typified an image of restless youth and tragic beauty onscreen. Many of his early films found Clift playing young traumatized soldiers or men embroiled in doomed romance, lively characters whose nervous energy electrified the frame. The second era of Monty films, starting with 1957's Raintree County, saw a transformation of his persona. Nathaniel previously explored some inklings of masochism in the narratives of From Here to Eternity and The Young Lions, but Clift's next few projects solidified him as a paragon of cinematic suffering.

Perhaps no project better encapsulates the idea of Montgomery Clift as a saint-like figure, a martyr, than the Vincent J. Donehue's 1958 film Lonelyhearts…

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