This week’s mystery movie has been the 1934 Universal picture “Imitation of Life,” with Claudette Colbert, Warren William, Rochelle Hudson, Ned Sparks, Louise Beavers, Fredi Washington, Baby Jane, Alan Hale, Henry Armetta and Wyndham Standing. The film was directed by John M. Stahl, with a screenplay by William Hurlbut, adapted from the novel by Fannie Hurst. It was produced by Carl Laemmle Jr.

Writing in the Nov. 24, 1934, New York Times, Andre Sennwald said:

Since a candid examination of Fannie Hurst’s “Imitation of Life” will only force this unpleasant department to label it the most shameless tearjerker of the Fall, let us proceed to an objective report on the latest of the cinemized social histories of America’s favorite philosopher. “Imitation of Life” is a dignified and sober dramatic chronicle which proceeds on its earnest way for almost two hours.

Edwin Schallert of the Los Angeles Times wrote (Nov. 28, 1934):

“Imitation of Life” is a screen victory that may well fling glory to its personnel, especially those who have contrived behind the screen to bring it to the screen…. There was sufficient testimony of tears last night to provie that “Imitation of Life” will be the joy of its women audiences.”

I picked “Imitation of Life” as this week’s film because my friend Farran Smith Nehme has an article about Carl Laemmle Jr. in Film Comment.

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This week’s mystery movie has been the 1932 Warner Bros. – First National Picture “Silver Dollar,” with Edward G. Robinson, Bebe Daniels, Aline MacMahon, DeWitt Jennings, Robert Warwick, Russell Simpson, Harry Holman, Charles Middleton, Emmett Corrigan, Christian Rub, Lee Kohlmar, Wade Boteler and William LeMaire. It was directed by Alfred E. Green, from a screenplay by Carl Erickson and Harvey Thew based on a book by David Karsner. It was photographed by James Van Trees, edited by George Marks, with art direction by Robert Haas, gowns by Orry-Kelly and silks by the Cheney Brothers.

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This week’s mystery movie has been the 1932 MGM film “Blondie of the Follies,” with Marion Davies, Robert Montgomery, Billie Dove, Jimmy Durante, James Gleason, Zasu Pitts, Sidney Toler, Douglass Dumbrille, Sarah Padden, Louise Carter, Clyde Cook and the Rocky Twins. The story was by Frances Marion, dialogue by Anita Loos, music by Dr. William Axt, gowns by Adrian and photography by George Barnes. The film was directed by Edmund Goulding.

”Blondie of the Follies” was the last film of Billie Dove, who retired from the screen when she was still in her 20s after making nearly 50 pictures, mostly in the silent era. The Los Angeles Times did a brief story on her in 1990 in which she refers to an affair with Howard Hughes and says she is working on an autobiography, which was apparently unpublished.

For some reason (and it is easy to speculate why), the Los Angeles Times did not review “Blondie.” The New York Times said (Sept. 2, 1932): “Frances Marion has dug down into the scenario grab bag and brought up the one about the chorus girl and the wealthy playboy, wherein their pure love is blighted for ever so long amid the cocktails and the sin-laden trappings of Broadway.”

This is a pre-code movie involving chorus girls backstage in scanty costumes and wealthy titans of finance, so “Blondie” gets relatively racy at times. James Gleason, as Blondie’s father, wonders if he is too old-fashioned for being upset with her after she is out all night (ahem, ahem).

“Blondie of the Follies” is available from Warner Archive for $21.99.

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This week’s mystery production was the 1966-1971 TV show “Dark Shadows,” which aired on ABC. “Dark Shadows” followed “General Hospital” and “The Nurses” in the afternoon lineup of soaps, but unlike other soap operas (that would be “G.H.” “The Edge of Night,” “As the World Turns,” etc.)  it brought vampires, seances and time travel into America’s living rooms and dens.

“Dark Shadows” revealed an interesting generational gap in the Brain Trust. Baby Boomers and up nailed it immediately while it was more of a challenge for the younger folks. The show will mark its 50th anniversary next month and there will be a reunion June 24-27 in Tarrytown, N.Y. Stars scheduled to attend include Lara Parker (Angelique/Cassandra), David Selby (Quentin Collins), Kathryn Leigh Scott (Maggie Evans) and other veterans of the show.

L.A. Times articles about Alexandra Isles and Claus von Bulow are here. New York Times articles about Alexandra Isles and Claus von Bulow are here.

Jonathan Frid comes to Orange County, 1991.

It is available on DVD and is also on YouTube.

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This week’s mystery movie was the 1943 RKO picture “The Seventh Victim” and there’s a bit of a story to go with it. On Sunday, I had dinner at Musso and Frank with Mary Mallory and Alexa Foreman, formerly head researcher at TCM, who was in town for the TCM Classic Film Festival. The restaurant was packed with TCM fans and we happened to see Eddie Muller of the Film Noir Foundation and his wife, and (to do a bit of name-dropping) Quentin Tarantino. Over dinner, I asked Mary and Alexa to suggest this week’s mystery movie. They came up with several movies that aren’t in the Daily Mirror vaults, but then hit on “The Seventh Victim” and so here we are.

“The Seventh Victim” stars Tom Conway, Jean Brooks, Isabel Jewell and Kim Hunter in her screen debut, with Evelyn Brent, Erford Gage, Ben Bard, Hugh Beaumont, Chef Milani and Marguerita Sylva. It was photographed by Nicholas Musuraca, with art direction by Albert S. D’Agostino and Walter E. Keller. It was produced by Val Lewton, written by Charles O’Neal and DeWitt Bodeen and directed by Mark Robson.

It’s available on DVD with “Shadows of the Dark” from Amazon.

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This week’s mystery movie has been the 1956 Columbia picture “Wicked as They Come,” with Arlene Dahl, Phil Carey, Herbert Marshall, Michael Goodliffe, Ralph Truman, Sidney James, David Kossoff, Faith Brook and Frederick Valk. The screenplay was by Ken Hughes (who also directed), from a story by Robert Westerby and Sigmund Miller based on the novel “Portrait in Smoke” by Bill Ballinger. Music was by Malcolm Arnold, conducted by Muir Mathieson.

The movie opened in Los Angeles on Jan. 16, 1957, as the second half of a double bill with “Nightfall,” starring Brian Keith and Anne Bancroft, at the RKO Hillstreet and Whittier theaters, and at local drive-ins. (Yes, drive-ins in January).

As far as I can determine, it has never been commercially released on DVD or VHS.

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