The Omen

People love to be scared. Whether it's riding a plummeting roller coaster or watching a horror flick, the business of raising the adrenaline continues to be a serious money-maker. While my stomach cannot handle the flip-flops of amusement parks as in my youth, I have always enjoyed the fright of watching a truly suspenseful thriller. As a kid, I went through a phase of being obsessed with Edgar Allan Poe, Alfred Hitchcock and old vampire movies. What a goofy morbid tween I must have been. But when "My Love of Old Hollywood" and "Wide Screen World" announced the TERRORTHON! Blogathon with the premise of the earliest movie memory that truly frightened you, I knew my choice immediately... Richard Donner's THE OMEN (1976).

In the small southwestern town of Taos, NM where I spent many years in my youth, the projectionist of the only movie theater in town was a close family friend. So when my Mom was busy working, my little sister and I would sometimes convince our friend to sneak us in for a free show. THE OMEN was released June 25th, 1976. I was nine years old. My little sister was six. And there we found ourselves; just the two of us sitting in the cool air-conditioned dark theater on a warm afternoon in the bicentennial summer with our hands tightly gripping our faces as we peered through the tiny spaces between our fingers.

THE OMEN is a horror film about the rise of the Anti-Christ. Unlike so many films that have attempted to take on this subject matter, THE OMEN stood apart in its innovative approach to building up the story with a 'sense of authenticity on the absurd'. There was an intentional effort by director Richard Donner in partnering with screenwriter David Seltzer to create a sense of realism about Satan and the Bible by avoiding stereotypical supernatural images. Instead, the plot develops gradually in everyday moments that make both the main characters and the audience initially doubt if tragedies and oddities were simply accidental, coincidental or truly sinister.

Our haunting story starts with an American diplomat to Great Britain, Robert Thorn (portrayed by Gregory Peck) and his wife Katherine (portrayed by Lee Remick), stationed in Italy. Katherine gives birth to a stillborn and soon after her husband is approached by a priest offering a healthy newborn whose mother just died. Without his wife's knowledge of this substitution, Mr. Thorn agrees to this secret exchange; replacing his dead son with this new baby and they return to Britain. Years go by for this prosperous family who seemingly have the perfect life. Then life presents strange turn of events. At their son Damien's (portrayed by Harvey Stephens) 5th birthday party, his nanny inexplicably announces from a high point of their grand house "Look at me, Damien. It's all for you!" and promptly hangs herself in front of the entire horrified party with an emotionless response from Damien.

The strange events soon intensify when a new nanny (portrayed by Billie Whitelaw) unexpectedly shows up and later surprises the family with a very protective pet Rottweiler. A local priest, Father Brennan, (portrayed by Patrick Troughton) appears at Robert Thorn's office with mysterious warnings of his son's origins. As he attempts to alert Thorn that Damien is not only evil but isn't even human, he is thrown out by security. But the priest is persistent and makes contact again. Meanwhile, Katherine Thorn discovers to her disappointment and to Robert's delight that she's pregnant. She wants to terminate the pregnancy and expresses her growing discomfort around Damien. Damien swiftly delivers her wish in an eery scene when he rides his tricycle straight into the chair she's standing on, sending her over a railing. Barely hanging on to the edge, she looks to Damien pleading for help as he stares coldly and void of any concern. She loses grip and drops to the floor below, causing a miscarriage.

But the creepiness really ramps up when photographer Keith Jennings (portrayed by David Warner) notices strange yet consistent marks in his photos of Father Brennan, along with the former nanny. The strange marks turn out to be an 'omen' to the nanny's hanging and Father Brennan's bizarre 'spearing' death, the result of a freak lightening storm just as Father Brennan rushes to seek shelter of a church. After discovering marks in his own photographs, Jennings fears his own demise and joins Thorn's quest for answers across Italy and Israel. After a long string of horrifying discoveries and daunting obstacles, it is only after the forewarned deaths of Father Brennan, Jennings and his wife Katherine, does Thorn finally accept the belief that his son is indeed the Anti-Christ.

While Thorn is further convinced of Damien's true identity upon witnessing the birthmark of the devil -three sixes- hidden by the course black hair on his scalp (young Stephens was naturally blond yet his hair was dyed black to give a more menacing look), he ultimately still struggles with conflicting task of killing the child he raised as his own son. Just as he raises the dagger to murder Damien, the boy cries out for his "daddy" to stop, the police have arrived by now and shoot Thorn dead. In the end, due to Thorn's high political ranking and personal friendship with the President of the United States, we see Damien attending his father's funeral in the personal care of the President. The Anti-Christ has successfully attained the next level of ultimate power and smiles knowingly into the camera.      

As someone who was raised Catholic, I can assure you this film completely freaked me out. There's something very powerful about religion's suspense of belief. That is what is at the very core of this film. But it also preys upon the very notion of basic psychology, too. In this film, you find yourself along for the journey in Thorn's shoes and despite all the bizarre occurrences surrounding him, we understand how it would seem at first like coincidental tragedies. After all, there are no overt symbols of supernatural like a man in a red satin suit with horns and a pitchfork. Yet when he becomes gradually convinced of the unthinkable concept of his own child being the actual devil himself, he dares not fully believe it nor admit it openly for that would undoubtedly mean that this intelligent man of reason has slipped into madness.

What I found to be additionally fascinating about this film is the legend that the film itself is considered to be cursed. For all the bizarre tragedies in this film, it's been told that there was another parallel string of freakish accidents behind the scenes. On the very first day of the shoot, many key members of the crew survived a car crash. The Rottweilers attacked their own trainers. While both screenwriter David Seltzer and lead Gregory Peck flew to the U.K., each of their planes were struck by lightning. While in Rome, producer Harvey Bernard barely escaped being struck by lightning himself. Directer Richard Donner's hotel was bombed by the IRA during his stay. And at one point Gregory Peck canceled a flight to Israel to later discover that chartered flight crashed, leaving no survivors.

Despite these accidents behind the scenes, this film went on to become very popular and lucrative at the box office; making it the highest-paid role of Peck's film career. He wisely took the gamble of an extremely low salary- a mere $250,000, in order to be guaranteed 10% of the box office... which added up to over $60 million just here in the states plus international release. His gamble paid off nicely. Donner insisted working with high caliber talents of then-retired cinemaphotographer Gilbert Taylor and composer Jerry Goldsmith (he convinced head of 20th Century Fox, Alan Ladd Jr. to pony up $25,000 to hire Goldsmith.) Goldsmith went on win the Academy Award for Music Score, including the haunting theme song "Ave Satani" which significantly elevates the film's fear-factor. THE OMEN was his only Oscar win, although he was nominated 17 times over the span of his impressive career.

Do I truly believe in the existence of an Anti-Christ and that this film was actually cursed? No. But it's those little seeds of doubt, that suspension of belief that piques the curiousity and raises the adrenaline if only while sitting in the dark, with your hands tensely gripping your face. After watching THE OMEN that first time and as little girl who was born in 1966 (although NOT in June, nor on the 6th day, or even at the 6am/pm hour), I went home and carefully examined my scalp through my raven locks, looking for any triple-six birthmarks. You know... just in case.

    

Blonde Ambition

I am thrilled to participate in The Hollywood Revue's Fashion In Film Blogathon. I have always been a passionate fan of both topics- fashion and film. To my fellow film pals, my joy for cinema is probably obvious. But I started my love for fashion at the same young age. I actually worked in apparel retail from the age of sixteen to the age of thirty-six. In high school, I'd carry my latest issue of Vogue magazine to classes, learned French for the sole purpose of being able to read French Vogue, and had planned to take my fashion design sketches to college at FIT (the Fashion Institute of Technology in New York) in hopes of working in the garment district as a fashion designer. I never made it to FIT but my love for fashion has never stopped.

As styles have changed from the early days of cinema in the silent era, to the latest fashions seen in current films today, trends and influences have always been closely followed via film. For me, my favorite fashion in film choices were beautifully worn by two legendary actresses during the same era: Doris Day and Grace Kelly.

Any classic film fan worth their salt knows the story of Grace Kelly. She was the Irish American girl from Philly who possessed the big screen with such stunning beauty and elegance that she charmed a Monacan prince and become a real-life princess. During her film career, Kelly always brought her personal beauty to every role. But her beauty and grace was never more radiant than when she shined in Alfred Hitchcock's REAR WINDOW (1954).

What's amazing about the fashion in this film is that every single outfit Kelly wears is breath-taking. Each costume design reflects a clean, simple and feminine glamor inspirational to mid-century American design. Credit obviously must go to costume designing genius Edith Head but also to director Alfred Hitchcock. Edith Head was already a living legend by now and had a long and successful working relationship with Hitch. Hitchcock worked closely with Head in every step of the design process to ensure it mirrored the mood, tone and story-telling.

When we are initially introduced to Lisa (portrayed by Grace Kelly), she is dressed in a formal and feminine dress of a black fitted deep-plunged V-top and white billowy chiffon skirt detailed with black design branching out from the waist, all topped off with simple choker of pearls. She models for us and even shows off the sheer white chiffon wrap. A stunning entrance...  

She transitions to a black belted cocktail dress with accordion pleat skirting. It's slightly less formal, with similar lines and multiple pearl strands.   

As the story continues, Lisa and Jeff (portrayed by James Stewart) grow closer to one another as the mysterious crime unfolds before them and her attire gradually loosens in formality with each change. We see her in a light green suit, belted in white with a gathered, sleeveless halter top. The style is signature 50's with the skirt length hitting in the area between mid-calf and just below the knee (or "tea-length" as my grandmother would say), jacket sleeve gathered at the elbow and topped off with white gloves, a white pill box hat and chin length veil. And of course, the pearls are ever-present.

Her black overnight 'Kelly bag' reveals a miracle of space efficiency and she models it's very intimate contents for Jeff...

With her next dress, Kelly blossoms in a sleeveless garden dress, bursting with antique golden roses in hues of champagne, goldenrod and brown tones. The lines again are classic 50's style and we see her style grow more casual (perfect for some digging in the neighbor's flower garden or climbing a trellis to capture would-be murderers). 

In the end, true intimacy has been reached between Lisa and Jeff. After he peacefully falls asleep, Lisa transitions from a book to a fashion magazine; lounging in a casual red button-up shirt, cuffed jean capris and penny loafers. She feels completely at home.

My next favorite example of a similarly simple, clean and exquisite 50's design is beautifully worn by the legendary Doris Day in PILLOW TALK (1959). Also a popular platinum blond actress with a flawless figure, Doris Day was already the premier film fashionista by the time PILLOW TALK hit the big screen. This film is a showcase for her terrific comedic timing and charming chemistry with co-star Rock Hudson, but it's Day's parade of costume changes that keeps me absolutely mesmerized no matter how many times I watch it. 

While Bill Thomas is listed as PILLOW TALK's costume designer, it's no secret that famous designer Jean Louis, also known for Rita Hayworth's sexy strapless gown in GILDA (1946), was the creator of all her gowns for this film. Here are some gorgeous highlights from this battle-of-the-sexes classic:


A boxy suit in a perfect hue of lapis azure with a black fur hat. The lines are simple, yet bold (the collar lapels extend just past the shoulder hem.) Black and blue never looked better.

 
         
A creamy beige sheath dress and coat topped off by a red lampshade hat displays another lovely twist on the monochromatic theme.  The dress is cinched with matching wide belt and pendant and both the dress and coat have 3/4 length sleeves. Perfectly suited to Doris Day in every way.

This long winter white sheath dress is a clear stand-out in the film (so much so that they made a Barbie doll copy of it.) Floor length, sleeveless, wrapping the shoulders and gathered to the left shoulder, with a deep open plunge in the back... this outfit literally fit her like a glove. Speaking of which, the extremely long gloves and fur shrug- also in a monochromatic shades of white - pulled together the most stunning outfit in the film. Isn't she heavenly in shades of white?


I love how this gathered forest green 'strapless dress' with spaghetti straps shows off Day's shapely figure but the emerald green satin A-line swing coat with bold lines really makes a statement when she walks into the room. But I must admit, I have never cared for the choice of turquoise and gold jewelry; because to me, it simply doesn't match in either color nor in formality.

In shades of olive and dark green, I really enjoyed this fitted bodice dress with matching fur hat. The gold and brown toned jewelry is the right compliment.

This off-white belted sweater dress with roll neck shows off her most flattery tones- monochromatic shades of white. Set design was purposefully set in white-wash to assist in this visual feast of complimentary color.

This red coat (same bold red as seen earlier with her lampshade chapeau) makes an incredible entrance with leopard animal print lampshade hat with matching muff.  I adore this outfit and would personally wear this ensemble in a heartbeat. Apparently I'm not the only one who thought this look was worth repeating as Audrey Hepburn is shown wearing a similar outfit a few years later in CHARADE (1963). I recall a faux dark mink muff I carried around as a little girl. I long for the return of hats, long gloves, and muffs making a comeback.
                                Finally, I must draw attention to this little black velvet suit. Simple yet plentiful in cuteness factor. It's always in the details. I love the piping trim, the bow on the cream blouse, and the crushed velvet beret with adornment... all adding up to an adorable outfit from what could have been just a boring black suit.

There are a few outfits and many nighties/ pajamas from PILLOW TALK (after all, it is about the battle of the sexes) that I chose not to include in my line-up. Frankly, I'm just not a fan of the 50's style polyester/rayon nightie.  But, I hope you have enjoyed the fashions from these two films as I have and continue to do so; time and time again, every time I enjoy these two films. Both Grace Kelly and Doris Day carry some key similarities... both outstanding platinum blond actresses with intelligence, beauty, grace and sophistication. But without a doubt, they are in a league of their own in terms of fashion trendsetters for their roles in these two iconic films. 

A Kansas View of OZ

As a Kansas native, I grew up feeling a special connection to "The Wizard of Oz." It was more than the countless summer evenings of dinners spent in the basement with tornado sirens blaring in the background. It was more than the fact that my grandmother Emma Jean had a very sweet and loyal dog named Toto that looked the spitting image of his namesake from the 1939 classic film. And yes, during my youth that legendary classic film played once a year on TV and we watched it faithfully as a family with great anticipation. I guess it was an accumulation of all of these things that made me feel a special bond to Dorothy; which is exactly why I went to see Sam Raimi's OZ, THE GREAT AND POWERFUL (2013) today for its opening weekend.

Before I continue, you should note that there will be references to details of this movie, so you've been officially forewarned to not continue down this yellow brick road as spoilers will be revealed and possibly a wicked witch or two. That being said, I must admit my initial concern prior to seeing this film was, "will this version respect the integrity of the original enough to show Kansas or any Kansas references in black and white?" So I was very relieved to discover that Kansas from year 1905 is still a black and white experience.

OZ, THE GREAT AND POWERFUL is not a re-do of the popular 1939 film but instead it takes us back to the story of how traveling circus magician/con-artist Oscar Diggs aka "Oz" (played by James Franco) came to the land of OZ and his path to become the great and powerful wizard of the Emerald City. The witches of Oz (both good and wicked) are aptly portrayed by actresses Mila Kunis, Rachel Weisz and Michelle Williams. I enjoyed seeing the development of these characters through this background story. And Mila Kunis does an especially strong endeavor of bringing empathy and believability to her witchiness. But the strongest and most entertaining characters were the little China Girl (no, she's not what you're thinking and not a David Bowie song nod but actually the porcelain type) and Oz's sidekick and flying monkey Finley. China Girl (voice by Joey King) was such an incredibly endearing character that brought both sympathy and uber cuteness to a whole new level. The life-like animation to this doll was truly stunning. Zach Braff doubly portrays the voice of sweet and funny Finley and as Oscar Digg's side-show assistant Frank. But both China Girl and Finley win the prize for most sympathetic characters and best lines in the show.

Visually speaking, it's a vividly colorful sumptuous feast for the eyes. One of the most aesthetically hypnotic scenes comes to light when Oz makes his crash landing in the land of Oz. The contrast from the black and white harsh world of a Kansas twister ride to the vivid colors of a river floral orchestra is an epic journey for the senses. The special effects are astounding throughout.  

Overall, it was a fun flick that the entire family can enjoy. Okay, so maybe a scene or two that involve flying evil primates and a wicked witch might briefly scare the gingham right outta your youngest members of the family, but I think it's still worth the walk down the yellow brick road. On a personal note I must add, that we have carried on our Kansas love of The Wizard of Oz by regularly giving my young niece (who lives in Portland, Oregon) Wizard of Oz themed gifts. I guess our Oz influence has taken effect as she even dressed up as Dorothy for Halloween once, to our delight. With OZ, THE GREAT AND POWERFUL, a whole new generation can be introduced to the creative wonders of L.Frank Baum's adventures in Oz. (By the way, there are a few references to L. Frank Baum's namesake in the movie if you look for them.)    

"Toto, I have a feeling we're not in Kansas anymore." - L. Frank Baum, The Wonderful Wizard of Oz

2013 Kansas Silent Film Festival

I live in the 'sunflower state' of Kansas, which has its benefits. No- not the weather or politics or an ocean view. But a rich history in silent film? Surprisingly, a resounding yes. It's the birthplace to such silent star legends as Buster Keaton, Roscoe "Fatty" Arbuckle, Louise Brooks, Charles "Buddy" Rogers, Claire Windsor and Zasu Pitts. My northeastern corner of the state is also home to the Kansas Silent Film Festival for the past seventeen years.

A couple of weekends ago and for the second time for me personally, I was fortunate enough to attend this fun event again. Each year, the festival spans 2 days of silent film screenings with a theme or two. This year, it was held February 22nd & 23rd at the Washburn University campus in Topeka, Kansas. To my delight, the festival kicked off by celebrating the works of Mack Sennett.  

On that Friday evening, my 12-year old son and I joined twitter pal (@tpjost) and silent film aficionado Trevor just as the Kansas Silent Film Festival launched into full swing.We were fortunate to start off with a newly restored GALLOPING BUNGALOWS (1924) with live musical accompaniment by Greg Foreman and an intro by film historian Denise Morrison. Starring Billy Evans and Sid Smith, this 20 minute hilarious short was an absolute thrill-ride of fun. With loads of gags, bathing beauties and a ridiculously silly plot where a wealthy woman advertises she'll marry the best-mustached bachelor to respond, the pace and laughs were non-stop. 

Next up for our viewing pleasure, popular silent film duo Roscoe Arbuckle and Mabel Normand starred in the newly restored and color-tinted short FATTY AND MABEL ADRIFT (1916). The happy couple and their loyal pal Luke the dog find constant challenges from the awkward outsider Al St. John, as they seek happiness at their new beachfront cottage. Lastly for the main feature of the evening, Mary Pickford starred in SPARROWS (1926), with live musical accompaniment of Marvin Faulwell and Bob Keckeisen. This was a heart-wrenching story of ringlet-tressed Pickford portraying the eldest orphan in a horrific prison of impoverished and enslaved children with very dire futures. The plot was at times hilarious and adorable yet horrifically tragic all along. It was a gripping contrast of raw emotions and Pickford's performance was both charming and impressively believable. (What's unbelievable is how well she was able to play the part of a curly-haired girl when she was actually in her 30's at the time. This was the last film role for her to play as the ringlet-wearing youth.) No wonder she was the premier star and producer of her time.

At the end of the evening, I purchased a commemorative poster and was thrilled to obtain signatures from all the musicians that participated in this wondrous event. The next day was a packed schedule from 10am to 10pm. Due to family commitments I was unable to enjoy the full day's lineup. But I list the entire Saturday's scheduled screenings here:

• HIS PREHISTORIC PAST (1914)- starring Charlie Chaplin
• FLYING ELEPHANTS (1928)- starring Laurel and Hardy
• THREE AGES (1923)- starring Buster Keaton
• BRONCHO BILLY'S ADVENTURE (1911)- starring Broncho Billy Anderson
• D.W. Griffith's BROKEN WAYS (1913)- starring Blanche Sweet, Henry B. Walthall & Harry Carey
• NARROW TRAIL (1917)- starring William S. Hart
• THE MAN WITH THE PUNCH (1920)- starring Hoot Gibson
• HANDS UP! (1926)- starring Raymond Griffith
• Wilfred Lucas's THE SPEED KINGS (1913)- starring Ford Sterling & Mabel Normand (a Keystone Film Co. production)
• MADCAP AMBROSE (1916)- starring Mack Swain & Polly Moran
• THE GAUCHO (1927)- starring Douglas Fairbanks & Lupe Velez *live music by Mont Alto Motion Picture Orchestra

However, I was able to squeeze in a sliver of Saturday's offerings and thoroughly enjoyed the rare treat of Raymond Griffith in HANDS UP! (1926), with live music by Greg Foreman. Considered by many as Griffith's best work, this comedy was equally hilarious and charming. As a Confederate spy who trails a Union spy deep into enemy territory in pursuit of gold, he "plays" the other side to his own gain; always trying his best to stay a step-ahead and attempting to foil all those around him.

After this witty short, we were treated again by attending the Cinema Dinner (this time I was joined by my husband, Trevor, twitter pal Nikki aka @nikkilynn4 and her hubby Brian) with special guest speaker Paul Gierucki. He and his partner Brittany Valente generously shared amazing insights and screened clips from their recent massive project of restoring 100 Mack Sennett films. This overwhelming endeavor was completed and many aired on Turner Classic Movie in September 2012: 100 YEARS/ 100 FILMS BY MACK SENNETT. What a rare opportunity to gain an intimate insight to the background stories of this mega restoration process- with 'before-and-after' showings, too!

I'm saddened to say I missed out on many great films from Saturday's screenings. And on another down note, KSFF President Bill Shaffer had a terrible fall on the ice that morning- the result of our region's recent "Blizzard of Oz" major winter storm, which resulted in a nasty black and badly swollen eye. But on an up note, I feel incredibly fortunate to have seen those films that I could. I'm also very grateful to my buddy Trevor who generously provided us with dinner tickets. As part of the Cinema Dinner tradition, a drawing takes place with very appealing give-aways of silent film-era goodies. Somehow my name was drawn as the winner of a beautiful coffee table book of gorgeous lobby cards. It was a beautiful book with incredible colors throughout, from all eras of classic film; and even included a foreword by Bob Hope. But of course, this honest Kansas girl couldn't keep my prize knowing my ticket truly belonged to my friend who generously gave them to my husband and me. So I handed the prize to it's rightful owner... but only after I had a nice long peek! 

FINAL Week... 31 Days of Oscar Blogathon

We have finally arrived to the 5th and last week of the 31 DAYS OF OSCAR Blogathon. It's been a wondrous journey of incredibly talented bloggers writing on what they're most passionate, crowning achievements in cinema. I'm in awe of the caliber of excellence in writing each week throughout this process. It's been a true honor and joy to co-host this blogging event, along with my fellow co-hosts Aurora of Once Upon A Screen and Paula of Paula's Cinema Club. On behalf of my co-hosts and myself, a HUGE Thank You to all you participating bloggers and to all the readers, too! We couldn't have done it without you and we hope it's been as enjoyable for you as it has been for us. And now, your final week of bloggers... 

Here are your magnificent bloggers for Week 5: 

First up, Lindsey with The Motion Pictures  ( http://themotionpictures.net ) reflects on her Oscar recollections with "15 Favorite Best Picture Winners" :

http://themotionpictures.net/2013/02/24/oscar-recollections-15-favorite-best-picture-winners/

Then, she shares more Oscar recollections with her list of "10 Favorite Best Director Winners" :   http://themotionpictures.net/2013/02/23/oscar-recollections-10-favorite-best-director-winners/ Epic lists! (You can tweet Lindsay @TMPLindsey)

Then, Greg flies in with a star-studded 'Airport' comparison with A Tale of Two Airports. Greg is posting this on Citizen Screenings (CitizenScreenings.wordpress.com) :  http://citizenscreenings.wordpress.com/2013/02/24/a-tale-of-two-airports/  (You can tweet Greg at @GregMcCambley)

Jenni from Portraits by Jenni (portraitsbyjenni.wordpress.com) helps us unravel the mystery behind the 1948 Best Actress Oscar shocker of when Rosalind Russell was snubbed with:  "When Rosalind Was Robbed!"  http://portraitsbyjenni.wordpress.com/2013/03/01/when-rosalind-was-robbed/

Fellow '31 Days of Oscar Blogathon' co-host extraordinaire Paula of  Paula's Cinema Club (http://paulascinemaclub.com) asks, “How much does art matter, and is it worth dying for?” with the Oscar nominated:  The Train (1964) http://paulascinemaclub.com/2013/03/03/31-days-the-train/ (You can tweet Paula at @Paula_Guthat )

Then '31 Days of Oscar Blogathon' co-host superstar Aurora of Citizen Screenings (Citizenscreenings.wordpress.com) ushers in the story of a man, a story of redemption and one of the best courtroom dramas on film, The Verdict http://citizenscreenings.wordpress.com/2013/03/02/the-verdict/
With another generous post, Aurora of Once A Screen (http://aurorasginjoint.com) gets fired up expressing her outrage in a very fun way: "Oh No They Didn't! Ignored by Oscar"  http://aurorasginjoint.com/2013/03/01/oh-no-they-didnt-ignored-by-oscar/ 
(You can tweet Aurora at @citizenscreen )

Ruth of Silver Screenings (http://silverscreenings.org) presents all the fixins you need for a good Western: gun fights, bad guys, John Wayne and a terrific assortment of hats with,  The Man Who Shot Liberty Valance  
http://silverscreenings.org/2013/02/27/the-man-who-shot-liberty-valance/  
(You can tweet Ruth at @925screenings)

Jim of Draconic Verses (http://jrphoel.wordpress.com) rightfully expresses outrage over this year's missing from 'In Memoriam' in: "Oh Oscar, Oscar, Oscar" 
http://jrphoel.wordpress.com/2013/02/25/oh-oscar-oscar-oscar/ (You can tweet Jim at @DraconicVerses)

Then, Ruth of FlixChatter (http://flixchatter.net) offers her take on the Oscar record-holder and the most brilliant costume designer in cinema history with: 31 Days of Oscar - Spotlight on Hollywood's Costume Queen Edith Head
http://flixchatter.net/2013/02/28/31-days-of-oscar-spotlight-on-hollywood-costume-queen-edith-head/
(You can tweet Ruth at @FlixChatter)

Rich of Wide Screen World (http://widescreenworld.blogspot.com) gets animated with a tale of an Oscar-worthy film, Who Framed Roger Rabbit
http://widescreenworld.blogspot.com/2013/02/who-framed-roger-rabbit.html?m=1 
(You can tweet Rich at @ratzo318)

Nitrate Diva (http://nitratediva.wordpress.com) reviews how the Academy doesn't reward a comedy classic in: It Happened One Night
http://nitratediva.wordpress.com/2013/02/26/it-happened-one-night/
(You can tweet Nitrate Diva at @NitrateDiva)

Pete of Furious Cinema (http://furiouscinema.com) portrays a Sinatra in a new dramatic light with, The Man With A Golden Arm
http://www.furiouscinema.com/2013/03/the-man-with-the-golden-arm/
(You can tweet Pete at @FuriousCinema)

I'm sure you will delight and likely will learn a thing or two in these posts. I know we did. In case you missed any, check out past weeks’ fabulous posts here:   Week 1   Week 2   Week 3   Week 4

Cinematically yours,
Kellee
@IrishJayhawk66

The Oscar Hosts

When my fellow gal pals Aurora of Once Upon A Screen and Paula of Paula's Cinema Club and I decided to do another blogathon, #31DaysOfOscar was created. The idea was to bring together film bloggers of all genres to blog about the very best in film as celebrated by the Academy of Motion Picture Arts and Science's Oscar. Be it the best in film, directing, actor, actress, editing, costume, song, screenplay or ANY aspect of the Oscar's 85 storied and sometimes scandalous years, there is a wealth of blogging material to cover a 5 week period of Oscar season. And how perfect to do so during the peak of awards season and to coincide throughout Turner Classic Movie's 31 Days of Oscar event. The following piece is my blog entry for this mega blogathon event.

In writing about some aspect of the Oscars, it's frankly tough to narrow down. So I decided to take a stab at a topic generally forgotten shortly after the Oscars takes place- the hosts. There has been a countless variety of hosts for the Oscar ceremonies over the past 85 years. Some years, hosts have pitched it solo and many years it was presented in a co-hosted or an assemble format. Historically, folks have been often quick to criticize the hosts' performances as the pressure is incredibly intense to please a large audience celebrating well... the very best in performing!

Not unlike the Saturday Night Live hosts across the years, only those hosts who truly possess mass appeal, can entertain with a universal humor, and ad lib on-the-fly with rapid-fire delivery if needed are popular enough asked to return again. I can only imagine the challenge of being the host of the biggest party of the year to honor and stand in front of some of the biggest talent in cinema (not to mention likely some of the biggest egos as well.)  Not an easy gig. 

 Of those hosts asked to return for repeated Oscar hosting, there are a couple that clearly stand out- Bob Hope and Billy Crystal. Bob Hope hosted a staggering EIGHTEEN times. While skipping some years and done in both solo and co-hosting formats, Hope started hosting in 1940 with the 12th year of Oscars and his final Oscar hosting took place in 1978 in its 50th year. It's certainly no surprise to me why he was the Academy's favorite pick to honor the finest in film. Bob Hope had many advantages. He was from the industry as actor himself but as someone who mostly took comedy roles, he was extremely well-liked but not likely ever to be a competitor. As matter of fact, he even poked fun of this fact in his "Road" movies. With his ongoing work with the USO to support our military troops, he was not only very popular at a mass level, but he was also highly respected. The most clear advantage was Hope's style of humor. This was a man who had uncanny comic timing and lightning speed ability to think on his feet. And unlike many modern comedians, he could deliver jokes without the worry from censors of crossing a line or completely insulting key members of the audience. No wonder he was the ultimate Oscar host.

 The second most beloved Oscar host is Billy Crystal. Crystal has hosted an impressive nine times. Starting with the 62nd Oscar show in 1992, Crystal has continued his popular run as recent as last year. Possessing similar traits and advantages as Hope, Crystal has played up his strengths to charm the Academy Awards' viewing audience with wide-appeal humor and even some song and dance. His own funny "shout out" to nominees via opening monologue song was a signature Billy Crystal move and a HUGE hit that others have attempted to replicate since.        

Each host/hostess has projected their own sense of style to the role of host. As 'multi-hosting club' past host Whoopi Goldberg advised: “There are hosts for different eras. I kind of like it old school… because they knew what they were there for,” said Goldberg, who has hosted the Oscars four times and has the distinction of being the first woman to host by herself. “They were just funny, they didn’t have to prove it. Hosting is not an easy thing and not everyone can do it.”*

 "Family Guy" creator Seth MacFarlane is slotted to host the 85th annual Academy Awards. He's nominated this year for Best Original Song for his work in "TED" (2012). Personally, I find him hilarious and multi-talented as a man who knows a thing or two about humor, and song & dance, as well. So, I'm hopeful he will do well this year in the host role. As Billy Crystal summed up the job: “Look like you really want to be there,” Crystal advised. “Really love the job and have fun. The moments you can shine, shine, and then get out of the way.”*

As I do every year, I thoroughly look forward to watching the annual Academy Awards. And like always, my husband, my four kids and I will excitedly start watching from the very first moment of red carpet coverage to review all the Hollywood glitz and glamor of the most beautiful and talented stars to the last closing moments as this year's Oscars show has ended. A tradition we will undoubtedly continue throughout the years... see you on the red carpet!

*QUOTE REFERENCES:
The Daily Scandal; "Billy Crystal's Advice For This Year's Oscar's Host" :
http://www.dailyscandal.net/billy-crystals-advice-for-this-years-oscars-host/