Temple Tuesday: Shirley & Cary

Shirley Temple and Cary Grant co-starred in the 1947 comedy, “The Bachelor and the Bobby-Soxer.” I believe this publicity shot was taken outside the Beverly Hills High School where a few of the scenes were filmed. The accompanying caption:

HOT RODSTER
Cary Grant is ridin’ the movie ranger these days in a “hot rod” with the best of the bobby-soxers. It’s the result of an involvement with co-star Shirley Temple in their new RKO Radio film, “The Bachelor And The Bobby-Soxer.”

By most accounts, Grant liked things the way he liked them, and could sometimes be difficult on set. At one point during filming, he caught Shirley doing an imitation of him for the film crew; he stalked off and complained to producer David O. Selznick, who read the actress the riot act for her unprofessional behavior.  Selznick had Shirley under contract at the time, thus his involvement. Back on the set, Shirley apologized to Grant, who graciously accepted it and replied, “By the way, it was a pretty good imitation.” Below, Grant’s character makes nice with Shirley’s boyfriend in the film, played by Johnny Sands.



Almost forty years later, Shirley appeared at a tribute to Grant staged by the Princess Grace Foundation, due to the close friendship between the Grant (who died in 1986) and Grace Kelly (who died in 1982). Proceeds from the gala event held at the Beverly Hilton Hotel in Beverly Hills went to the Princess Grace Foundation. From the LA Times on July 15, 1988, just a few months before the event:

And this fall comes a tribute to the classic and classy actor that will indeed be one of a kind—an Oct. 19 benefit at the Beverly Hilton for the Princess Grace Foundation U.S.A. Barbara Grant, widow of the actor who died in November, 1986, said that she and his daughter, Jennifer, wanted “only one special tribute to Cary, and due to his close friendship with Princess Grace and her family we decided that the proceeds from the evening should benefit the foundation named in her honor.” Although planning is just getting under way, the committee list for the black-tie gala already reads like a list of Hollywood royalty. First Lady Nancy Reagan and Barbara Grant are honorary co-chairs. Dina Merrill chairs the evening, with co-chairs Merv Griffin, Kirk Kerkorian, Veronique and Gregory Peck, Don and Judy Balaban Quine (who was a member of Princess Grace’s wedding party), Barbara and Frank Sinatra, and Lew and Edie Wasserman. In the audience: Prince Rainier, Prince Albert, Princess Stephanie and, reportedly, if her schedule can be changed, Princess Caroline. Sources say the party will be the debut of the new International Ballroom at the Beverly Hilton.

Shirley looked stunning that evening!



The Times spilled more tea on September 14, 1988:

When is a $1,000-a-person benefit ticket worth the price? Try Oct. 19, when the special gala tribute to Cary Grant, benefiting the Princess Grace Foundation U.S.A., brings together the princely family of Monaco with just about every royal persona Hollywood can muster. This evening is unique in many ways--it will be the only tribute Grant’s widow, Barbara, is permitting for the late, beloved actor. And, because there was only one Cary Grant, the evening will have an extraordinary retinue of stars up on stage: James Stewart, Gregory Peck, Frank Sinatra, Walter Matthau, Roger Moore, Shirley Temple Black, Robert Wagner, Warren Beatty, benefit chair Dina Merrill, Eva Marie Saint, Quincy Jones, Robert Mitchum, John Forsythe, Dean Martin, Michael Caine and, performing, Liza Minnelli, Sammy Davis Jr. and Henry Mancini, all in a production designed by Jack Haley Jr. and emceed by Merv Griffin highlighting Grant’s films.



In the front row are Frank Sinatra, Merv Griffin, Robert Wagner, Prince Albert II, Princess Stéphanie, Prince Rainier III, and Henry Mancini. Back row: Michael Caine, Eva Marie Saint, Gregory Peck, Barbara Grant, Unknown, Liza Minnelli, Dina Merrill, and Roger Moore. What a lineup!!

UPI had this to say after the event:

European royalty mingled with Hollywood royalty in tribute to the late sultan of suave, Cary Grant. The Wednesday night gala benefited the Princess Grace Foundation-U.S.A. and Prince Rainier of Monaco and two of his offspring, Princess Stephanie and Prince Albert, attended the black-tie banquet at the Beverly Hilton Hotel. Frank Sinatra, Michael Caine, Gregory Peck, Eva Marie Saint, Robert Wagner, Roger Moore and Dean Martin were on hand to swap memories of Grant. The entertainment was provided by Sammy Davis Jr. and Liza Minnelli and Merv Griffin, who owns the hotel, was master of ceremonies. Film clips from Grant's long career were shown in addition to taped tributes sent in by President Reagan, Sophia Loren, Walter Matthau and others. The Princess Grace Foundation-U.S.A. raises funds to help aspiring artists in theatre, dance, and film.

Milton Berle puts the moves on Liza and Shirley, with Jack Haley, Jr. on the right (Liza’s husband at the time) and Eva Marie Saint in the background.



I wonder if Shirley did her Grant imitation? I sure would have loved to have seen that! BTW: Shirley seemed even less interested in Berle one year later, when he attempted to have his photo taken with her again. Give it up, Miltie! Actor Stewart Granger is on the right.



See more Shirley Temple photos at my main website.

Rose Parade Medley and Memories

Let’s take a visual journey through some memorable moments from the annual Tournament of Roses Parade in Pasadena. Who better to begin with than my fave, Shirley Temple? The year she was first Grand Marshal (1939), the parade was held on January 2. You can see her father in the float with her, somewhat obscured by the roses that surround him.



On January 2, 1964, former President Dwight D. Eisenhower and wife Mamie presided over the parade.



A closer look at the Grand Marshal car:



Walt Disney served as Grand Marshal on January 1, 1966 alongside Mickey Mouse:



Frank Sinatra was the Grand Marshal for the 1980 parade; here is the float that portrayed him with flowers:



Sinatra and wife Barbara Marx waving to onlookers along the Pasadena parade route:



Disney celebrated their 25th anniversary with this caravan which included Cinderella and her coach and a train that released balloons:



If the boxes and train look familiar, you might have remembered them from the Park back in 1980; a good use of economy!



The Firehouse Five Plus Two traveled down Colorado Boulevard in the parade that year atop a gigantic fire engine. Western Airlines was the sponsor of this particular float:



It does appear that legendary Disney animators Frank Thomas and Ward Kimball were performing that day:



A vintage September 1964 shot of the band playing at Disneyland’s Golden Horseshoe Saloon:



Of course, the most famous participant in the parade that year was…ME! Yes, I marched in the parade that day with my alto saxophone and the other members of the Conestoga Senior High School band.



I’m the saxophonist in the middle:



I stumbled upon a detailed account of the parade that day. Apparently we were the “114th unit” in the parade, having raised approximately $115,000 to pay for the trip that allowed our entire band (and chaperones!) to fly from Philadelphia to Los Angeles. We also had side trips to Knott’s Berry Farm, Disneyland, Magic Mountain, the Los Angeles Farmer’s Market on Fairfax, Universal Studios, and…Tijuana! While most of my memories of the trip are a bit hazy, I can still remember the thrill of that first turn onto Colorado Boulevard when we all knew that the TV cameras would be on us. From the online account:

Before dawn on the morning of December 26th the group left from the parking lot of Conestoga High School for the airport. Its six busses were escorted by vehicles from the Tredyffrin Township police and the Berwyn Fire Company, their red lights flashing and sirens sounding. For some of the members of the group it was to be their first airplane flight. To prepare for the five and a half mile long march on New Year's Day, in early December a two-hour practice at that distance was held on Devon State Road. And to be sure that the length of the march would have only a minimal effect on the quality of the music it was also decided to play just one tune, "March America", over and over during the entire parade route, Dr. Kiehner [our band director] noting that "it's not terribly high for the horns to play and they will be able to sound just as strong at the end of the parade as at the beginning". Everyone in the group survived the five and a half mile march -- "as fresh at the end as at the beginning", according to Kiehner. (While this may have been a slight exaggeration, for a finishing flourish the band played "March America" "one more time" after the parade route had been completed, before getting ready to go to the Rose Bowl game and then taking part in a "New Year's Eve Party" -- one day late -- that night!)

We did not play “March America” continuously; in between to give most of the band a rest, the percussion would play our peppy drill cadence. Just like your typical California traffic jam, we would often march and then have to stop, as the floats ahead tended to take more time than allotted. I remember our director being extremely proud that not one member had to drop out; although it was chilly when we started, the temperatures were much higher by the time we finished. Those uniforms were HOT!!! The thrill of being on camera evaporated quickly and the rest of the parade route became increasingly arduous as the sweat drenched our bodies. I do remember playing our “encore” and thinking “Get me outta’ here!” The game that day was between USC and Ohio State, with USC taking home the victory. And if you thought “Tijuana” was a typo, you would be incorrect.

Second in excitement only to the Rose Bowl Parade itself, however, was an "instant parade" the preceding Saturday in Tijuana, across the border in Mexico. Upon its arrival, the band lined up and marched down the main street, with cheering native boys and girls running along with it and following it to City Hall. There it gave an impromptu concert of football songs and other numbers, and was officially greeted and thanked by various public officials, including the alcalde or mayor, who presented the group with a key to the city. After a lunch of "the works in Mexican food" ("Do try everything," the ten-page outline had suggested, but added "no extra beverages -- they will ask you if you want them and you say NO!") everyone was free for three hours of sightseeing and shopping ("Keep your wallets and purses secure") before returning to the United States and dinner at McDonalds', five busses arriving all at once.

I had forgotten that we marched in Tijuana; I do remember buying a blanket there (your typical tourist trap purchase) and being excited that I was able to haggle the price down. Can you imagine allowing a group of high school students to run free for three hours in Tijuana? Nope…neither can I. On the trip back, our caravan of buses were to be inspected by a border agent. On my bus, there was a foreign exchange student from Switzerland who played trumpet. I remember Dr. Kiehner instructed him very carefully: “If you get asked, you are an American citizen!” The agent came down the aisle and all went just fine, with the student responding as he had been instructed. Next thing we knew the caravan proceeded back across the border safely (and quickly) into California. Yes, times have changed.

See more Pasadena photos at my main website.

Chuck, Judy, June, Joan, and Grace

Disneyland isn’t the only thing that came out of Anaheim. Chuck Walters (born Charles Powell Walter; the “s” was added later) was a dancer, choreographer, and director during the heyday of the MGM musical. The first shot shows him dancing with Judy Garland in “Presenting Lily Mars” (1943). The original finale was an overdone patriotic mess; Walters was called in to choreograph a new musical number to show off the maturing Garland and her talents. In the Walters biography, The Director Who Made Hollywood Dance by Brent Phillips, the author tells how Walters was able to get a fearful Garland to tackle the difficult steps:

“I’m not sure I can do what you want. I can’t move like this.” With Judy, he understood that kid gloves were required. They sat down together, and in a flash of inspiration he asked, “Who is your favorite female dancer?” Without much hesitation, she replied, “Renee De Marco.” “All right,” he announced. “From now on, whenever we rehearse, you are Renee De Marco.” Garland looked at him with wide eyes and gave a sigh of relief.

Judy begged for Walters to join her again in her next picture, “Girl Crazy” (1943). For “Embraceable You,” the two twirl around the dance floor with glee. It is a beautiful sight to see. Walters danced with the polish of Fred Astaire and the approachability of Gene Kelly.



Although a fantastic dancer, producer Arthur Freed realized that Walters had a knack for directing. He had a knack for knowing how to work with actors, keep the action moving, integrating the musical numbers so that they were natural and plot driven, and most importantly of all, bring the picture in under budget! His first big assignment came with “Good News” (1947), starring June Allyson and Peter Lawford. From the accompanying publicity blurb:

VARSITY DRAG…If you’re over forty…you’ll remember it. If you”re under forty…you’ll love it! It’s the “Varsity Drag,” dance craze of the roaring twenties, when every college campus was filled with turtleneck sweaters, short-skirted flappers…and not Quonset huts and surplus jeeps. The “Drag” comes to life again in Metro-Goldwyn-Mayer’s Technicolor musical, “Good News,” starring June Allyson and Peter Lawford, with Broadway stars Patricia Marshall and Joan McCracken. “Just like an end play off left tackle!’ says June…and Peter begins to see the light.



Walters had to spend a lot of time boosting Lawford’s song and dance limitations. From Brent Phillips’ bio:

Upon seeing the finished film, Lawford’s boydhood dance teacher, Muriel O’Brien, declared: “I kept watching him and thought, Oh, my God! Anybody who could teach that boy to sing and dance in time has got to be a genius.”

Walters often directed by showing the actors how to do a scene (or number) by performing it himself.



“Good News” was such a success that Walters was handed the plumb assignment of Judy Garland and Gene Kelly in “Easter Parade” (1948). Just before filming commenced, Kelly had to be replaced by Fred Astaire due to an ankle injury.



By the time of Garland’s “Summer Stock” (1950), Walters was the only director at MGM who the brass knew could get the job done. Walters was able to elevate the basic barnyard musical story into one that is highly enjoyable and features some of the best numbers done by both Judy and Gene Kelly. “Friendly Star” is a highlight of the movie due to Garland’s performance, vocal talents, and perfect staging of this key number.



Another “J” in Walters’ portfolio was Joan Crawford. When she returned to MGM for “Torch Song” (1953), Walters was the director of choice. From the accompanying publicity blurbs:

MGM SPECIAL LAYOUT…BACK AT “HOME STUDIO”…AFTER 10 YEARS. CAMERA! ACTION!: Joan Crawford, now that the “welcome home” party is finished, goes immediately into a dance rehearsal with Charles Walters, director of her new Technicolor picture, “Torch Song,” and who is also her dancing partner in the dance sequences.

RHYTHMIC DUO… Joan Crawford and Charles Walters step a fancy rhythm in this scene from M-G-M’s drama packed Technicolor production “Torch Song.” Film co-stars Miss Crawford and Michael Wilding. In addition to portraying Miss Crawford’s dance partner, Charles Walters also directs the film and is credited with the choreography. Henry Berman produced.



Another dancer, Marc Wilder, was cast as Crawford’s partner for the scene shown above. Joan had different ideas; she wanted the best. “I’m so comfortable when I’m rehearsing with you. Would you consider doing the routine with me in the film?” Just as he had to do with Judy in “Girl Crazy,” Walters had to coax a performance out of the nervous Crawford. As Phillips tells it:

Crawford gravely whispered, “Chuck, I cannot get out of this chair.” “Honey, you’re gonna be great. The routine is down pat. We’re lit. We’re ready to go.” “I know his is a terrible thing to ask,” said Joan, “but would you be upset if I have a little vodka?” “Baby, anything that’s going to relax you is fine. Have a little slug if it’s gonna help.” “Well, you have to have one with me.” Walters later admitted it took about three drinks to shore up her confidence. “We came out of the dressing room a hair high—but relaxed and comfortable.”

One of my favorite Walters directed films was the cinematic swan song of Grace Kelly (why couldn’t her name begin with “J” for my title alliteration?), “High Society” (1956), also starring Frank Sinatra and Bing Crosby.



The duet that everyone waited for between Sinatra and Crosby was the Cole Porter chestnut “Well, Did You Evah” first introduced by Betty Grable. From Phillip’s bio:

“Towards the end of the number, I did a fairly audacious thing,” said Walters. “When they exited, I simply let the camera roll,” focused on the empty library. Then without warning, the duo burst back into their safe haven, made a beeline for the bar, tossed back one final drink and offered one final chorus. It was a unique example of a stage convention working neatly on the screen. During the film’s first sneak preview, the audience broke into spontaneous applause at what they assumed was the song’s finish. Then Frank and Bing rushed back onto the screen for another drink and another verse; by the time the pair made their arm-in-arm final exit—bellowing, “What a swellegant, elegant party this is!”—the crowd was cheering.



Not surprisingly, Crosby would later say “High Society” was his favorite film to make.

See more Classic Movie & TV photos at my main website.

The Rat Pack was here

This vintage color photo shows the Rat Pack (Frank Sinatra, Dean Martin, Sammy Davis Jr., Peter Lawford, and Joey Bishop) standing in front of the marquee for the Sands Hotel on the Vegas strip,.

On a recent trip to Vegas, I was doing my typical early morning photo stroll (capturing the scenery without the clutter of tourists!) and came to the Venetian Hotel, which opened in 1999.

Even though I have been here many times and even stayed inside, this was the first time I noticed this marker at the entrance. Was it new? Had I just not seen it before?

The plaque states:

The legendary photo of the “Rat Pack”…was taken at this spot in 1960 adjacent to the Las Vegas Strip. In the early 1960’s, the five stars were headliners at the fame Copa Room inside the Sands hotel. The footprints below mark the approximate location of where these legendary stars once stood for this photo.

Wow…who knew? The Sands hotel was torn down in 1996 to make way for the “new” strip.

Which performer’s footprints would you want to stand in?

See more Las Vegas photos at my main website.

50 Years Ago...

Fifty years ago, Walt Disney was the Grand Marshal for the 77th Annual Tournament of Roses Parade held in Pasadena. The theme was "it's a small world." Sadly, Walt would pass away by year's end.

Flashing forward to 1980, Frank Sinatra was the Grand Marshal. Here is his gigantic floral recreation:



and the Chairman of the Board himself:



As it so happens, I was marching in the parade with my high school band that somewhat chilly New Year's Day, too:



Playing my alto saxophone:



You can read more about our fundraising, rehearsals, and other performances during that memorable trip in 1980 here: http://www.tehistory.org/hqda/html/v30/v30n1p021.html

Hope you are all enjoying 2016 and sticking to your resolutions!

More Daveland photography at main website.

Luck Be A Lady

How about a spin through vintage Las Vegas, beginning with a June 1961 shot of the Sands Casino & Hotel? Husband and wife duo Gordon and Sheila MacRae are the headliners. You might remember him from "Oklahoma" and "Carousel."

Over at the Stardust in August 1969, I have no idea who these people are, other than possibly Esquivel, my favorite Latino Space-Age musician.





I had to zoom in for a closeup of the Stardust sign, which does just fine on its own!



Two of Caesars Palace, beginning with October 1968…



and March 1971.



The last one shows Stardust circa May 1987…and Esquivel is still there!



Zooming in for a shot of Denny's and the Phillips 66 Gas Station:



How about ending the post with a song from the Chairman of the Board?



Throw the dice again at my main website and see more Las Vegas photos.

It Was A Very Good Year

It's a new day and a new year, often used as a time for reflection and resolutions. The title of today's post comes from a 1961 song composed by Ervin Drake originally recorded by Bob Shane with The Kingston Trio. The better known 1965 Frank Sinatra version from the album "September of My Years" removed the folksy flavor of the original, giving it a more soulful feeling which became even more relevant as Sinatra aged. The cover art for the album was by George Bartell, a famous Los Angeles illustrator.

Here's the version made famous by "The Chairman of the Board":



An unexpectedly good version can also be heard by Robbie Williams, which was part of his "Swing When You're Winning" album, recorded in the Capitol Studios off of Hollywood Boulevard.



Here's Williams singing it at the Royal Albert Hall in London:



William Shatner gives a textbook example of how NOT to sing this song:



So how was your 2014? Let's hope the wine continues to improve with age.

See more of Daveland at my main website.