Here are 10 things you should know about Elisha Cook, Jr., born 116 years ago today. The prolific, if diminutive, Cook was known as “Hollywood’s lightest heavy.”
Few faces are more familiar to more people than the visage of character actor Charles Lane, born 114 years ago today. Lane was ubiquitous in the movies during the 1930s and ’40s and then kept equally busy working on television through the mid-’90s.
But we wonder how many movie buffs and TV viewers know his name?
Janet Gaynor‘s 112th birthday is timed perfectly, what with the third remake of the film for which she won an Oscar, A Star Is Born (1937), opening this weekend. Here are 10 things you should know about Gaynor, who was a huge star in the late 1920s and into the ’30s.
By the way, Gaynor’s A Star Is Born, in which she stars opposite Fredric March, is available via a number of streaming services: Amazon Prime, FilmStruck, Kanopy, Fandor and (with ads) Tubi TV. You could do much worse in priming yourself for the new remake than to watch the original on Gaynor’s birthday.
In it, she plays a columnist for a San Francisco newspaper who rather impulsively gives up her career to marry a Los Angeles police detective (Sterling Hayden). She moves into his home, which is situated, as a passage of dialogue reveals, in the San Fernando Valley.
In two or three brief scenes set outside the newlyweds’ home, we see in the background the hulking screen of a drive-in theatre towering over the neighborhood. So prominent is this screen tower that it seems almost ominous.
Each time we’ve watch this picture, we’ve been struck by this choice on the part of the filmmakers because not a word is said about the screen. No one refers to it in any way. But it’s such an imposing element in those exterior shots that we can’t help but wonder why director Gerd Oswald didn’t shoot from the other direction, so that the screen tower didn’t appear.
Mind you, we’re glad he didn’t—as a drive-in aficionado, we enjoy seeing the screen in the background when we watch the movie—but it’s undeniably a distraction.
It does speak, we think, to how relatively ubiquitous drive-in theatres once were that Oswald didn’t balk at including that huge screen in the scenes in which it appears. Who knows, it may be that someone viewing the film in 1957 wouldn’t have even given it a second thought.