Showing posts with label Mae Busch. Show all posts
Showing posts with label Mae Busch. Show all posts

Saturday, June 23, 2018

Thelma Todd?






This is a picture that is being offered for sale on ebay as a picture of Thelma Todd.


But it is not a picture of Thelma Todd, although it is a picture from a Thelma Todd picture, CHEATING BLONDES. 


Actually that was Mae Busch with a black eye in that picture. Evidently it was another instance of the black eye gag. And here is another picture from the picture, which shows Mae Busch (left ) with Thelma Todd. 


Reblogged  from https://free-classic-movies.com/movies-03a/03a-1933-05-01-Cheating-Blondes/index.php

A

Thursday, August 13, 2015

CHICKENS COME HOME Photo

CHICKENS COME HOME with Mae Busche ( left ) and Thelma Todd ( right ) with Laurel and Hardy.









A

Friday, April 11, 2014

Chester Morris





Chester Morris was in the movie CORSAIR with Thelma Todd ( as "Alison Loyd" ). Among other things.

Chester Morris

From Wikipedia, the free encyclopedia
      
Chester Morris
Chester Morris in Corsair.jpg
in Corsair (1931)
BornJohn Chester Brooks Morris
(1901-02-16)February 16, 1901
New York City, New York, U.S.
DiedSeptember 11, 1970(1970-09-11) (aged 69)
New Hope, Pennsylvania, U.S.
OccupationActor
Years active1917–1970
Spouse(s)Lillian Kenton Barker (1940-19??; 1 child)
Suzanne Kilborn (1927-1939; 2 children); divorced
Chester Morris (February 16, 1901 – September 11, 1970) was an American actor, who starred in the Boston Blackie detective series of the 1940s.

Career

He was born John Chester Brooks Morris in New York City, the son of Broadway stage actor William Morris and the performer Etta Hawkins. He made his Broadway debut at 17 in Lionel Barrymore's The Copperhead. At 17, he billed himself as "the youngest leading man in the country". His film career began in 1917 in An Amateur Orphan. He was nominated for the Academy Award for Best Actor for Alibi (1929) directed by Roland West. He also starred in The Bat Whispers (1930) and Corsair (1931), both directed by West.
He starred in the early prison film The Big House (1930). His career gradually declined in the late 1930s, with roles in B-movies such as Smashing the Rackets with Edward J. Pawley (1938) and Five Came Back (1939). His career revived when from 1941 to 1949 he played the character Boston Blackie in 14 low-budget movies produced by Columbia Pictures, starting with Meet Boston Blackie, and one season of radio shows.
Morris was also well known as a stage magic enthusiast. He often performed as a magician during the personal appearance tours in theaters promoting his latest films. Unlike many stars who simply greeted audiences with a few words before the screening of their film, Morris was comfortable on stage and presented an entire vaudeville magic act, featuring live animals and larger stage feats such as nearly severing an audience volunteer's head in a prop guillotine*. During World War II he performed hundreds of free magic shows for the U.S.O. at army and navy camps, war bond drives and hospitals. In 1944, a B-24 "Liberator" airplane was christened "The Chester and Lili Morris" in honor of him and his wife, and their contributions to the United States war effort. Morris also contributed original tricks to magician's journals and often incorporated magic into his film performances, including "Boston Blackie and The Law" (1946.)
Through the 1950s and 1960s, Morris worked mainly in television, with a recurring role as detective Lieutenant Max Ritter in the CBS summer replacement series, Diagnosis: Unknown, which aired from July to September 1960. He also made occasional forays into regional theatre, and a few films, notably a role in the science-fiction film The She Creature, where he played Dr. Carlo Lombardi. It was reported in Variety that Morris's Brylcreem expenses exceeded any other item in the film's budget.[citation needed] After his last Boston Blackie movie, he performed in only three more films, including his final role in The Great White Hope (1970) which was released after his death.

Personal life

Morris was married to Suzanne Kilborn from September 30, 1927 to their divorce in November 1939. They had two children, Brooks and Cynthia. He married Lillian Kenton Barker on November 30, 1940. They had a son, Kenton.
Morris was dying of cancer when he committed suicide in room 202 at the former Holiday Inn of New Hope by taking an overdose of barbiturates in 1970.[1] At the time of his death, he was appearing in a stage production of The Caine Mutiny Court Martial at the Bucks County Playhouse in New Hope, Pennsylvania.[2]

Partial filmography

References

  1. ^ Veteran Actor Chester Morris is Found Dead UPI. The Times-News - Sep 12, 1970
  2. ^ Veteran Actor Chester Morris is Found Dead UPI. The Times-News - Sep 12, 1970
Boston Blackish and the Law 1946

External links

Chester Morris had made ALIBI and THE BAT WHISPERS for Roland West, and they were hits, but when they made CORSAIR it was not a success. Not only that, but because Roland West would not allow him to make DRACULA for Universal, he missed out on a chance to be in one of the most famous classic movies of all time. But Boston Blackie was one of Columbia's most profitable movie series during the period it was in production. So Chester Morris' place in movie history is assured, even if he is primarily associated with B movies.


                                                                     CORSAIR

 
 
 
 
With "Alison Loyd", as Thelma Todd was billed in this movie.






With Thelma Todd and Frank McHugh.

 
 
 
 
 
With Thelma Todd

 
 
 
 
 
With Thelma Todd

 
 
 
 
With Mae Busch in ALIBI ( 1929 )
 
 
Note whose name was actually on the bottom of the picture.
 
 
 
 
With Fay Wray in THEY MET IN A TAXI, 1936

 
 
 
 
With Victor McLagen and Jean Rogers in ROUGH, TOUGH, AND READY. 

 
 
 
 HIGH EXPLOSIVE

 
Jean Parker worked with Laurel and Hardy.
 
 
 
 
Boston Blackie

 
 
 
 







BOSTON BLACKIE:
http://bostonblackie.com/

http://en.wikipedia.org/wiki/Boston_Blackie

https://archive.org/details/OTRR_Boston_Blackie_Singles


CORSAIR:
http://benny-drinnon.blogspot.com/2012/11/corsair.html

http://benny-drinnon.blogspot.com/2013/11/corsair-items-from-fan-magazines.html

http://benny-drinnon.blogspot.com/2014/02/corsair-herald.html

http://benny-drinnon.blogspot.com/2013/11/corsair-promotion.html


DRACULA:
http://en.wikipedia.org/wiki/Dracula_(1931_film)


Chester Morris:
http://bostonblackie.com/morrisbio.html


A

Tuesday, October 15, 2013

CHEATING BLONDES










CHEATING BLONDES had Thelma Todd in a dual role. You might call it a "double feature".



 
 
 
I haven't seen this movie, but I had some pictures for it, and decided to put out a blog with them.
 
The version of this movie that is available is missing footage and it sounds as if there aren't any scenes left that show two "Thelmas" together, although it sounds as if there had been such scenes in it originally. It also seems that there isn't anything left to explain one that one sister is taking the place of the other in the story, in order to hide out after a murder. 
 
But eventually all turns out right, and everyone lives happily ever after.












 


 
 
 Black And White Photo Lobbycard, Same Scene As Above.








This poster looks like some of the fashion art of the era. It is not actually a realistic representation of Thelma Todd.
 
 
 
 
 
This lobby card shows a scene that is missing from the version that is available today.
 
 
 This would seem to be a scene with both "Blondes" in it.
 
 
 
 
 Title






                                                                 Publicity photo of Thelma Todd.
 
 
 
 
 
 


Review reblogged from:
http://nitrateville.com/viewtopic.php?f=4&t=14809&sid=1eebe2a44a89b0afc089868a454e588a&start=30

Re: Thelma Todd

PostMon Apr 29, 2013 8:38 am
Caught up with CHEATING BLONDES last night while we had dinner after getting back from Los Angeles, average independent product of the time, nothing particularly hideous about it (unless you haven't seen enough of this kind of product to have a real good opinion about it). Cheap yes, but some of the first words you see are "A Larry Darmour Production", which is all the warning on that score you need. Plot silly, but fun, and a lot of Hal Roach and Comedy connections involved with it, Lewis Foster co-wrote it, and it is worth watching just for the cast: Thelma of course, looking fabulous and making the silly dialogue work, Ralk Harolde, Inez Courtney, Dorothy Gulliver (who looks a bit like Olive Borden here), Earl Mc Carthy (Hairbreadth Harry himself, in his last film before his tragic death at 26), Mae Busch (someone said she looks awful in the film, well, she's playing a battered wife, I think she's supposed to look a bit mussed up, but looks pretty good otherwise, and it's interesting to see her playing the abused spouse for once, where's that fryin' pan she put to Oliver Hardy's head a time or two!), Brooks Benedict, Harry Bernard, Bobby Burns, Billy West, Dorothy Vernon, Eddie Fetherston, Edna Murphy, a solid group of pros make the nonsense worth seeing. Not as fun as KLONDIKE, there's a great cast and a truly whack-job plot (and my favorite selling line for a film: Thelma Todd-----in the Arctic-----in a nightie.), but certainly nothing to pull ones hair and gnash ones teeth about. Definitely worth the 4.99 from Alpha to put it on the shelf.


RICHARD M ROBERTS
 
 
 
 
 
 
CHEATING BLONDES Review:
 
 
A

Wednesday, March 20, 2013

CHICKENS COME HOME

Laurel and Hardy's CHICKENS COME HOME featured Thelma Todd along with Mae Busch in the supporting cast.







Chickens Come Home



From Wikipedia, the free encyclopedia


    

Chickens Come Home

UK title card
Directed byJames W. Horne
Produced byHal Roach
Written byHal Roach (story)
H.M. Walker (dialogue)
StarringStan Laurel
Oliver Hardy
Music byMarvin Hatley
Leroy Shield
CinematographyJack Stevens
Art Lloyd
Editing byRichard C. Currier
Distributed byMetro-Goldwyn-Mayer
Release date(s)February 21, 1931
Running time30' 26" (English)
56' 11" (Spanish)
CountryUnited States
LanguageEnglish
Chickens Come Home is a 1931 short film starring Laurel and Hardy, directed by James W. Horne and produced by Hal Roach. It was shot in January, 1931 and released on February 21, 1931. It is a remake of the 1927 silent film Love 'em and Weep in which Jimmy Finlayson played Hardy's role and Hardy played a party guest.

 


 Plot

Ollie is living a perfect life: a lovely wife, a beautiful mansion complete with a butler, even his own manure dealership—with a mayoral nomination not far behind. Ollie calls on Stan (who was in the sample room, holding a flyswatter) to transcribe an acceptance speech. Enter an old flame (Mae Busch), aiming to take advantage of Ollie's situation: blackmail Ollie into giving her hush money, or else present to the press a scandalous picture of her and Ollie, a picture taken during his "gilded youth...my primrose days...before I was married." Ollie's plans of reaching a final settlement with the woman are scuppered when his wife (Thelma Todd) enters: They are to have an important dinner party with a judge and his wife the same time Ollie is to meet the woman to discuss terms. Ollie then enlists Stan to go over to the woman's apartment and stall her until Ollie can get there.
Stan enters the old flame's house that night. The woman, displeased about being tricked, calls Ollie on the phone. Ollie promises to get there as soon as possible. While the woman is waiting in another room, Stan intercepts the scandalous photograph. Soon after, Stan barricades the door with most of her furniture, although this does not stall the woman (she uses the other door to leave). A struggle to keep the woman from entering her car is witnessed by a busybody neighbor (Patsy O'Byrne), who immediately rushes to tell the wife (Norma Drew) that Stan was "going to Mr. Hardy's house to make whoopee" with the woman.
Meanwhile, Ollie is thinking of a way to get out of the house. In one instance, he feigns running out of cigars. As he is about to go to the store, the butler (Jimmy Finlayson) enters with a fresh box. This good deed is met with an ungrateful kick in the shin by Ollie, although the butler is paid off to keep mum. All of Ollie's attempts fail to work, and the old flame eventually arrives (with Stan on her trail). Ollie tries to pass her off as Mrs. Laurel to avoid suspicion by Mrs. Hardy. As soon as Stan, Ollie, and the woman are alone, Ollie produces a gun, threatening to kill the woman and then himself, causing her to faint.
The boys attempt to get her out before Mrs. Hardy returns. They strike upon a plan: Mrs. Hardy returns to see Stan take "Mrs. Laurel" home (actually, Ollie carrying the woman on his back while his head is concealed with her coat). Stan whimpers when he sees the real Mrs. Laurel ringing the doorbell, and the two of them race back to the den to switch positions. Mr. Hardy tries taking the woman out, but the wives are not fooled, and Mrs. Laurel, bearing a hatchet, chases after her husband.

 Cast

 Spanish version

A Spanish language version of this film was completely re-shot with the stars delivering their lines in phonetic Spanish. It was expanded to one hour by adding scenes of Abraham J. Cantu, a magician and of vaudeville regurgitator, Hadji Ali, performing at the Hardy dinner party. Titled Politiquerias, the film was released in Latin American and Spanish markets as a feature.
Joining headliners Laurel and Hardy was a supporting cast of native Spanish speakers: Linda Loredo played Mrs. Hardy, Carmen Granada was Mrs. Laurel and Rina De Liguro was the burr under everyone's saddle in the Mae Busch role. James Finlayson absorbed the abuse — and more — of the magician and the regurgitator in the added scenes, reprising his role as the Hardy butler.

 References

 External links



CHICKENS COME HOME would be the last short subject Thelma Todd would make with Laurel and Hardy. She was about to begin her own series at the Roach studio with Zasu Pitts and would only make one other non-series two-reeler there after that, THE NICKEL NURSER with Charley Chase. But she would work again with Laurel and Hardy in the features THE DEVIL'S BROTHER and THE BOHEMIAN GIRL.


According to Randy Skretvedt, Thelma Todd was originally slated to play the "other woman"in this film, but the part eventually went to former silent movie vamp Mae Busch





and Thelma Todd played Hardy's wife instead. Thelma Todd wears an ear ring only in her left ear in this film, something I hadn't remembered that is remarked upon at the "Lord Heath" site.




The Spanish Language version has Hadji Ali, a "regurgitator", in it. A regurgitator swallows and regurgitates things as part of his act, or pretends to. Sometimes it's actually done by sleight-of-hand. Houdini was a regurgitator and there was a story that he regurgitated the picks he used to open locks after having been searched to make sure he didn't have anything of the kind on him.


                                       Laurel and Hardy in another fine big business.

 
 
 
 She was an old flame, but she still thought she was hot stuff.

 
 
 
 
 
 Hiding the other woman from wifey.
 
 
 
 
 
The "incriminating photo" of Hardy with his old flame.
 
 
 
 
 
 
 
Stan at work. 

 
 
 
 
 
 The nosey neighbor spots Stan with that wild woman.
 
 
 
 
 
Jimmy Finlayson up to his usual tricks.
 
 
They should have had him play Popeye.
 
 
 

     "They laughed when I sat down at the piano, or at least they did when we came to the next joke."

 
 
 
 
Thelma Todd's sheet music appears to have a likeness of Thelma Todd upon it.

 
 
 
 
 
 The nosey neighbor knows Mrs. Laurel and tells all she knows, which isn't much.
 
 
 
 
 
The scene where Hardy attempts to smuggle Mae Busch out on his back is vaugely reminescent of the "incriminating photo" where he has Mae Busch on his back.

 
 
 
 
 Thelma can't believe her eyes.

 
 
 
 
 
 
Laurel and Hardy sought to pull the wool over everyone's eyes, but what they had was only cotten.

 
 
 
 
 Not even cotton cloth, just the raw stuff picked from the plant.

 
 
 
 
 
 And it didn't fool anyone!
 
 
 
 
 


 
 











CHICKENS COME HOME:
http://www.lordheath.com/index.php?p=1_137_Chickens-Come-Home


http://www.doctormacro.com/Movie%20Summaries/C/Chickens%20Come%20Home.htm


Laurel And Hardy:
http://www.laurel-and-hardy.com/

A

Thursday, January 24, 2013

UNACCUSTOMED AS WE ARE

Thelma Todd was with Laurel and Hardy in their first talking picture in 1929.

Unaccustomed As We Are



From Wikipedia, the free encyclopedia


   

Unaccustomed As We Are

Theatrical poster
Directed byLewis R. Foster
Hal Roach
Produced byHal Roach
Written byLeo McCarey (story)
H. M. Walker
StarringStan Laurel
Oliver Hardy
Edgar Kennedy
Mae Busch
Thelma Todd
CinematographyJohn MacBurnie
Len Powers
Jack Roach
George Stevens
Editing byRichard C. Currier
Distributed byMetro-Goldwyn-Mayer
Release date(s)
  • May 4, 1929 (1929-05-04)
Running time18' (silent)
20' 58" (sound)
CountryUnited States
LanguageEnglish
Also silent version with English intertitles
Unaccustomed As We Are is the first sound comedy short film starring Stan Laurel and Oliver Hardy released on May 4, 1929.

 

Plot

Ollie brings Stan home for dinner, a very unwelcome surprise for Mrs. Hardy who storms out in a huff. Mrs. Kennedy, a neighbor from across the hall, offers to help the boys cook dinner; they, in turn, help to set her dress on fire. Mr. Kennedy, a cop, returns home and the boys hide the slip-clad Mrs. K. in a trunk. Unaware that his wife is within earshot, Mr. Kennedy starts bragging to the boys about his extramarital liaisons.

Production notes

Unaccustomed As We Are is notable for being Laurel and Hardy's first sound film (the title was drawn from the popular cliché "Unaccustomed as we are to public speaking ..."). The soundtrack was lost for 50 years until it was traced on disc in the late 1970s. A silent version, with intertitles, was also released, as well as a Victor disc hybrid (featuring a synchronized music score and sound effects).[1]
This is the first film in which Hardy says to Laurel, "Why don't you do something to help me!" which became a catchphrase, repeated in numerous subsequent films. Also heard for the first time is Stan's distinctive, high-pitched whimper of distress.[1]
The plot of Unaccustomed As We Are was expanded into the feature film Block-Heads in 1938. In addition, the gag of the spaghetti ending on Ollie's lap was originally conceived for their 1928 silent film Habeas Corpus, but was left unfilmed.[1]

 References

  1. ^ a b c Skretvedt, Randy (1996). Laurel and Hardy: The Magic Behind the Movies. (2nd ed.) Anaheim, California: Past Times Publishing Co. ISBN 0-940410-29-X.

External links

Early sound movies tended to be static, frequently confined mainly to interior sets with little or no camera movement, because of problems related to recording sound. They looked something like filmed versions of stage plays. It took a while for them to learn to make movies the way they had before and make movies with more movement and still be able to record sound, and for things to more or less get back to normal.

For a while, stage people were sought after for talking pictures as they had experience with speaking lines. Mae Busch had been a stage actress, something that no doubt helped her in this part of her career.

Laurel and Hardy's were able to adapt successfully to sound movies and evidently were less troubled by the transition than some of their contempoaries. Thelma Todd had already made talkies at this time, beginning with SEVEN FOOTPRINTS TO SATAN, and with Edgar Kennedy would be in the next at the Roach studio, HURDY GURDY.

Thelma Todd also made some talkies with Harry Langdon at Roach's during this period, but Langdon didn't seem to have Laurel and Hardy's success at that studio, and his series soon came to an end. But he would return, at one point replacing Stan Laurel in a movie with Oliver Hardy.










Mae Busch:
http://www.wayoutwest.org/busch/bio.html

http://looking-for-mabel.webs.com/maebusch.htm



HURDY GURDY:
http://www.picking.com/hurdygurdy.html


Edgar Kennedy:
http://www.edgarkennedy.org/
















Thelma Todd Screen Captures From UNACCUSTOMED AS WE ARE:
http://www.lordheath.com/index.php?p=1_54_Thelma-Todd


UNACCUSTOMES AS WE ARE:
http://www.imdb.com/title/tt0020531/

http://laurelandhardycentral.com/uawa.htm