Showing posts with label Natalie Wood. Show all posts
Showing posts with label Natalie Wood. Show all posts

Wednesday, March 31, 2021

OVP: The Blue Veil (1951)

Film: The Blue Veil (1951)
Stars: Jane Wyman, Charles Laughton, Joan Blondell, Richard Karlson, Agnes Moorehead, Audrey Totter, Natalie Wood, Vivian Vance, Dan O'Herlihy
Director: Curtis Bernhardt
Oscar History: 2 nominations (Best Actress-Jane Wyman, Supporting Actress-Joan Blondell)
Snap Judgment Ranking: 1/5 stars

The Oscar Viewing Project, which drives maybe 70-80% of the reviews we do each week, is a project doomed-to-fail.  I've talked about this many times, but there are a number of lost films that were nominated for Oscars, and a few more that are next-to-impossible to see anywhere even if they aren't technically "lost."  But then there are other films that are just next-to-impossible to catch despite clearly having cache, and while I'm still brimming with films that I need to see that are readily available on streaming platforms (or even on my counter from DVD Netflix) to watch, I'm aware of these movies & make a point of seeing them as soon as they are made available to me.  By chance, a connection on Twitter turned me on to The Blue Veil recently, one of the most elusive films nominated for a major Academy Award out there.  Never released on commercial home video & never put on TCM for some reason, The Blue Veil has remained an enigma to me.  It was nominated for two major acting Oscars, and the cast list-just look at it!  Jane Wyman, Charles Laughton, Natalie Wood-these are big name stars, the kinds that usually (and especially in conjunction with Oscar) demand at least a DVD release of the movie, if not regular screening on TCM.  Thankfully, I caught the movie now, and while it wasn't good (we'll get into it), it's finally off of my "how am I ever going to see this?!?" list.

(Spoilers Ahead) The movie focuses on LouLou (Wyman), a young war widow whose baby dies in infancy while she's still in the hospital after birth, and as a result she must take a job as a nursemaid to a widowed industrialist (played by Laughton).  She grows to love the job, but not Laughton's Frederick, so after he proposes to another woman (played by Vance-and how weird is it seeing Vivian Vance without Lucille Ball?) she's heartbroken to give up the child, but moves on to another job.  The film continues to explore these relationships that she has, at one point nearly getting married, but ultimately never finding love again or having her own children.  Toward the end of the film, she falls particularly hard for a young boy named Tony, whose parents abandon him & she raises him as her own for a number of years.  When they return, she attempts to kidnap the boy (seeing him as hers now), but ultimately must give back the child to the couple.  The final scenes hearken to a Mr. Holland's Opus type of situation, where LouLou, now broke & unable to have children to look after anymore, sees all of her former wards grown up, starts a relationship again with an adult Tony, and is asked to be the nanny to the children of one of her former kids, thus finally feeling like she has a real family.

The movie is saccharine to the point of being insufferable.  It's not clear at any point why LouLou, at the beginning young & attractive, doesn't seem capable of finding a man, or really a declarative sentence.  Wyman is not an actress I've ever truly enjoyed in a film (seriously-I don't think Oscar has ever crushed so hard on a performer with so little charisma), and here she's particularly bad as LouLou, never understanding what is driving this mousy, boring, saintlike woman's dreams or desires.  Wyman is downright bad in some scenes, and while you might cry in her big speech trying to win back Tony (surely where she won her nomination), it's just because it's being manipulative, not because it's any good.  Thankfully Wyman lost the Oscar, but she won the Golden Globe so it's not inconceivable she might have taken the Best Actress trophy.  And she won that Golden Globe for this one-dimensional piece-of-work over Vivien Leigh in A Streetcar Named Desire, potentially the greatest performance in film history.  Let that sink for a second.

The film won two nominations, so I'd be remiss if I didn't mention Joan Blondell here.  Blondell is cited over a slew of brief parts (Moorehead & Laughton have similarly-sized roles) as a working single mother (she's an actress) who doesn't have time to raise her daughter (played by Wood).  Blondell is not actively bad like Wyman is-she has spark in her performance, and it's easy to see in a sea of vanilla why she stood out.  That said, there's nothing to this role other than sheer charisma...we don't see a lot of what's driving Blondell's character, or if she actually wants to be an important part of her daughter's life.  There's room for interesting commentary here-her Annie's views of what a mother should be are different than LouLou's, and in a different era this would've been worth asking whether our sympathies & support should reside with her rather than Saint Wyman.  Alas, The Blue Veil is not a complicated enough movie to consider such questions.  Considering its historical nature in the careers of some of its high-profile stars, though, it should definitely be more available for home screening than it currently is.

Wednesday, April 24, 2019

12 Greatest Unsolved Hollywood Mysteries

Hollywood is the place where dreams are made...but occasionally, the stars and star-seekers that go there find themselves trapped in the middle of a nightmare.  Today we're going to take a look at that reality, by putting movies through the lens of one of the most popular trends in podcasts in recent years, true crime, and in particular, investigating unsolved mysteries.

The film community is notorious for scandal, to the point where it's nearly the backbone of the industry, but today's focus isn't just going to be on scandal-it's going to be on murder, or deaths that still seem to be under "suspicious" lens even if they might have been ruled an accident or suicide.  I'm not a huge fan of straight crime drama podcasts, where we hear the story of a specific case and then learn who the killer is at the end of it, so we will also be adding a dose of mystery here-all of the crimes or figures we're going to profile today are still unsolved mysteries.  Some of them are truly cold cases, crimes that to this day remain unsolved, while others have lingering doubt surrounding their conclusions, with people curious about the circumstances of a specific person's death.  This being Hollywood, there are certainly more than twelve such crimes, but I'm going to profile the twelve that I find most fascinating, looking at the "who" of who was involved, the unusual aspects of the death, and why this case still carries such fascination for people entranced by either Hollywood or true crime.  Since it's morbid to rank what essentially are real-life tragedies, they are all listed alphabetically.

Note: There are a few names missing here that are arguably involved in some of the most infamous homicides or deaths in Hollywood history.  Part of why I didn't include them was either I don't buy into the conspiracy theories at all (Marilyn Monroe), I actually agree with the findings of the criminal justice system and don't really have anything to say (Lana Turner & Johnny Stompanato), or because the crime has been so discussed in the news at this point it's not even worth bringing up (Nicole Brown Simpson, Bonnie Lee Bakley).  But of course no list of the most famous crimes/suspicious deaths in Hollywood would be complete without mentioning them.  Also, I go into some of the details of the crimes here and as a result there is some sensitive subject matter for a few of these cases, so if that sort of thing makes you squeamish, proceed with caution.

Georgette Bauerdorf
Georgette Bauerdorf

The Hollywood Connection: During World War II, in order to promote the war effort, film stars Bette Davis & John Garfield created the Hollywood Canteen, which was a place where servicemen could go before they were shipped off to war, and meet famous Hollywood stars.  In total, 3 million servicemen walked through the doors of the establishment, and there was even a film made about the canteen in 1944 starring Joan Leslie.  A highlight for the men would be that they would get to dance with the beautiful women that were working at the Canteen, which ran the gamut from headliners like Marlene Dietrich & Hedy Lamarr to run-of-the-mill contract players and simply pretty girls who were hoping to get their big break through proximity to Hollywood.  One of these young women was 20-year-old Georgette Bauerdorf, an oil heiress who had come to Los Angeles from New York in hopes of getting into the pictures.
The Murder: On October 11, 1944, Bauerdorf supposedly went straight home from work at the Canteen.  The day before, she had bought a ticket to visit a soldier she'd met at the Canteen stationed in El Paso (fraternizing outside the Canteen with soldiers was strictly forbidden).  She had a snack of green beans and melon, and then went to her bedroom, where, according to authorities, someone was lying in wait for her; others have stated that Bauerdorf let the man in-it's not entirely clear, though green beans were found in Bauerdorf's stomach so presumably she was in her house for a while before the murder took place.  Bauerdorf, according to the autopsy surgeon, had put up a fight against the assailant, who had removed the light bulbs from her room so that the lights wouldn't go on; she was bruised & beaten from the attack, and the cause of death was determined to be strangulation. She was found face down in a bathtub.
Why It's Unsolved: There were several leads.  Bauerdorf, a pretty girl, had had several men infatuated with her, but none of the men identified as pursuing her was considered a suspect for long, as all had alibis.  Bauerdorf wasn't known for entertaining men, and while there was a neighbor who said he'd purportedly heard the struggle, it was never confirmed and he assumed it to be a domestic squabble so he didn't report it at the time.  While money and her car had been potentially stolen (her car was found several days later with an empty gas tank and a dent), she had jewelry, silver, and a roll of cash that were in a nearby trunk that weren't taken, so it didn't appear to be a robbery-homicide, or at least it was one that was very poorly executed.  To this day no one has come forward claiming to be Bauerdorf's killer, and from what I can find there aren't even a lot of theories as to whom it could be, just who it likely isn't.  I will dispel a rumor, though, since it's arguably the most famous tidbit about Bauerdorf-there is no evidence that she ever met Elizabeth Short (whom we'll get to in a second), as Bauerdorf was dead by the time Short had moved to Los Angeles, so if she shared the same killer as Short or any connection to that crime, that would be a massive coincidence.

Bob Crane
Bob Crane

The Hollywood Connection: While Bauerdorf's connection to Hollywood was slightly more tangential, Crane was in fact a proper star before his murder and the grisly facts surrounding it emerged.  Throughout the 1960's, the comedian gained national prominence first as David Kelsey on The Donna Reed Show, and then for his most iconic role, as Robert Hogan on Hogan's Heroes, a huge hit for CBS that won Crane two Emmy nominations.  By the time of his death, though, Hogan's Heroes had been off the air for seven years and his career had taken a sharp nosedive.  In the years after Hogan's Heroes, Crane had been introduced by his costar Richard Dawson to John Henry Carpenter, a manager at a local electronics store who specialized in video equipment.  Crane, who was later described by his relatives as a "sex addict" would seduce women with his celebrity and then video tape them having sex with he and Carpenter (reports vary on if the women knew at the time they were being videotaped).
The Murder: Crane was found in his Arizona apartment on June 29, 1978 by a costar in the play he was doing at the time.  He had been beaten by an unidentified blunt instrument, which was never confirmed, though it was suspected to be a camera tripod.  An electrical cord was wrapped around his neck, though the blunt instrument was the cause of death according to the police.
Why It's Unsolved: The discovered video tapes linked Crane to Carpenter, but there wasn't enough evidence at the time to charge him.  Blood had been found in Carpenter's rental car that matched Crane's blood type (they did not match Carpenter's or anyone else that Carpenter had claimed had been in the car), but in a pre-DNA testing era, there was no way to confirm precisely that this was Crane's blood.  Later it was discovered via a photograph that there had been brain tissue in the car (Crane had been hit in the head), and Carpenter was tried for the murder in 1992.  At the trial, there didn't appear to be enough evidence to convict Carpenter with no testable DNA sample; the blood from the car wasn't able to be tested conclusively, the murder weapon was never found, and Carpenter's attorneys pointed out (correctly) that the many women who had been videotaped also had reason to want Crane dead.  Carpenter died four years later, and Crane's son eventually stated that he thought his stepmother, actress Sigrid Valdis, may have killed Crane for her inheritance.  To this day, the murder of Bob Crane remains unsolved.  His life was dramatized in the 2002 film Auto Focus where Crane was played by Greg Kinnear and Carpenter was portrayed by Willem Dafoe.


Thomas Ince
Thomas Ince

The Hollywood Connection: We jump back a half century to the Silent Era here, to Thomas Ince, a famed film director of the 1910's who was one of the founders of what would eventually become Sony Pictures.  By 1924, he was a major player in Hollywood, and there was talk that his new studio would be joining with William Randolph Hearst's Cosmopolitan Productions.
The Murder(?): Hearst through a party for Ince's 44th birthday, among those onboard were Hollywood luminaries like Charlie Chaplin and Hearst's mistress Marion Davies.  While on the boat, Ince had indigestion (supposedly due to eating salted almonds and champagne, strictly forbidden on his diet), and was taken to a hotel in San Diego County, where he received medical treatment but still died from heart failure, potentially brought on by angina.
Why It's Unsolved: You may be wondering where the problems are here, as Ince simply died of natural causes.  However, rumors persist to this day that Ince did not die from heart failure but instead was shot aboard Hearst's yacht, potentially by Hearst himself.  It was claimed immediately after Ince's death in the LA Times that he had been shot, though they quickly issued a correction.  Ince's body was cremated, so an autopsy once the rumors became too big to ignore wasn't possible.  If you believe Hollywood legend, Hearst wasn't even trying to kill Ince-he was trying to kill Charlie Chaplin, whom he suspected of having an affair with his lover Davies, and missed, shooting Ince instead.  After the death, rumors also persisted that gossip columnist Louella Parsons witnessed the shooting, and as a bribe for her silence, Hearst offered her a lifetime contract and a nationally-syndicated column, making her a household name.  To this day it is not known whether Ince was murdered or died of heart failure.  His alleged murder was portrayed in The Cat's Meow where Ince was played by Cary Elwes, Hearst by Edward Herrmann, Chaplin by Eddie Izzard, Davies by Kirsten Dunst, and Parsons by Jennifer Tilly.


Dorothy Kilgallen
Dorothy Kilgallen

The Hollywood Connection: One of Parsons' rivals during the 1950's and 60's was Dorothy Kilgallen, also a Hearst gossip columnist, who was most well-known for her appearances on the game show What's My Line.  Kilgallen was the first columnist to write about Elvis Presley, carried on a notorious feud with Frank Sinatra, and was well-known for getting involved in court reporting, particularly the trials of Lenny Bruce and Sam Sheppard.
The Murder(?): On November 8, 1965, Kilgallen was found dead in her Manhattan townhouse, just hours after having filmed an episode of What's My Line.  The coroner's report stated that the death was a lethal combination of alcohol and barbiturates, killing the 52-year-old Kilgallen.  Her New York funeral was enormous, with show business figures like Betty White and Joan Crawford in attendance, and she was never replaced as a panelist on What's My Line.
Why It's Unsolved: Like Ince, rumors have persisted for years that Kilgallen's death was "a little too" mysterious.    This is almost entirely related to Kilgallen's coverage of the Kennedy assassination, and specifically the trial of Jack Ruby.  Kilgallen was a prominent skeptic of the Warren Commission, assuming a conspiracy had been in play about the Kennedy assassination, and was reportedly working on a book that would discuss Ruby's trial.  Joe Tonahill, Ruby's lawyer, is on the record saying that Ruby was more impressed by Kilgallen than any other reporter, and Kilgallen did get a private interview with Ruby at one point during the trial, supposedly the only reporter to do so, though the length of that interview is debated.  Wherever the Kennedy assassination goes, so too go conspiracies, and Kilgallen's death considering her close proximity to Ruby and claims that she had insider information about the assassination as a result, have fueled conspiracy theorists for years.  These theories are further aided by her husband Richard Kollmar also dying of an overdose six years later, of an apparent suicide; Kollmar was on a different floor of the house the night that Kilgallen died.


Virginia Rappe
Virginia Rappe

The Hollywood Connection: The earliest unsolved case on this list, Rappe was a bit actress in the movies, but was more well-known professionally as a model and fashion designer, but her relationship to Hollywood was pretty tenuous.  That is not, however, the case for the man who was accused of murdering her: Roscoe "Fatty" Arbuckle, was in his era the highest-paid & most well-known star in Hollywood, making a then-astronomical $1 million a year as a salary.  The trial caused a public sensation considering Arbuckle's considerable celebrity (it'd be the equivalent today of Emma Stone or Leonardo DiCaprio being on trial).
The Murder(?): At a Labor Day party on September 5, 1921, Virginia Rappe was attending a party with Arbuckle as well as several other figures.  According to reports, Rappe became ill, but was not taken to the hospital right away, for reasons that remain questionable to this day.  Four days later, Rappe died at the age of only 26 from a ruptured bladder.
Why It's Unsolved: Allegations came forward almost immediately after Rappe's death that she had accused Arbuckle of raping, and as a result, murdering her, the night of the Labor Day party.  According to Rappe's friend Maude Delmont, Arbuckle assaulted Rappe, which caused her bladder to rupture.  Arbuckle alleged that Rappe had a history of "acting inappropriately" at parties with men, and that Rappe had a history of bladder issues, which a doctor later in the court case did confirm.  This caused a sensational scandal in Hollywood, with Arbuckle being tried three times before eventually being acquitted of manslaughter for Rappe's death, though his career was essentially ruined afterwards (there was even at one point a ban on Arbuckle's films in certain municipalities).  While it became fashionable later on to claim that Arbuckle was the victim of a terrible miscarriage of justice, there are still those today who believe he got away with murder.  After all, Arbuckle's version of what happened that night doesn't match anyone else's story of the evening (not Delmont, not the maid, not any of the other guests at the party), though as the trials went on multiple people changed their stories, and the third trial seemed to end mysteriously (the jury was out for five minutes, came back not guilty and basically had a letter ready to go criticizing the media for going after Arbuckle, heavily implying that the defense lawyers had written the letter, and perhaps bought the verdict).  Arbuckle maintained his innocence for the rest of his life, but nearly 100 years later we still don't know if Virginia Rappe was murdered or died of natural causes.


George Reeves

The Hollywood Connection: Though Reeves had bit parts in a pair of film classics (he's in the opening scene of Gone with the Wind and had a small role in From Here to Eternity), his most noted role was as the very first onscreen Superman, first in a B-movie and then in a television series that ran for most of the 1950's.  Reeves famously hated the role, but it brought him something that the movies hadn't: stardom.  The actor became a hero to young children despite his messy personal life, and even appeared in an episode of I Love Lucy in character.  At the time of his death, Reeves had ended an affair with Toni Mannix, a former showgirl and the wife of MGM fix-it man Eddie Mannix.
The Murder(?): Reeves died from a gunshot wound to the head on June 16, 1959.  A party had been happening with several of Reeves' friends, including his fiance Leonore Lemmon, socialite Carol van Ronkel, and neighbor William Bliss.  Late into the night (past midnight), Reeves allegedly shot himself upstairs while his guests drunkenly were partying on the first floor.  Bliss found the body, and based on its position most assumed Reeves had been sitting down and fell backwards after the bullet killed him.  Reeves' fiance Lemmon blamed the suicide on Reeves failed career, stating he was tired of being pigeonholed into playing Superman.
Why's It Unsolved?: There are a lot of unanswered questions around Reeves death.  First, why didn't anyone at the party think to call the police immediately-this has been blamed on inebriation, but we're not talking about a Prohibition-era party like the Thomas Ince incident-someone must have realized that their friend dying meant a need to stop the drinking?  There also was no gunpower residue on Reeves hands and there were no fingerprints on the gun, though that may have been due to the gun being recently oiled.  There were three bullet holes, despite everyone at the party claiming they heard only one shot from the gun, and there was no test of whether or not there was gun residue in Reeves' skull, which would have been present if he'd indeed killed himself at short range.  Rumors have persisted that Reeves might have been murdered in a fight with his fiancee Lemmon or perhaps Eddie Mannix, as retribution for the affair that had just been ended (by Reeves) with Mannix's wife, had arranged for the death; years later the entire sequence was dramatized in Hollywoodland with Ben Affleck as Reeves, Diane Lane as Toni, Bob Hoskins as Eddie, and Robin Tunney as Lemmon.  Whatever, the reason, there's a sense of irony in the man who was once "faster than a speeding bullet" being killed by a bullet that no one can explain.


Elizabeth Short
Elizabeth Short

The Hollywood Connection: She's been so enmeshed into pop culture at this point as perhaps the country's most famous murder victim that it's sometimes hard to remember Elizabeth Short was once just a regular person.  She's arguably both the most famous Hollywood murder and the one that is the least connected to Hollywood.  By some accounts she was an aspiring actress, though unlike virtually every other person on this list save Beaurdorf, she never actually appeared in any film or television programs.  Her connection to Hollywood would come posthumously, when she was named by the papers after the Veronica Lake/Alan Ladd film The Blue Dahlia: "The Black Dahlia."
The Murder: Because of the fame surrounding Elizabeth Short (we could genuinely do an entire article just devoted to her, or quite frankly a series of articles devoted to this crime and its impact on Hollywood), it's very hard to get an accurate depiction of what precisely happened to Short.  What we do know is that her body was discovered on January 15, 1947, six days after she was last spotted leaving the Crown Grill Cocktail Lounge near the Biltmore Hotel in Los Angeles.  Her body had been mutilated to the point where the woman who initially discovered the corpse thought it was a mannequin, with her body severed at the waist and her face slashed to form a "Glasgow Smile" (it's too gross for me to link what that is, but use Google at your own discretion here).  Her body had clearly been washed and staged, so there had been a risk that the murderer would be caught with the corpse, though this part of Los Angeles was underdeveloped at the time.  The precision with which she was killed made many then-and-now believe that the killer had had some sort of medical background.
Why's It Unsolved?: The death caused a media firestorm, and that press storm actually lead to several clues from Short's killer.  A package was sent to the Los Angeles Examiner containing Short's belongings, including her birth certificate and an address book with the names of multiple men, including Mark Hansen (whose name was embossed on the book), but all had alibis.  A $10,000 reward was posted for information leading to the killer, but no one was found, and several more letters were sent to the police or the Examiner.  In the years that followed, there were hundreds of men that were accused of the murder, including George Hodel, a physician whose son said after his death that his father had been the killer.  Indeed, Hodel had been accused previously of having killed his secretary, but his son's book also states that his father was the Chicago Lipstick Killer and the Zodiac Killer who terrorized the Bay Area in the 1960's, so it feels a stretch of the imagination to assume he was the killer of all of these people in very different styles.  Even celebrities like Woody Guthrie, Orson Welles, and Bugsy Siegel have been accused through the years of being the killer, though in all cases with tenuous evidence at best.  To this day the case remains unsolved, but a source of much public speculation, including a 2006 film with Mia Kirschner as Elizabeth Short (though that ends with a fictionalized solving of the crime).

Jean Spangler
Jean Spangler

The Hollywood Connection: Spangler like a number of people on this list, didn't have a particularly strong connection to Hollywood, and would not be famous were it not for the mystery around her death.  Spangler was an extra in several films in the late 1940's, appearing in films featuring Betty Grable, Celeste Holm, and Kirk Douglas in Young Man with a Horn.
The Murder(?): While it's morbid to play favorites with such things, this is the case I find most interesting of these twelve.  Spangler, a film extra, had dropped her daughter off with her sister-in-law and claimed that she was working a movie that night and might not be back until later.  Spangler also said she was going to go talk to her ex-husband about a child support payment-neither of these things ended up being true, as reportedly Spangler never went to talk to her husband and the Screen Extras Guild didn't have Spangler scheduled for work that night.  Spangler was spotted at a Farmers Market early in the evening of October 7, 1949, just after dropping off her daughter-it was the last time anyone could confirm having seen Jean Spangler alive.  A missing person's report was filed, and three days later Spangler's purse was found in a park with a note that read, "Kirk: Can't wait any longer, Going to see Dr. Scott.  It will work best his way wile (sic) mother is away."  Despite an exhaustive nationwide search, 26-year-old Jean Spangler was never seen or heard from again.
Why's It Unsolved?: Rumors abound about what exactly it was that made Jean Spangler lie to her sister-in-law that night, abandoning her daughter, and then disappear forever.  Rumors ranged from her being swept up in the mob (an accusation her sister vehemently denied) to trying to get an illegal abortion, as several of her friends were convinced she had been pregnant at the time, and had confessed to her friend Robert Cummings that she was having an affair with a married man.  Some even worried that the beautiful Spangler had fallen to the same man who killed Elizabeth Short.  Because of the contents of the letter, and the fact that she was making Young Man with a Horn at the time, Kirk Douglas became involved in the case, claiming initially that he'd never met Spangler, and then after being pressed, stating that he had joked with her onset but didn't know her personally and had been in Palm Springs at the time.  Sightings of Spangler were reported across California, Arizona, and Mexico in the years that followed, but no one ever found her, and as a result, never discovered why and how she disappeared.

Inger Stevens
Inger Stevens

The Hollywood Connection: Stevens was a beautiful blonde actress from Sweden who came with her family to the United States before running away from home, finding success on the burlesque circuit, and then eventually getting her big break opposite Bing Crosby in Man on Fire.  While she was most famous in her era for her work as the lead on The Farmer's Daughter (for which she won a Golden Globe), she is best known to modern audiences for her work in the classic Twilight Zone episode "The Hitch-Hiker."
The Murder(?): If you believe Hollywood lore, Inger Stevens had a bad habit of sleeping with her male costars, as Crosby, Anthony Quinn, Harry Belafonte, Dean Martin, and Burt Reynolds all reportedly had affairs with her.  After the relationship with Crosby, she reportedly considered suicide and eventually did attempt suicide in the late 1950's (an action she later called "stupid").  Despite this assertion, after her death at age 36, the coroner stated that her death had been a result of suicide by barbiturates.  She died on her way to the hospital, after having tried to tell her roommate Lola something but being unable to speak.
Why's It Unsolved?: The problem with suicide being the culprit is that Stevens was on a career upswing.  At the time she had just been cast as the lead in an upcoming series from Aaron Spelling, and was generally thought to be quite happy.  Now, "seemingly happy" people do commit suicide, but it's worth asking questions over when it does happen, particularly since there was no way that Stevens had taken the pill overdose accidentally (you don't "accidentally" take 25-50 pills).  Stevens family didn't buy the suicide argument, and there was evidence to back them up.  There were bruises on Stevens' arm, indicating some sort of abuse, and the pill bottle didn't have her name on it.  Stevens, famously vain, didn't put on her makeup before she killed herself, instead being found in ratty slippers.  Some conspiracies even revolve around actor Burt Reynolds, who saw Stevens the night of her death, and has admitted to having been physically abusive to the actress during their relationship. Even if she did kill herself, her death still brought about strange occurrences.  After she died, film producer Ike Jones claimed that he had secretly been married to Stevens, and eventually inherited her estate.

William Desmond Taylor

The Hollywood Connection: William Desmond Taylor is, of the confirmed murders on this list (rather than all of the cases where it could be murder or could be suicide/accident/other causes), arguably the one with the strongest hold on Hollywood.  During the 1910's and 20's, he was a significant film director and actor, working with actors like Mary Pickford and Wallace Reid, as well as his protegee Mary Miles Minter.  His death was a huge scandal in Hollywood, and one of the main causes of the eventual Hays Code.
The Murder: Taylor was found dead on February 2, 1922, in his home in the Westlake neighborhood of Los Angeles.  Taylor had been shot, upon medical examination, in his side, with the bullet being lodged in his neck.  It had been at close range, probably by someone shorter than him.  He had $78 in his pocket (the equivalent to over $1000 today), a silver cigarette case, a locket, and a pocket watch, so it was unlikely that robbery had been the reason for his murder.
Why's It Unsolved?: The newspapers at the time, coming off the deaths of Virginia Rappe and Olive Thomas, had a field day with the murder, printing so much gossip along with the facts that based on what I ended up reading about this case, I struggled to find all of the facts.  The most interesting suspect, to me, was Edward Sands, a valet of Taylor's who some believe was his secret brother, someone whom he was covering up (Taylor's previous name and marriage had been hidden by him when he was a star, but it all came out once he was murdered); Sands disappeared after the murder, never to be seen again.  More salacious to the media were the women in his life, including Minter, Minter's mother Charlotte Shelby, and comedienne Mabel Normand, all of whom were linked to the murders and were rumored to be having affairs with Taylor, though Normand & Minter denied this (and there were rumors at the time that Taylor was having an affair with a man).  Actress Margaret Gibson confessed to the murder in 1964 on her deathbed, but she was never a suspect at the time (though she was in Los Angeles the night of the murder), and since all of the evidence had long since been destroyed, there was no way to confirm Gibson's claims.


Thelma Todd

The Hollywood Connection: In the early 1930's, before Jean Harlow, before Carole Lombard, before Ginger Rogers...there was Thelma Todd.  Todd, with her bleached blonde hair and comic wit, became a headlining star in the earliest days of the talkies, best known for her work in the Marx Brothers classics Monkey Business and Horse Feathers.
The Murder(?): Todd died on December 16, 1935.  She had spent the previous evening at a party hosted by actress Ida Lupino, and had had a fight with her ex-husband Pat DiCicco.  She was found in her car, no apparent sign of struggle and no suicide note, outside the home of her married lover Roland West.
Why It's Unsolved?: The official description of what happened on that fateful night in 1935 is that Thelma Todd died as a result of carbon monoxide poisoning, a tragic accident or possible suicide.  However, with the success of her club at the time, it seems unlikely that Todd was suicidal, and there were people who could have gained from her death, namely Roland West or his wife Jewel Carmen.  The conspiracy theories range from West killing her on the famed yacht Joyita (which decades later would be the host of one of the most puzzling maritime unsolved mysteries of all time) & putting her in the car or that simply Carmen or West had shut the garage door with the car still running on a sleeping Thelma Todd.  The papers were so obsessed with the death of this beautiful blonde woman that it's next-to-impossible to find the truth of what happened that night even from an historical perspective, much less trying to decipher whether Thelma Todd was murdered or simply died from an unfortunate accident.

Natalie Wood

The Hollywood Connection: You'll note that while there are recognizable names on this list, none of them are particularly famous, none of them would be all that well-remembered today except for their shocking deaths.  That is not the case for our final figure, Natalie Wood.  A child star, she was a three-time Oscar nominee who had starred in iconic films like Miracle on 34th Street, Rebel Without a Cause, and West Side Story before a freak accident (or perhaps something more nefarious) caused her to die at the age of 43.
The Murder(?): On November 28, 1981, Wood went on her husband Robert Wagner's yacht with actor Christopher Walken and ship captain Dennis Davern.  The next day, after a party the previous night, Wood's body was found washed up a mile away from the boat, with bruises on her arms and a cut on her left cheek.  Though Wagner claimed that he had had a fight with Wood that night (reportedly he had been jealous of Wood flirting with Walken), he said that he went to bed alone, and the next morning Wood was found near a dinghy, with the assumption being that Wood had gone out on the dinghy, returned, and in an inebriated state (alcohol combined with some medication), slipped and drowned while trying to re-board the boat.
Why It's Unsolved?: There are a lot of questions surrounding Wood's death, to the point where just last year Wagner was named a "person of interest" in the investigation into her death.  Wood, according to her sister Lana, was deeply afraid of the water and her sister claims would never have gone out alone on the boat.  There were also witnesses who claimed they heard a woman's screams on the nearby boat.  Davern, one of the only four people on the boat, has claimed that he thinks Wagner is responsible for Wood's death, and that Wagner refused to turn on the lights and that he held off on notifying the authorities.  Some forty years later, Wood's death remains a mystery, with many wondering whether in a jealous rage, her husband (who is still alive and working) got away with murder, or whether he's been unfairly maligned for decades for the strange circumstances of Natalie Wood's death.

Sunday, March 03, 2019

The Searchers (1956)

Film: The Searchers (1956)
Stars: John Wayne, Jeffrey Hunter, Vera Miles, Ward Bond, Natalie Wood
Director: John Ford
Oscar History: I don't know how, but somehow in the year Around the World in 80 Days was deemed the best movie of the year, The Searchers wasn't good enough to be nominated in one single category (though weirdly Patrick Wayne's pipsqueak of a cavalryman managed to win the Best Newcomer Golden Globe)
(Not So) Snap Judgment Ranking: 5/5 stars

As some of you who follow this blog are aware, 2018 was the year I got into "retro screenings" of classic films, pictures that play as retrospectives at actual movie theaters.  In 2018, I caught On the Waterfront, one of my all-time favorite movies, at a "secret movie night" (where you don't know what movie you're buying the ticket for until it starts), and I didn't think I'd luck out by having a movie I somehow loved even more come up in 2019, but first screening out the gate, I saw the title cards to The Searchers scroll across the screen and I think I might have squealed to my friend sitting next to me "this is one of my favorite movies!"  The Searchers, the finest hour of both John Ford and his longtime muse John Wayne, is a spellbinding western, frequently playing with the cinematic trope that these two men invented, inserting realism and pessimism into the western story, making way for a new series of films in the genre (it's impossible to imagine movies like Once Upon a Time in the West or Unforgiven existing were it not for The Searchers).

(Spoilers Ahead...but, come on, you've never seen The Searchers?!?  Get on it!) The movie takes place in Texas (but is clearly filmed in Arizona & Utah), starting in 1868, and follows Ethan Edwards (Wayne), a confederate soldier who is returning home from the war to his brother and sister-in-law's house.  It's obvious he has at least some criminal background, and from the opening scenes is hostile to the adopted son of the couple, Martin Pawley (Hunter), who is part Cherokee Indian.  Chasing after Native Americans who have taken some of the cattle from a neighboring farm, Ethan & Martin trek off after the cows, not realizing that this is a trap, and soon we learn that the Native Americans have killed Ethan's brother and sister-in-law, and kidnapped their two daughters.

The film follows Ethan and Martin as they track these girls seemingly for years, first one of them dying (and the film, as heavily as can be indicated in 1956, saying she was raped by her captors) but the other, younger daughter Debbie (played as a teenager by Wood), still being in the Native American camp.  As the years go by, we come to realize that Ethan has less interest in saving Debbie and is more intent on killing her as retribution for the Native Americans kidnapping her, his blind racism no longer seeing his niece but instead just another Indian woman.

It's this observation that gives The Searchers almost all of its power, even when it strays into more traditional western territory for the 1950's.  The film is littered with the occasional comic set pieces that so frequently adorned Wayne's movies.  We see Hunter having a comedic fistfight with someone who is pursuing his on-again-off-again girlfriend Laurie (Miles), as well as a recurring gag about how Martin accidentally marries an Indian woman who follows he and Wayne around for a while, but Ford has something to say here that would be absent from a lot of his pictures with the Duke, and somehow picks one of the most by-the-book stars in film history to do so.

Wayne has never been better (and Hunter more beautiful) than in The Searchers.  Passionately lit by Winton C. Hoch (who would win Oscars for the Wayne pictures She Wore a Yellow Ribbon and The Quiet Man), Ethan Edwards is the best thing that Wayne ever did, bringing a humanity to a largely inhuman person.  His Ethan is a cruel, racist, but all-too-real man whose bigotry overshadows any humanity that might lie underneath, a fact we see as he abandons his quest for rescue for one of revenge.  Westerns at their very best show men who are so towering, but incomplete that they can rough it through even the harshest of existences, detached from life due to the impossible hardness that life in a perilous country requires; they are not heroes, but simply people put in impossible times.  Ethan Edwards is arguably the quintessential example of a fearless man who was needed to venture into the west, but then must disappear in order for civilization to have a chance.  The final scenes of the picture encapsulate this ethos, with Laurie, Martin, and Debbie all going back into the house, but in a scene shot through a doorway, we see John Wayne saunter back into the wild, likely never to be seen by any of these people again.  It's a bittersweet ending that would be echoed six years later in Ford's The Man Who Shot Liberty Valance-the hero who must live on past his purpose, forever a ghost of what he used to be.

Ride away, ride away...

Saturday, February 23, 2019

OVP: The Silver Chalice (1954)

Film: The Silver Chalice (1954)
Stars: Virginia Mayo, Pier Angeli, Jack Palance, Paul Newman
Director: Victor Saville
Oscar History: 2 nominations (Best Cinematography, Score)
Snap Judgment Ranking: 1/5 stars

Each month, as part of our 2019 Saturdays with the Stars series, we highlight a different actress of Hollywood's Golden Age.  This month, our focus is on Virginia Mayo-click here to learn more about Ms. Mayo (and why I picked her), and click here for other Saturdays with the Stars articles.

It seems cruel to end Virginia Mayo's run as Star of the Month on such a low note, but, well, it's kind of where her career ended, and where oddly enough the career of another, much more famous star's began.  The Silver Chalice, a gigantic flop for Warner Brothers in the mid-50's (they lost over $1 million on the biblical epic), is most remembered today for being the screen debut of Paul Newman, then just a spry 29-year-old making his big-screen debut.  Newman famously hated the film, and once took out ads in the trades when it was going to air on television urging people not to see it (which of course had the opposite affect).  But it also marked the last film that Mayo did as a contract player at Warner Brothers, and really the last signficant film of her career.  While she'd get leading roles opposite Robert Ryan and Alan Ladd in the years after this, there would never again be a film of note in Mayo's career, even if that note was notorious, and she'd soon be following the lead of many other leading ladies of her era by doing guest work in television as the 1960's approached.

(Spoilers Ahead) The film follows a boy by the name of Basil, who is the gifted sculptor of a poor man who is adopted by a wealthy benefactor to be his son and heir to his fortune.  In the house, he continues to sculpt, and befriends a beautiful young girl who runs away but says she'll never forget him named Helena (as a child, played by a blonde Natalie Wood).  When the old man dies, Basil, now an adult (Newman), is denied his inheritance by his cruel uncle, and eventually is tracked to a house where he is a slave, and would have died except he is kidnapped and brought to Joseph of Arimathea, who wants him to create a silver chalice that will be modeled after the Holy Grail and feature the photos of the disciples and Jesus.  While he's there, he is torn between the adult Helena (Mayo), whom he loves and is having an affair with, and the saintly granddaughter of Joseph named Deborra (Angeli), who is a devout Christian and tries to win Basil to her side.  All-the-while, Helena's other lover Simon (Palance) has started to develop a cult-like status for his magic, and begins to think of himself as a god, as do the people of his city.  The film eventually culminates in Rome, where under Nero's Court Basil meets St. Peter (played by Lorne Greene of all people), finishes the chalice, and marries Deborra, while Simon goes mad (and essentially jumps off of a tower convinced he's able to fly), with Helena eventually being sacrificed by Nero as someone who must also jump to her doom.

The film sounds better than it is.  If you're hoping for a sudsy biblical soap opera, as that paragraph seems to have drawn, you'll find that it's more bloated than indulgent, with no one properly appreciating the camp of the film save for Mayo.  Newman, angel-faced and looking like an adonis, surely would be better in later pictures, but here is dull and listless in the lead, never entirely getting to the depth of the character he's playing; when the best thing you can say about a Paul Newman performance is that he looks good, you know it's a bust.  The same can be said for Angeli's whiny Deborra, and it's hard to tell what was going on with Jack Palance's Simon.  It's such a weird departure for the Hollywood tough man to be playing a slightly effeminate conjurer of tricks (he's straight, but you get a whisper of something else from what Palance is projecting, that perhaps he'd be willing to give it a try with Basil if the opportunity presented itself), and he can't handle it.  The last few moments where he throws himself to his doom are truly horrendous scenes from an actor who should have known better.

I have a soft spot for biblical epics, but this one falls flat.  It received two citations for Cinematography and Score, but neither of these components are all that remarkable.  There's some great shots during Simon's death scene that are interesting (the climbing up of the stairs is cool), but the blank sets, especially compared to Ben-Hur just five years later, feel pretty wooden by comparison.  The music is fine, if predictable work from Franz Waxman-there's nothing particularly melodic or individual about his work here that would make the film stand apart, and one wonders if he made it on name alone.

Arguably the best part of the film, and that's not saying as much as it should, is Mayo.  She plays Helena as a gal-about-town, the sort of creation that surely wouldn't have existed during Nero's reign, more Mae West than Mary Magdalene.  It was hard to watch this and not think of Anne Baxter two years later as the lusty Nefertari in The Ten Commandments, as clearly Baxter had to have seen Mayo in her work here as she heavily borrows from it.  Helena's defiance at the end, where she will die but with her head-held-high shows the makings of a better picture, one from her point-of-view (she's clearly power-hungry for Simon and lusts for Basil, and I love that that's not hidden in a film of 1954).  Because of her horniness she can't get through the film unscathed (it is the 1950's, after all), but there's a better picture in her work here, and it's a pity that this was, for all-intents-and-purposes, the final significant movie of Mayo's career.

Friday we'll investigate a different actress, one more known for her work in musical comedies than the dramas that featured through Mayo's work, but before we go, please share your thoughts on our Star of the Month-do you have a favorite Virginia Mayo performance?

Monday, August 18, 2014

AFI's 25 Greatest Actresses, Part 4

We have now counted through the women on the American Film Institute's 25 Greatest Actresses list (click here and here and here and then return to us so that you're all caught up with the actress love-in that has sprung up this week in celebration of the life of Lauren Bacall).  You may be asking what's next?  What else could you possibly have to say about a 15-year-old list?  The answer is, well, plenty.

Since the internet was in its toddler stage fifteen years ago and because this blog didn't exist yet, I wasn't able to discuss that most critical of questions-who just missed the cut?  The requirements at the time were that it had to be a woman that had made her film debut in or before 1950, or had completed their body of work (had died).  With only 25 women listed, certainly a number of the overall nominated women (250 actresses were contenders, all listed here) just barely missed the cut, and Ava, Mary, and Carole probably had some stiff competition.

The question is-who was in 26th place just waiting to be given this honor (it's worth noting that every single one of these 25 women have the "greatest star" title listed on their Wikipedia page, so clearly some of these women probably would have wanted the citation, even posthumously).  Looking at the list, you find that the AFI isn't just weighing the 25 greatest actors of the era, but also those that had significant cultural impact and longevity within the public consciousness.  Someone like Grace Kelly, for example, didn't have a particularly robust filmography, but her position in Hollywood was astronomical.  Therefore, in choosing the ten women below, I didn't just go for strong actors, but also for people that have permeated modern movie consciousness and some who were more celebrities or stars than they were thespians.  I have listed the ten below in alphabetical order, as well as my postulation as to why they missed the cut.  In the comments, if you're feeling inclined, take a guess at which of these women were the closest to making the list and which one I'm insane for assuming could be so close to the AFI's greatest.

(Side note before we get in-I get a teensy bit negative in the "Why She Missed" sections, so keep in mind that this isn't my opinion that they should have missed (I'll save my favorite actresses of this era list for a different (very distant) day), but simply why I think they were skipped by the collective AFI voting committee; conversely, the "Why She Was Close to the List" section is arguing why they would have voted for these women, not whey they should have)

Jean Arthur (1900-1991)

Oscar Nominations: One nomination, for The More the Merrier (she lost to Jennifer Jones)
Why She Was Close to the List: Like Carole Lombard, she was one of the leading ladies of the 1930's in comedies, and in particular starred in three major motion pictures from Frank Capra: Mr. Deeds Goes to Town, You Can't Take It With You, and Mr. Smith Goes to Washington.  She was a major star of the screwball comedy and a significant box office draw in her day (she even starred late in her career in the classic western Shane).
Why She Missed: Arthur had a short reign in Hollywood, but unlike some of the other short reigns, hers was self-designed.  Arthur was an intensely private person and loathed interviews, and so as a result her public persona is almost entirely based on what she brought to the screen, unlike most of the other women that made the list.  I mean, she spent a good chunk of her late career as a teacher rather than a performer (she actually taught a young Meryl Streep at Vassar).
My Favorite Performance: Surely her bubble gum snap in Mr. Deeds Goes to Town is the quintessential Jean Arthur performance (though Shane is by far my favorite of all of her films...and one of my favorite films, period).
Glaring Miss in Her Filmography: Probably the George Stevens' classic The Talk of the Town with Ronald Colman and Cary Grant, which would go on to win a Best Picture nomination.

Tallulah Bankhead (1902-1968)

Oscar Nominations: Ms. Bankhead never received an Oscar nomination or win.
Why She Was Close to the List: If you're going for iconic stars whose work still stands (Theda Bara isn't on this list because almost none of her films still exist to perpetuate her legend), you cannot get much better than deliciously scandalous Tallulah.  The daughter of Speaker of the House William Bankhead, she was a sensation both internationally and in the United States for her daring private life and fluid sexuality (almost every major star of the era has been rumored to an affair with her).  She also had an extremely iconic role in Alfred Hitchcock's Lifeboat.
Why She Missed: While Mae West was also more known for her bawdy behavior and celebrity, she did manage to make a film or two.  Bankhead was more noted for her stage work, and in particular for originating roles that would go on to be played onscreen by Bette Davis (Dark Victory and The Little Foxes).
My Favorite Performance: I mean, isn't everyone's favorite performance by Tallulah in Lifeboat?  You'd be hard-pressed to find a more significant film in her oeuvre.  
Glaring Miss in Her Filmography: It'd have to be Devil and the Deep, an early film in her career where she managed to get top billing over Gary Cooper, Cary Grant, and Charles Laughton (quite the combination).

Doris Day (1922-Present)

Oscar Nominations: Despite a dazzling career and being a major public draw for fifteen years, she only received one nomination in 1959 for Pillow Talk (she would lose to Simone Signoret).  Every year, though, like clockwork, the rumors spread that she'll win an Honorary Award.
Why She Was Close to the List: Probably the most surprising exclusion from the list, Day was at one point the most financially successful actress in Hollywood.  A Box Office superstar, she was all the public could demand from the mid-1950's to the mid-1960's and starred in a string of romantic comedy hits.  Even today her name is extremely well-known with audiences (even if her movies aren't necessarily) and everyone knows her as one of America's Sweethearts.
Why She Missed: It may be that her role and persona could be too dated?  Most of the other women toward the bottom of the initial list had either more artistic (such as Gardner or Lombard) or pioneering (Pickford) credit that Day, who was merely a titan of her industry.  Still, this is definitely the most surprising exclusion and was (my hunch) 26th place.
My Favorite Performance: I've seen many Doris Day films through the years (my mom was a big fan of hers), so I'm going to go with a childhood favorite right now in Calamity Jane.  It doesn't age particularly well (some of the songs are pretty sexist), but the music and sets and in particular Day are incredibly game and "Secret Love" is heavenly (and an oddly resonant coming out song for anyone who reads between the lines).
Glaring Miss in Her Filmography: There's a few options here, but since I've seen some of the biggest pictures of her career, I'm going to go with one that intrigues me most: Move Over, Darling, where Day is united with James Garner and Polly Bergen.  The film was a huge hit and kept the lights on at 20th Century FOX after Cleopatra (not to mention I want to see how Day does in a role that was originally intended for Marilyn Monroe).

Olivia de Havilland (1916-Present)

Oscar Nominations: De Havilland would receive five Oscar nominations during her career, winning twice in 1946 and 1949 for To Each His Own and The Heiress, respectively.
Why She Was Close to the List: Both Olivia and her sister Joan Fontaine could arguably have made this list without much fuss, but despite Joan being Hitchcock's great muse in Rebecca and winning the Oscar first, it was Olivia who enjoyed the more enduring star.  The second female lead in the great Gone with the Wind, she was a major movie star in the 1930's with her wildly successful string of eight pictures with Errol Flynn (the most critically-celebrated of these being The Adventures of Robin Hood) and had a long line of highly successful dramatic pictures in the 1940's and early 1950's.  Plus, considering that the AFI collected film scholars and actors, most of them would be aware of her landmark 1943 legal victory which gave greater control to performers in their contracts with studios.
Why She Missed: De Havilland was always seemingly sharing the spotlight with someone, and frequently another actress.  Whether it was playing second place to Vivien Leigh (it doesn't help that on a list of actresses where all 25 were leading ladies, de Havilland's most famous role was a supporting one) or her longtime feud with her sister, she never seemed to take the spotlight entirely onto herself.  Her name endures more today with casual film fans for Gone with the Wind and her longstanding rivalry with Joan rather than her initial celebrity.
My Favorite Performance: I'm going to go cliche with her bravura work as Melanie Wilkes in Gone with the Wind, though I've always had a soft spot for her work as Catherine Sloper in The Heiress.
Glaring Miss in Her Filmography: I have never seen The Adventures of Robin Hood, which is one of the few classic films of that era that I haven't caught yet that I'm genuinely looking forward to seeing, and I believe that it's actually toward the top of my Netflix queue, so we'll be getting there pretty quickly.

Greer Garson (1904-1996)

Oscar Nominations: A staggering number of them in her career, she received seven nominations, including five of them consecutively, and won as the titular Mrs. Miniver in 1942's Best Picture.
Why She Was Close to the List: Seven Oscar nominations is a spectacular number for lead actress, and Garson was one of the most significant stars in the MGM lot throughout the 1940's when she was amassing that collection.  She starred in a number of iconic roles during this period, particularly Elizabeth Bennett in Pride and Prejudice (had she been Oscar-nominated for that role, which very well could have happened considering the critical acclaim, she would have been nominated seven years in a row).  The only other actress with a five-in-a-row streak was Bette Davis, and she landed in slot number two.
Why She Missed: For some reason there are actresses from every era that seem to slip into the background of history (think Garbo, Crawford, and then Norma Shearer), and Garson's luster never was quite as iconic as Davis's and Hepburn's following this time period.  It probably doesn't help that her frequent collaborator (all of the women of this era seemed to have one) was Walter Pidgeon, a name that is far less known than Garson's today (whereas Hepburn got someone like Spencer Tracy).  Garson also was almost exclusively a dramatic actress during her years at the top, and most of the women on this list either have a comic off-screen persona (Davis) or frequently starred in comedies onscreen (the Hepburns).
My Favorite Performance: Probably Mrs. Miniver, which was the exact right moment to give a major motion picture star her Oscar, as she totally nailed that role (and managed to carry it to a Best Picture win).
Glaring Miss in Her Filmography: I have long thought that if I ever actually saw it Random Harvest would be the sort of Waterloo Bridge-style picture that I would latch onto pretty quickly, so I'll say that.

Lena Horne (1917-2010)

Oscar Nominations: Ms. Horne never won an Academy Award nomination or trophy during her long career, though one could have argued pretty validly that she deserved an Honorary Oscar toward the end there.
Why She Was Close to the List: I may get an eyebrow raise here as Lena Horne wasn't particularly well-known outside of the 1940's and even then had only a handful of film roles, but A) Grace Kelly had less roles in the movies and she made the list and B) as we've seen with a few women on the list, it's not just about the size of their filmography, but also their historical importance.  Horne was a pioneer during her era, the first African-American performer to sign a long-term contract with a Hollywood studio, and likely the most important black actress of her generation.  She starred in a couple of major MGM musicals, including Stormy Weather and The Cabin in the Sky.
Why She Missed: Her filmography, as I illustrated above, is pretty light when you throw out those two movies, and she didn't seem as smitten with Hollywood in the years after her heyday, instead preferring music and the stage.
My Favorite Performance: I'll admit right now, I have never seen a Lena Horne movie, though I've seen her perform many times in television specials and will sing her version of "Stormy Weather" in the shower at least once a week.
Glaring Miss in Her Filmography: Either Stormy Weather or The Cabin in the Sky would seem appropriate, though considering that shower comment I'll probably select the former.

Deborah Kerr (1921-2007)

Oscar Nominations: Six nominations for Best Actress, never winning.  Only Thelma Ritter and Glenn Close have been nominated as an actress as many times and never won (and Kerr is the only person to have done so exclusively in the lead category).  She won an Honorary Academy Award in 1993 "in recognition for a full career's worth of elegant and beautifully crafted performances."
Why She Was Close to the List: Like Greer Garson, Kerr has a long history with the Academy Awards and is widely recognized as an actress of great talent and poise from this era.  Unlike Garson, though, Kerr has some films that have actually survived in the modern popular culture.  Films like The King and I, An Affair to Remember, and of course From Here to Eternity are frequently referenced today, and her wave-soaked make-out session with Burt Lancaster in the latter film in particular has been lampooned as frequently as Janet Leigh's shower and Darth Vader's paternal confession.  Kerr was also a frequent collaborator with Robert Mitchum, who did make the cut on the men's side (most of the famous cinematic "pairs" made it on both sides of this list-Kerr/Mitchum is one of the few that didn't).
Why She Missed: Like Garson, she isn't quite the iconic figure that some of these other women were, particularly offscreen where she had a relatively stable marriage for the latter half of her career to Peter Viertel (and she was never married to a movie star, which helps in boosting your legend).  It also has to be said that Kerr was always a bridesmaid with Oscar, and winning an Oscar does tend to help the immortal ones have an extra aura.
My Favorite Performance: I could and probably should go with Anna, but An Affair to Remember is one of my all-time guilty pleasure movies, and I love the way that only Kerr can sell some of the clunky and yet terribly romantic dialogue.
Glaring Miss in Her Filmography: Heaven Knows, Mr. Allison, much like Random Harvest, is one of those movies I'm near certain that I will love, and probably will as soon as I get to it, so I'll go with that.

Myrna Loy (1905-1993)

Oscar Nominations: Loy is one of the most famous cases of the Oscars completely missing a major star (she's frequently toward the top of the list of actors who were never nominated).  Loy never received a competitive Oscar nomination, but the Academy made up for it in 1991 when she received an Honorary Academy Award for career achievement.
Why She Was Close to the List: Wildly popular in her day, she is survived today by her indelible Nora Charles, the drunken half of one of the cinema's best-known detective teams.  Even if it weren't for The Thin Man, she would have a pretty solid filmography with The Best Years of Our Lives and Cheaper by the Dozen amongst them, and was one of the most significant leading ladies of the 1930's and 1940's.  She was also insanely well-liked in Hollywood (something not all actresses can claim), and was noted for her work with the United Nations.
Why She Missed: She never had that "star turn" moment that seems to transcend all decades.  While very beautiful, she wasn't a glamour doll like Marilyn and she lived a fairly conventional life, even if she went through husbands and lovers with Liz Taylor-like regularity.  I guess she's the sort of actress that everyone slaps their forehead and says "of course, include her on a greatest list," but not necessarily when they aren't prodded to do so.
My Favorite Performance: Of course it would be Nora Charles in The Thin Man, one of the funniest movies I've ever seen-her chemistry with William Powell in these films was electric.
Glaring Miss in Her Filmography: I have seen Myrna Loy with Gable and Powell, but never with Cary Grant, so I'd be interested in seeing her in the classic comedy Mr. Blandings Builds His Dream House, which was cited by AFI for the Best Comedies list the year after the stars list was made.

Maureen O'Hara (1920-Present)

Oscar Nominations: Despite starring in a host of Oscar-nominated films (including the lead in a Best Picture winner, making her the extremely rare actress to not get nominated despite leading a Best Picture winner), O'Hara herself has never won or been nominated for an Oscar.  Like Doris Day, every year cinephiles complain that she should get one, but unlike Day I think she'd actually show up to receive it so I don't know what the hold-up is here.
Why She Was Close to the List: Iconic for her red hair and fiery onscreen personality, O'Hara has starred in a number of classic films through the years.  How Green Was My Valley, Miracle on 34th Street, and The Quiet Man are toward the top of the list, but like several women on both the official list and this "runners-up" list, she's starred with almost every major leading man in Hollywood.  Also, like Bacall, Kate Hepburn, and Ginger Rogers, she had a frequent onscreen collaborator in John Wayne (who did make the male list), making her a likely candidate to make it (if Wayne made your ballot...).
Why She Missed: For some reason I've never been entirely certain of, O'Hara hasn't ever had the sort of respect with cinephiles or awards bodies that she seems to have deserved.  I don't know if it's because she gave up her career for stay-at-home-momdom (unlike someone like Bette Davis or Ingrid Bergman who kept working right up until the end) or if it simply was that her skills were too comedic, but she's never quite landed compared to some of her dramatic counterparts.
My Favorite Performance: Sure, everyone's going to pick The Quiet Man, which is a great movie, but I grew up watching McLintock! at every family get-together, so if I'm going to go with a personal film, it would have to be this one.
Glaring Miss in Her Filmography: Most assuredly it would be The Hunchback of Notre Dame (seriously, another classic-get on this AMPAS!), uniting her with her pre-John Wayne frequent collaborator, Charles Laughton.

Natalie Wood (1938-1981)

Oscar Nominations: Wood received three Oscar nominations in her career, though she lost for all three.
Why She Was Close to the List: Iconic actress still referenced today.  Check.  Critically-acclaimed.  Check.  Incredible beauty.  Check.  Tragic demise.  Sad check.  Wood manages to hit all of the things that the AFI was going for, and was a star in three absolute classics of American cinema (Miracle on 34th Street, Rebel without a Cause, and West Side Story).
Why She Missed: Perhaps she was too young?  While she technically qualified under the rules, she'd have one of the smaller filmographies of any of the actors on the list and would be easily the youngest.  Plus, she had most of her impact in 1960's cinema, toward the end of Classical Hollywood, and Sophia Loren was really the only person on the list who could boast that.
My Favorite Performance: I mean, can you really top the sexual frustration of Splendor in the Grass?  Completely mesmerizing work, with Wood going through all of the stages of youth (and being driven insane by the prospect of losing a 1961-era Warren Beatty...which is surely understandable).
Glaring Miss in Her Filmography: I've honestly seen all of the major pieces of Wood's filmography, so I'm going to go with Gypsy, which she has a supporting part in if only for the curiosity of how Rosalind Russell handles one of the most iconic roles in the American theater.

And there you have it-my guesses as to the ten runners-up for the AFI list.  We've got one more quick addendum to this series, but before we go-which of these women do you think was the closest to AFI's list?  Which do you think I'm off my rocker for assuming was close?  And what other women do you think may have been in strong contention that I don't check-point?  Share in the comments!