#sam mcdaniel

[whileiamdying]

the screen: 'All Through the Night' Action Film About Gangsters and Nazi Spies, With Humphrey Bogart, Opens at the Strand

By Bosley Crowther Jan. 24, 1942

Of one thing you may be certain: no national peril can ever impend which the Warner Brothers are unable to cope with in triumph—on the screen. And now, in "All Through the Night," which opened at the Strand yesterday, the Burbank brethren are confronting a sinister Nazi spy ring with the most effective opposition that their studio has at hand—their own stock company of tough guys, Broadway sharpies and muggs, led by that ever-resourceful facer of situations, Humphrey Bogart. When the Warner gang swings into action, the Nazis don't stand a chance, even with Conrad Veidt and Peter Lorre on their side. And although the consequent conflict is as wild as a cowboy-Indian fight, it makes for uncommon excitement and a roaring adventure film.Let it be said for the record that this is a pre-Pearl Harbor job, lest any one raise the objection that it plays too fast and loose with a subject much too serious for melodramatic kidding in these times. One would hate to think that an enemy plot of such elaborate magnitude as the one presented here should be so completely overlooked by our capable F. B. I., and that the responsibility for licking it should fall upon a semi-gangster. So don't even let yourself think that this picture pretends to be fact. It is straight, unadulterated fiction pulled out of a script-writer's hat.

As such, it follows the sure-fire touch-and-go chase formula. A big-shot Broadway "promoter" is filled with curiosity when a little German baker, a friend of his, is rubbed out. The promoter, self-appointed, starts tracking random clues; he picks up a night-club singer who has a vaguely Germanic accent, and first thing he knows he is neck-deep in a highly mysterious plot One things leads to another, a shady warehouse to a phony auction room, and there the amateur detective encounters incredible things. He encounters—you'd never guess it — a virtual convention of Nazi spies, assembling to commit some strange manoeuvre against an American battleship in the harbor. Fights and shots in the dark, a wild chase through Central Park, and an ultimate battle royal follow in breathless succession, and the whole thing is climaxed by a bit of fantastic business in a motor boat, loaded with high explosives and aimed at the new battleship.

In spite of its slap-bang construction and its hour-and-three-quarters length, the picture does move with precision and steadily maintained suspense. Some of the details are excellent—and there is no reason why they shouldn't be, for the best bits are easily recognizable from such previous films as "The 39 Steps" and "M." But most of the impact is generated by a series of knock-down fights and the usual business of groping nervously about in the dark.

Mr. Bogart as the big shot plays with cool and calculated perfection. Mr. Veidt is equally effective as the brains of the Nazi ring. Kaaren Verne gives a pleasant performance as the German girl involved in the plot, and Frank McHugh, William Demarest, Barton MacLane, Peter Lorre and Judith Anderson give fine support.

"All Through the Night" is not exactly a melodrama out of the top drawer, but it is a super-duper action picture — mostly duper, when you stop to think.

ALL THROUGH THE NIGHT:

Screenplay by Leonard Spigelgass and Edwin Gilbert; based on a story by Mr. Spigelgass and Leonard Q. Ross (Leo C. Rosten); directed by Vincent Sherman for Warner Brothers. At the Strand.

"Gloves" Donahue . . . . . Humphrey Bogart Ebbing . . . . . Conrad Veidt Leda Hamilton . . . . . Kaaren Verne Mrs. Donahue . . . . . Jane Darwell Barney . . . . . Frank McHugh Madame . . . . . Judith Anderson Pepi . . . . . Peter Lorre Marty Callahan . . . . . Barton MacLane Sunshine . . . . . William Demarest Walter . . . . . Phil Silvers "Spats" Hunter . . . . . Wally Ford Joe Denning . . . . . Edward Brophy Sage . . . . . Charles Cane Spence . . . . . Frank Scully Steindorff . . . . . Martin Kosleck Starchy . . . . . Jackie C. Gleason Anton . . . . . Hans Schumm Mr. Miller . . . . . Ludwig Stossel Mrs. Miller . . . . . Irene Seidner Annabelle . . . . . Jean Ames Smitty . . . . . Ben Welden Deacon . . . . . Sam McDaniel Forbes . . . . . James Burke

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The Great Lie (1941) Edmund Goulding

August 19th 2021

[oldshowbiz]

James Cagney, Sam McDaniel and an actor that maybe one of you could identify in Lady Killer (1933) 

[papermoonloveslucy]

LUCY & GONE WITH THE WIND

In one of the biggest publicity stunts in Hollywood history, over 1,400 actresses were considered for the role of Scarlett O’Hara in MGM's Gone With The Wind. Producer David O. Selznick had the rights to the book, but did not have the money to make it. To keep interest alive in the project during pre-production, he auditioned nearly every starlet in Hollywood: Paulette Goddard (the favorite), Bette Davis, Joan Crawford, Jean Arthur, Lana Turner, Barbara Stanwyck, Claudette Colbert, Susan Hayward, Katharine Hepburn, Tallulah Bankhead and Lucille Ball, who read for the role but never made a screen test.  

On “Bob Hope's Unrehearsed Antics of The Stars” (September 28, 1984) Ball recounted - with a fair amount of embellishment for comedic effect - her audition.

I had to audition for Mr. David O. Selznick and it was for Scarlett O'Hara in ‘Gone With the Wind’. Everybody knew it was just a huge publicity gimmick. But I was just a young starlet when you're a under contract to a studio you do what you're told to do.

After working six dreadful weeks with a dialogue coach who had a southern accent that just dripped molasses, the big day finally arrived.  I knew it was ridiculous, but I had to go. I climbed into my old rattletrap car and as I reached Culver City I got caught in the biggest cloudburst I ever saw. The streets were flooded. My car stalled. I had to get out and wade six blocks to the studio. I got to the Selznick office looking like a drowned rat. Marcella, Selznick's girl Friday, didn't even recognize me. My hair was down over my face and the henna was running and so was my mascara. I was soaked clear through. Marcella made me take off all my clothes, gave me a big towel and a huge brown sweater and put me on the floor in front of a roaring fireplace in Mr. Selznick's private office. And she gave me a big brandy snifter with brandy in it.  

A half hour and four slugs of brandy later I was still a mess and still on my knees at the fireplace. Suddenly Mr. Selznick came in and said “Well, what have we here?” I said, “Well, I ain't Scarlett O'Hara. I'm Lucille Ball and I wanna go home.” He said “Now, now. We have to do the scenes.” I said “I can't.  I can't stand up.” I couldn't stand up because what I was wearing didn't cover me - and the four shots of brandy didn't help either. But he said “Alright then, do it from there.” I had to audition on my knees.

Now the first scene was Scarlett as a sixteen year-old. When I tried to bat my eyes my eyelashes stuck together and they wouldn't bat. Scarlett said something like “Well, I do declare! I do declare! You boys are so handsome in your gray uniforms. I swear, I'm just gonna miss you all so very, very much.” I'm still on my knees. Then I had a scene with Rhett Butler. I said “Rhett Butler, you're nothing but a no-good low-down Yankee spy and you can go back to where you come from and you can stay there!”

Selznick said “You were very interesting. Very interesting.” I said “I was not and you know it.” And then I just crawled out of the office on my knees holding onto the sweater trying to keep all the vital parts covered.

Although some of Ball's recounting sounds plausible, she remarks that her henna (red hair dye) was running down her face. Ball didn't dye her hair red for the first time until asked to do so by MGM for DuBarry Was a Lady in 1943. She was a natural brunette who was a blonde in some of her early work in order to stand out from the crowd.

During the time period that Gone With The Wind shot (January through July 1939), Lucille Ball made five films for RKO, with the fifth (That's Right – You're Wrong) released just three weeks before Gone With The Wind.

But this was not the last time Lucy would encounter Scarlett and Gone With the Wind. In the 1954 “I Love Lucy” episode “Lucy Writes a Novel” (ILL S3;E24) Lucy Ricardo is inspired to write a roman a clef about her life called “Real Gone with the Wind.” Fred replies “Yeah. Real gone!”

In 1971's “Lucy and Carol Burnett: The Hollywood Unemployment Follies” (HL S3;E22) Lucy and Carol encounter mannequins of Clark Gable and Vivian Leigh dressed in costumes from Gone With The Wind. Carol, using a high pitched Southern accent, imitates Scarlet O'Hara. After the network premiere of the movie in 1976, Carol Burnett produced one her most famous sketches ever, playing Scarlett (re-named Starlett) in the parody “It Went With The Wind” on “The Carol Burnett Show.”

In September 1971, in “Lucy and Flip Go Legit” (HL S4;E1), Lucy Carter convinces Flip Wilson to play Prissy in her daughter Kim's community theatre version of Gone With The Wind. Kim (Lucie Arnaz) plays Melanie, Uncle Harry (Gale Gordon) is Rhett, and Lucy finally gets to play Scarlett. Although Flip Wilson wearing an Abe Lincoln t-shirt as Prissy is very funny, the sketch does not hold a candle to Burnett's 1976 endeavor.

In “Lucy's Lucky Day” (HL S4;E15) Lucy Carter finds an overdue library book - Gone With The Wind – which she says took out when it was first published. The novel by Margaret Mitchell dates from 1936, which means that in 1971 Lucy has had the book out for 35 years!  Imagine the fines!

In the 1958 promo film “Lucy Buys Westinghouse” Desi takes a Westinghouse representative on a helicopter tour of Desilu Culver (formerly RKO), a back lot located in Culver City, also known as Forty Acres. This is where MGM made Gone With The Wind. They pass over a destroyed Tara, twenty years after the film was made. Ironically, it is now owned by Lucille Ball!  

Although Lucille Ball did not get cast, actors who did get roles in the film and later worked for Lucille Ball included:

George Reeves, Stuart Tarleton in GWTW / Superman in “Lucy and Superman” (ILL) [Reeves is incorrectly credited as Brent Tarleton in the film and only credited as ‘Superman’ on “I Love Lucy.”]

Olin Howland, Carpetbagger Businessman in GWTW / Mr. Skinner in “First Stop” (ILL)

Irving Bacon, Corporal in GWTW / Will Potter in “Ethel's Home Town” (ILL) and Mr. Willoughby in “The  Marriage License” (ILL)

Alberto Morin, Rene Picard in GWTW / Waiter Robert DuBois in “The French Revue” (ILL) and Carlos in “Cuban Pals” (ILL)

Shep Houghton, Southern Dandy in GWTW / Courtroom Spectator in “Lucy and the Raffle” (HL) [That same year, Houghton was also a Winkie Guard in The Wizard of Oz.]

Ralph Brooks, Gentleman at 12 Oaks Barbecue in GWTW / Casino Patron in “Lucy Goes to Vegas” (TLS)

Hans Moebus, Party Guest in GWTW / Man on Dock in “Bon Voyage” (ILL), Riverboat Patron in “Lucy and Arthur Godfrey” (TLS) and Spectator in “Lucy at Marineland” (TLS) [Lucy wore the same dress in “Lucy and Arthur Godfrey” as she did as Scarlett O’Hara in “Lucy and Flip Go Legit.”]  

Hattie McDaniel (Mammy in GWTW, inset) was the first black actress ever to win an Oscar, but she wasn’t the only McDaniel to have a ‘first ever’ recognition in show business.  Her brother Sam McDaniel played the Porter in “The Great Train Robbery” (ILL), and was the first and only black actor to have dialogue on “I Love Lucy.” 

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The Rich Are Always with Us (1932) Alfred E. Green

January 25th 2020

[oldshowbiz]

prolific Hollywood character actors Sam McDaniel and Clarence Muse. 1933. 

[papermoonloveslucy]

A Black History Month shout out to SAM McDANIEL, who played played Sam the porter in 1955′s “The Great Train Robbery” (S5;E5). He was the brother of Oscar-winner Hattie McDaniel of Gone With The Wind fame. He had appeared with a young Lucille Ball in her second film, Broadway Thru a Keyhole (1933) and Kid Millions (1934). McDaniel has the distinction of being the first and only African Americans to appear on “I Love Lucy” with a character name and lines.  

[gatutor]

Sam McDaniel-Shirley Temple "La pobre niña rica" (Poor little rich girl) 1936, de Irving Cummings.