Reel Conversations: The Everyday Cinephile
Welcome to CMBA's Reel Conversations, our feature spotlighting members sharing their passions for classic film. For this feature we plan to alternate between interviews and peer-to-peer blogger Q & As.
In this month’s Reel Conversation, it's Shawn from The Everyday Cinephile talking silent film. But this is only part of the talk: his movie recommendations, his gateway and intro to silent film, and more, can be found in the September issue of the CMBA Monthly Star newsletter, and yet another portion will be posted at The Everyday Cinephile, so be sure to stay tuned and pay a visit.
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Have you had an amazing live cinema/screening experience that you’d like to talk about?
The most impactful live screening was my first silent film with live accompaniment. I saw a screening of DeMille’s first film The Squaw Man (1914) at the Harold B. Lee Library Special Collection as a college freshman. What blew my mind is they had a prop, a little red notebook with a message scribbled on it, used in that very same film preserved in their archive that I got to touch and hold! This all came full circle when I volunteered at the very same barn DeMille shot The Squaw Man at–now the Hollywood Heritage Museum right by the Hollywood Bowl in LA. The movie is a cliched Western yarn with uninspired direction but everything about that screening was so magical and pivotal to not just my love of silent film but my visits to archives and deep dives on the era and its films.
And of course attending the Pordenone Silent Film Festival in person was a lifelong bucket item I crossed off a couple years ago. So amazing to see all the work archives around the world are doing and seeing films that an audience often hasn’t seen together in over a century is just a one of a kind experience.
Who do you feel is criminally under-discussed by modern cinephiles, and where should someone start with that person?
He’s actually a name most people know but Cecil B. DeMille’s amazing silent career is overshadowed by his later work. While I’m still a sucker for his tin ear for dialogue (Moses, MOSES), he was one of the most important pioneering directors in early Hollywood held in the same high esteem as D.W. Griffith and Lois Weber in the mid-1910s.
I highly recommend everyone see his 1915 The Cheat. At a time when most films sought to cast an even lighting over the actors and stage without a single shadow in sight, DeMille and cinematographer Alvin Wycoff went in the opposite direction. Borrowing heavily from theatrical lighting practices made popular by the DeMille’s family friend David Belasco, the pair experimented with several lighting setups and featured heavy shadows at pivotal points throughout The Cheat. When Sessue Hayakawa’s character is shot, we only see it from another room through a Japanese sliding paper door. His silhouette slowly sliding down the door is one of the most jarring, effective shots in all of cinema that was an inspired break from previous filmmaking thought.
From there I’d check out his string of early films, like The Captive and A Golden Chance (both 1915), that are deliciously entertaining hour long pictures. His bedroom parlor comedies with Gloria Swanson, like Why Change Your Wife? (1918) Don’t Change Your Husband (1919) are so transgressive and surprisingly different from DeMille’s later epics. And lastly I love his early 1920s film, like Forbidden Fruit and Fools of Paradise (both 1921), that aren’t afraid to insert a random leopard or color sequence just for the fun of it. Watch DeMille’s 1910s for his innovative approach to directing and watch his 1920s films for his over-the-top showmanship. You won’t be disappointed.
Is there a great lost film that you’re kind of obsessed with?
Too many to count! I tried making a Top 10 several years ago and couldn’t whittle it down so just made a Top 20 instead.
One recently that has captured my imagination is a 1928 French adaptation of Jack London’s short story How to Build A Fire. It used a tryptch widescreen method—similar to Abel Gance’s climactic battle sequence in Napoleon (1927)—but all that survives is a couple production stills. I recently visited the Utah State University archives to view several items related to this lost film held in their Jack London Collection. The onset photographs of Jack London visiting the set and some drawing boards for shots of the film just made me want to see this innovative film even more.
Even if we can’t watch the film, I just love the detective work finding out plenty of information about its production and reception with the surviving supplementary materials left behind.
...and there's much more! keep reading at The Everyday Cinephile.
CMBA Member Profile: Lisa Howeler of Boondock Ramblings
Meet new CMBA member Lisa Howeler, who writes at Boondock Ramblings,where she shares her love for the look, impact, and storytelling of classic film, and the warm memories they evoke. She is also a photographer and writes mystery books. Read on to learn more about Lisa.
1. Tell us a bit more about your site, Boondock Ramblings, and what led you to start writing about classic era films?
My blog started as a place to share about photography, motherhood, writing, faith, and my life in a rural area (hence the title of the blog with that slang term of “boondocks” which in my area simply means “in the middle of nowhere”.)The blog slowly morphed into writing about books I had read and movies I had watched. Almost all of those movies were classic movies (mainly black and white) because those are the movies I enjoy the most. I started writing about those classic films because I wanted to share them with others who either had seen the films or might like to see them. I usually write about films I really enjoy because I want others to enjoy them as well.
2. You mention on your site that The Thin Man films are your favourite film series. Why do these films and characters mean so much to you?
Well, I’m a sucker for a movie or a book that has mystery, humor, and romance, and The Thin Man movies have all of those.
I can also relate to Nick and Nora’s relationship because it reminds me of the relationship I have with my husband, who I met when we were both working at a small-town newspaper. Really, our relationship would actually probably be closer to the main characters in My Girl Friday with Cary Grant, and Rosalind Russell — that back-and-forth banter and sarcasm, as well as a deep knowledge of how newspapers and gathering news stories work, has always been part of our relationship.
But the relationship that Nick and Nora have is also similar to our relationship, without all the exciting adventures that Nick and Nora have, of course. Plus, I’m no longer in newspapers and he is still a newspaper editor so that dynamic has changed a bit. And I’m still not an heiress. Darn it.
I have digressed. I love how The Thin Man movies connect mystery to romance, as I mentioned, but also how social issues are subtly, and not-so-subtly brought up.
The movies feature both humorous and serious moments and topics, making them easy to like for any film buff, no matter their favorite genre.
Plus, it’s very hard to dislike a film series with two of the best actors from the Golden Age of movies, Myrna Loy and William Powell. What a power combination of actors to feature in a series of movies.
3. How did you become a classic film fan?
When I was a kid, we grew up without a lot of money so we had one black-and-white TV with a homemade antenna hook to our old back porch. That antenna brought in four main channels. Those channels were NBC, CBS and ABC and our local PBS station.
My parents weren’t very excited for me to watch what was on primetime on the main channels, but they were comfortable with me watching old movies and childrens’ programming on PBS. It wasn’t just that I was only allowed to watch old movies and children’s programming that made them interesting to me. I really did get caught up in the humor and stories of the movies and shows.
The Dick Van Dyke Show was one of my favorite old TV shows to watch on PBS. It would come on right after dinner and I always made sure to eat fast so I could go watch it. To this day that show is a comfort watch for me. If I’ve had a bad day or I’m very depressed about something my husband will grab the remote and turn The Dick Van Dyke Show on for me.
I also remember watching some Burns and Allen episodes on PBS back then.
The movie I remember watching the most on PBS, though, was Singing in the Rain. Because we had a black-and-white TV until I was probably nine or 10, I always thought the movie was actually shot in black and white. It wasn’t until I was much older when my brother bought me a VHS of the movie that I found out it was actually filmed in Technicolor.
I was probably one of a very few nine or 10-year-olds in my area who could recite large portions of that movie, especially famous lines by Jean Hagen like “and I caaaant staaand ‘im!”
4. As well as writing about classic film, you are also a published author. How did you come up with the idea for your ongoing series, The Gladwynn Grant Mysteries, which follows a female reporter living in a small town? Do you have any tips for those preparing to write or publish a book?
I have a background in writing for small town newspapers, as I mentioned above, and wanted to write a cozy mystery book for fun, so when I started to brainstorm ideas, I knew that the main character would probably be a newspaper reporter. I also wanted the story to take place in a small town because they are full of quirky and fun characters, which I know because I have grown up and lived in small towns.
The older I get, the more I think I might be one of those quirky characters, but I try not to think about it too much.
I thought it would be fun to honor my late grandmother so I chose her middle name, Gladwynn (though my grandmother spelled it Gladwin), as my main character’s name and her maiden name of Grant as my main character’s last name.
Originally I was going to place the series in the 1920s because I thought Gladwynn’s name sounded like a 1920s private investigator, but I decided I didn’t want to do a ton of research to write a book that took place in the past so I moved it to modern times.
My biggest tip for anyone who wants to write a book is to take it in small chunks. Write one paragraph at a time, then the next, then the next. Before you know it, you’ll have a finished book.
As for publishing that book, don’t be afraid to go the self-publishing route. It’s not looked down on like it used to be and it’s a way to get your story out there. It really depends on your goals, though. Do you want a best seller or are you okay with just sharing your story/thoughts with whomever is interested in it?
For me, I’ve adopted the mottos of “just have fun” and “don’t overthink it” for my publishing journey and so far they’ve worked. I have fun writing my books. They are not best sellers but they are a creative outlet for me and are something I can concentrate on instead of the stress in my life. The bonus is that a few people have even liked them.
5. If you could host a dinner party or picnic and could invite anyone from old Hollywood, who would be on your guest list, and why?
I really hope that Paul Newman is considered “Old Hollywood” because he’d be on the top of the list. I don’t think I need to explain why but if you must know, he’s my celebrity crush. Yes, I know he’s dead. I also know there were some aspects of his personality I would not have liked. But his eyes and lips! Come on!
On a more serious note, I do think he’d be fascinating to talk to.
I’d also add Jimmy Stewart, James Cagney, Katharine Hepburn, Maureen O’Hara (I have a bone to pick with her about her autobiography), John Wayne, Ginger Rogers, and Fred Astaire.
These are all people I think would be interesting to talk to and hear stories from.
6. Which film do you think would be the perfect choice to show to someone who has never seen a classic era film before?
This question threw me for a loop. I feel like someone just asked me which one of my children is my favorite.
My answer is, of course, I love them both equally so I feel like I would have to say “watch all of the classic movies you can!” Ha. But, there are many classic films I would not suggest people watch too so I can’t say that.
I really think it depends on what a person likes.Do they like darker films or musicals or comedies or mysteries?
If we’re going for musicals then we are going for Singing in the Rain (sorry to sound like a broken record) because even though the film is full of fun music and fun moments, it’s also a bit of a history lesson into what happened when silent movies were replaced with talking movies. We see that transition and the challenges, albeit it with some humor mixed in, and I am sure that in real life it wasn’t all fun and games.
Then, along with the history and the story of the characters, we are entertained with the music and the spectacle of gorgeous costumes and dance numbers. Not too mention outstanding acting all around.
Then, though, I would have to recommend The Third Man, not only because of the story but the amazing cinematography, which is like a character unto itself.
I’m going to share a bit of what I wrote on my blog about the movie and the cinematography:
“The play of light with shadows, figures stepping in and out of light and dark both visually and metaphorically, makes this a movie you can’t look away from. If you do, you might miss a subtle exchange of looks, a quick smirk, someone moving in the shadows. You have to be on high alert while also relaxing into the story. You’re on the edge of your seat but also have plenty of moments to sit back and admire the superb acting of Orson Welles and Joseph Cotten.
The movie is set in post-World War II Vienna, Austria at a time when four political powers America, Russia, England, and France were overseeing a corrupt post-war environment.
Cotton plays Holly Martins, a writer of pulp Westerns, who arrives without any money as the guest of his childhood friend Harry Lime (Welles). The problem is, when Martins arrives, he finds out Lime has been killed, hit by a car.
Martins wants to know how his friend died and why, and learns there was a “third man” who was present during the accident. This leads him down a path that gets him mixed up with Lime’s girlfriend and British intelligence and knocks him right into the middle of complicated moral and ethical issues.”
For me there is just so much to this movie – mystery, social issues, moral issues, a tiny bit of romance. Orson Welles is just at his best, in my opinion. Joseph Cotten is great. It just all comes together and, for me anyhow, really defines what classic film is all about.
I feel like I have committed a sin not mentioning Citizen Kane, Casablanca, or Gone With the Wind here but I pray for forgiveness from all classic-era film buffs for my transgressions. It was a hard one to answer!
Announcing The CMBA Fall Blogathon: Cinema Couture | The Art of Illusion
Crafting a film is a lot like sewing a vast tapestry or a new item of clothing; each separate thread and stitch is essential in order to complete the desired result: storyboards, costume, music, editing, direction, cinematography, locations, effects, actors, lighting, matte paintings, props and so on.
The focus of this Blogathon is on the artisanal element of film, where the only A.I. is not artificial intelligence but actual intelligence: knowledge, skill, emotion, human endeavour and effort.
The board invites members to explore the detailed crafting of films with both big and small budgets. How did directors and studios with limited resources and crews achieve spectacular and impressive results on screen? How many staff did a director with unlimited finances employ to design costumes for a particular costume epic? What steps to overcome racial or gender barriers did some directors take in order to achieve their screen vision? How did the Silent pioneers literally invent the very language and imagery of cinema to begin with?
This is your chance to dive deep into the history of a particular film, studio, designer, element of filmmaking etc, in order to share the stories of how the magic happened. The films and topics that you could write about for this are endless.
The Cinema Couture & The Art of Illusion Blogathon (which is only open to CMBA members) will take place between the 9th and 13th of November, 2026. Due to the vast array of possible topics, we will not be accepting duplicates, but members may submit up to two reviews/articles each, so please let us know your desired film or topic as soon as possible by completing the sign-up form below. If you have any questions, please contact us at the CMBA email.
How to participate:
Post on the day you've been scheduled.
See you November 9-13!
Monday November 9
Classic Film And TV Corner: The Epic of Everest and The Great White Silence (1948)
Crítica Retrô: German Expressionism
Tuesday November 10
SIlver Screen Classics & Nostalgia: Letty Lynton (1932)
Wednesday November 11
The Midnite Drive-In: Gone With the Wind
Cary Grant Won't Eat You: The Miracle Woman (1931)
Thursday November 12
Silver Screen Classics & Nostalgia: The Ice Pirates (1984)
Friday November 13
Dominique Revue: Race Films
Dominique Revue: Marie Antoinette (1938)
Lost and Found Films: The Lonely Villa (1909)
The Last Drive In: Bernard Hermann: The Sound of Suspense
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CMBA Member Profile: Mark Throop of Movies Ala Mark
Meet new CMBA member Mark Throop, who has been flim-struck since youth and channels his deep knowledge and love of film into numerous reviews at his site Movies Ala Mark. Read on to learn more about Mark.
Interview by Maddy Langham [The Classic Film & TV Corner]
1. Tell us more about your site, Movies Ala Mark, and what led you to begin blogging?
The site is basically a relaxed compendium that I hope to eventually turn into a book, possibly a Volume 1 situation, the follow-up likely taking me most of the rest of my life, considering how outnumbered an individual is by the sheer number of movies that 'should' be part of a viable representative overview. The potpourri (or scattershot?) look of the All Reviews page shows that I hop between genres, time periods and homegrown/international selections based on my mood and the availability of material. I have my own collection to draw from, borrow from friends, use retail video outlets if available, and while on the move (as I have been of late) pick up strays on YouTube. Classics & indies, domestic & foreign, 'musts' & duds, a democratic selection, if you will. I started keeping lists when in grade school, stopped & restarted a few times as years went by (once I ceremoniously burned up 300 reviews) and finally got into serious mode about 11 years ago on the heels of a heartbreak, actually---I think the first entry was "The Naked And The Dead", which seems fitting. I guess my style is sort of Leonard Maltin with extra salt. I don't in any way think of myself as a critic, and try to keep the writeups not just fair to the film but conversational as if I was talking to a friend.
2. Your late brother-in-law was the American actor, and baseball player, Larry Pennell. What are your memories of him? Any particular series or films of his that you would recommend people watch?
Larry--"Bud" to family and friends, was a fascinating, complex, difficult, wonderful guy. Smart, flawed, generous, hilarious, tragic. To a little boy, he was larger than life---a "movie star", although in reality, like many professional actors, the sort of career he hoped to have didn't pan out, for a number of reasons and he ultimately ended up as a bit player, a trivia subject. He started in films in 1955, after serving as an officer in the O.S.S. and a decent career as a ball player. Over his years in Hollywood (with a few traipses abroad) he met, worked with, knew, or knew something about a genuine galaxy of personalities---too many to easily list. If any of you wish to know some examples let me know and I'll name-drop. He starred in a TV series in 1961-63 called "Ripcord", and has some quasi-fame from playing a movie star named 'Dash Riprock' on "The Beverly Hillbillies". He had credits in many TV series and film roles included 'The FBI Story' and 'The Great White Hope'. I'd recommend a great episode from "Thriller", a series hosted by Boris Karloff, entitled "Late Date" and a good one from "The Big Valley" called The Price Of Victory"--they're currently available on YouTube.
3. Actor Stewart Granger was a family friend. What are your memories of him?
Well, actually I have no personal memory, but Bud and my sister Patti (Larry's wife) got to know Granger in 1964 when Bud went to Yugoslavia to co-star (as the bad guy) in a German-made western (they were quite popular in Europe) called "Flaming Frontier" (I've never seen it). Oddly, Bud got fan mail from Europe for decades after that: go figure. Anyway, he and Patti said Granger, 51 at the time, was just a terrific guy, a raconteur. Many years later, Patti was grocery shopping in Pacific Palisades, California (she and my niece recently lost everything in the fire that destroyed Palisades in January of 2025) and she saw him. She didn't want to bother him, figuring he wouldn't remember the wife of some guy he'd worked with on a goofy Euro-western and so she didn't approach him. He walked over and said, sort of mock-hurt--"What are you, stuck up or something!?" and they proceeded had a nice, brief conversation. So, my knowledge of Mr. Granger is fun but second-hand. I was lucky enough to meet a number of other familiar actors: for the sake of brevity, those are tidbits for another time.
4. How did you become a classic film fan?
Simple enough: my early movie-going saw me, like millions of lucky audience members, overawed by 70mm and stereo sound in "Lawrence Of Arabia", "Mutiny On The Bounty", "The Longest Day", "How The West Was Won" and It's A Mad, Mad, Mad, Mad World", followed up with the uber-cool of "Goldfinger"----I was captured alive. Along with entertaining my socks off, the epics of the 60s (and those from earlier years released on TV at the time) also pushed my interest in history and unleashed a desire to "go see"---much adventure travel has followed, and continues: in the past few years I've been blogging from Africa, South America and Asia as well as the States.
5. Which five films would you choose to show to someone who has never watched a classic era film before?
Now, one thing that I get asked over & over is "What is your favorite movie?" and I've gotten to the point of just saying "Oh, there's just too many to pick from", partially because all too often the person asking is so much younger than I am that there's a very good chance they won't know the films I might pick. But I'll wing it here---assuming we're talking 1930 to 1965-70? Hmmm...just five? "The Wizard Of Oz", "Gone With The Wind", "For Whom The Bell Tolls", "Ben-Hur", "Lawrence Of Arabia". See, now I could easily replace those with.................
6. Which of the Old Hollywood Studios is your favourite, and why?
It's tempting to go with Warner Brothers, since they had such a gallery of indelible personalities---Bogart, Flynn, Davis, Curtiz, on & on---and got into pictures with social issues as well as action and pep. I do/did like Fox (as in 20th Century, NOT the state regime media TV swill) and also Paramount. Which is not to knock Columbia, MGM, United Artists, RKO or Universal.
CMBA Member Profile: Kristen Winiarski of Hoofers and Honeys
The blog went through some evolution before I got to the name Hoofers and Honeys. Before that was official, I also did some posts about being a writer and then being a mom as well. After that, I focused on the classic movie piece because that was what I wanted to write about the most.
CMBA Profile: Rachel Martinez of Vintage Stardust
Costume Designers: Travis Banton and Gwen Wakeling
Makeup: Wally Westmore and William Tuttle
Hair: Helen Hunt and Sydney Guilaroff
Welcome to the CMBA Spring Blogathon: "Make 'em Laugh"
The moment has arrive! Get ready to grin, giggle and guffaw as The Classic Movie Blog Association rolls out our Spring 2026 Blogathon, “Make ‘Em Laugh,” running Monday, May 4 through Friday, May 8.
CMBA members are celebrating the joy of laughter in all its classic forms, from the glitz of musical comedies to the pratfalls of slapstick and vaudeville, to sparkling screwball repartee banter and beloved romantic comedies. Silents, international films, cartoons and comic shorts. If it tickles your funny bone, then it's fair game. We will spotlight the films and performers who remind us that laughter is timeless and wonderfully universal.
Monday, May 4:
- Realweegiemidget Reviews Films, TV, Books and More: Day for Night / La Nuit Américaine (1973)
- Crítica Retrô: The Bullfighters (1945)
- The Everyday Cinephile: The Unexpected Comedy of Raymond Griffith
- Box Office Poisons: Robert Young as a comedic leading man
- silverscreenmodes: MGM's Early Cartoon Studio
Tuesday, May 5:
- Classic Film And TV Corner: Holiday (1938)
- Classic Film And TV Corner: Trouble in Paradise (1932)
- Hamlette's Soliloquy: Blackbeard's Ghost (1968)
- Cary Grant Won't Eat You: Midnight (1939)
Wednesday, May 6:
- Silver Screenings: A Bride for Henry (1937)
- Watching Forever: Houseboat (1958)
- Cinematic Scribblings: Good Morning (1959)
Thursday, May 7
- Another Old Movie Blog: Sons of the Desert (1933)
- The Midnite Drive-In: Young Frankenstein (1974)
- The Wonderful World of Cinema: The Gazebo (1959)
- I Found it at the Movies: The Cheap Detective 1978
- Classic Film Observations and Obsessions: La Poison (1951)
Friday, May 8:
- Speakeasy: Victor and Victoria (1933)
- Whimsically Classic: The More the Merrier (1943)
- The Last Drive In: The Time of Their Lives (1946)
- Silver Screen Classics: Laughter as a Weapon: How Comedy Was Used In The Fight Against Fascism
- Dominique Revue: Pigmeat Markham
- Hoofers and Honeys: My Man Godfrey (1936)
Announcing the CMBA Spring Blogathon: "Make 'em Laugh"
Get ready to grin, giggle and guffaw as The Classic Movie
Blog Association rolls out our Spring 2026 Blogathon, “Make ‘Em Laugh,” running
Monday, May 4 through Friday, May 8.
We hope CMBA members will join us in celebrating the joy of laughter in all its classic
forms, from the glitz of musical comedies to the pratfalls of slapstick and
vaudeville, to sparkling screwball repartee banter and beloved romantic
comedies. Silents, international films, cartoons and comic shorts are all
welcome, too. If it tickles your funny bone, then it's fair game.
CMBA members will spotlight the films and performers who remind us that laughter is timeless and wonderfully universal. We can’t wait to read your tribute so polish those punchlines and get ready to make ‘em laugh!
Our blogathon is an exclusive activity for CMBA members. If you are interested in joining the CMBA, find more information on our website under "Apply for Membership."
Here's how to participate.
Choose your topic. Topic choices will be accepted in the order we receive them. Since there are so many films and people to write about, we won't accept duplicate topics, so feel free to include a second choice.
Submit your choice(s) and preferred date for posting (if you have one) by using this form. Deadline is April 29. We will confirm your topic/publication date with you and publish info on all participants on our website.
Add a banner. Choose one of the banners below and insert it in your blogathon entry. You can also use them on social media.
Post your story on the day it is scheduled to run and let us know by emailing the CMBA at classic.movie.blog.assoc@
Two important things to remember:
** This blogathon is for CMBA members only.
** Do not use AI for writing or photos. AI has its place but not here. Writing is personal to the individual. You are all so talented and we want to hear your unique voice.
If you have any questions on the blogathon at any time, please let us know.
Looking forward to reading your stories. Have fun.
The CMBA Board
Monday May 4:
- Realweegiemidget Reviews Films, TV, Books and More: Day for Night / La Nuit Américaine (1973)
- Crítica Retrô: The Bullfighters (1945)
- The Everyday Cinephile: The Unexpected Comedy of Raymond Griffith
- Box Office Poisons: Robert Young as a comedic leading man
- silverscreenmodes: MGM's Early Cartoon Studio
Tuesday May 5:
- Classic Film And TV Corner: Holiday (1938) & Trouble in Paradise (1932)
- Hamlette's Soliloquy: Blackbeard's Ghost (1968)
- Cary Grant Won't Eat You: Midnight (1939)
- The Silver Screen Affair: Bringing Up Baby 1938
Wednesday May 6:
- Cinematic Scribblings: Good Morning (1959)
- In The Good Old Days Of Classic Hollywood: Lucille Ball
- Silver Screenings: A Bride for Henry (1937)
- Watching Forever: Houseboat (1958)
Thursday May 7
- Another Old Movie Blog: Sons of the Desert (1933)
- The Midnite Drive-In: Young Frankenstein 1974
- The Wonderful World of Cinema: The Gazebo (1959)
- I Found it at the Movies: The Cheap Detective 1978
Friday May 8:
- Speakeasy: Victor and Victoria (1933)
- Whimsically Classic: The More the Merrier (1943)
- The Last Drive In: The Time of Their Lives (1946)
- Silent Cinema School: Steamboat Bill, Jr. (1928)
- Silver Screen Classics: Laughter as a Weapon: How Comedy Was Used In The Fight Against Fascism
- Dominique Revue: Pigmeat Markham
- Hoofers and Honeys: My Man Godfrey (1936)
CMBA Watchlist: Irene Dunne, Melvyn Douglas
"The Awful Truth"
Looking for new movies to watch? Here are two watchlists courtesy of movie recommendations from CMBA members who
participated in our initial Movie Club in February for "Theodora Goes Wild"
starring Irene Dunne and Melvyn Douglas. Members shared some of their
favorite films - comedy and drama - by the two actors. Enjoy!
Irene Dunne:
“Consolation Marriage” (1931), “Back Street” (1932), “Thirteen Women”
(1932), “Ann Vickers” (1933), “No Other Woman” (1933), “Secret of Madame
Blanche” (1933), “Age of Innocence” (1934), “Awful Truth” (1937), “Love
Affair” (1939), “Penny Serenade” (1941),"Unfinished Business" (1941), “A Guy Named Joe” (1943),
“Together Again” (1944), "Over 21" (1945), “Life With Father” (1947) and “The Mudlark” (1950).
Melvyn Douglas: “The Old Dark House” (1932), “Ninotchka” (1939), “Mr. Blandings Builds His Dream House” (1948), “Hud” (1963), “Being There” (1979) and “Ghost Story” (1981).
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