Today, January 18th, marks my blogs first birthday and Cary Grants 112th birthday and my own  ____ th birthday.  ( A-hem! ) Theres a slew of other CAPRICORNS born today too. I say were ALL keeping rather good company this day.


This weekend I am hosting my first-ever blogathon: “CLASSIC SYMBIOTIC COLLABORATIONS: The Star – Director Blogathon.” I cant wait to receive and present the bloggers and their posts here at CineMavens Essays from the Couch. Click on the silhouette above of one of the most famous collaborations, Hitchcock and Cary Grant to see the roster.

GEORGE CUKOR - THE DIRECTORTHE LIGHT THAT FAILED ( I )First let me give you my two guest writers: First up, Trudy Ring writing about director George Cukor in her piece: ‘George Cukor & the Men in His Life’ in conjunction with this week-end’s blogathon. Also, in his cute little corner  of my blog, go to Fernando’s Corner where he writes one of his pithy reviews on a William Wellman classic, The Light That Fails starring Ronald Colman and the subject of my choice in this blogathon: Ida Lupino. All you need do is click on the photos above.

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My own entry for my blogathon will look at the movies a two-fisted director makes with a powerhouse actress:IDA LUPINO COLLAGE

At first blush this might sound like a rough sexist remark. But its RAOUL WALSH folks. No babies allowed. Anything this rough and tumble director dishes out to Cagney or Gable or Bogart or Flynn or Mitchum or Kirk or Holden he could dish out to IDA LUPINO and shed be just as capable and powerful and successful. Walsh had a long career before he crossed paths with Ida. But he first crossed paths with a jackrabbit during the making of “In Old Arizona” which resulted in the car accident that cost half his sight. By career’s end though, Walsh had his hand in many genres including: westerns, musicals, war movies, drama or action adventure; with an eyepatch over his right eye.


LUPINOIDA LUPINO ( DIRECTOR )Ida Lupino’s movie career started in 1931 but she’s not new to show business. Her family’s last name ~ Lupino ~ stretches back to the 17th century, as her Italian fore-bearers (Luppino) were puppet makers who emigrated to England and continued to work in the theatre. I’d say 1939 was the year that Lupino’s career really gained traction with The Adventures of Sherlock Holmes” and especially “The Light That Failed.” Her characterizations and career at this point are generally associated withIDA LUPINO ( DISH ) Bette Davis…sometimes rather ungraciously known as “the poor man’s Bette Davis”. That’s so unfair. Lupino was her own person. Lupino adds another weapon to her arsenal of talent. When the director of the script she wrote ( “Not Wanted” ) became ill, Lupino went behind the camera to direct it. This started, in effect, a parallel career path for her as a director. 

Walsh and Lupino team up three times in the 1940’s: “They Drive By Night”, “High Sierra” and “The Man I Love.”  Walsh 


certainly puts Lupino through her paces as a woman in love with men she’ll never really have. And Lupino had it in her to make each woman very different in each of her films. So lets look at the three films these two powerhouses made together:


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IS this the face of a girl who might scratch your eyes out.


Mount Vesuvius ain’t got nuthin’ on Ida. She’s volcanic!!!

This section will be full of spoilers because if you havent seen “They Drive By Night” already, kid…I cant help you.


Click photo for trailer…

I unequivocably and unqualifyingly LOVE this movie. What a great cast. Naaaaah, wed never see the likes of a big-named cast all in one film today. ( No, I’m not counting that vanity project of sequels: “Oceans 11” “Oceans 12” and “Oceans 15 To The Nth Power.” ) For me, this is one of Warner Brothers best Warner Brothers hijinks at their hi-jinxiest doing what they do: a film peppered with character actors allowed to do their thing.

Here is the first meeting of Raoul Walsh and Ida Lupino and gets a blistering performance out of her. She spits out her lines like a crackling


whip. Ill get into Ida in a moment.  Walsh seamlessly melds two movies into one with “They Drive By Night.” On one hand you have the testerone of Raft and Bogart, truckers who haul freight up and down the California coast. THEY DRIVE BY NIGHTThey fight to get paid, and fight to stay awake on the road. Walsh also gives you the romantic angle. A young couple falling in love and ex-lovers who dont end amicably. Walsh handles both tones with equal aplomb. I thought Raft was a pip in this role. Smart, confident and those mascara-looking smoky eyes of his. Yea! I love his scenes and banter with Ann Sheridan. Shes a swell dream girl of a leading lady for him (and any leading man). It’s interesting for me to see the same actress play a nice girl (Kings Row1942 ) and then a diva ( “The Man Who Came to Dinner1942 ) or vice versa. I like knowing that they all can ramp it up…or coooool it down.

But for me, “They Drive By Night” is strictly Ida Ida-Idolize Ya-Lupino.


I think she was driven to murder. All men should know by now that hell hath no fury like a woman scorned. Especially when you twist the knife. And pour salt in the wound. Whaddya expect? What would YOU do if you married Alan Hale on the rebound from being with George Raft? ( See…she doesnt seem so crazy now, right? ) Before Ida goes down in flames,  she’s tart, full of fire, pepper and vinegar.IDA LUPINO ( THEY DRIVE BY NIGHT ) I can see why shes ready to step into the Queen of the Lot’s angry lethal little shoes at the drop of a gun. (  The queen of the WB lot? Why, Bette Davis you silly goose! ) In fact, this movie is a bit of a re-make of an older Bette Davis film: “Bordertown” with the same Mad as a Hatter courtoom breakdown scene.   In “They Drive…” Lupino marries the big lovable blowhard, Alan Hale, but wants to rekindle her affair with our Georgie. He wants none of it since hes been dating “that redhead.” I like Georgie’s faithfulness, but was a teensy miffed at him turning the salty dagger into her heart every time he passive aggressively said “Mrs. Carlsen.” ( Ow!!! ) Too much to ask to take her out to a nice dinner and explain that Hale is his friend and hes really interested in making a go of it with the Oomph Girl? Yea. Too much to ask. But…the better the fireworks for us in the audience!


LUPINO ( THEY DRIVE BY NIGHT ) IIIHer mad scene, over the top? Well…maybe just a teensy weensy leeetle. But I’m getting ahead of myself. Raft’s scenes with Lupino snap, crackle and bites. I think she’s such a consummate actress she keeps him on his toes. Gives-better-than-she-good-gets. And yes my favorite scene in the entire movie is when Raft totally drop kicks Ida’s heart. He tells her hes marrying Ann Sheridan. She…is…pissed. And she really turns up the heat. One fiery Lupino, comin’ right up!!! She tells Raft where to get off. And believe me, he wants to go. I wait the whole movie for this scene to watch Raft bolt for the door and say “I’m gettin’ outta here!” Great line reading too. These will read like mere words on a page to you, but I urge you to find the film and check out their big confrontation scene. Their eyes are locked the entire scene. Theyre in it together. Lupino starts slowly and ramps it up to a fiery finish:


LUPINO: “If it weren’t for me you’d be kicking trucks up and down the coast. I get Ed to take you off the road. I put that clean collar around your dirty neck. I put those creases in your pants. I’m the one that put that money in your pocket. What makes you think you can walk out on me!”

RAFT: “I came here on a business deal. And I’ve done alright for you as well as myself.”

LUPINO: “Don’t talk like a fool. I walked you right into a company that was set and established. I gave you Ed’s insurance money to buy new trucks. I could’ve picked any one off the streets who could add two an two togethr and they’d have done just as well!”
RAFT: “Well anytime you don’t like the set-up I can always check out.

LUPINO: “Well you’re not getting out. You belong with me and you’re going to stay with me. And if you don’t like it now you’ll learn to like it. Only you’re not going off and marrying that cheap redhead.”

RAFT: “I’m marrying Cassie and I’m not asking anybody what they think about it. That includes you!”

LUPINO: “She hasn’t any right to you. You’re mine and I’m hanging on to you. I commited murder to get you. Understand? Murder.”

RAFT: “What?

And the scene continues with Lupino going through a myriad of emotions as she explodes. Fury, pity, bargaining, begging, threatening. She spits out her lines with venom. Id have loved to see her work with Cagney or opposite Bette. Last Man Standing.  Fellas, you want to see a woman scorned? Better to check out Ida here than face her in person. She loves hard, murders hard and goes down hard. Here’s the trial scene:


She gets you because she winds up not hard and brittle, but a broken pitiable young woman. In his first film directing Ida Lupino I think Walsh sees she is willing to go there. Hes got a comet by the tail. She commits to a characterization. And youve got to remember, these actors aren’t doing this in a vacuum, behind closed doors. It is Macys window…on set with cast and crew and lights and booms. Walsh gives Lupino his gaze, his camera. When he works with her next time, Walsh swings the emotional pendulum all the way in the opposite direction. Just remember where they both left you off:


POINT OF REFERENCE: Where Lupino was in her career:

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LUPINO: “Poor little fella. Got no home. Got nobody, have you?”

BOGART: “Of all the 14-karat saps. Starting out in a caper with a woman and a dog. If he spoils this job, I’ll–”

LUPINO: “Oh you’re full of talk. I think you’re glad.”
[ He smiles. ]


Boy, this poster is all over the map here in representing the movie, butHIGH SIERRA is the second collaboration between Lupino and Walsh and he winds up with a pip of a performance from her. ( After you see how she rips George Raft to shreds in “They Drive By Night” the year before, this may be a welcomed relief. ) She plays Marie who has put in her lot with this motley crüe of mamalukes headed by Roy Earle, played wonderfully by Humphrey Bogart. Bogart is on his way to coming into his own in a big way with this film. Hes a few months away from “The Maltese Falcon” and a year away from “Casablanca” ( 1942 ). The movie feels like a Greek tragedy to me in the scope of folly that befalls many of the characters. They just cant get out of their own way.

Gang includes Cornel Wilde, Arthur Kennedy and Alan Curtis

Walsh shows Lupino’s more vulnerable side in this crime drama. In fact, I think Maries story aligns itself most to the little dog Pard who appears in the movie. Marie, like Pard, is sort of kicked around, could be left behind at any moment and picked up again…maybe. It’s tough to see it happen to a cute little pup, and when its in human form it especially hits you in the gut. Marie often advocates on Pards behalf. If only someone would advocate for her.

There are tangential storylines that surround a big heist Roy and his boys are going to pull. They all seem to involve people not getting what they want. Red ( Arthur Kennedy ) and Babe ( Alan Curtis ) fight over Marie. Marie loves Roy but hes in love with a sweet little crippled girl named Velma ( Joan Leslie. ) Warnings go unheeded. Ships pass in the night.


HULL:     “But Roy I’m giving it to you straight. You’re just sticking your neck out. She’s not yourkind and youknow it. And she’s gong to throw an awful fit when she finds out what kind of a guy you really are.”

BOGART: “Yeah I know.”

HULL:      “You may catch lead any minute. What you need is a fast-stepping young filly you can keep up with. Remember what Johnny Dillinger said about guys like you and him? He said you were just rushing towards death. Yeah that’s it. Just rushing towards death.”


But who takes advice when theyre in love. In this film, as in Walshs The Roaring Twenties, both heroes fall for a girl he aspires to be worthy of, but who really is not meant for him. For a man just out of prison, Bogart’s Roy is a gentle man. Oh he’ll pistol whip you if he has to, no doubt about his toughness, but we see he has heart. He tries to help Velma. He smacks around the guys who rough up Marie. He has nightmares. Marie wants to take care of him. She can also relate, like him, to wanting something better. They are two damaged people who don’t know how to get what they want. She tells her story of leaving an abusive home life and dime-a-dance joint she worked at:


“…When Babe came along I crashed out again. I thought Babe was the right guy. I guess I was never really hooked up with any guy that wasn’t wrong. So I had nothing to go by… ‘till I met you.”


She takes a whole bunch of slings and arrows in this movie point blank, and every one of them goes straight through our heart. She kneels by her cot crying. When he goes to find out what’s wrong, it’s just heart-tugging the way she puts her arms around him, like a child, begging him not to send her away. ( Ack! ) Whereas she feels she’s found better with Roy, though he still thinks he can do better with Velma ( not going to happen, my friend ) and he tries to let Lupino down easy:

“Listen. Listen to me. I’m giving it to you straight. I got plans see. Theres no room in them for you. You could never mean nothing to me. Nothing special that is. You know what I mean.”

JOAN LESLIE ( HIGH SIERRA )She accepts these crumbs. You want to bop him on the head, and take her for an ice cream soda. Nothing works out for almost anyone in the movie, and thats the tragedy of it all or the Walsh of it all…or the irony. After all, these are bad guys shooting and stealing. Were wishing for them to be happy? Walsh makes you feel for them. What a scene this is when Roy visits Velma for the last time, to be able to see her walk, and dance…with an old boyfriend. Marie’s right there to witness the takedown. She and Velma give each other that subtle once-over to see how each of them measures up against the other. It’s all hurtful, painful and sad to see. And the boyfriend? Its 30’s actor John Eldrege. JOHN ELDREDGE? No woman ever picks him. 


The inevitable happens in the movie, but Ive left you enough plot points to unfold for you if you havent seen this before. Walsh lets Lupino have the last moments of the movie.  He holds the camera on her, and she holds you by the heart. Lupino walks a razors edge between neediness and cloying. ( I think of Jean Hagen in The Asphalt Jungle.” ) Desperation makes you want to run away from her. But she makes you want to take her because you know shes got your best interests at heart. Wordlessly, just before the fade-out, she shows the sadness and happiness for Roy. All she wants is the best for him. He was finally able to crashout. 


POINT OF REFERENCE: Where Lupino was in her career:


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The last time Walsh and Lupino team up will be in 1947. They both have done a couple of films in the meantime. She’s done Out of the Fog” The Sea Wolf” and The Hard Way while Walsh has  They Died With Their Boots On Objective Burma! The Horn Blows At Midnight under his belt. 

LUPINO ( MAN I LOVE ) POSTERThe Gershwins ( George & Ira ) helmed the famous song The Man I Love that the Lupino movie is based on. I love her in this movie. She is nice but tough in the role of chantoozy, Petey Brown. ( What is it about these ol’ classics making a gal a nightclub singer? Pardon me…a chanteuse. ) It sure does put her in the path of unsavory types. I like her Petey Brown; she’s friendly and sassy. She’s good natured, has a good sense of humor and lots of common sense. She meets her little six-year nephew again after a long absence and has this exchange:

Lupino: “You didn’t have that black eye the last time I saw you.”
Nephew: “You didn’t have that color hair the last time I saw you.”
Lupino: “Smart kid. Doesn’t take after anyone in our family.”

Great line reading from that kid too. She’s a pal, but if she has to tell you about yourself, she will…though NOT in the blistering way you know she can tear into you. She’s the head of her family of three siblings ( a no-good kid brother [ Warren Douglas ], a very pretty wallflower [ Martha Vickers ] and a sister who looks like Irene Dunne in “I Remember Mama” [ Andrea King ]. ) She dispenses with the quips and good advice, but takes little of it herself. She lands on her feet…even it sometimes it IS a hard fall.

She scores a job at a nightclub in Long Beach California run by swarthy. large hands, tough guy Nicky Teresca ( played pretty well by Robert Alda. ) He falls for her immediately because you know…Ida. He keeps making a play for her but she rebuffs him several times. She’s not scared of him. Maybe that’s the turn-on for him:


Lupino: “Quite a joint you have here.”
Alda:     “You must be new in this town.”
Lupino: “That’s right. Not a bad town either. In fact, the more I see of it , the better I like it.”
Alda:      “Is that right.”
Lupino: “That’s right.”
Alda:      “I think maybe you ought to stick around.”
Lupino: “You think maybe I should?”
Alda:      “I think maybe this town could do a lot for you.”
Lupino: “I think maybe I can do a little something for this town. I’m sort of handy to have around.”

Alda:      “Yeah? You might be at that.”
Lupino: “I know quite a few things and I sing.”
Alda:      “Oh so you’re a canary too?”
Lupino: “Some people like it. Care for a sample?”
Alda:    “Sure go ahead. I’ve got nothing to lose. It’s about time for the joint to close anyhow.”
Lupino: “Thanks. Want to come up and introduce me?” Alda:      “Uh-unh. I hear better from back here.”
[ She stands and he’s about to stand as well. ]

Lupino: “Don’t strain yourself. I know you’re a college man.”

She falls for a big lug, ex-musician ( played by Bruce Bennett. ) I know folks talk about George Brent being sort of blah ( not me, I love Georgie Porgie. ) But Bennett has got him beat by a mile. The script saddles her with tall brawny lump o’ clay. ( And though I accept whatever casting movies give me because I have no choice, I still reserve the right to comment on it. )


It’s love at first sight as Lupino bails Bennett out of jail for something her brother’s done. He’s not grateful. He’s glum.  He’s been heartbroken by a dame already. ( Their word, not mine. ) He’s not emotionally available. Not that that matters. Lupino goes for him in a big way right then and there on the steps of the police station as the clock strikes the New Year. It’s all in Lupino’s eyes. Moist and melting. These two are both world-weary, but he plays hard to get…she leads with her chin. But they do get to know each other. She connects with him on an emotional level through the music. I could watch Ida just LISTENING to her fellow actor. Walsh keeps the camera on her as she listens to Bennett play…so good, subtly, breathlessly breathing in his playing “The Man I Love.” She so sells it. Dang, I even almost had a ‘moment.’


He tells his sob story and she takes it in.

Lupino:  “It’s funny how people always try to change each other. It doesn’t add up, does it…I might’ve known it’d be a dame. Nothing else makes a guy cave in like that.”
Bennett: “She walked out. I tried to forget her by sticking to the music but I cracked up. Didn’t have it anymore.”
Lupino: “She put you through the ringer, didn’t she? I wonder what women like that have got.”
Bennett: “I don’t know. But she had it, whatever it is. Well I hopped a tramp steamer. I didn’t care if I touched a piano again.”
Lupino: “You certainly worked hard at running away from yourself haven’t you? And you’re still unhappy.”
Bennett: “Who’s looking for happiness?! At the present time, my life’s a comfortable blank and that’s okay with me. Maybe now you’ll understand why I didn’t want to see you again.”
Lupino:  “Then why did you?”

Why, indeed.


See how the rest of this plays out for Lupino. This is a great script from Catherine Turney who also wrote “My Reputation.” ( Please read here guest writer Trudy Ring’s account of this Stanwyck film. ) You might read this as a woman’s picture, but that too wouldn’t do justice to Lupino and Walsh’s efforts. And nothing is wrong with using the terminology but it has so much negative sissy baggage to it. In Lupino’s previous fare with Walsh, the boys took the lead, Bogie and Raft. But here she’s the star and gets the big build-up. Walsh guides her with a steady hand. This is no treacly treatment of women.

Cast includes: Warren Douglas, Andrea King, Dolores Moran and Don McGuire

The movie has a soupçon of The Best Years Of Our Lives” what with the shell shocked vet angle played by John Ridgely. ( Hey, this is Warner Brothers and you can’t have a Warner Bros. picture go out without the requisite and ubiquitous appearance by John Ridgely. ) It also shows different types of women; the homebody wife, the hot-cha wife whose bored and wants to be out of the house ( Dolores Moran fills that bill nicely – youve got to check her out on IMDB…what a life! ) with not one maternal bone in her body. And of course, theres the independent gal. Ida Lupino gets an emotional going over in this, but she’s not all self-sacrificing and weepy. You’ve got to see this whole movie to see how it all pans out for her. I also invite you to go to Sister Celluloid’s blog and read her write up of “The Man I Love” for last year’s 1947 Blogathon to get the full skinny on the entire movie. 

POINT OF REFERENCE: Just so you can see where Lupino was in her career:

  • 19th century poet Emily Bronte in Devotion” ( 1946 ) 
  • Nightclub singer Petey Brown in The Man I Love” ( 1947 )
  • Backwoods girl Libby Saul in “Deep Valley” ( 1947 )


I enjoyed the three films Walsh and Lupino made together, and I feel there is a chemistry between these two. I wholly recommend you check these films out ( and others the pair made separately. ) This is my entry for Classic Symbiotic Collaborations. Please check my blog this weekend. You can read more entries for the Star – Director Blogathon then. Thanks for reading.


[   H O M E   ]



30 thoughts on “LUPINO and WALSH

  1. Happy Birthday! As the mother of a Capricorn I stand back in awe of their independent tenacity.

    Come to think of it, you mountain goat types are a pretty good symbol for Ms. Lupino and Mr. Walsh. An outsider might think they would bash heads, but no. They walk those fine trails that nobody else can see, reach their goal and look back at the rest of us clinging to the brush at the bottom of the hill.

    If you haven’t seen it (I caught it once on YouTube), check out the 1935 version of “The Glass Key”. George Raft is the lead and in a tiny, yet showy role as a nurse, is Ann Sheridan. The first time I saw it I nearly burst into tears at the sight of Joe and Cassie together again for the first time.

    Liked by 1 person

    • Thank you for the birthday greeting, Paddy. I love my sign ( Capricorn ). I don’t know how independently tenacious I am…but I do work at a thing until I get it. I’ve not seen the ’35 version of “The Glass Key.” I need to. Thanks. And thanks for reading. Take a gander at the blogathon this weekend.


  2. T, you leave me speechless with your writing and at the same time anxious to get together and talk with you endlessly! You weren’t kidding when you said “I love movies, what can I say?” Well you can and do speak volumes and every word worth listening to, and how!

    Liked by 1 person

    • I do love movies, Marvin. I feel emotional about them. Make no mistake, there are movies I don’t like. But in general the idea of movies…is the thing I love. Thanx for stopping by.


  3. This has just made it even more clear to me that I need to watch more Ida Lupino films. I actually caught one of lesser-known works the other day and was quite taken with her — Escape Me Never with Errol Flynn. It’s a nice little melodrama with Gig Young as Flynn’s brother. Not the best stuff, but I would never say no to watching Flynn and Lupino. Fantastic, thorough post, as always.

    By the way, here’s my own post for your blogathon:

    This event promises lots of exciting stuff! Thanks for hosting it!

    Liked by 1 person

    • Hello Michaela. TCM had “Escape Me Never” on a few weeks ago and I also had to do a double take on Lupino’s performance. She’s an unsung treasure. I’m glad you enjoyed my post.

      Thank you for your Star-Director entry. I’ve got it and am incorporating it with the others. You should see it when you wake up Saturday morning. Thanks again!


  4. Happy belated, Theresa! I might have known you were a Capricorn…cool bunch of folks. I agree that is seems like Walsh & Lupino got along like a house on fire. I feel like she was what my auntie would have called “a tough broad” (you’d have to be as a woman director, up to and including now). Cool seeing ESCAPE ME NEVER mentioned in the comment above, It’s a fave. Lupino & Flynn were good friends in real life, as were Flynn and Walsh.

    Liked by 1 person

    • Hey Paula … thanks for the birthday wishes. Oh I can believe Ida was a tough broad. All those gals back then probably had to be ( with varying degrees of edge / softness ) to deal with the moguls and the Suits who were mainly interested in the bottom line. ( Or their bottoms. ) But I’ve seen photos of Lupino on set laughing, so I also get a feeling that she might’ve been a pal too.

      I really have to give “ESCAPE ME NEVER” another more concentrated look. Thanks for reading. And if you have time ( and are feeling better ) I hope you get a chance to check out my blogathon.


  5. Your reviews are SO fun to read. I’m sad to say that Lupino’s career has mostly drifted past my vision over the years, but that won’t remain so for long. So little time, so many movies, right? I absolutely love a film with a tough, complex lady at the core, so I’ll undoubtedly have a blast with these.


    • Thanks a lot Sarah. I try to be entertaining but this is just how my mind is bent. I love Ida. She’s fiery in “They Drive By Night” but she absolutely breaks you down in “On Dangerous Ground.” She has range and can ramp up or tamp down those emotions. I like her a lot and still have to delve into her work some more. Thanks for reading and commenting.

      Liked by 1 person

  6. I really enjoyed your post! I have got to see They Drive by Night and right now! I want to see Ida tangle with Raft-and man! That courtroom crack-up gave me chills! I had not seen Ida in such an intense part before. She should have been nominated for something for that role! What a great cast, too. I’ve seen High Sierra, and yes, Lupino does it right as the waif of a young woman who falls for Bogey’s character. Incidentally, I tivoed off of TCM the silent version of the film, Rain. The silent version is Sadie Thompson and Raoul Walsh directed it and acts in it-his co-star is Gloria Swanson. If you can find it, it’s worth it to see Lionel Barrymore as the pompous minister turn into the lusting minister after Gloria’s Sadie gets to him. It also doesn’t help that Lionel’s character is saddled with a wife that looks 20 years older then he does!!

    Liked by 1 person

    • You have me cracking up here Jenni. ( “It also doesn’t help that Lionel’s character is saddled with a wife that looks 20 years older then he does!!” Awmigawd. ) I’ve not seen “RAIN” with Swanson, and just recently learned Walsh did some acting. ( I did see the two versions of “The Letter” if I can get credit for Bette Davis and Jeanne Eagels. ) Yes, you MUST see “They Drive By Night.” That scene between Raft and Lupino is truly intense. I just like that Ida goes there…goes where she has to go. And you want to follow her. Thanks for reading…and thanks for WRITING.

      Liked by 1 person

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  8. “The Man I Love” is the only one of the three that I haven’t seen, but I LOVE the other two. Ida Lupino is the big draw for me in both these films – Humphrey Bogart who?

    I really dislike Ida being referred to as a “poor man’s Bette Davis”. What nonsense! Like you said, Lupino is her own woman and has SO MUCH talent to boot.

    I liked that you said about Ida committing to a character, and performing in front of extras and a whole film crew. That would be tough, but she makes it look so easy.

    Great post, Theresa! I’ll be sure to add “The Man I Love” to my movie-watching list. 🙂


    • Thanks Ruth. DO see “The Man I Love.” Ida’s easy-going in this one. She leads with her chin for that big lug Bruce Bennett. There’s not a lot of edge to it, but you can always find some edge in Idas other films. Thanks for reading Ruth. ( I like “The Hard Way” and have you seen “On Dangerous Ground”? )


  9. Fine take on the Lupino Walsh collaboration, Theresa! My theory is that Ida isn’t properly represented or remembered is that she was less star than actress. Some people (Davis, Crawford, Stanwyck, Rogers, Loy, Taylor and many more) were both, and some were stars not actresses (Zsa Zsa, anybody?) I think it’s a mesh of temperament and circumstance.

    But I would bet money that Lupino would take a smaller, more interesting role over a star vehicle. Mary Astor and Joan Blondell, and Glenda Farrell also fall into this category. They could do anything acting-wise and made every movie they appeared in better, but they never got the star treatment, or seemed to care about the glamour.

    My own take on The Man I Love is that Petey is sort of a Woman Who Loves Too Much (you may or may not remember this pop psych idea from the early ’90s, or was it late ’80s?)—she goes cross-country to take care of her effed-up, ungrateful family, and she can only fall in love with a guy who can’t love anyone. People now would say she has a self-esteem issue. But that’s so reductive. Petey is a giver in a taker’s world, and she seems unable to want anyone who would want her (or want to be part of any club that would have her as a member).

    Got to see Walsh in the flesh at a film festival in the mid-’70s. At the time I didn’t know who he was, but he was imposing as all hell, and I remember seeing Roaring Twenties and High Sierra for the first time. I’ve had a soft spot for the old ruffian ever since…

    Thanks again for running this swell blogathon!

    Liked by 1 person

    • Hi Lesley. I’m inclined to agree with you about 1200%. ( L0L! ) And you say it very well too. I daresay Ida would take a part that was smaller but more challenging for her as an actress and find that rewarding. I liked your classification of actresses there. ( Awmigawd…Zsa Zsa. How do you think this classification played out in getting reservations at the Brown Derby or El Mocambo? ) She, like Astor, was a character lead actress.

      Yes I remember that “Woman Who Loves Too Much.” And that is a flaw in Petey’s character ( Miss Fix-It ) but it does read at being caring. At the very least she’s not killing anyone.

      You got to see REAL LIFE? Man. I’m impressed. Glad the blogathon came off well. I worked hard on my end. But it’d be nothing if no one wanted to enter. Thanks for your piece on Bogie and Huston. I hope to get to that soon. Hey, I’ve got a week before the next round of blogathons get underway. Hmmm let’s see…there’s this Kissing Blogathon and…


  10. Must admit, though I really like them both, I’ve tended to focus on Bogart rather than Lupino in both ‘They Drive By Night’ and ‘High Sierra’, and saw the little dog in the latter as expressing his vulnerability – but interesting that you say the dog reflects the life Lupino’s character is living, too. I also drew a comparison between Joan Leslie in ‘High Sierra’ and Priscilla Lane in ‘The Roaring Twenties’ in my piece.

    Enjoyed your piece and the whole blogathon! Great stuff.


  11. Sooo…I’m going through all of last years blogathons I participated in and make sure I read and comment on all the hosts posts, something I often forget to do.

    First of all, so that’s what happened to Walsh’s eye! And interesting info about Lupino’s last name!

    The only film of these three I’ve seen is High Sierra and it is the favorite so far of the few films of hers I’ve seen. The other two films sound fascinating though so I will have to check them out!

    Thanks again for hosting this Blogathon!


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