Annabel Jessica Goldsmith

I have some wonderful news! I’ll be introducing Gregory La Cava’s Unfinished Business (1941) for the BFI Film on Film Festival whatson.bfi.org.uk/Online/default…

I’ll be undertaking a degree in film curatorship in October! Very excited. A definite change from my literature studies

Seeing UCLA’s 35mm print of Moment of Danger (1960) at the BFI in a bit! First time watching this film too

Some good news, for a change: my latest translation - of the Spanish filmmaker/ critic Victor Erice's text on the late works of Nicholas Ray - can now be read at the @Metrograph's Journal... metrograph.com/like-in-a-mirr…

Priest Donald Sutherland has a pretty chill priest style in this

William A. Wellman on rain in his films and wind in John Ford’s films. Interview by Richard Schickel for The Men Who Made the Movies

Wellman constructs some fabulous entrances for Cagney in this film. Here’s how Cagney is introduced

I think about this wonderful scene with James Cagney (#BOTD) from William A. Wellman’s Other Men's Women (1931) often

Tiger Shark, one of Howard Hawks's great early films and a template-setter, turning the three-sided triangle of A Girl in Every Port, and its suave-vs.-swagger duo, tragic; on @tcm at 8pm: newyorker.com/goings-on-abou…

It’s wonderful coming across film ephemera at boot fairs. I found this lovely booklet for Ken Russell’s The Boy Friend (1971) a few months back

Ivy Duke in Beauty and the Beast (1922)

Ginger Rogers on working with Gregory La Cava on Stage Door (1937), Fifth Avenue Girl (1939) and Primrose Path (1940). From her memoir

A new-to-me photograph of Gregory La Cava with Ginger Rogers on the set of Primrose Path (1940)

It’s fun and amusing when reading 1930s reviews of films, screwball comedies mainly, to have to go between the review and reading about which baseball player an actor’s performance is being compared to this time

Phil-for-Short (1919) Dir. Oscar Apfel

I wrote a bit about June Harlow, a 1950s burlesque queen and film hopeful who built a solid career based partially off her resemblance to her ‘aunt’ Jean Harlow—showing that being a fake Nepo Niece can carry you pretty far. open.substack.com/pub/vitaphonez…

Realised this adds to the little collection of films that feature Wellman's predilection for obscuring faces. From Albert Johnson’s interview with Wellman in a class at UCLA in 1967

The most important thing I learned from this research is that the bowling teams had quite unique names! Charles Bickford's Villains/Dead End Boys is kinda badass.

Revisited Westward the Women (1951). I do love William A. Wellman using Robert Taylor’s body as a cursing censor for Lenore Lonergan