What do Mae West and Captain Kathryn Janeway from Star Trek: Voyager have in common? Alexandra from The Best of Alexandra sees five similarities between these two ladies.
Ernst Lubitsch’s style was often imitated, but rarely duplicated. One director who came pretty darn close was Rouben Mamoulien when he made Love Me Tonight. Marsha from A Person in the Dark is a big fan of Love Me Tonight and is here to tell us all about this “…musical box of bon bons that makes you close your eyes and say ‘my, that is perfectly delicious.'”
No Paramount blogathon would be complete without Double Indemnity. Silver Screenings offers some insights on the relationships in the movie and the significance of Phyllis’ anklet.
Even though her most well-known movies were made at other studios, Carole Lomabrd spent seven years at Paramount. Carole and Co. takes a look at some of the movies she made during her years on the Paramount backlot and why it was a rather frustrating era in her career.
This Property is Condemned may not have been a big hit for Paramount, but it was a turning point for both Robert Redford and its director Sydney Pollack. Head on over to One Gal’s Musings to find out why.
Lasso the Movies takes a look at one of Paramount’s most paramount movies, Alfred Hitchcock’s Rear Window.
Kellee from Outspoken and Freckled takes a look at The Marx Brothers’ years at Paramount Studios and how her love of Groucho, Harpo, Chico, and Zeppo helped give her the positive attitude she has today.
Critica Retro takes us back to the 1910s and 1920s to look at the some of the work Cecil B. DeMille and Mary Pickford did at Paramount.
Sometimes Paramount’s executives didn’t always know best. The Classic Screen talks about how executives were horrified when they saw what Mary Pickford and screenwriter Frances Marion had done with Poor Little Rich Girl, but it turned out Pickford and Marion were the ones who really knew what audiences wanted.
Dedicated Star Trek fan Rich from Wide Screen World takes a look at Star Trek: The Motion Picture and what it was like to be a Trekkie during the gap between the end of the original Star Trek TV series and the release of Star Trek: The Motion Picture.
Toby from 50 Westerns from the 50s is working on a book about the production of the Marlon Brando Western One-Eyed Jacks. Here he tells us about a scene that didn’t make it into the final cut of the movie.