Friday, April 14, 2017

CMBA Blog Profile: The Blonde At the Film

The CMBA profiles two classic movie blogs per month. Today we're featuring Cameron from The Blonde at the Film.

Cameron from The Blonde at the Film is like a gemologist who examines precious stones and determines their worth.

Her site evaluates a film and, much like a jeweler, places it in a setting to show us its unique characteristics.

Cameron provides an impressive amount of research, which helps readers see why so many classic films are noteworthy. Her research also highlights social conventions that reflect the times in which these films were made.

She's enthusiastic about classic Hollywood films and actors, especially when it comes to Esther Williams.

"With classic films," she says, "context is key, and this is especially true with a star like Esther Williams who was so 'of her time' and whose movies can seem dated and only 'classic' in the academic sense (though I disagree, of course!). I tried to make Williams and her movies more accessible and relevant by showing what a talented athlete she was and that it wasn’t so crazy for MGM to come calling."

You can read Cameron's post on Esther Williams HERE.

CMBA: What sparked your interest in classic film?
The Blonde at the Film: When I was really young we didn’t have cable, so we would go to the public library and borrow kid-friendly shows and movies for my sisters and I to watch. One day when I was four years old, we brought home a VHS tape of That’s Entertainment! (1974). I was hooked immediately—I loved it so much that my mom recorded my delight in my baby book! My obsession with classic Hollywood was born that day and only grew as I exhausted the library’s collection before moving on to my local Blockbuster and then TCM. Looking back, I think That’s Entertainment! was the perfect introduction to classic Hollywood for a little kid who had never seen black and white movies or old musicals. The bite-sized excerpts helped acclimate me to the “strangeness” of old movies and also helped them seem less foreign; for example, by the time I watched Broadway Melody of 1940 in its entirety, I had already seen Fred Astaire and Eleanor Powell dance so there was some built-in familiarity.

CMBA: What makes a film a "classic" in your opinion?
The Blonde at the Film: As many of my fellow bloggers have said, I have two definitions: the first is the academic designation that dates “Classical Hollywood Cinema” from 1917-1960 according to the studio system’s rise and fall (but my heart belongs to the films made between 1934-1960, though I love reading about early cinema and silent films). I’m fascinated by the studio system, so that definition of a “classic” is useful to me. The second meaning is the more personal idea of movies that remain timelessly wonderful no matter when they were made. I love writing about those films, but I also enjoy taking another look at movies that haven’t necessarily worn as well. They might only be classics in the first sense of the word, but I think it’s interesting to examine what made them popular, or entertaining, or unusual at the time even if they aren’t in the canon today.

CMBA: What classic film(s) do you recommend to people who say they hate old movies?
The Blonde at the Film: I actually think about this a lot because one of my goals is to make classics accessible and entertaining for people who are new to Old Hollywood or even predisposed to dislike old films. I’ve had good luck recommending Casablanca (1942), Roman Holiday (1953), Stagecoach (1939), and Singin’ in the Rain (1952). Those films continue to astound me by how relevant, entertaining, and moving they are even to people watching a classic for the first time. They’re just great films! 

Once I’ve got someone on the hook, I might try Double Indemnity (1944), The Lady Eve (1941), The More the Merrier (1943), or Bringing Up Baby (1938), but only after the person has eased into Old Hollywood or at least seems interested. I’ve found that those movies can be almost too “weird” or “difficult” for someone who is already prejudiced against classic films.

CMBA: Why should people care about classic film?
The Blonde at the Film: Classic films are a huge part of our history and cultural heritage. Hollywood ruled the world’s screens and influenced other national cinemas, art movements, technology, and almost every aspect of culture. To dismiss classic movies is to ignore an incredibly powerful force and rich art form. Also, they’re absolutely fascinating from a historical point of view. I try to demonstrate that in my “History Through Hollywood" series, which are some of my favorite posts to write. For instance, I had no idea that Prohibition essentially destroyed the American wine industry until I looked into why characters in old movies drink so many cocktails but so little wine. You can learn so much about our past through old movies, which is one reason I continue to be obsessed with classic Hollywood. And last but not least, so many classic movies are absolutely amazing films and are worth attention simply for their entertainment value!

CMBA: What is the most rewarding thing about blogging?
The Blonde at the Film: Blogging has been great because it keeps me researching and writing about some of my favorite things, pushes me to keep watching and learning, and puts me in contact with other bloggers and readers who love old movies, too. The community is really wonderful!

CMBA: What challenges do you face with your blog, and how do you overcome them?
The Blonde at the Film: Sometimes there is just not enough time! I try to stay consistent and active by setting a post calendar for the next few months and having a few finished posts waiting in the wings, but of course that doesn’t always happen and I end up scrambling! I find it helpful to have a few different types of posts available so that when I can’t devote the time to a traditional review or a “History Through Hollywood,” my longest, most time consuming posts, I can write about classic movies available on Netflix or do a “Great Classic Films” post for an upcoming holiday. 

CMBA: What advice would you give to a new blogger?
The Blonde at the Film: When you're first starting, I think it’s really helpful to spend some time looking at what is already out there. Then you can zero in on your niche and what you do that’s different. But don’t get overwhelmed if you don’t know what your “thing” is—your blog will evolve over time and you’ll figure out your focus. And don’t get discouraged if you feel as though you’re shouting into a void. No one read my blog for months and months, but if you keep posting, keep refining your style, and keep interacting with other bloggers online, you’ll find readers. Also, proofread! It takes a lot of time, but makes a big difference.

Thank you for joining us, Cameron! You can visit The Blonde at the Film HERE.

Friday, March 31, 2017

CMBA Blog Profile: Silver Scenes

The CMBA profiles two classic movie blogs per month. Today we're featuring Constance from Silver Scenes.
Silver Scenes is like a treasure hunter, uncovering little-known jewels overlooked by popular culture.

"Our focus is on underrated films, British classics, and rare television shows," says Constance, who curates the site with her sister, Diana.

This engaging site offers more than film reviews. Constance and Diana feature books, mini biographies and a new series entitled "Did You Know...?" that uncovers little-known facts about classic movie celebrities, such as Jane Russell and her singing quartet.

Yet, Silver Scenes has an overriding passion for lesser-known films, such as Above Suspicion (1943).

"This is a perfect example of the type of film I love to write about most: underrated gems," says Constance. "This MGM production often gets mixed reactions from critics, but since I rarely pay attention to critics, I just wrote about how entertaining Diana and I found the film to be."

You can read the review of Above Suspicion HERE.

CMBA: What sparked your interest in classic film?
Silver Scenes: My sister and I grew up watching classic films so they have always been a part of our lives. Chitty, Chitty, Bang, Bang (1968), The Gnome Mobile (1967), and Blue Hawaii (1961) were some of our special favorites as wee ones, and then our dad introduced us to all the films he grew up with and loved : The Ghost and Mrs. Muir (1947), To Catch a Thief (1955), the Ray Harryhausen pictures, the Doris Day/Rock Hudson comedies, etc. However, it wasn't until we were in our teens that we started exploring films of the 1930s and 1940s on our own. Now, we just need something to spark an interest in modern films! 

CMBA: What makes a film a "classic" in your opinion?
Silver Scenes: If a film was made before 1970, than in our book it's a "classic"...regardless of how good or bad the film is. A better definition of a true classic is a film that generations of fans have enjoyed (it holds up well over repeated viewings) and one that features all the elements of a great film (good acting, great script, great production). Fortunately, classics are plentiful. 

CMBA: What classic film(s) do you recommend to people who say they hate old movies?
Silver Scenes: It depends on what interests that person has. Our uncle loves action/adventure films, but rarely watches "old movies", so, every time he visits us, we introduce him to a classic in that genre - King Solomon's Mines (1950), The African Queen (1952), The Time Machine (1960), Marooned (1969), Airport (1970). He's loved them all, so far! 

If a person has an interest in a genre (e.g. sci-fi, musicals) they should be able to enjoy all films in that genre, regardless of the year it was made. I think too many people put a limit on the entertainment available to them. Disney Corporation is very clever : their DVDs never state the initial release year. Children would probably refuse to watch any of the Disney classics if they knew what year they were made! 

CMBA: Why should people care about classic film?
Silver Scenes: Ah, now this question is dear to my heart. Classic films are a reflection of America's history (any country's history, for that matter). No other medium captures the speech, the dress, the interests and the lifestyles of the people of every era like film does. Old movies give us viewers a comprehension of these people and the events of the past 100 years that a history textbook could never offer. 

Also, films expose you to different viewpoints, making you see things from a fresh perspective, and to different modes of living, whether it be suburban life (Good Neighbor Sam), houseboat living (Dear Brigette), the elite Continental life (The Pink Panther, James Bond), or life in rural Britain (Whistle Down the Wind). Classic films constantly ring forth the idea that there is a world out there meant to be tasted and enjoyed!

Want more reasons? Pardon our promotion, but we wrote a post about this very topic: What Have We Not Learned from the Movies?

CMBA: What is the most rewarding thing about blogging?
Silver Scenes: The knowledge that one of my reviews may introduce a reader to a film they never considered viewing before....or one they simply did not know existed. The same "Top 100" classic films are constantly garnering attention while hundreds of lesser-known, but equally entertaining, films are getting washed into the sea of obscurity. If one reader discovers a forgotten gem through Silver Scenes, and leaves a comment telling me so....that is immensely satisfying!

CMBA: What challenges do you face with your blog, and how do you overcome them?
Silver Scenes: Writers block. Ideas for posts are plentiful, but the enthusiasm to write those posts waxes and wanes. What is the magic elixir that cures this confounding malady? Blogathons, of course! The deadline element of them gets my little grey cells revitalized every time. 

CMBA: What advice would you give to a new blogger?
Silver Scenes: Avoid in-depth plot descriptions. That's the biggest mistake I see new bloggers make. It turns potential readers into impatient skimmers hesitant to come back to your blog. If the reader did not see the film yet, then your job is to give them a teaser (they don't want to read the whole plot because there won't be any reason to watch the film); and if the reader saw the film already then they don't want to read the plot either....they know it already! Either way, they become skimmers. Give them your viewpoint of the movie instead. That's what makes you unique, and that's what your readers want to read about. 

If you just launched a blog, then write often about the films and topics that interest you most. Right off the bat this gives your future audience a taste of what you will be covering. Slpel cehck yur wiritng too. It shows you care. After a few months, you can sign up for your first blogathon....then make sure you're stocked up on popcorn, because you'll be having a full audience pouring in!

 Thank you for joining us, Constance! You can visit Silver Scenes HERE.

Tuesday, March 14, 2017

CMBA Blog Profile: Century Film Project

The CMBA profiles two classic movie blogs per month. Today we're featuring Michael from Century Film Project.

Century Film Project is a terrific example of how a classic (or historical) film blog can be a valuable resource.

Michael's well-organized site celebrates films that are at least 100 years old. In so doing, he's creating an educational and entertaining library for film historians – both amateur and professional.

Century Film Project covers all genres, from comedy to drama, and shows us the unusual or groundbreaking aspects of these films. During his research, Michael has also discovered some forgotten gems, such as Cecil B. DeMille's Joan the Woman (1916). 

"It’s a movie that I bet a lot of people don’t know about," he says. "When we think of Joan of Arc we think of Dreyer in 1928, not Cecil B, DeMille in 1916 – and that deserves more attention."

You can read Michael's review of Joan the Woman HERE.

CMBA: What sparked your interest in classic film?
Century Film Project: My interest began with monster movies. When I was a child, I loved all kinds of monsters. But, by the seventies and eighties, horror movies were starting to focus on stalking and gore more than on monsters. It’s funny, because many horror fans today see the 1980s as some kind of renaissance, but the consensus then was that it had gone to the dogs. Anyway, the kind of movies that were released as horror throughout my childhood were generally R-rated, so I never got to see them. Jaws counts as a monster movie, to me, but I didn’t see it until college. So, there I was, watching old movies on Sunday mornings or weekday afternoons on TV, and once in a while there’d be something that wasn’t – quite – a monster movie, but I’d stick around anyway. For example, Abbott & Costello “met” various monsters and that’s how I got to appreciate their comedy, which is pretty child-friendly anyway. And my father was a Marx Brothers fan, so there was that. I recall watching The Maltese Falcon with him when I was very young – the only thing I remember really is that the closing line sent me off on a fantasy where the Falcon really allowed its possessor to control people’s dreams. He wasn’t what we would really call a “classic movie” fan today – he disliked the studio period in Hollywood and generally stuck to foreign films and independents. But, he did introduce me to older movies, and the idea that you could only watch new releases was never a concept in my house. 

That’s all long in the past. I took film courses in college and tried to learn the production end of things, and even worked in independent film in New York for a few years (you can find me on imdb, although most of the movies I worked in never made it past the festival circuit and don’t have entries there). But, I found that working on “new” movies just made me wish I could work on something more from the era I enjoyed. While I was living in New York, my father and I went to every screening during a Harold Lloyd festival at the Film Forum (I think I’ve seen almost all of his surviving films from 1921 on), and that was really my first big introduction to silent movies. I’d seen a few before, especially the horror titles (Der Golem, Cabinet of Dr. Caligari, Nosferatu), but I hadn’t really made a point of watching them. I got increasingly interested in early film and the early filmmaking process. In 2012, I made a New Year’s resolution on Facebook to watch as many hundred-year-old movies as I could in a year, and I posted reviews on my feed. I remember telling someone, “We now live in an age in which it’s possible to watch only 100 year old movies for the rest of your life!” Then, I graduated from library school and my life got turned around and I sort of lost track of that after April or so. In 2014, I decided to start up again. I had a job at a library at that point, and one of my co-workers encouraged me to start collecting the reviews on a blog, and the Century Film Project was born!

It’s worth noting that I didn’t start this project because I already considered myself an expert in the field, but because I wanted to learn more. In 2012, I was far more comfortable talking about 1950s sci fi movies or 1930s horror films than about anything from the 1890s-1910s. I’ve learned a lot, and come to appreciate new genres (even Westerns! And that’s saying something), and that’s what makes this whole project fascinating for me. When I started, my reviews ranged from 100-250 words (remember, they were Facebook comments, so that’s actually quite long for that format), but now I routinely write over a thousand for a feature film, and at least 600 for a short. That’s partly because I have so much more context to bring in, and I’m not just giving first impressions of something foreign. 

CMBA: What makes a film a "classic" in your opinion?
Century Film Project: I should start by pointing out that I regard mine as a “historical” film blog, not a “classic” film blog. The difference is one of quantity versus quality. “Historical” is a measurement of age: a film becomes “historical” as soon as it is no longer part of the current pop cultural landscape. An older movie is more “historical” than a newer one. “Classic” is a measurement of quality. A film can be “classic” the day it is released, although that’s very hard to ascertain. Generally, if a movie is still being talked about by ordinary folks, say 30 to 50 years after release, it can be judged as “classic;” if the only people who know about it are "old movie weirdos" like me, then it’s just “historical.” The Wizard of Oz is a “classic” film, while Tower of London is a “historical” film from the same year.

CMBA: What classic film(s) do you recommend to people who say they hate old moves?
Century Film Project: I suspect that most of the movies on my blog are not ideal for this purpose – usually things like The Wizard of Oz or Gone with the Wind are more immediately accessible. That said, I do find that people, even children, who aren’t used to watching old moves will respond well to Charlie Chaplin. I took my nephew to a series of Essanay Chaplins that were running at the Castro in San Francisco last year, and he bounced up and down through the whole screening! Most people can sit through a few shorts, and I think the fantasies of Méliès are fun enough for a good intro to the period. Of course, it also depends what you are interested in.  For my fellow horror fans, proto-Expressionist movies like Homunculus or The Student of Prague are probably of interest. Since the Surrealists and Edward Gorey both praised Feuillade, the “Fantômas” serial is a good starting point for artists.

CMBA: Why should people care about classic films?
Century Film Project: Well, this takes us back to my definition of “classic.” People who care about any art form should be interested in identifying and appreciating the very best or most appreciated examples of that art form. People who want to paint, or who like modern painting, can learn by going back and look at Michelangelo, Van Gogh, and Picasso. They don’t have to like all the masters of the past, but it’s good to know why they became the representatives of their respective eras, and what they did that worked that we can learn from now. Only a true art historian needs to zoom in on an era and look at everything from that period, but anyone with an interest in art should be familiar with the classics. 

CMBA: What is the most rewarding thing about blogging?
Century Film Project: I’ve written reviews for years, mostly for the purpose of jogging my own memory, but it’s great to get the feedback and social interaction that comes from blogging. When I first started this project, I would look around the Internet and find “important” people commenting on the same films I did. That’s exciting and rewarding. I even like it when people disagree (respectfully) in comments, because it’s a chance for me to learn something new.

CMBA: What challenges do you face with your blog and how do you overcome them?
Century Film Project: I’ve looked at the responses everyone else has been writing to this question, and it always seems to come down to finding time to do unpaid labor. I don’t want to get political here, but I do think that this is a function of an economic shift that has come in recent years. I was just reading about the history of French film criticism, and the reason it got so good so fast was because in the early 1920s, every single newspaper in France (and there were a lot of them!) had its own paid professional writing movie reviews. It was the exchange between all of these people who had nothing else to do besides watch movies and read, write, talk, and think about movies that made them such a force.  Today, most of us who are passionate enough about movies to write about them have to do it as amateurs, and there’s very little realistic opportunity for monetizing that. We need to find a new model for paying intellectuals to do intellectual work in the 21st century.

CMBA: What advice would you give a new blogger?
Century Film Project: You know, I once thought that there was a “right” way to blog and had lots of advice for new people, but now I’m more skeptical of my own advice, because I’ve seen a lot of different things that work for different people. Mainly, I would say make sure you’re having fun, whatever you’re doing, and when it stops being fun, just stop it. Don’t feel that you “owe” the world or your readers or yourself another blog entry when you don’t feel like it. You’re actually more likely to come back to it and pick up again if you’re not beating yourself up because you missed a scheduled post. A lot of blogs come and go within 3-5 years, and, this being a hobby, bloggers shouldn’t feel like they’ve “failed” when that happens. If you’re in it for the long haul, be sure you’re committed to keeping the time open, but if not, be forgiving with yourself when you need your time back. 

Thank you for joining us, Michael! You can visit Century Film Project HERE.

Tuesday, February 28, 2017

CMBA Blog Profile: Hometowns to Hollywood

The CMBA profiles two classic movie blogs per month. Today we're featuring Annette from Hometowns to Hollywood.

In many ways, Annette of Hometowns to Hollywood is a classic film archaeologist.

Her travels to conferences across the United States allow Annette to discover the hometowns of classic movie stars. "I feel that studying the lives of eventual celebrities and walking the same streets that they had graced in days gone by ultimately makes these figures more accessible, relatable, and overall human," she says.

Hometowns that Annette has explored include Wallace, Idaho (Lana Turner), Cincinnati, Ohio (Tyrone Power), Helena, Montana (Myra Loy), and Indiana, Pennsylvania (Jimmy Stewart).

"We all have our favorites," writes Annette, "and Jimmy Stewart is mine. I admire the life he lived, the roles he played, and the optimistic, reflective attitude that guided him through his memorable life. He never forgot where he came from."

You can read more about Annette's visit to Jimmy Stewart's hometown HERE.

CMBA: What sparked your interest in classic film?
Hometowns to Hollywood: I became interested in classic film at a young age. When I was little, my father would go to Blockbuster and rent Our Gang shorts for me as well as Laurel and Hardy films. I enjoyed these so much and would look forward to every time he brought something black and white because I knew it would be good. I also loved watching the annual broadcast of The Wizard of Oz and became a huge fan of Judy Garland. When my family eventually subscribed to cable television, I flipped through some channels and was stunned to see Judy in a film that was not my usual Wizard of Oz. This was my first encounter with Turner Classic Movies and they happened to be showing Strike Up the Band, starring Judy Garland and Mickey Rooney. I found the film entertaining, and I plowed through Judy’s filmography when I was nine and was exposed to many terrific film stars along the way. 

CMBA: What makes a film a "classic" in your opinion?
Hometowns to Hollywood: A classic film is a film that has withstood the test of time and still possesses the power to evoke intended emotions and reactions in its viewers. Essentially, a classic film has captured a piece of magic that other films have not, preserving a moment of delight to be enjoyed for as long as the medium exists. Even if a film were released decades ago, the story depicted in a classic film is still fresh because it is fundamentally timeless and meaningful to any viewer. One can return to a classic film time and again and gain a new understanding of the film with each viewing. Best of all, viewing the film is just as delightful as sharing it with someone else.

CMBA: What classic film(s) do you recommend to people who say they hate old movies?
Hometowns to Hollywood: I usually ask people, “What’s the oldest film you’ve ever seen?” Most of the time, they do not realize the age of some of their most beloved films. Moreover, I usually find that the oldest film some people have seen is The Wizard of Oz, without even realizing its age. Because many people tend to have positive memories of The Wizard of Oz, they warm up to the idea of older films because they realize that they have enjoyed them before. However, I tend to focus on recommending comedies, since everyone likes a good laugh. I find that Singin’ in the Rain is a great film to suggest. I also love to suggest silent comedies from Harold Lloyd, Buster Keaton, and Charlie Chaplin, as well as a long list of screwball comedies and musicals! 

CMBA: Why should people care about classic film?
Hometowns to Hollywood: Classic films are extra special for a number of reasons. I think that people should care especially about classic films because of how groundbreaking these early films can be. Since we are used to modern-day filmmaking, it is often too easy for people to dismiss or overlook classic films. However, it is so important to realize that what is commonplace today was innovative for classic films. Without caring about and enjoying classic films, we do not have a context to understand how films have transitioned to the modern day and how important and long-lasting the efforts of early film pioneers truly are.

CMBA: What is the most rewarding thing about blogging?
Hometowns to Hollywood: The best thing about blogging is that you never know where it will take you. To paraphrase Buddy Ebsen, my passion is preserving what is good about what is now old—over the years, we’ve been taught a fallacy that everything big and new is good, and everything small and old is bad, which is simply not true. As a result, I’ve been able to meet many like-minded people, contributed content to a wide variety of magazines and websites, and am eagerly planning more trips to profile more of my favorite stars. I’ve also started a “Hometowns to Hollywood” film series in the Chicago area, and have also begun doing lecture tours about my blog for various organizations. It’s also pretty enthralling when Turner Classic Movies shares my posts! Maybe you’ll see me hosting a film or two with Robert Osborne one evening. Who knows? My travels have also led me to come into contact with various descendants of classic film stars. It is always a delight to include their input and have that extra personal touch of the start’s family made evident in my posts.

Blogging has also led me to becoming an archivist, as objects are also a great source of history and glee to me. In Waukegan, Illinois, I was able to see comedian Jack Benny’s trunk from his Vaudeville days. The same museum houses a bed in which Abraham Lincoln slept (sitting up—he was too tall!). One is allowed to get into the bed, but are not advised to touch the stage trunk. I love those priorities. Finally, in the not-so-exotic town of Peru, Indiana, I got to play composer Cole Porter’s piano. If I were to focus upon his life when he was already famous, that would take me to his later piano in New York, which has a big “Do Not Touch” sign on it. The same can’t be said for the piano in his hometown! Since my blog focuses on the hometowns of classic film stars, it has afforded me the opportunity to engage in the often overlooked early years of various film stars.

CMBA: What challenges do you face with your blog, and how do you overcome them?
Hometowns to Hollywood: My biggest challenge is to keep up my travels and continue producing new and engaging content for both myself and my readers. I feel like my blog is a scrapbook of sorts and it is so much fun to revisit these trips and see how the legacies of all these classic film stars continue too live on. My goal is to travel to all 50 U.S. states and cover classic film star hometowns in each. I have also been considering producing video content to transition from just writing to possibly creating a series of entertaining video segments. This way, I can “show” in addition to just “telling.” I also think that going international with my trips would be terrific! In short, my excitement for sharing these travels is a major source of motivation—especially when I hear back from my readers or when my articles are shared among them.

CMBA: What advice would you give to a new blogger?
Hometowns to Hollywood: Theme your blog to something about which you are tirelessly passionate. Write in your own voice and as genuinely as possible, and your enthusiasm for your topic will be infectious. I think that audiences enjoy writing that clearly shows how much joy your interest gives you. This will surely draw others to your writing. Additionally, even though it can be a challenge, try to update your blog as often as you can so that readers will know your blog is current and well maintained. Most importantly, enjoy yourself! 

Thank you for joining us, Annette! You can visit Hometowns to Hollywood HERE.

Tuesday, February 14, 2017

CMBA Blog Profile: Mildred's Fatburgers

The CMBA profiles two classic movie blogs per month. Today we're featuring Beth from Mildred’s Fatburgers.

Mildred's Fatburgers has the wise-cracking, fast-talking personality of a smart, 1930s kind of dame – one who doesn't miss a beat and is very, very witty.

For example, here's a introduction to the film Scaramouche: "The Marquis is the kind of guy who kills poor people for poaching, gets girls in trouble, and makes duel-able mountains out of molehills with other gentry. In other words, just your average late 18th-century French aristocrat."

Beth's site covers multiple genres, such as drama, musicals and animation. One could argue her particular area of expertise is comedy, as evidenced by her review of the Marx Brothers' Duck Soup (1933).

"See Duck Soup again if you haven't in a long while," writes Beth. "It's only about an hour and 15 minutes, so your kids can watch it, too. Come for the spies, stay for the crazy."

You can read Beth's post on Duck Soup HERE.

CMBA: What sparked your interest in classic film?
Mildred’s Fatburgers: Classic movies were a staple in our household for as long as I can remember. When I was growing up, it was possible to catch movies on the weekends on TV, either through local UHF or early cable options like WGN or NY Channel 11. My mother and grandmother were always good for filling in Hollywood backstories or to come up with suggestions for further viewing for me and my sister. 

CMBA: What makes a film a "classic" in your opinion?
Mildred’s Fatburgers: That's a tough one. I think it's a combination of having a Studio sensibility and rewatchability factor. There are "new" classics that have that quality of being deeply rewarding and rewatchable, but the studios really define Golden Age classics for me. I separate silents from this period for that reason. Silent classics, for me, are international and not necessarily studio-oriented.
CMBA: What classic film(s) do you recommend to people who say they hate old movies?
Mildred’s Fatburgers: Gosh. It depends on who's asking! For Rom-Com fans, I recommend The Philadelphia Story, because, obviously. For people who think they're too anachronistic or too stylized, I'd go for Baby Face, because Barbara Stanwyck will change their lives. For the indy or art film lover, maybe Black Narcissus. 

CMBA: Why should people care about classic film?
Mildred’s Fatburgers: I think feminists should care about classic film, particularly. The parts for women were more complicated, meatier, and more multidimensional than most of the pictures out there now. They used to write women as having human motivations for doing whatever the script said they did, even if the roles themselves tended to be rigidly prescribed by gender. 

Generally, classic movies can be a snapshot of our society from the time in which they were made attitudes, social expectations, entertainment tropes, celebrity, and style – that should be interesting to anyone with an interest in our own history as Americans. Especially the egregious stereotypes and racism; it's important to experience the creepy things along with the entertainment value.
CMBA: What is the most rewarding thing about blogging? 
Mildred’s Fatburgers: I enjoy the process of trying to explain why I like or dislike a picture; it helps me organize my thoughts and even change my mind. I especially like getting feedback from other bloggers and general readers (who turn out mostly to be my sister).
CMBA: What challenges do you face with your blog, and how do you overcome them?
Mildred’s Fatburgers: These days, I've had to put the blog on hold to handle issues with my autistic son and other family stuff. When I'm on my game, I found it extremely helpful to hammer out a schedule in advance. For a while there I was doing a "birthday of the week" and weekly profile of a child star. That way, I could write posts in advance of whatever birthday or mood I was in (for the child star) and post pre-written pieces to fit the time frame set by the schedule. Sometimes, though, I just dreaded having to write. The best thing I found to do was to power through, write SOMEthing, and push past the feeling. You have to not care about the quality in those situations and just be gratified you stayed on schedule. Not every post is going to be a gem.

CMBA: What advice would you give to a new blogger?
Mildred’s Fatburgers: Make a realistic posting schedule and stick to it, even if you feel blocked. You'll feel better for having written something, even if it isn't as good as you'd like.
Thank you for joining us, Beth! You can visit Mildred’s Fatburgers by clicking HERE.