Favorite new-to-me films of 2022

In 2022, I didn’t watch as many due to several life changes. I only watched a little over 400 feature-length films, but still saw several great ones. Below are my favorite new-to-me films of 2022, in order of when I watched them:

cat ballou3

Cat Ballou (1965)
Directed by Elliot Silverstein
I watched this in memory of Dwayne Hickman (and now we’ve lost Michael Callan), and had a great time. I wish we had more Hickman and Callan buddy films! Bittersweet to see Nat King Cole in this, since he died shortly after.

private war2

The Private War of Major Benson (1955)
Directed by Jerry Hopper
I wanted to watch this film for several years and was happy to finally watch it. An interesting different role for Charlton Heston and lots of cute kids. I loved seeing young Sal Mineo in an early role.

carnival of sinners

La main du diable/Carnival of Sinners (1943)
Directed by Maurice Tourneur
This may actually be my all-time favorite film of 2022. I watched this in January 2022 and it has stuck with me ever since. The visuals and storytelling are simply stunning. With an intriguing plot that keeps you wondering “How will our main character get out of this predicament?” My jaw was quite literally dropped throughout most of the film. Highly recommend seeking this one out. Few films have captivated me like this one.

this happy breed

This Happy Breed (1944)
Directed by David Lean
A visually stunning film with bright Technicolor that interestingly contrasts with the poignant story. Like real life families, you see the happiest and most crushing moments of their life. There are some very sad moments in this film, and the end left me worrying for one of the main characters, as if she was a real person. It’s overall so stunning, and I love John Mills.

sound of hte mountain

Yama no oto/Sound of the Mountain (1954)
Directed by Mikio Naruse
A beautiful and sad film about how you can do everything to a relationship, but it may not matter. In this case, it’s about a husband and wife.
Naruse also shows how separated the husband and wife are by showing the wife with her father-in-law more than she is with her spouse, showing you can love someone’s family more than you may love them. Really crushing but lovely.


Obsession (1976)
Directed by Brian De Palma
Featuring composer Bernard Herrmann’s last score, this film caught me off guard. I wasn’t sure if I’d even like it, but the end unexpectedly left me in tears. I loved the cinematography that gave the feel of steamy, humid New Orleans heat. I part suspected the end twist and was shocked I was correct. I also love Cliff Robertson. As someone born and raised in the south, the only downside was John Lithgow’s exaggerated (and bad) southern accent.

last of sheil

The Last of Sheila (1973)
Directed by Herbert Ross
Probably my second favorite film of the year, and the only one on this list that had a rewatch. This is an excellent all-star “whodunit” cast. The Last of Sheila is such a fun film to watch and has excellent dialogue throughout. You keep guessing and laughing throughout.


Un carnet de bal/Dancing Card (1937)
Directed by Julien Duvivier
I would love to have the gall to be a woman in her 30s, revisiting all the men who loved me when I was 16 and say, “Do you remember me?” without saying my name or giving any context. I loved the vignettes of this story and seeing what happened to each lover. Also visually stunning. Probably my third favorite film of the year. The film LYDIA was later loosely based on this story.

the river3

The River (1951)
Directed by Jean Renoir
Visually stunning in Technicolor, this is a very quiet, methodical coming-of-age story. It had some very sad moments where you thought, “This isn’t really going to happen, right?” and then it does. The film is equally heartwarming and heartbreaking.

lady godiva

Lady Godiva Rides Again (1951)
Directed by Frank Launder
I had the best time watching this movie. This was a fun, humorous look at the world of beauty contests and the rise and fall of a beauty queen. I loved Dennis Price playing a self-absorbed movie star, and the small roles played by Alastair Sim, Googie Withers and Trevor Howard. Not the best film ever made, but lots of fun. Also, you can catch a quick glimpse of Joan Collins in this film.

cash on demand

Cash on Demand (1961)
Directed by Quentin Lawrence
A thrilling, holiday-themed heist film that keeps you wondering what will happen. Peter Cushing gives an excellent performance in this.


The Underworld Story (1950)
Directed by Cy Endfield
That Dan Duryea. Even when you’re supposed to like him (I think?), you still aren’t sure if you can trust him. Duryea gives an excellent performance as a slimy reporter who may or may not be on the level, but also may be the only person you can turn to in this film. Howard Da Silva may steal the show, though. Stunning cinematography by Stanley Cortez. The only downside in this film is the odd casting of Mary Anderson, but otherwise I loved the film.

7 women

7 Women (1965)
Directed by John Ford
Beautifully photographed, this film yields excellent performances from a largely female cast, including Anne Bancroft, Sue Lyon, Margaret Leighton, Flora Robson, Mildred Dunnock, Betty Field and Anna Lee. Eddie Albert gives a great performance, as a weak man who tries to be strong and ends up failing. The only downside of the film is the dubious casting of Mike Mazurki

captain newman md

Captain Newman, MD (1963)
Directed by David Miller
Tony Curtis brings the comic relief, Gregory Peck brings the balance, but Bobby Darin and Eddie Albert provide the stand out performances. Darin deserved an Academy Award-nomination for this one. Wow!

niights of

Le notti di Cabiria/Nights of Cabiria (1957)
Directed by Federico Fellini
I can’t believe I saw “Sweet Charity” before seeing this. Needless to say, this film is worlds better than the American musical remake. This was a crushing film with some sweet and funny moments. I can’t believe it took me this long to see it.

dirty dozen

The Dirty Dozen (1967)
Directed by Robert Aldrich
Remember that scene in “Sleepless in Seattle” where they pretend to cry about a scene in “The Dirty Dozen”? Well, I actually did cry during “The Dirty Dozen”— largely because of the Donald Sutherland character. I really enjoyed this non-conventional World War II film with an all-star cast. Shout out to Robert Ryan looking really cool in sunglasses.


Brainstorm (1965)
Directed by William Conrad
A thrilling film with lots of twists and turns, that really makes you start wondering about the lead character, played by Jeffrey Hunter. Dana Andrews plays a rare bad guy role, and Hunter is excellent. Also doesn’t hurt that Andrews and Hunter are both very handsome.

beast must die

La bestia debe morir/The Beast Must Die (1952)
Directed by Román Viñoly Barreto
This is an excellent film noir thriller, that tells you right off what happens, but then uses flashback to show why it happened. While it is exciting, it also is mixed with heartbreak as we see the motive for the lead character seeking revenge.
I ended this year with seeing the French retelling of this story, and while it is similar, I think the Argentinian story is slightly better done.

my man and i

My Man and I (1952)
Directed by William A. Wellman
This film caught me off guard with how great it was. Ricardo Montalbán plays a naïve, unbelievably sweet guy, Shelley Winters plays a woman who is a mess, and Wendall Corey is just a bad dude. Claire Trevor, as Corey’s wife, gives Ricardo Montalbán a look that could melt butter. This was just a great story and I really didn’t expect to love it as much as I did.

reluctant saint

The Reluctant Saint (1962)
Directed by Edward Dmytryk
Another film that I didn’t expect to love as much as I did. Maximilian Schell is fabulous and broke my heart the whole time — but in the best way. I usually think of Schell playing suave or forceful characters, but here he is a sweet, mild man. It’s a quiet, lovely film.

hell to eternitty2

Hell to Eternity (1960)
Directed by Phil Karlson
This is somehow different than most World War II films made after the conflict ended. The film is based on the real life person, Guy Gabaldon, whose adoptive family was Japanese. Hell to Eternity is a thoughtful film. Vic Damone appears in a small role, playing a character that differs from his previous MGM youthful roles. It also features some surprisingly graphic battle scenes, which were unique for 1960 cinema.

Honorable Mention:
The Eve of Saint Mark (1944)
The Turning Point (1952)
Von Ryan’s Express
Let There Be Light (1946)
Return from the Sea (1954)
Night of the Iguana (1964)
The Great Mr. Nobody (1941)

Chad & Jeremy summers

It was the summer of 2002. And it’s one of those summers that lives in your memory with a golden glow. For some reason, it was a summer so many things changed and I went from a 13-year-old seventh grade kid to a grown up soon-to-be-eighth-grader 13-year-old (at least in my mind).

It was the summer I traded in my glasses for contact lenses, I stayed up too late reading with a flashlight, sewed pillows, watched TVLand … and it was the summer I discovered Chad & Jeremy. And ever since then, I’ve associated that British singing duo with summer.

That spring, the 1960s TV show “Batman,” starring Adam West and Burt Ward, started airing on TVLand and I became a big fan. I watched as often as I could; keeping a list of Robin’s “Holy” mentions as he said them. It was while watching “Batman” that I discovered Chad & Jeremy playing themselves in the season 2 episodes “That Cat’s Meow” and “The Bat’s Kow Tow.” Chad & Jeremy are staying at the Stately Wayne Manor and are at risk of having their voices stolen by Catwoman (played by Julie Newmar). On the episode Chad Stuart and Jeremy Clyde sing “Teenage Failure” and “Distant Shores,” and hearing those two songs had me sold.*


Chad & Jeremy on “Batman”

Days later, I did what any 13 year old in 2002 did when they loved a song. I had my parents drive me to Best Buy and I bought The Very Best of Chad & Jeremy. And my family soon got tired of hearing “The Very Best of Chad & Jeremy.” I’d have them listen whenever we went out in the car – whether it was a long car trip or on the way to church.

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Favorite new-to-me films of 2021

At the end of each year, I think back on my favorite new-to-me film discoveries.

For the past few years, I’ve shared these in just a Twitter thread, but this year, I decided to write a formal blog post. As of Dec. 29, 2021, I have watched 517 feature films. The following or the films I’ve continued to think about long after they were over. The first three may be a tie:


The Crimson Kimono (1959)
Written and directed by Samuel Fuller
Over the past few years, I have really gotten into director Sam Fuller’s films, and I was blown away by THE CRIMSON KIMONO. The story is powerful but it’s also visually stunning.

that man from rio

That Man From Rio/ L’homme de Rio (1964)
Directed by Philippe de Broca
I watched this in memory of Jean-Paul Belmondo and was left in a glittering haze of a love of cinema — in love with this film, Belmondo and the whole idea of traveling to Rio de Janerio. I daydreamed about this movie the whole next day of watching it. Its thoroughly charming.

dog fight max resolution

Dogfight (1991)
Directed by Nancy Savoca
If you follow me on any social media platform or have spoken with me in person, you’ve heard me mention DOGFIGHT.
As of Dec. 29, 2021, I watched DOGFIGHT six times from May 2021 to the end of the year. Why? I don’t really know – do you have to have a reason for why a film moves you? All I know is that I couldn’t stop thinking about it. Don’t just go off the plot description that is given for this film. Watch it for yourself.

smallest show

The Smallest Show on Earth (1957)
Directed by Basil Dearden
This is the sweetest, most charming movies. I love to see real-life married couple Virginia McKenna and Bill Travers act together for starters. And then some of the actors are their co-stars, Margaret Rutherford, Peter Sellers and Bernard Miles. It’s just plain lovely.

come next spring

Come Next Spring (1956)
Directed by R.G. Springsteen
Steve Cochran usually plays a bad dude. And here, he plays a reformed bad dude and I loved it. Come Next Spring is really lovely and visually stunning in Technicolor. Ann Sheridan is also a major highlight in this film, but Steve Cochran’s sensitive performance blew me away.

home of the brave3

Home of the Brave (1949)
Directed by Mark Robson
I didn’t expect to cry as much as I did during this movie. Not only does HOME OF THE BRAVE look at racial tensions with Black and White soldiers serving in World War II, but it also looks at the complicated emotions of soldiers when their friends are killed in action. James Edwards is not recognized enough as an actor and he shines here.

no regrets

No Regrets for Our Youth/Waga seishun ni kuinashi (1946)
Directed by Akira Kurosawa
An incredible film that left me speechless. I was blown away. Actress Setsuko Hara is always wonderful, but I enjoyed seeing her play a different type of character than I’m used to seeing. Hara’s character is complex and transforms from a selfish, conflicted youth to a woman who sacrifices her life and reputation for a loved one.

here i am stranger3

Here I am a Stranger (1939)
Directed by Roy Del Ruth
This was my favorite new-to-me film from 1939 of this year. Richard Dix gave an emotional and sensitive performance of a father who reconnects with his son after many years. I also loved seeing Brenda Joyce play against type.
My full review here.

tickle me 7

Tickle Me (1965)
Directed by Norman Taurog
Have you ever remembered a movie scene that you watched as a child but you never knew what it was? Watching Tickle Me solved that mystery for me this year—I remembered Elvis and a woman in a haunted house and never knew what it was. Tickle Me is wacky and ridiculous, but it also made me laugh more than any other new-to-me movie I watched this year. Sometimes a feel good silly film is needed at the right moment. A movie doesn’t have to be the best, most serious Academy Award winner to find its way on a list like this. Shout out to my friend Nikki who loves this film. My full review here.

St. Louis Blues

St. Louis Blues (1958)
Directed by Allen Reisner
After wanting to see this film for years, I was happy to finally discover this musical. It’s interesting to see Nat King Cole in a lead performance, when he generally only appeared as a specialty act in feature films. This film is chock full of musical performances, and Eartha Kitt naturally steals the show. My full review here.


Madeleine (1950)
Directed by David Lean
Why did I put off watching this film for so long? This had me on the edge of my seat, and also feeling heartbroken for Madeleine’s suiter, Mr. Minnoch. Even more interesting that this is based on a true story.

green for

Green for Danger (1946)
Directed by Sidney Gilliat
This “whodunit” had me guessing until the very end of the film. Thoroughly enjoyable, and Alastair Sim was wonderful (per usual).


The Magnificent Dope (1942)
Directed by Walter Lang
I didn’t know what to expect from THE MAGNIFICENT DOPE, and judging by the title, I feared it would be an irritating, zany comedy. Far from it. Don Ameche as a bullish, unsuccessful business man and lazy Henry Fonda gets caught up in his success scheme when he wins the “biggest failure” contest. Both are in love with Lynn Bari. It sounds silly but it works in a charming way.


Here’s to the Young Lady/Ojôsan kanpai (1949)
Directed by Keisuke Kinoshita
What a joy! This lovely romantic comedy made me laugh and left me feeling wistful.


Strange Bargain (1949)
Directed by Will Price
Martha Scott and Jeffrey Lynn? Sign me up! I thought this was an exciting film noir with interesting twists. Now I need to watch the follow-up “Murder, She Wrote” episode.

song of the open road3

Jackie Moran, Bonita Granville, Jane Powell in SONG OF THE OPEN ROAD

Song of the Open Road (1944)
Directed by S. Sylvan Simon
This was the only Jane Powell film I hadn’t seen, and after she died I sought it out. It may be low budget, but I had such fun watching it. The film begins with teens riding bikes and singing and I was charmed at that moment. My full review here.

under pup3

The Under-Pup (1939)
Directed by Richard Wallace
This was another favorite 1939 new-to-me film discovery. I haven’t seen many Gloria Jean films, because they can be difficult to access. My full review here.

Honorable Mention
Films I loved but didn’t quite make the favorites list
Rembrandt (1936)
Convicts 4 (1962)
The Lovers (1958)
Invitation to Happiness (1939)
Murder at the Vanities (1934)
Seven Keys to Baldpate (1929)
Tennessee Champ (1954)
Crooks and Coronets (1969)
As Long as They’re Happy (1955)

I joined Letterboxd this year, so if you’d like to see my thoughts on other films I watch, you can find me here: https://letterboxd.com/HollywoodComet/

Check out the Comet Over Hollywood Facebook page, follow on Twitter at @HollywoodComet or e-mail at cometoverhollywood@gmail.com

Pages to Screen: The White Cliffs of Dover (1944)

“A war is on” and there was “no sale for poetry” were some excuses Alice Duer Miller was given when she tried to book published and was turned down by many publishers.

Miller’s book was a 70-page long form poem about an American woman falling in love with an Englishman right before World War I breaks out called “The White Cliffs.”

The poem follows Susan, who is “a traveler, the guest of a week” in England. The trip turns into a lifetime after she meets and falls in love with John. John is killed in World War I, but she continues to stay in England and raise their son in the traditional, upper class English life. As Susan sees another war on the horizon for England, she understands the inevitable future of her son; following in her husband’s footsteps.

While there was initial reluctance to publish, Miller’s later was made into a feature film and was performed on the radio several times by English actress, Lynn Fontanne.

Prime Minister Winston Churchill also believed that the book played a role in encouraging the United States’ entry into World War II.


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Pages to Screen: Light in the Piazza (1962)

As soon as I started reading the book, I could see the story playing out in my head just as it does in the movie.

When Elizabeth Spencer’s 1960 novella “Light in the Piazza” was adapted for film, the movie is nearly identical to the original printed word. This doesn’t often happen.

In the opening pages, Margaret Johnson and her daughter Clara explore a piazza. Clara loses her hat causing her to meet Fabrizio — just like in the film.

From page one, this Italian love story was a much needed respite after finishing Glendon Swarthout’s book “Where the Boys Are.”

The book “Light in the Piazza” was a turning point in the career of Mississippi-born author, Elizabeth Spencer; featuring many firsts for her. It was her first novel not set in her home state of Mississippi, and it was her first book that featured a female protagonist.


“The way I was brought up. It was considered that men did all the interesting things out in the world and women were pretty much reduced to a domestic pattern or minor careers,” Spencer was quoted in her Washington Post obituary. “The whole idea of a woman in the arts must have horrified my family at first.”

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Summer Movie Classics: An interview with John Malahy

Even as summer winds down, I’m still grasping to the last few weeks of summer until the fall season begins at the end of September.

Reading “Summer Movies: 30 Sun-Drenched Classics” by John Malahy is the perfect read to keep the summer feeling. Malahy highlights quintessential summer films, from MOON OVER MIAMI (1941) and GIDGET (1959) to JAWS (1975); each putting you in the sun and sand mood regardless of the weather.


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Pages to Screen: Where the Boys Are (1960)

Often, the book is better than the film.

But in the case of WHERE THE BOYS ARE (1960), skip Glendon Swarthout’s book and just enjoy the movie.

The film and book both follow Midwest college girls traveling to Fort Lauderdale, Florida, for their spring vacation in search of love and suntans. But while the movie is fun and charming, the book is frankly vile.

where the boys are dvd book

Bear with me because I have a lot to unpack.

I first watched WHERE THE BOYS ARE when I was 14 and loved it. I was eager to read the book and didn’t until this summer at age 32, and I’m thankful I read this as an adult and not a young teen.

The book was written by Glendon Swarthout and published in 1960, with the movie releasing in Dec. 1960. Swarthout also wrote “They Came from Cordura” and “The Shootist,” which were adapted into films.

To follow the review easily, here is a breakdown of the characters in both the film and movie. Several characters in the book and movie are similar, though they interact differently in the book:

Character Book Movie
Merrit Main character, narrator Played by Dolores Hart
Tuggle Merrit’s friend and travel companion Played by Paula Prentiss
Ryder A love interest of Merrit’s Played by George Hamilton and love interest of Merrit
TV Thompson A love interest of Merrit’s Played by Jim Hutton and the love interest of Tuggle
Basil Jazz musician, love interest of Merrit’s Played by Frank Gorshin and the love interest of Angie (Connie Francis)
Quentin Jazz musician, love interest of Tuggle Not in the movie
Swimming nightclub performer Ramona Named Lola Fandango, played by Barbara Nichols
Angie Character not in book Played by Connie Francis
Melanie Character not in book, but similar to the minor character, Susy Played by Yvette Mimieux

The book is written in the point of view of 18-year-old college freshman, Merrit. So … 41-year-old Swarthout is writing in the POV of a college girl. Now, this has been done successfully in cases like “Gidget” by Frederick Kohner, but his novel came from stories directly from his daughter. I can’t say Swarthout was successful in effectively doing this (in my opinion), though I guess in a way he was since it spurred a hit movie that made Fort Lauderdale a travel destination.

where the boys are

Both the movie and the book focus on sex, but in different ways. The movie mainly asks the question of should you “play house” before marriage and if you can get a man without falling into bed. The book is more about Merrit’s sexual experiences. While in the movie, the three male characters each date different characters, in the book they all want Merrit.

And exactly 33 pages in was when I decided I hated the book.
Rape is very casually mentioned in Swarthout’s book.

Merrit goes on a date with Herbert “TV” Thompson and he tells how he got the nickname “TV”:
TV went on a date with a sorority queen and when she refused to sleep with him, he raped her. He panicked, worried she would report it to the police, so he bought her an $800 color TV. The story got around, so he was called TV and couldn’t get any dates or make friends. “To clap the climax he later learned that the queen had round heels for everyone else.”

“There were tears in my eyes. It was the most heart-rendering story I had ever heard.”

That’s right. TV Thompson tells a story about raping a girl … and Merrit feels sorry for him. And it was okay because she had “round heels,” I guess?

Later, a character named Susy tries to commit suicide after three “Yalies” get her drunk and try to rape her. I would compare this to the character of Melanie in the film, which is treated with more drama and gravity. In the book, the suicide and rape of Susy are treated almost flippantly, calling her a “Suicidal Mermaid,” because she tried to drown herself in the pool.

Before the book got offensive, its crime was that it was boring and confusing.
The book is written in a meandering, scattered stream of consciousness where stories overlap in confusing manners. I guess this is meant to give the impression of how a college girl thinks … in Swarthout’s opinion. The book gets convoluted as Swarthout cuts into the main narrative so Merrit can tell a story to explain something unrelated for several pages. While reading, I would forget why we were discussing this second story and what we were doing prior.

Some examples:
• Merrit first meets Basil while he and his jazz band are playing. Basil comes over to ask her for a date. After agreeing, Merrit describes something she learned in a Core Living class for three pages all in one long paragraph.
• While Merrit and Ryder are kissing, the story halts as she turns to “Incidentally, this is why I had decided in high school to become a teacher.” And for five and a half pages, Merrit describes her teaching experiences before we get back to current time.

Swarthout also uses some storytelling methods that I guess you could call clever, but were frankly annoying.

For example, the girls are having an argument with older tourists. To illustrate the yelling and talking over each other, Swarthout wrote a full page of text with no punctuation. I thought “I’m not reading that” and just skimmed.

Other times, he tried to write words phonetically so the reader would get the idea of an accent. However, he did this with a southern police officer, and as a southerner, I had no idea what words I was supposed to be reading.

where the boys are 2

Film similarities and differences
While the book and movie are fairly different, several tidbits from the book are in the film. But they are simply told in a more charming manner.

The film begins with Merrit in a courtship class taught by elderly Dr. Raunch. Merrit gets in trouble for her discussion on dating and sex. In the book, this is one of the previously mentioned flashbacks that cuts into the story.

In both, TV tells a story about angrily writing a rich lady who complains about her life who sends him money in response. In the book, however, the woman is Barbara Hutton.

Frankly, George Hamilton and Jim Hutton were perfectly cast in the film as Ryder and TV. Paula Prentiss is more how Merrit is described in the book.

In the movie, Merrit is more reserved while she isn’t in the book.

The book is also frankly wild. There is a whole thing about trying to get college kids to go fight in the Cuban revolution — which isn’t in the film.

What was the goal?
The inspiration of the book came when Glendon Swarthout, PhD, then a Michigan State University (MSU) associate English teacher, accepted an invitation to go to Fort Lauderdale with his students. TV Thompson was based on the student who invited him.

“It occurred to me as the week progressed that this would make a very fine novel,” Swarthout told Larry King in a 1985 interview. “I could at the same time write a kind of profile of that particular generation-their aspirations, their hopes, their fears and so on.”

In a 2011 Michigan State article, several MSU professors praise the book for being witty and forward thinking.

For 1960, I will admit that it is forward thinking, especially the depiction of Merrit being sexually active. But at the same time, the female characters face certain consequences for being sexually active, while the boys don’t.

So what was the goal? Was it to slut shame? That sex comes with consequences? Or was it an attempt of saying sex outside of marriage was okay? I’m really not sure.

While the Metro-Goldwyn-Mayer film was criticized as commercial, I’ll soak in those artificial Cinemascope, Joe Pasternak-produced rays any day over reading this book again.

This article is part of the 2021 Classic Film Summer Reading Challenge hosted by Out of the Past.

Check out the Comet Over Hollywood Facebook page, follow on Twitter at @HollywoodComet or e-mail at cometoverhollywood@gmail.com

Review: Enchanted Island (1958)

With bright blue eyes and a soprano singing voice, Jane Powell won over audiences with her first screen appearance in 1944.

She became one of Metro-Goldwyn-Mayer’s top musical starts from 1946 to 1955 — every one of her movies was filmed in Technicolor. Her co-stars were other bright new stars from “Holiday in Mexico” (1946) with Roddy McDowall to “Two Weeks with Love” (1950) with Riccardo Montalban.

But as the studio system declined and musicals failed to reign supreme, Powell’s career declined too. The last time movie audiences saw her in a starring role in a feature film was in 1958 in “Enchanted Island.”

But rather than a singing sweetheart, Powell dons a long black wig, a sarong and a tan as she plays a Typee woman who lives on a South Sea Island.

Set in 1842, a ship stops at a South Sea Island. Sailor Abner Bedford (Dana Andrews) is belligerent with the captain (Ted de Corsia), because the sailors are refused shore leave. The captain eventually relents, but Abner argues with the captain when he disapproves of drinking and carrying on with the native women; warning Abner and the crew that anything beyond the shore is dangerous.

After a fight, Abner jumps ship and sailor Tom (Don Dubbins) tags along. Abner’s intentions all along were to escape the ship, because he wants to be a free man.

Abner and Tom travel deeper into the island jungle and come across a tribe, the Typees, who are rumored to be cannibals. Abner falls in love with one of the Typees, Fayway (Jane Powell). The two are going to marry and Tom disapproves, believing that Abner needs to return to Western Civilization.

Tom runs away to return to civilization, and Abner and Fayaway live happily together. However, their happiness fades when Abner believes the Typees are watching him — making him feel less free — and he also has suspicions about what happened to Tom.

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The Loneliness of a Classic Film Lover: 10 years of blogging at Comet Over Hollywood

Celebrating 10 years of Comet Over Hollywood

“The Loneliness of a Classic Film Watcher.”

That could be a film title for anyone who loved classic films long after the movie’s initial release but before chatting about films online with strangers became an everyday occurrence.

You were considered odd and didn’t really have anyone to talk to about your interest; bottling up your obsession inside so that you may bust at any moment.

If you loved classic films at least 20 to 40 years after their initial release, you know the loneliness I mean.

I don’t care if you turned up your nose to “RoboCop” in 1987 to watch “Roman Holiday” (1953), or rolled your eyes when your friends went to see “The Day After Tomorrow” (2004) and stayed home to watch “Red Dust” (1932), you know what I’m talking about.

For me, I was starting middle school in 2000. Paris Hilton was frequently in the headlines, frosted lip-gloss and velour jogging suits were in fashion, and O*Town was the hot new boy band.

And there I was, age 12, daydreaming about Davy Jones of the Monkees. I grew up on classic films, but I was 13 when I embraced it as my own interest. I’ll never forget returning to school for the eighth grade after the summer and gushing to my friends about “Pillow Talk” (1959) and “Breakfast at Tiffany’s” (1961). Most people didn’t know what I was talking about, and as I progressed into high school, I was just the weird, old movie girl who wore headbands to look like she was from the 1960s.

Fast-forward to 2009.

I was a junior at Winthrop University in Larry Timbs, PhD, news writing class. Citizen journalism was all the rage and blogs were the thing to have. Think about how 2019 is with podcasts — that was blogging 10 years ago.

Dr. Timbs urged us to start blogs and went as far as to say that news outlets may not hire us if we didn’t write on a blog. As a college junior, I was anxious about getting a newspaper job after college and trying to get an internship that summer.

So I headed back to my dorm and — feeling like I had to do something that very moment to be a good job candidate. So I created Comet Over Hollywood on April 1, 2009, 10 years ago this month.

And as I typed furiously my first (terrible) piece on the Delmer Daves’s film “Susan Slade” (1961), I had no idea what lay ahead or that I would still be doing this 10 years later.

While the creation of Comet Over Hollywood gave me an outlet to write, it also unexpectedly filled that void of loneliness I carried in those days.

Through writing about my favorite films, I met other people close to my age that enjoyed the same films I did and shared my enthusiasm. And over the years, these blog comments turned into dear friendships with several people who still write and that I’ve met in person—including Raquel at Out of the Past, Jill at the RetroSet and Angela at The Hollywood Revue.

Blogging friendships expanded to chatting with other film lovers on Twitter and Facebook. Now, a classic film lover in their teens or twenties can easily connect with like-minded people across the globe. Social media gets a bad rap, but it is worth it for those friendships.

What has happened in the last 10 years? Comet Over Hollywood has grown and evolved just like I have. A few of my favorite things about writing on Comet include:
• Doing silly things like trying wacky classic actress beauty tips.
• Having the opportunity to interview people connected with classic films. I never considered this as an opportunity when I start.
Making friends over the years.

I would like to close with some unsolicited blogging advice. I have been asked, “How do you find the time to blog?” If you follow me, I have tried to post at least once-a-week since 2013. There isn’t a magical answer; you just have to do it. My advice is that you can’t make blogging an option or think of it as an extra-curricular activity. You can’t blog three times a year and expect anyone to consistently come to your page, no matter how good your articles are.

It’s work. Think of it as something you have to do, like exercise or homework. You may not feel like doing it, but you will be happy with the result. Heck, I’m writing this at 10:19 p.m. on a Friday night when I want to be in bed but here I am.

I hope that I’m still sharing my love of classic films with you for another 10 years. Thank you for all of your support over the years. I truly appreciate it. You made me feel less alone.

And thank you, Dr. Timbs, for unknowingly working as the driving force behind this page.

Check out the Comet Over Hollywood Facebook page, follow on Twitter at @HollywoodComet or e-mail at cometoverhollywood@gmail.com

The Romanovs: 100 years of legends and rumors

One-hundred years ago, on July 17, 1918, the last royal family of Russia—Tsar Nicholas II, Empress Alexandra, their five children and a few aides —were taken into a cellar and assassinated.

Romanov family portrait in 1913

And while this was the end of the Romanovs and the Russian monarchy, it was just the beginning of 100 years of legends, rumors and myths that surrounded the royal family. From a 1928 American film based on Romanov imposter Anna Anderson to a 2016 Broadway musical, the world has been fascinated by the Romanovs. The curiosity doesn’t just revolve around if any of them survived (DNA and science now tell us that they didn’t), but also the relationship with Rasputin, the “mad monk,” the royal lifestyle and the seemingly charmed lives that the grand duchesses lived.

Below are films released from 1928 to 1997 about the last Tsar of Russia and his family:

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