My brother died six years ago today. I never have sufficient — or original — words for this anniversary, so I’ll leave it to John Ford. Alan was a big fan of Ford’s films (as am I), and Ford was fond of one hymn in particular. Enjoy these scenes from Tobacco Road, My Darling Clemetine, Wagon Master, Seven Women, Stagecoach, The Searchers and Three Godfathers.
Kitty Foyle is one of my favourite schlocky movies from days of yore: it’s sort of an early rom-com, though short on comedy, more of a romance novel (and it actually was a novel) turned vehicle for Ginger Rogers (who was terrific in the role). One has to take it, though, as being “of its time,” so to speak. There is, for example, one particularly cringe-worthy moment where Kitty says that she is “free, white and 21.” Oy.
I watched it recently on Turner Classic, and I realized that for me, it represents a connection to both of my parents. My dad told me once that in his youth, he had a big crush on Ginger Rogers, though he got over it when he discovered that she was, in his words, “a fascist.” Now, I did some reading on Rogers, and she was not a fascist. She was a Republican and not a fan of the New Deal or FDR. That said, when the war started, she abandoned the Republican isolationism of the era and became a full-on supporter of the war effort – she owned a ranch that donated milk to soldiers and she performed in numerous USO tours.
It connects to my mom, at least in my mind, because of her love of the word “pill” to describe a certain type of man. What type of man? Well, just watch Kitty Foyle and you’ll see that she is torn between two pills. In the end — spoiler alert — she chooses the pill who wants to marry her, rather than the pill who just wants her as a mistress. It’s a smart choice, I suppose, though one senses Kitty preferred the latter pill.
Here is the original trailer of the movie, in which you can see both pills, and Ginger rocking the role of a white-collar gal. (By the way, I like to think of myself as a “sassy mick,” just like Kitty!)