Ann Dvorak’s Los Angeles Addendum: Visiting the Page School for Girls with an Alumna

April 1st, 2016
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Jo at the Page School for Girls, circa 1938

When Ann Dvorak: Hollywood’s Forgotten Rebel was first published, I was warned by fellow authors that people would start coming out of the woodwork with great stories and info about Ann. Now that we’re over two years removed from the publication date, I am happy to report this has not happened. Well, it hadn’t happened until recently. Read the rest of this entry »

“Private Affairs of Bel Ami” to be Released (Finally)!

March 3rd, 2016

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A little over two years ago, I posted that independent distributor Olive Films would be releasing The Private Affairs of Bel Ami sometime in 2014. The year came  and went and I had started to give up hope that it would ever come out. Low and behold, yesterday Blu-Ray.com reported that it is on Olive Films May roster! It’s also confirmed on Olive’s website via a crossword puzzle, though I could not find anyplace to pre-order it.

I have expressed my love for this film in past, but am more than happy to wax ecstatic about it once again. Based on a novel by Guy de Maupassant and starring George Sanders at his caddiest, the movie also features Angela Lansbury, Marie Wilson, Frances Dee, Warren William (in his final role), and of course our Divine Miz Dvorak. This is probably my favorite post-War role of Ann’s. Compared to her live-wire pre-Code performances, she is very understated in Bel Ami  and is given the opportunity to demonstrate the range she had as an actress. Plus,this is one of only a handful of period films she appeared in. The late 19th Century Parisian-inspired costumes, matched with the intriguing set-design suit Ann well.

The Private Affairs of Bel Ami has been available to stream for awhile, but I am a strong believer in supporting the companies that take the time and effort to released these lesser-known films and will certainly be ordering a copy. Get yours here on May 24th! 

Enjoy!

The Business of Writing a Biography

February 26th, 2016

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Our lovely Ann Dvorak writing away while honeymooning in Europe in 1932

Those of you Dvorak devotees who still check in here have probably noticed that the posts have slowed down to a trickle. It’s not that my love of Ann has waned, far from it, though now that we’re two years removed from the release of Ann Dvorak: Hollywood’s Forgotten Rebel, she’s not quite as much of a focus. Plus, I have taken on weird responsibilities in my life like Girl Scout Troop Co-Leader, so my time is getting spread increasingly thinner.

Also, I have decided to undertake a new biography project. I am not quite ready to announce anything yet, but I am getting into the thick of it enough that it is certainly cutting into my time to post here. Before I drop completely off the face of this website (well, not completely – I’ll be sure to post any major Ann news), I thought I would write a post I have been meaning to do for awhile.

Now that I have gone through the process of writing and publishing a Hollywood biography, I’ll occasionally be contacted by people who are thinking of doing the same and want to know what may be in store for them. Since I work at a research institution and oversee a photo archive, I have gained some additional perspective into the process. I am sure every writer’s experience is unique, so this is just some insight into my personal experience that hopefully can be some useful food for thought for anyone considering undertaking a similar project.

As noble and important as film scholarship is, a major thing to be aware of is that writing a full-length biography is going to cost money. Most likely it will be the author who shoulders this cost, unless you’re one of those lucky souls who can land a publisher who still pays advances (I was not one of those lucky souls). This business of writing a biography is what I wanted to focus on with this post.

Research Costs Money

We are currently living in a golden age for researchers, which becomes bigger and better everyday. Institutions, corporations, government entities, and individuals are digitizing materials at an astounding rate and access to content from around the world is at our fingertips. I started researching Ann Dvorak right on the cusp of the digital revolution, so much of the material I had to access through “traditional” time consuming methods is now available in mere minutes. However, despite the leaps and strides that the online realm makes on a regular basis, not everything is available online, far from it. More than likely, trips to libraries, archives, and government agencies are going to be necessary to create a complete picture of a person’s life.

For Ann Dvorak, my chapters about her time at MGM and Warner Bros. would be anemic had I not spent an extensive amount of time utilizing their primary source archives at USC. It’s been fifteen years since my first visit to USC, and these materials are still not available online. Court documents provided valuable insight into Ann’s legal case against Warner Bros, as well as her very troubled marriage to Nick Wade. Real estate records also revealed a great deal about Ann’s time in Los Angeles and Hawaiian probate records helped flesh out Ann’s final years. The New York Public Library had clippings and photos relating to Ann’s parents that were vital to telling their story. I could go on and on, but you probably get the point.

This vital research costs money in the form of time off of work, photocopying expenses, travel expenses, and probably a few other areas. Sometimes, things that have been digitized still cost money to access. I am fortunate that the library I work at subscribes to some historic newspapers databases, but there are many we don’t have. I have certainly paid money to access digitized materials over the years. For Ann Dvorak, I made multiple trips to Hawaii and New York and one visit to London for my research, so yes, it was an expensive endeavor. For those of you that are not able to travel, libraries maintain lists of researchers for hire. Utilizing their services may be cheaper than traveling somewhere, but be prepared to pay them a fair rate which they certainly deserve.

What you should not expect from librarians is that they do the research for you. Some institutions, like the New York Public Library offer fee-based research services, but generally libraries are understaffed and are not able to undertake massive research projects for out-of-town authors. For the library I work at, we can handle basic reference questions and our job is to be able to help you locate the materials you are looking for. We cannot compile all that research for you which is very, very time consuming. Not that this stops people from begging or yelling at us, but please realize that if you are not prepared to travel in the name of research, then be prepared to hire a researcher.

Photographs Cost Money

If you’re like me, the first thing you do when cracking open a new biography is thumb through and look at the photos. People love photos, and why shouldn’t they? Images truly help tell a full story and every biography should have a great selection of photos. However, photos can end up being a HUGE expense. Not only do institutions and commercial enterprises charge reproduction fees, but they will also charge additional fees based on how the image is being used and this can add up fast.

Fortunately, images of film stars are plentiful and depending on the time period, probably out of copyright (University Press of Kentucky has a great guide to this on page 11). This makes buying original photos on eBay an option that may be cheaper than going through a photo archive. This does not mean the photos won’t end up costing a lot. I only acquired a handful of images of Ann Dvorak from institutions, so most of the photos in the book are from my personal collection. Even so, I probably spent between $2,600 – $3,000 for the images used, not including travel expenses as some of the photos were purchased on trips to New York and Hawaii. That cost was less painful for me, since it was spread out over 15 years, but it’s still a chunk of change.

If you are starting research for a biography, and money is a big issue, I strongly recommend setting aside a few bucks a week into a photo fund. Researching someone’s life doesn’t need to take 15 years, but it should take a least a year or two. Setting aside a bit here and there will result in some sort of photo budget when the time comes. As a photo archivist, I strongly suggest your photo plan NOT be to yell at and browbeat the employee at the photo archive. My assistant and I have been subjected to so much abuse from people not wanting to pay fees, that we’re both hollow and desensitized to any amount of begging or yelling. I can’t speak for other institutions, but the fees we collect directly support our ability to preserve and digitize the photos in the collection, which is something I take seriously. I would not waive these fees for my own my mother (not that she would even ask, because she knows better).

Another option is to seek out other collectors who have photos in their personal collections. Over the years, I have been contacted by biographers writing about Ann’s co-stars and am more than happy to provide publishable scans in exchange for credit in the book.

While the cost of photos is a harsh reality, it’s really necessary. There was a biography that came out on a couple of years back on a Los Angeles figure. The author regarded it as his life’s work, but didn’t want to pay money for images. The book came to be known as “that one without any photos,” and discussions about it never made it past a conversation about the importance of photos.

Pony up, it’s worth it.

Indexes Cost Money

I did a whole post on indexes a while back which you can read here. I am a strong advocate of a strong index and was actually surprised that this was not a service provided by my publisher. Yes, I was lucky that a close friend of mine has a background in cataloging, which made indexing easy for her. Plus, she indexed my book at no charge. Had she not been available, I would have probably paid someone, which can run in the $2,000 rage. I do not recommend using an indexing software which produces a final product that is superficial and unhelpful. If you’re going through the time an expense to research and write a book, you want it so be useful for years to come and a well crafted index is key to that.

While the publisher did not provide me with an index, they did give me a copy editor, layout designer, and graphic designer to work with. The Ann Dvorak book looks fantastic because of them. If you’re going the self-publishing route, you are going to need to pay someone for these services. Even if you think you can do this on your own, if you don’t have a background in one of these areas, forget it. These people are paid professionals for a reason. They trained to do these jobs, and will do them infinitely better than you and I ever could. Here at the library, we frequently have authors wanting to get their self-published books into the collection. While some are certainly worthwhile additions, more often then not these books have huge quality control issues which will eliminate them from consideration. I sometimes get asked if would self-publish and the answer is an emphatic no. The editorial and production services my publisher provided far outweighed any benefits from self-publishing, though again, that’s just my personal experience.

Well that’s all the wisdom I have to offer at this point, which I hope is helpful. If you’re thinking of writing a biography of a film personality, I fully encourage it, but just be aware that there may be a bit more to it that you think.

Happy writing!

Double Dose of Dvorak on TCM Including “We who Are About to Die”

January 20th, 2016

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Crooner is going to air on Turner Classic Movies on Thursday, January 21st at 8:15am PST

We Who are About to Die is going to air on Turner Classic Movies on Thursday, January 21st at 3:15pm PST. 

All you Dvorak fans are in for a treat tomorrow – TWO movies featuring our divine Ann-D! It’s not exactly a double feature since they are being aired seven hours apart, but we’ll take it!

First up is Crooner which has aired a couple of times over the last few years, but has yet to receive a Warner Archive release. If you have not caught this one before, it’s certainly worth the time. It is a light film that pokes fun at the popular crooners of the day. Ann’s role is minuscule and she is certainly wasted, but when she’s on screen, she is her delightful self and she does enjoy one great scene where she gets to rip David Manners a new one (he totally has it coming).

Next is We Who are About to Die, which Ann did at RKO in late 1936. Ann was loaned out to the studio by Warner Bros. following her long-term suspension and court case against her home studio.  As with many of Ann’s films in the latter half of the 1930s, she does not have a whole lot to do, but the film itself is an interesting commentary on capital punishment and well worth watching. Plus, I don’t have any record of this one having aired in the last nine years, so don’t miss it if you have any interest!

Special thanks to Dvorak devotee Dick, who is a regular over here at Hollywood’s Forgotten Rebel, for the heads up.

Enjoy!

Sometime You Win, Sometimes You Lose (This Time, I Totally Lost) – The Morris Everett Auction Part II

December 11th, 2015

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Earlier this year, I wrote about the Morris Everett Auction Part I which was held through Profiles in History. Just to recap – Everett tried to collect at least one lobby card from every American film made and is now selling off the collection. Back in June, there were certainly some choice lots, but the prices didn’t quite gel for me so I held off. This past week came the highly anticipated (for me anyway) Part II which included some Ann Dvorak treasures my little heart desperately desired, so I threw my hat (ie credit card) in the ring. I even visited Profiles in History in person and looked through all the lots to see the cards that were not pictured in the catalog. Gloves were off and I was ready!

I will reveal upfront that I walked away with nothing. Absolutely nothing. Yeah, super disappointing. Still, there are some amazing Ann Dvorak pieces that are worth sharing and I will try my best to not let the bitter grapes show through. And now I present: all the lobby cards that are not in my collection! (The nice professional photos were pulled off of Invaluable. The lousy shots with thumbs visible are the photos I look at the auction house.)

Scarface Lobby Card 

My bid: $950
End price: $1,000 + premiums

Let’s start off with my true heartbreak of the auction, an original 1932 release Scarface lobby card. This is one of two Scarface cards to picture Ann.  I have the other one, but had only seen this one once, 14 years ago. At that time, I think the dealer wanted $1,250 and sold it shortly thereafter. I had actually forgotten what it looked like and was over the moon to see it again. I bid $950 which would have ended up being around $1,250 with tax and premiums and is by far the most I would have ever paid for a piece of Ann paper. Alas, I was outbid by a mere $50 though I like to think that even if I had gone a little higher I would have still been outbid.

Stranger in Town Lobby Cards

My bid: $450
End price: 1,000 + premiums

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This is my other true heartbreak. In all my years of collecting, I had never seen any cards from Stranger in Town, so I was very excited to see 5 cards up for auction. Unfortunately,  Ann is only on the two cards shown here, and they were included in a lot of  52 (that’s right, 52) First National/Warner Bros cards. Bidding $450 was really a stretch for me because lobby cards with Ann Dvorak, David Manners, and Chic Sale aren’t exactly sought after, but I figured if I won, I could recoup my losses by selling the others. Unfortunately, it was not to be.

The Way to Love Lobby Cards

My bid: $350
End price: $850 + premiums

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Just because the opening bid was low (relatively speaking), I bid on this lot of 16 lobby cards from 3 Maurice Chevalier films which included 4 cards with Ann from The Way to Love. I already had 2 of the cards, but figured what hell. No dice.

Midnight Alibi Lobby Cards

My bid: $0
End price: $1,200 + premiums

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Midnight Alibi is another title I had never seen a lobby card from. Unfortunately, this was another one of those massive lots with 46 cards from multiple Warner Bros/First National films, with an opening bid of $600, so I didn’t even bother.

Crooner Lobby Cards

My bid: $0
End price: $950 + premiums

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This is another honey of a card that I had never seen. Again, it was included in a large lot of 45 Warner Bros/First National cards. Considering I had paid around $20 for each of the two Crooner cards I already own, I just couldn’t justify the $600 opening bid for this one card.

Massacre Lobby Cards 

My bid: 0
End price: $1,100 + premiums

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Yet another giant lot of 36 cards, this time featuring Native American portrayals. For whatever reason, Massacre cards pop up every now and then, and I own the other Ann card that was included in this lot, so I did not have a hard time passing on it.

Housewife Lobby Card 

By bid: $0
End price: $2,250 + premiums

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This is the first time I have ever seen a Housewife card, so I was really disappointed to see it included in a lot of 17 early Bette Davis cards. I never had a fighting chance.

Guardsman Lobby Card

My bid: $0
End bid: $3,000

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This card from The Guardman is chopped off at the top and was included in a lot of 53 MGM cards, so there was no way I was going for it. Still, it’s fun to see that extra-girl Ann made it onto a card.

She’s No Lady Insert

My bid: $0
End price: $0

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This is a lovely insert from She’s No Lady  that I had never seen before which was included in a lot with another insert from a film called Sailing Along starring Jesse Matthews. The $300 opening bid was a non-starter for me…and everyone else.

So there you have it! I wonderful assortment of Ann Dvorak memorabilia that I was not able to add to my collection. Fingers crossed that the people who purchased these large lots are not Dvorak fans, and I’ll get a second shot at these.

View of Unadulterated “Ann Land” in 1947

November 28th, 2015

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Image Courtesy of Historic Aerials 

Anyone who knows me or who has followed this site for a while knows that one of the true loves in my life is “Ann Land.” This is what I have affectionately come to call the walnut ranch in Encino, California that Ann Dvorak and husband Leslie Fenton owned from 1933-1945. In 1934, they developed around two acres of the land into a compound with a modest house, servants quarters, pool/guest house, green house, cow stables, and the obligatory Southern California pool.  The ranch itself was 35 acres, and the then remote home seemed like a lovely oasis for the couple, who preferred to keep to themselves.

When Ann and Leslie separated in 1945, Ann subdivided the ranch and sold it to three separate buyers, with the house going to singer Andy Russell and his wife Della. Before the decade was out, the walnut trees disappeared to make way for a gaggle of post-War ranch homes and the 101 Freeway. In 2006, I was fortunate to befriend the fourth owner of the property who allowed me and my husband to get married on the property in October 2007.

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Our fair Ann posing for the Warner cameras in 1935.

Ann was photographed extensively on the property, particularly by Warner Bros., so it’s well documented. Over the years, I had pieced together exactly what area the ranch encompassed, using real estate records and tract maps. The highlighted area on this tract map shows what land Ann and Leslie gradually acquired over the years.

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Image Courtesy of Los Angels County, Department of Public Works 

Even though I had been able to pinpoint the parcels that comprised Ann Land, I always want to see a view of it, in order to get a real sense of what the ranch was like and if it was as remote and hard to find as was reported back in the day. For many years, the closest I was able to get to this sort of view was through a late 1930s WPA Land Use Survey Map (The lone square on the top half of the left side is Ann Land).

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Image Courtesy of University of Southern California

Since 2009, the Historic Aerials website has been adding aerial photos of locations around the country and is a fantastic resource for property research. For many years, the earliest view of Ann Land they offered was from 1952, which is cool and all, except the subdivision and construction has begun and one could only get a partial sense of what the area was like when Ann lived there. Last week, while training a new librarian at work about property research and using Ann Land as an example, BAM! There it was. A beautiful 1947 view of Ann Land in all its pristine walnut ranch glory. I gasped and did a happy dance, and the new librarian is probably now convinced she is working with a bunch of lunatics.

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Image Courtesy of Historic Aerials

It’s quite possible you’re now thinking that this is the blog of a raving lunatic, and I can live with that. But for those of you who are into this sort of thing, the un-watermarked view (I paid Historic Aerials 20 bucks for that) is at the top of the post with the neat and orderly lines of walnut trees gracing the landscape. Directly above is a version where I have outlined the parcels Ann and Leslie owned and circled the area that contains the buildings. It is fairly remote, so it makes sense that visitors would have trouble finding it, including the 1940 Census taker who appears to have skipped it altogether. Here’s a closer view:

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Image Courtesy of Historic Aerials

Finally, just to get your bearings, below are a couple of views with the streets outlined.

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Image Courtesy of Historic Aerials

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Image Courtesy of Historic Aerials

Even with this image, it’s still amazing to fathom that this area which is book-ended by Ventura Blvd. and the 101 Freeway was once such a remote rural area. What does it look like today?

 

Image Courtesy of Google Earth

Yeah, just a wee bit different from when Ann Dvorak called the place home. Thanks for letting me geek out about aerial photography. Wishing all you Ann fans a stress-free holiday season kickoff!

Ann Dvorak on TCM in November

November 5th, 2015

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I woke up this morning, and did what I normally do – check email, check Facebook, check Twitter… and saw in my Twitter feed that Sweet Music aired early today on TCM. I did know about it. I meant to post about it. I failed to put it on my calendar. This is the kiss of death for any time sensitive task in my life these days. For those of you who actually rely on me for all your Ann Dvorak scheduling needs, I do apologize as Sweet Music is not shown too terribly often and has not received an official release yet. It’s not my favorite Dvorak title, but it is one of her higher budget Warner Bros. films, and she fought hard to be in it.

I have actually launched into a new large film-related project. I am not quite ready to announce it yet, but paired with my librarian, mom, wife, and My Little Pony obligations, Ann Dvorak has been pushed aside ever so slightly. I don’t want to neglect Ann completely, so right now I will take the opportunity to point out:

  • I Sell Anything will air on Turner Classic Movies on Wednesday, November 11th at 9:30am PST.
  • Side Streets will air on Turner Classic Movies on Thursday, November 12th at 3:00am PST.

I Sell Anything is included on the latest Forbidden Hollywood boxset. As I have discussed before, I think it’s an exceptional waste of Ann and I would be curious to hear what others think.

Side Streets has very little Ann in it, but Aline MacMahon is delightful and this is a quirky and enjoyable flick.

It looks like Ann is also on the TCM horizon for December and January, so I will be sure to put those on the calendar so as to prevent them from leaking out of my chaotic brain.

Viva Dvorak!

“Three on a Match” on TCM

October 14th, 2015

Three on a Match is going to air on Turner Classic Movies on Thursday, October 15th at 4:15am PST.

You haven’t seen Three on a Match you say? Boy, have you been missing out! I remember my first time watching this film in the mid-1990s, which was also the first time I encountered Ann Dvorak. I’m not sure how you’ll react to it, but I was balled over by this little pre-Code gem and ended up watching the film twice in a row on my VCR. From there, I started collecting Ann Dvorak memorabilia, launched this website, obsessively researched Ann’s life, got married at her San Fernando Valley ranch house, and ultimately published her biography. If you haven’t seen this film, I do recommend it – though it may send your life on a major unintended (but marvelous) tangent.

Consider yourself warned, and enjoy the film!

Ann Dvorak Featured in Volume 2 of “The Pre-Code Companion”

October 13th, 2015

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If you’re visiting this website and are not familiar with Pre-Code.com, then you need to correct that wrong immediately. It’s a comprehensive ready-reference source of pre-Code film titles, actors, and resources that was conceived and constructed by a fella named Danny Reid who maintains the site out of passion, not profit. I refer to it fairly often and utilized it quite a bit while preparing a pre-Code lecture earlier this year.

I first started following Danny on Twitter years ago when he was watching and reviewing every Audrey Hepburn movie. I respected his being honest about not liking the much revered Funny Face, which is a film I have always secretly loathed, but usually don’t fess up to in polite company. In the ensuing years, Danny and I have become friends and I was happy to be a contributor to his brainchild Thoughts on the Thin Man which was released last year and includes my ode to the Thin Man display at the dearly departed Movieland Wax Museum.

Recently, Danny launched an online journal called The Pre-Code Companion which is largely designed to serve as a primer to pre-Code films and actors. Each issue spotlights three actors/actresses along with one film each of those actors appeared in.  The first issue was released in August and focuses on Barbara Stanwyck/Baby Face, Jean Harlow/Red Headed Woman, and Mae Clark/Waterloo Bridge.

When Danny put out a call for the second issue, which included Ann Dvorak, I just had to throw my hat in. My piece, which compliments Danny’s essay on Three on a Match, briefly discusses Ann’s pre-Code experience and how those films cause her to sink into obscurity post-retirement, but have ultimately brought her talents to the forefront with classic film fans. Since a huge chunk of my brain is still a Dvorak repository, I was happy to be included and appreciate that Danny didn’t scoff at having me write the Ann essay.

In addition to Ann/Three on a Match, Volume 2 of The Pre-Code Companion features Ruth Chatterton/Female and Grant Withers/Other Men’s Women. As if reading about pre-Code cinema wasn’t great on its own, 100% of the proceeds go to the ASPCA. You’ll be reading about Ann Dvorak AND helping adorable animals. It’s a win-win!

Both issues of The Pre-Code Companion are available on Amazon with more issues around the corner.

Ann Dvorak in “I Sell Anything” to be Released on “Forbidden Hollywood, Volume 9”

October 5th, 2015

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When I first discovered Ann Dvorak around 1995, finding copies of her movies was an exercise in futility. Other than Three on a MatchScarface, and G-MenI was sunk and my quest to become better acquainted with Ann the actress remain unfulfilled. Eventually, I made the right connections and entered the network of classic film fans who readily produced VHS copies of films in their personal libraries. These would be swapped for titles they had been unable to find or even sent out at no charge except for the cost of postage. I was really impressed by how generous these fans were in wanting to share classic films, but the one downside to this system was the quality of the prints. These would frequently be copies taped off of TNT, with the commercials crudely edited out. I am guessing by the time I received some of these Dvorak titles, they were 10th generation copies and were barely watchable because the quality was so bad. This could sometimes taint my perception of the film itself. For example, the first time I watched my lousy print of The Private Affairs of Bel Ami, I thought it stank. Years later, when a good copy showed up on one of the streaming services, I discovered that I in fact loved it, and it remains one of my favorite Ann Dvorak films.

I am hoping this is the case with I Sell Anything, which is going to be released later this month via the Warner Archive on the Forbidden Hollywood Volume 9 set.  I have watched this yarn twice and absolutely hated it both times. Well, hate may be too strong a word, because I really found it too boring to stir up an emotion as intense as hate. Still, it is one of my least favorite Dvorak films.

The first viewing came sometime around 2003 when I initially got my hands on a copy. The second time was nearly a decade later when I had to revisit I Sell Anything in order to write about it in Ann Dvorak: Hollywood’s Forgotten RebelI don’t recall too much about the film, other than thinking  that watching Pat O’Brien as a con-man should be way more interesting, and that this film might be the biggest waste of Ann’s talents that Warner Bros. subjected her to. She has very little to do, and I am under the impression that her part was hastily added after the script was done. A lot of her dialogue seems like it was taken from the supporting male cast and passed along to her, and she serves very little purpose other than giving the film a pseudo happy ending. I had similar feelings the first time I watched Gentlemen Are Born, mainly due to how Dvorakless it is, but eventually came to appreciate its reflection on the struggles of college graduates in an extremely depressed economy. I don’t think I Sell Anything has as much interesting social commentary to offer. My mom was with me for the second viewing, and halfway through she turned to me and said, “Gee, this isn’t very good, is it?”

I Sell Anything has not been shown on TCM recently, if ever, so I am interested to hear what people think of it. I don’t remember the film being deliciously pre-Code, so I was actually surprised to see it on the set, alongside:

• Mervyn LeRoy’s BIG CITY BLUES (1932, Warner Bros) w/ Joan Blondell, Eric Linden
• Rowland Brown’s HELL’S HIGHWAY (1932, RKO) w/ Richard Dix
• Michael Curtiz’s THE CABIN IN THE COTTON (1932, First Nat’l) w/ Bette Davis, Richard Barthelmess (Ann was originally pegged for the Davis role!)
• Harry Beaumont’s WHEN LADIES MEET (1933, MGM) w/ Robert Montgomery, Myrna Loy

Despite any misgivings I have about the film, I will be purchasing the set on October 27th and revisiting I Sell Anything, in hopes that a good print will render it more enjoyable. Plus, like I always say – any Dvorak is good Dvorak and it’s always great to check off one more title on her filmography that fans are able to see.

Extra special thanks to the always special Will McKinley for breaking this story in Social Media Land, last night!