When I first became interested in Ann Dvorak, I did not have much trouble locating copies of her movies. Fellow fans like Laura Wagner over at Classic Images generously shared their personal film libraries with me and visa-versa. Despite this network of cinefiles, a few Dvorak titles proved to be elusive, with I Was an American Spy topping the list followed by Gangs of New York and She’s No Lady.

After a few years of searching I managed to finally track down a copy of Gangs of New York and was able to view UCLA’s nitrate print of She’s No Lady. My expectations for both these films ran pretty high as I hoped they would prove to be little seen gems. Turns out, they’re both kind of lousy. Gangs of New York centers on Charles Bickford playing two unrelated characters who happen to be identical (a plot device that irritates me to no end). Ann has limited screen time and is subjected to supremely unflattering hair, make-up, and costumes. The film could have been slightly redeemed by a hair-pulling catfight between Ann and Wynn Gibson that was filmed but, alas, ended up on the cutting room floor. She’s No Lady was the first film Ann made after leaving Warner Bros and is actually worse than the mediocre fare she was subjected to at the Burbank studio.  The film wants to be a screwball comedy, but falls flat and is one of the few times Ann turns out a less than stellar performance.

Other than three supposedly “lost” British films from the war years, I Was an American Spy was the last title on the Dvorak filmography I needed to view. Over the years dozens of people have contacted me looking for a copy. Some have relatives who were in the film or are related to the real-life participants the story was based on, while many others had seen the movie when it was released and have fond memories of it. I was anxious to view it not only because it was Ann’s favorite role, but also because I have more memorabilia from this title than any other.  After nearly a decade of searching for a copy of I Was an American Spy, I now am a proud owner, courtesy of the Warner Archive.

The big premiere was spent with my husband Josh and my friend Darin who has been with me through the whole Ann Dvorak journey, including the ill fated She’s No Lady viewing at a warehouse in Hollywood. Expectations were running low, and I braced myself for another disappointment as the Allied Artist logo came on the screen. I am happy to report that I was pleasantly surprised.  After a slow start, I found myself  really engaged by the end of the movie. No, it is not a high budget flick and the use of stock footage is a bit excessive, but it is a showcase role for Ann and she makes the most of it. She  goes from being vulnerable and lovestruck to hardened and vixenish, with an appetite for revenge. She slaps and gets slapped, is tortured with a hose, sentenced to death, does a fan dance on the drop of a dime (sadly, we only get a tiny taste of this) and performs a heartfelt rendition of “Because of You.“  I think this is the most substantial part she ever played in terms of screen time and it’s easy to see why she favored this role.  It’s a riveting performance, and is right up there with Three on a Match and Scarface. She looks gorgeous in the dolled-up nightclub scenes.  I Was an American Spy would prove to be Ann’s last hurrah, as she only made one more movie, the Secret of Convict Lake, where she has a standard supporting role.

After ten years of waiting to see I Was an American Spy, Darin and I were satisfied, but such a build up left us both feeling like the whole experience was a bit anticlimactic. My husband thought the film was “lousy” and I realize that I have yet to subject him to the many mediocre roles that comprise the career of Ann Dvorak. Compared to the majority of films that Ann made between 1933-1951, I Was an American Spy is a high mark.

As far a quality goes, the DVD is completely bare bones but the print looks nice enough. Considering I would have spent a couple hundred bucks for an ultra low quality copy, and was on the verge on scheduling a $500 screening on the Warner lot, $19.95 was a steal for this and worth every penny.

I accompanied my comic-book-writing hubby to New York  last week  for Comic-Con. I usually make the rounds with Josh at the Con, visit the one vintage movie memorabilia dealer who always shows up at these events, and wait in line for a half an hour at the Starbucks stand (convention Starbucks is even pricier than airport Starbucks which is even pricier than regular Starbucks).  I can only be the dutiful wife for so long before Comic-Con madness starts to set in (I once damn near had a nervous breakdown at the San Diego Con and calmed myself by purchasing a $130 Bat Girl doll),  and I need to take a break from the festivities.

This time around I took my Con reprieve  at the Film Forum Theater who is currently celebrating the country’s financial woes by screening a bunch of great Depression-era flicks for their “Breadlines & Champagne” festival. I caught  Frank Capra’s riveting bank drama American Madness, which I thoroughly enjoyed, but was more than a little bitter when I realized they would be showing, not one but TWO Ann Dvorak films later this month.

OK, two films screened on separate, though consecutive, dates probably does not constitute a “festival,” but in the world of Ann Dvorak, this is about as close as it gets. For those of you lucky enough to be in the Big Apple next week, you have the supreme opportunity to sit in a darkened theater with an appreciative crowd and watch:

Three on a Match: Friday, February 20 at 3:20, 6:30, 9:45

Scarface: Saturday, February 21 at 2:50, 6:10, 9:30

I have seen Scarface a few times in theaters around Los Angeles, but have never been to a screening of Three on a Match, which is the first Ann-D movie I ever saw, and is still my favorite. If anyone is able to catch this on the 20th, please let me know how the audience responds when Ann becomes a total coke-head.

The Film Forum Theater is located at 209 W Houston St.

Andre Soares at the Alternative Film Guide recently interviewed me about Ann Dvorak and it just got posted.

As previously mentioned, I am currently writing a full length Ann Dvorak biography and have uncovered a great deal of information about Ann not previously discussed anywhere else. However, writing a extensive biography in addition to working a full time job is proving to be a very long process. In the meantime, I thought I would draw attention to some of the other writers who have turned the spotlight on Ann.

First up is Killer Tomatoes: Fifteen Tough Film Dames by Laura Wagner and Ray Hagen. Published in 2004, Miss Wagner wrote the excellent Dvorak chapter, and I believe Laura is the first to discuss Ann’s 1936 lawsuit against Warner Bros in depth, as well as her relationship with first husband Leslie Fenton.  In addition to Ann, the other actresses discussed include Lucille Ball(her pre “I Love Lucy” film career), Lynn Bari, Joan Blondell, Gloria Grahame, Jean Hagen, Adele Jergens, Ida Lupino, Marilyn Maxwell, Mercedes McCambridge, Jane Russell, Ann Sheridan, Barbara Stanwyck, Claire Trevor and Marie Windsor.  Killer Tomatoes is a great read that pays tribute to some long neglected talents. This book is still in print and can be ordered on Amazon or from the publisher McFarland.

If I am not mistaken, Hollywood Players: The Thirties by James Robert Parish is the only book to prominently feature Ann Dvorak on the cover. Not only is she on the cover, but it’s a photo of her wearing that ridiculous bird outfit from Sweet Music. Parish has specialized in these Hollywood biography compilations for decades, and his books are always a great source for info. This one was published in 1976, but used copies are easy to find online or at a used book store.

Doug McClelland was probably the first person to write about Ann retrospectively, and his piece appeared in volume 95 of a publication called Film Fan Monthly. I never had the opportunity to meet Mr. McClelland, who passed away a few years back, but a friend of his told me that he was a huge fan of Ann’s and even saw her perform on Broadway in the Respectful Prostitute. The title of the 1969 article is “The Underground Goddess,” which I borrowed for this website for five years before changing it to “Hollywood’s Forgotten Rebel.” Film Fan Monthly is no longer around, but this issue pops up on eBay every so often.

Thanks again to all those who have sent me emails of encouragement as I continue writing the biography. In the meantime, these three sources are worthwhile if you want yo find out more about Ann Dvorak.

Anyone who has taken a look at the FAQs on this site knows that the most asked Ann Dvorak question is “Where can I get a copy of I Was an American Spy?” In the eleven years I have been collecting on Miss Dvorak, I have never been able to find a copy of the 1951 Allied Artists film. My understanding is that Warner Bros has a print, but no plans to release it on DVD.

Turner Classic Movies has a “Suggest a Movie” feature, as well as a “Home Video Vote.” Both are available on their I Was an American Spy page.

So, start clicking, suggesting and voting so we can finally see this movie!