#Cathy O'Donnell

[king-of-the-road]

They Live by Night, 1948, Nicholas Ray

[citizenscreen]

Farley Granger and Cathy O'Donnell promoting Nicholas Ray's THEY LIVE BY NIGHT (1948)

[theprojectionroom]

They Live by Night (Nicholas Ray, 1948)

[ordinaryeternalmachinery]

they live by night (1948) vs in a lonely place (1950)

[filmnoirfoundation]

NOIR CITY 20 at Oakland's Grand Lake Theatre Day 8: THEY LIVE BY NIGHT (7:00) & MOONRISE (9:00). Hosted by Eddie Muller. Full festival information and tickets: www.NoirCity.com

Thursday • January 26

DOUBLE FEATURE

7:00 PM

THEY LIVE BY NIGHT

One of Hollywood's great directorial debuts is a deeply-felt, richly detailed adaptation of Anderson's classic depression-era novel—a crime story that's really about love struggling to survive in a cruel, unforgiving world. Farley Granger and Cathy O'Donnell are memorable as film noir's version of Romeo and Juliet, surrounded by menacing supporting players Howard Da Silva, Jay C. Flippen, and Helen Craig. First released overseas, the film didn't get a wide release in the U.S. until late 1948. It's now considered one the finest noir films ever made.

Originally released August, 1948 (London). RKO Radio Pictures [Warner Bros.], 95 minutes. Screenplay by Charles Schnee and Nicholas Ray, from the novel Thieves Like Us by Edward Anderson. Produced by John Houseman. Directed by Nicholas Ray.

9:00 PM

MOONRISE

Relentlessly romantic optimist Frank Borzage is the last director you'd expect to turn out an effective film noir, but this brilliantly directed drama was his sound-era masterpiece. Dane Clark gives a bruised and brooding performance as a young man convinced that his father's "bad blood" has sealed his miserable fate. Can he be saved by the love of angelic Gail Russell? Featuring strong supporting performances by Ethel Barrymore, Rex Ingram, Lloyd Bridges, and Harry Morgan.

Restored 35mm print courtesy of UCLA Film and Television Archive

Originally released October 1, 1948. Republic Pictures, 90 minutes. Screenplay by Charles F. Haas, based on the novel by Theodore Strauss. Produced by Charles F. Haas. Directed by Frank Borzage.

[cinemacentral666]

Side Street (1950)

Movie #1,131 • WATCHLIST WEDNESDAYS

I guess this is considered a lesser film noir/Anthony Mann film, but I really enjoyed it. The seemingly paint-by-numbers police procedural plot is actually well-layered and it's both visually terrific and well-paced at an economical 83 minutes. The car chase shot on location through a desolate/old NYC is worth the watch alone.

SCORE: ⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️

[weirdlookindog]

The Spiritualist aka The Amazing Mr. X (1948)

[autumncottageattic]

The Best Years of Our Lives (also known as Glory for Me and Home Again) is a 1946 American epic drama film starring Myrna Loy, Fredric March, Dana Andrews, Teresa Wright, Virginia Mayo and Harold Russell.  

[byneddiedingo]

'Farley Granger and Cathy O’Donnell in They Live by Night (Nicholas Ray, 1948)

Cast: Cathy O’Donnell, Farley Granger, Howard Da Silva, Jay C. Flippen, Helen Craig, Will Wright, William Phipps, Ian Wolfe, Harry Harvey. Screenplay: Charles Schnee, NIcholas Ray, based on a novel by Edward Anderson. Cinematography: George E. Diskant. Art direction: Albert S. D’Agostino, Alfred Herman. Film editing: Sherman Todd. Music: Leigh Harline. 

Though usually remembered as a precursor of another, more celebrated lovers-on-the-lam movie, Bonnie and Clyde (Arthur Penn, 1967), They Live by Night stands on its own, largely because of novice director Nicholas Ray's attention to characterization and detail. This is a film with texture, rising above its melodramatic core by constantly introducing peripheral detail. Instead of opening, as a conventional movie might have, with a dramatization of the prison break by Bowie (Farley Granger), Chickamaw (Howard Da Silva), and T-Dub (Jay C. Flippen), it begins with an aerial shot of the stolen car speeding across the landscape -- a daring early use of what has become routine in filmmaking, namely, a helicopter shot. Ray continues to fill his frames with the unexpected: As Bowie hides behind a billboard, waiting for Chickamaw and T-Dub to return with another car, a small dog appears and hangs around the young fugitive. Later, when Bowie and Keechie (Cathy O'Donnell) begin their flight on a Greyhound bus, Bowie is seated beside a woman who is determined to ignore her crying, squirming baby, leaving Bowie to try to quiet the infant. Neither dog nor baby is essential to the scene, but by their very presence they lend a quality of innocence to the boyish fugitive. Bowie and Keechie decide on the spur of the moment to get married in a quickie ceremony conducted by an anything-for-a-buck justice of the peace (Ian Wolfe), who calls on his standby witnesses. After the perfunctory ceremony, the woman witness hugs Keechie, but the male witness declines because he has a cold. Again, the witness's cold is irrelevant to the plot, but it serves to add a subtle note of disorder to the scene, a hint that Bowie and Keechie will always be subject to forces as far beyond their control as the common cold. I don't know whether dog and baby and cold were present in the novel by Edward Anderson, Thieves Like Us, on which the film is based, or if they were introduced in Charles Schnee's screenplay or in Ray's revisions of it, but the fact that they were either introduced or retained in the film speaks volumes on the kind of director Ray was: one attentive to the contingencies that bring a film to life. Granger and O'Donnell are incredibly touching in their performances, and the rest of the cast rise about the stereotypes they could easily have become. Anderson's novel was filmed again, under its original title, by Robert Altman in 1974, and I remember liking that movie. But unless another viewing of Altman's version changes my mind, I think They Live by Night is better.

[audiemurphy1945]

The Man from Laramie(1955)

[citizenscreen]

Cathy O'Donnell (July 6, 1923 – April 11, 1970)

[lonelinessfollowsme]

Noirvember 17: They Live by Night (1948)

"I can't take this money of yours. No, sir. In a way, I'm a thief just the same as you are, but I won't sell you hope when there ain't any."

An escaped convict injured during a robbery falls in love with the woman who nurses him back to health, but their relationship seems doomed from the beginning.

[movie-titlecards]

The Amazing Mr. X (1948)

My rating: 6/10

Fully expected this to turn into "Evil Foreign Type uses his Heathen Ways to trick the poor innocent widow", but it never really went there, instead being a really rather solid thriller with some really fun plot twists. What a pleasant surprise.

[ruivieira1950]

[eddysocs]

Restless Recovery — Cathy Brown x OC

Summary: After getting her tonsils out, Jodie has been invited to stay with the Browns, but she’s restless, and isn’t used to being taken care of.

Word Count: 826

Warnings: None

Jodie sighed as she was settled onto the couch, a blanket over her lap and a cup of tea on the table beside her. She'd just been released from hospital after she’d had her tonsils removed, and Cathy had insisted she stay with her while she recovered. Cathy had been nothing but doting, ensuring Jodie had everything she needed as she encouraged her to rest.

Agnes Brown had been less than enthusiastic about the arrangement. Not that she didn't like Jodie, but Agnes had her own ways of doing things, and a guest meant disruption.

"Now, Jodie," Cathy said, fluffing the pillow behind her head. "You need to rest, okay? I'll just be upstairs if you need anything."

Jodie nodded. She’d rest, but if she needed anything, she had no intention of staying put and making Cathy do all the work. She already felt bad enough as it was that she’d taken Cathy up on staying with her and Agnes during her recovery. She’d be damned if she was going to let her wait on her too.

As the urge struck for a light snack, Jodie cast her eyes towards the stairs. Not seeing Cathy anywhere about, Jodie slowly eased her legs off the couch and tentatively stood up. She felt a bit woozy, but nothing she couldn’t handle. She wasn't going to be a burden.

As Jodie shuffled her fuzzy sock clad feet into the kitchen, she spotted Agnes standing by the counter, muttering to herself as she prepared a pot of stew. Jodie tiptoed to the fridge, hoping to grab a snack without disturbing the Brown family matriarch.

"Jaysus, Mary, and Joseph," Agnes exclaimed, clutching her chest, just as Jodie had opened the fridge door. "Jodie Rourke, what are you doin' sneakin' about like that?"

"Snack," Jodie crackled, pointing to the now open fridge. Her voice still a bit raspy from the surgery, so she didn’t want to say too much.

"You should be restin'," Agnes scolded. "Go on, back to the couch with ya."

"But—," Jodie attempted to protest. Yet Agnes stopped her short, thrust a yogurt cup and a spoon into her hand and shooed her away.

Mrs. Brown watched her wander off back to the family room and head for the couch. "Now, sit down before I call Cathy in here."

Reluctantly, Jodie returned to her spot on the couch. She had barely settled when Cathy appeared, concern etched on her face.

"What’s going on down here," Cathy questioned, having heard the commotion.

"Seems your patient here is a wanderer. At least Grandad stays in one place."

"She telling the truth," Cathy asked, knowing her mother's penchant for exaggeration.

Jodie nodded, feeling a bit guilty. "Sorry, Cathy."

"Don't worry about it," Cathy replied, coming over and leaning down to place a quick forgiving kiss to the top of Jodie's head. "Just rest, okay?"

For the next few hours, Jodie tried to stay still, but restlessness soon got the better of her. She decided to stretch her legs, careful to move even more quietly this time. She wandered around the family room while Agnes rearranged some knick-knacks nearby.

"Heavens, girl, ya scared the feckin' bejeezus out of me," Agnes exclaimed as she turned around, nearly dropping the porcelain figurine in her hand. "What have we told ya about restin'?"

"I just needed a stretch," Jodie said sheepishly. "Sorry, Mrs. Brown." She wasn’t used to not having free rein to move about as she pleased. And it’s not as if she were an invalid. The wooziness from the anesthesia had nearly completely subsided and she was itching to do something to occupy her time and get her mind off her aching throat.

Before Jodie could make a move back to the sofa, Agnes raised her voice. "Cathy! Get in here!"

Cathy rushed down the stairs, looking between her mother and her girlfriend. "What is it now?"

"Your Jodie's up and about again," Agnes said, pointing a finger at Jodie. "Tell her to rest, would ya?"

Cathy sighed, taking Jodie's hand. "Please, Jodie. I know you don't want to be a burden, and you're not." Cathy paused, an idea popping into her head. "Would you like to come upstairs with me?"

"Cathy Brown, this is no time to proposition the girl," Agnes chastised.

"That’s not what I meant, Mammy. I just thought I’d get her out of your hair for a while. That way I can better keep an eye on her."

"Oh. Well, alright then. Go ahead. Don’t mind me."

After an attempt at laughter turned into a slight cough, Jodie nodded, finally accepting that she needed to take it easy.

Cathy smiled, kissing her cheek. "Thank you."

As Jodie settled in upstairs, in Cathy's bed, while Cathy stayed at her desk poring over a psychological text, she couldn't help but feel a warm sense of belonging. Despite Agnes's bluster, she knew she was cared for, and that was worth more than anything.

For @sicktember

Forever Tag: @baubeautyandthegeek, @kmc1989, @curious-kittens-ocs, @fanficanatic-tw, @gcthvile, @kenjioharashotspot

[pogphotoarchives]

Cathy O'Donnell, motion picture actress, decorating a cholla cactus for Christmas at La Fonda Hotel, Santa Fe, New Mexico

Creator: Columbia Pictures Corporation

Date: ca. 1954

Negative Number: 055664