Archive for December, 2008


Furs in Film – Tin Pan Alley

The actual Tin Pan Alley is on its way to becoming some hi-rise. The alley’s history as a source of popular music from the late 19th and early 20th century meant it eventually figured into the new-born film business. The one in the 30’s and 40’s, not the current one. Maybe if was the center of a modern blockbuster, it wouldn’t be at the mercy of very real blockbusters. Granted, the time that a musical could be a blockbuster is pretty much past.

Tin Pan Alley – The Film

Tin Pan Alley, the 1940 film version, follows star Katie Blane, played by Alice Faye, and her sister Lucy (then up and coming Betty Grable) as they find fame and fortune with Tin Pan Alley songwriters Harry Calhoun and Skeets Harrigan. With the Blane sisters singing their songs, everyone is rocketed to fame and fortune. Until slightly more famous, and well dressed, Nora Bayes asks to sing one of Calhoun and Harrigan’s songs, one promised to the Blanes. The Blanes skip town leaving Harry and Skeets on the rocks as their fame fades and the end up joining the Army. Which is what most down-on-their-luck songwriters did back then. Happy reunions occur in France and, despite 3 or 4 years of hellish trench warfare summed up in about thirty second of stock footage no one manages to die in World War I.

Tin Pan Alley- The Furs

Another film from the “40’s” with great fur. This one is probably cheating, though. Maybe it hit theaters in January of 1940. Maybe it was the fact that the film is set in the mid to late 1910’s. The foxes are a bit too large to really work for that period. Not that I’m complaining. This is one case where a little Hollywood costume excess works in our favor.

Things only really get rolling after Harry and Skeets are on top of the world with the help of the Blane sisters and the “other woman” shows up to poach their latest songwriting masterpiece. That would be the famous Nora Bayes, played by Esther Ralston.

Nora shows up in a fox trimmed cape with a large, matching barrel muff with tails. Not quite the same as Barbara Stanwyck’s from Lady of Burlesque, but the combination is very nice indeed.

Nora gets her song, despite polite protests from one half of the songwriting team.

She calls back shortly, wearing this white fox trimmed dress. The trim forms a bit a circle around her arms. Certainly one of the more interesting uses of fox trim.

Apparently Betty Grable was written into the film as the younger sister at the last minute thanks to her success in Down Argentine Way, where she also wore some nice fur. Here she waits for sister Katie to return home in a large red fox trimmed coat.

Alice Faye wears a coat with black fox trim as she gets the bad news about Nora and the song.

Katie comforts Alice after getting the bad news. One supposes the heat in the lavish upscale apartment is on the fritz. Again, not that I’m complaining.

The years pass and the Blane sisters have found their own success in London. They learn Harry and Skeets have joined up with the Army and are in London before shipping out to France. They decide to see them and patch things up. Alice chooses a very nice fence-mending fur with this jacket with a huge white fox collar and cuffs.

They meet up at the docks. Miss Faye looks beautiful framed in this thick white fox fur.

The entire docks sequence is, per Hollywood cliche, drenched in fog. Muddies up the view of the fur from time to time, but Alice manages to shine through quite a bit.

Tin Pan Alley is actually one of the first films I ever tried doing caps on years and year ago. I remember struggling with the last sequence, as the combination of sweeping shots in the fog soaked docks made it a rather annoying one to cut one’s teeth on. Alice’s jacket would have been even more appealing if it were all white fox, but the size of the collar and cuffs made it almost indistinguishable from a full fur jacket in many shots.

The full Tin Pan Alley Fur Gallery.


Furs in Film – Night Shift

The 80’s, decade of mega foxes and power furs. Decade that, at the moment, it’s not really easy to find a whole bunch of people broadcasting content from. There are a few gems that appear, for whatever reason, from time to time. Like our next pick, which is notable primarily for the pure length of time the showcase fur appears on screen.

Night Shift – The Film

Henry Winkler spent a lot of time on TV as the Fonze, but like a lot of famous television personalities, was never able to completely translate that small screen success into the big screen. One of the more memorable attempts was Night Shift. At least, memorable to me, but perhaps not for the reason Henry Winkler wants.

Winlker stars as the standard troubled loser Chuck Lumley who, through circumstances that would never occur outside of an 80’s comedy, achieves self esteem and gets the girl. He accomplishes this via his new night shift co-worker Bill Blazejowski’s (young Michael Keaton) wacky plan of running a prostitution ring from the morgue in which they work.

Ah, 80’s hookers. If television and films taught me anything about them, they all wore really great furs.

Night Shift- The Furs

There are a variety of furs in the film Night Shift, though only one receives the kind of screen time it deserves. After their initial success in the world of pimping, Chuck buys his working girl’s a stake in a fast foot restaurant. They arrive rather bundled up in a variety of furs.

Also desperately searching for a springboard to film stardom from a popular television series, Shelly Long is Belinda Keaton, the hooker with a heart of gold, and a small silver fox jacket. Shelly’s fur wardrobe ramps up quickly with the success of their prostitution ring. This is her second fur, not a bad little jacket, but the main event is not far off.

This would that main event, a full length fox coat I believe is referred to as “indigo” or possibly bluefrost. Somewhere between crystal and silver, the fox plays for entire scenes in the film.

Not that I question Belinda’s financial acumen, but the reason this entire scene is played in that wonderful fox coat is the heat in her apartment doesn’t work. One would think with all her newfound “full length fox coat” money that would be simple to correct.

Not that I care, as this circumstance leads to Belinda and Chuck’s first kiss, and a rather drawn out scene in which they try to pull each other’s coats off but fail. If only it were that way in all films.

The tub shot, ’nuff said.

Naturally complications arise and Chuck is arrested. The girls come to bail him out on a cold winter’s night.

Love wins the day, as Chuck rescues Belinda from a life of prostitution and, presumably, gets some blood tests shortly after skipping off into the neon sunset.

Night Shift is a good example of a “long scene fur”.  Certainly unheard of in recent memory, the idea that entire scenes would play out with an actress in a full length fox coat was rare even in the 80’s.  Miss Long was not a particularly great beauty, but she manages to fill out the coat well enough.  A 1982 Morgan Fairchild would have done the coat justice, but then Morgan really didn’t play to the “heart of gold” type required for the film.

Here’s the full gallery: The Furs of Night Shift