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On Henry Fonda's birthday, a word for his most astounding performance, the one I come back to most often, in Daisy Kenyon, of a doubly traumatized character whose reason is nearly madness and whose passion turns nearly pathologically dispassionate. A dangerous performance.

I will be adding to it, but the gallery page is now up on my Gregory La Cava research blog: ourmangregorylacava.com/gallery/

I like that Rex Ingram and Alice Terry spent their honeymoon watching movies at the cinema with cinematographer John F. Seitz. Terry and Seitz recalling her marriage to Ingram during the production of The Prisoner of Zenda (1922) in a 1958 oral history interview by George Pratt

Wonderful photograph of Raoul Walsh in Paris circa 1972

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Lovely that Fay Wray remembers Gregory La Cava in her memoir. “There was more than the average amount of waiting between scenes. LaCava had a penchant for rewriting, for wanting to develop scenes peripheral to the script, to improvise, which he did at less than lightning speed.”

Rouben Mamoulian in 1986 on his principles for life and work. From Rouben Mamoulian: The Golden Age of Broadway and Hollywood (2006)

I like that Raoul Walsh’s favourite picture of his from the sound period was The Strawberry Blonde (1941). It’s his choice according to one 1974 interview by Patrick McGilligan and Debra Weiner, but it makes sense

Rouben Mamoulian’s cat features in this clip, and here’s Mamoulian talking about his affection for cats

Gregory La Cava as guest columnist for "Paul Harrison in Hollywood" on the Unfinished Business (1941) previews

Josef von Sternberg with George Bancroft, Evelyn Brent and Clive Brook on the set of Underworld (1927)

I've mentioned it before in my research blog, but I do love how the title and opening sequence on the docks in My Man Godfrey (1936) is reminiscent of George Bellows' 1912 painting "Men of the Docks"

Speaking of opening credits of Gregory La Cava films, I really adore the ones for Fifth Avenue Girl (1939)

Carole Lombard by George Hurrell c. 1937 - the set up and the shot.

The Film Atlas launched at the Nitrate Picture Show May 2025! An open access visual guide+ high res film fragments from motion picture film formats, soundtracks & color processes. Edited by James Layton &Crystal Kui for FIAF & the George Eastman Museum. filmatlas.com/explore

I still adore how enthused Eugene O'Neill was for Greta Garbo to star in Clarence Brown's 1930 adaptation of Anna Christie. O'Neill in a 1930 letter to Grace Rippin and a letter to Richard Madden regarding an adaptation of Strange Interlude: