Category Archives: Classic Film & TV

Obits: Dorothy Malone & Bradford Dillman

This New Year the celebrity graveyard has commenced, taking away two classic movie/TV stars, Dorothy Malone, 92 and Bradford Dillman, 87. Although neither one has become an immortal screen icon, both had long and varied careers.


When Dorothy Malone changed her hair color, her screen roles transformed considerably. As a brunette in Warner Brothers and Universal pictures, Malone played the good girl. In those roles Malone always underplayed to good effect with a sensible, empathetic warmth. In her early career she’s probably best remembered for her brief, but excellent scene in The Big Sleep where she brought sauciness and smarts as a keen book store salesclerk who helped Bogie’s Marlowe uncover a major clue.

Courtesy of

Perhaps her best role in this era was in Raoul Walsh’s stellar Western remake of High Sierra, Colorado Territory, about two sympathetic antiheroes against a bunch of fickle “respectable” people. Malone is well cast as the seemingly nice girl who callously betrays outlaw Joel McCrea in a swift second at the first whiff of adversity.

Regarding Malone’s screen roles, blondes didn’t have more fun. But blonde Malone found more acclaim with meatier roles as crazy, mixed-up, slightly mysterious women. Her most famous role is her Oscar-winning turn as an out-of-control alcoholic nymphomaniac socialite who wreaks havoc on Rock Hudson and Lauren Bacall in Douglas Sirk’s opulent melodrama Written on the Wind. The most memorable sequence is when Malone’s character dances maniacally as her father dies of a heart attack.

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Her film career was somewhat derailed by her first and only starring vehicle, Too Much, Too Soon, a melodrama based off of troubled actress Diana Barrymore, which was savaged by critics and box office returns, and featured a way past his prime Errol Flynn as her leading man.

In the early 60s she delivered poignant performances as enigmatic women whose pasts with dangerous men caught up with her in well-written bittersweet episodes of Route 66 and Checkmate. In 1964, she scored a major coup when she starred in the revolutionary and super popular soap opera Peyton Place. Initially it was an ideal setup as she was the Grande Dame and had clout to set normal working hours to spend time with her children. By the second year, younger actors Mia Farrow, Ryan O’Neal, and Barbara Parkins got more fanfare.

After the show ended in 1968, Malone acted here and there until 1992. Her final role in Basic instinct as a woman who got away with murdering her family was exciting on paper but translated as a random and skimpy cameo on screen.


Like so many of the male and female starlets groomed by the major studios in the late 50s, Bradford Dillman didn’t achieve major movie stardom like the actors under contract during the Hollywood Golden Era of 1930 to 1950 or the Hollywood New Wave of 1967 to 1975. Other than Compulsion, where he received good notices for playing a rich sociopathic murderer, Dillman’s early filmography at 20th Century Fox was forgettable.

Courtesy of IMDb

Starting in the early 60s, Dillman maintained a prolific career guest starring on TV shows. His first set of guest appearances are his best because the 1960s was a prime time for well-written character-driven TV. He excelled at playing deviants and neurotics. He was uncompromisingly raw as a psycho in an uncharacteristically dark episode of Dr. Kildare who rapes Kildare’s (played by youth idol Richard Chamberlain) girlfriend in front of him and continues to taunt both of them before he is apprehended. He is equally unsettling in a shocking episode of Ben Casey where he is an intelligent, but devious patient who gaslights his dumb, but sweet roommate and tries to steal his sexy fiancée (MASH’s Sally Kellerman).

He also did his share of schlock because they helped put his five daughters through school. By this time his wife Suzy Parker had put her iconic modelling and brief critically panned acting career behind her. In between, he also did character work in movies he was proud of such as The Way We Were and The Iceman Cometh.

Regarding his career Dillman remarked “I’ve had a wonderful life. I married the most beautiful woman in the world. Together we raised six children, each remarkable in his or her own way and every one a responsible citizen. I was fortunate to work in a profession where I looked forward to going to work every day. I was rewarded with modest success. The work sent me to places all over the world I’d never been able to afford visiting otherwise.”

Podcast: Alternative Oscars Episode 5 – 1953

The Tawfik Zone Alternative Oscars Podcast Logo

Hi everybody.

It’s been a long gap between episodes. My fault entirely. I’m thrilled to unleash our 5th episode of The Alternative Oscars Podcast. This episode, we discuss movies of 1953. We dish our thoughts on the five films nominated that year and then offer our nominees of films eligible in 1953 that we think are better.

What did you think about the Best Picture nominees? Or our nominees and winners? What would be your picks for 1953?

Alternative Oscars In-Depth: Neville Brand, Jack Elam, Lee Van Cleef

The Tawfik Zone Alternative Oscars Podcast Logo

Hi everybody,

Right before the Tawfik Zone was out of commission for quite a while, due to a series of minor technical difficulties and my own hectic schedule, my dymanic duo Tia Nikolopulas and Tawfik Zone contributor Candace Wiggins recorded a couple of Alternative Oscars podcasts. (You can check out 1950, 1951, and 1952).

The opening jingle was composed by Incompitech genius Kevin McLeod.

This one is the first of what we hope will be a regular part of the podcast, an in-depth look at people or things related to the Alternative Oscars. In this episode we discuss character actors, all of whom got their start in the 1950s; the iconic Lee Van Cleef, the beloved Jack Elam, and the now-underrated Neville Brand.

If you find our other podcasts too long, you’ll be happy to know that this and future in-depth episodes is about 45 minutes. If you like our longer, stream-of-conscious Alternative Oscars episodes, don’t worry, we’re still going to do them. Alternating between these two types of episodes, we hope to provide content on a regular, monthly basis.

We hope you enjoy our In-Depth episode. If you have any questions or constructive feedback gives us a shout out. We’d like to hear from you.

Obit: Gloria DeHaven (1925-2016)

About 15 years after the launching the highly innovative and spellbinding moving picture, the scrappy moguls realized that the future of their industry depended on more than the novel technology itself. After reading several fan letters inquiring about the people in the movies (who were then uncredited), they came up with the ingenious idea of grooming movie stars for public consumption (we all know how well that worked out).

Gloria DeHaven, far left on the 2nd row from bottom. Courtesy of

Gloria DeHaven, far left on the 2nd row from bottom. Courtesy of

The star machine had its heyday in the 1930s and 1940s during the Golden Age of Hollywood. One of the best practitioners of this method was MGM, whose endearingly corny but apt studio mantra was a place where there were “more stars than in heaven.” MGM, specializing in gorgeously gauche fare, was a perfect fit for the crude and synthetic star system.

One of its starlets, Gloria DeHaven who died from a stroke July 31st, has been a favorite of mine since childhood. Born to vaudevillian parents Carter and Flora Parker DeHaven, Gloria began her career early, making her screen debut as an extra in Charlie Chaplin’s Modern Times (1936).

From the get go, this fresh-faced glamorous brunette (sometimes blonde) exhibited confidence and glamour and made a good impression in small supporting roles, best of which was Best Foot Forward (1943). She more than held her own against the large and vibrant cast, as a feisty co-ed who instigates antagonism towards publicity-hungry actress Lucille Ball, who opportunistically accepts a prom date from a young cadet. This film marked the first pairing between DeHaven and June Allyson who along with Nancy Walker vibrantly delivered the show stopping musical number “The Barrelhouse, The Boogie Woogie, and The Blues.”

Courtesy of

Courtesy of

DeHaven and Allyson had such great chemistry that the next year, they got their first leading roles as plucky singing sisters in the charming morale boosting WWII musical Two Girls and A Sailor. As two singing sisters who gently spar for the affections of a boyish sailor played by Van Johnson, DeHaven’s sexiness and poise as the slightly impulsive sister who attracts the men perfectly complements Allyson’s warm, maternal, though slightly homely sister. Musically, DeHaven’s smooth, clear mezzo and Allyson’s raspy alto are in sync. In the end, audiences gravitated more towards the cuter, All-American Allyson and Johnson who starred in several subsequent films together, thus ending the Allyson DeHaven duo. (Off-screen, the two women remained best of friends).

With that, DeHaven was relegated back to supporting roles, as mostly kid sisters or secondary ingénues. She always brought an effortless, personable, slightly naughty but nice quality that deftly eschewed cloying sappiness. Her charm and vivacity sparkled even if the film didn’t. She easily outshone the negligible song and dance man, George Murphy, mediocre songstress Ginny Simms, and antiquated ex-Vaudevillian fuddy duddy Charles Winninger in the clunky Broadway Rhythm (1944).

DeHaven had a couple of major career setbacks in the mid-40s. First, she was suspended for refusing a role in Good News. Her next assignment, Summer Holiday, a strange but interesting (though not entirely successful) musical adaptation of Eugene O’Neill’s play Ah Wilderness, was a highly troubled production that sat on the shelf for two years, and flopped miserably when finally released. Collectively, this kept her off screen for three years.

Courtesy of

Courtesy of

While many of her peers utterly resented Dore Schary replacing an acrimoniously ousted Louis B. Mayer as head of production at Metro, DeHaven appreciated the chance to play against type in grittier roles under the new executive’s auspices. She gives a potently poignant performance as the black sheep of a cold, elitist family who has a pregnancy out of wedlock (and naturally a tragic outcome) in the broody melodrama The Doctor and the Girl. In the nifty, cynical little film noir, Scene of the Crime, a bottled blonde DeHaven is effective as a quasi femme fatale who strips in a skeevy nightclub and cavorts with riff raff.

Although both films turned a profit and received decent reviews, DeHaven went back to lighter fare, playing Judy Garland’s slightly self-centered sister in the bizarre farm-set musical Summer Stock and Red Skelton’s love interest in The Yellow Cab Man. Shortly after, she left MGM and freelanced, where the quality of the material declined.

Courtesy of

Courtesy of

While no longer an A-lister, DeHaven worked steadily on television, Broadway, and nightclubs until the 1990s. She continued to display her versatility in a variety of excellent performances ranging from a shady old-flame who embroils private detective Mannix in a murder case to an assertive travel agent friend of Jessica Fletcher in a recurring role on Murder, She Wrote. In one of the best episodes of the series, DeHaven, engages in several delightful catfights with several grande dames of the studio-era Julie Adams, Kathryn Grayson, and Ruth Roman, all of whom had dalliances with a town handyman whose shrewish wife was recently murdered.

Like several of the classic stars, DeHaven was approached a few times to write an autobiography, but the deal always fell through because she refused to write a “tell-all” account of her Hollywood days. Instead, in public appearances, DeHaven emphasized the positive aspects of being part of the “Metro family” (though she found some of the sillier aspects of the censorious Hays Code disagreeable). While she didn’t have the widespread fame as some of her peers (I would say she was sorely underrated), Gloria DeHaven has made a lasting impression on movie-loving folks like me.

Podcast: Alternative Oscars 1952

Thanks Canva, for the foolproof interface :)

Thanks Canva, for the foolproof interface 🙂

Hi Everybody,

We’re back after a slightly long hiatus. Here’s our 3rd Alternative Oscars Podcast. In each episode, we discuss the Best Picture nominees of a single Oscars year, and then we give our way better choices, other films eligible for an Oscar in the same given year. They usually comprise of a mix between films that are now heralded as classics, underrated gems, and international films. This year is no different.

You can check out our previous two episodes, Tawfik Zone’s Alternative Oscars Podcast 1950 and Tawfik Zone’s Alternative Oscars Podcast 1951 on this website or on The Tawfik Zone’s Alternative Oscars Itunes Feed.

The setting is a newer brighter relish green room. We hope that the consistency is the same, if not better. Again, I am fortunate to be joined by friends and fellow film buffs, Tawfik Zone contributor Candace Wiggins and Tia Nikolopulas. As always, musical credit goes to Kevin MacLeod of

Without further ado, here is The Tawfik Zone’s Alternative Oscars for 1952. Please let us know what you thought of the nominated films or our picks. Did we overlook any films?