Wow. We thought Charlotte Greenwood was the queen of the high kick. (See our ‘Could You Forget That KICK?’ blog of Feb. 21.)
Little did we know.
Thanks to the magic of film we discovered Melissa Mason. She appears with Roger Wolfe Kahn and his orchestra in a 1932 short called The Yacht Party. And she kicks up a storm.
Higher, better and more limber than anyone else, EVER.
She was obviously a Broadway, vaudeville and nightclub headliner and made only a few films, usually as a specialty dancer. You might have more luck finding Radio City Revels. As you’ll note on the above poster for the film she received 10th billing.
She was known for her incredible ability to swing one leg through a full circle vertically. Yikes. You’ve got to see it. Check her out on YouTube.
Mason was born Melissa Ann Freethey in 1913, in Lawrence, Mass. She was tall, a bit gangly. But, boy, could she swing those gams around — perhaps not gracefully but with astoundingly double jointed prowess. Her routine has to be seen to be believed. Take a look.
Mason lived to a ripe old age (88), passing away in 2001. We like to think of her high-kicking to the end.
Another CMC gem!
Just watched Melissa Mason in The Yacht Party. “Incredible” indeed. And “yikes” for sure. A truly God-given talent. She seems to have been very tall, and always “reaching higher.”
I’m always interested in the background crowds in dance scenes or comedy routines (e.g. Marx Bros.). The ability to to sit impassively as astounding dancing or comic mayhem swirled before you was certainly important in Hollywood.
Glad to see Joe &Frank plugging YouTube, because it REALLY is the BEST resource for dedicated movie fans…
Here’s the link to Melissa Mason’s astounding kick-
httpss://www.youtube.com/watch?v=m_KuKHYsrIw
But another era of CLASSIC HOLLYWOOD that is often overlooked, specially by this movie site is the 1960’s…
A few days ago, legendary producer and studio executive DAVID V. PICKER died at age 87.
The Picker family lived and breathed movies and in the 1950s they ran United Artists under the leadership of Arthur Krim. Under Krim and the Pickers, UA entered a “Golden Age” of achievements. David, who was named head of production at an early age, showed an uncanny ability to attract top talent and produce films that were popular and critical successes. He was ultimately named President and COO of the company. During his tenure, UA brought to the screen films that were diverse in content including WEST SIDE STORY, THE MAGNIFICENT SEVEN, THE GREAT ESCAPE, IN THE HEAT OF THE NIGHT, JUDGEMENT AT NUREMBERG, IT’S A MAD, MAD, MAD, MAD WORLD and many others. He also thought outside the box by green-lighting MIDNIGHT COWBOY, making it the only “X-rated” movie to win a Best Picture Oscar. He also backed director Bernardo Bertolucci’s controversial film LAST TANGO IN PARIS and developed a gradual distribution roll-out that used the movie’s notoriety as a marketing took, making the film a sensation. When he heard about a director named Sergio Leone having great success with the European Western “A FISTFUL OF DOLLARS, Picker ignored conventional wisdom and struck a deal to release the film in English-language markets. The Leone trilogy of films with Clint Eastwood made both men international celebrities and went on to become acclaimed as classics despite their modest production values. Picker also struck a long term production deal with Woody Allen, resulting in many highly acclaimed films.
Picker also saw early potential in the Beatles before they became household names internationally. He arranged a multiple picture deal and hired young director Richard Lester to helm A HARD DAY’S NIGHT. The film became a sensation. Perhaps his greatest success was arranging a deal with James Bond producers Albert R. Broccoli and Harry Saltzman to bring Ian Fleming’s 007 novels to the big screen after Columbia passed on the opportunity. Picker foresaw the potential of a long-term franchise but later admitted no one could have foreseen it thriving after a half-century. It was Picker who arguably salvaged the Bond franchise after Sean Connery retired from the role after his fifth Bond film, YOU ONLY LIVE TWICE in 1967. Unknown actor George Lazenby took over the role for ON HER MAJESTY’S SECRET SERVICE but he, too, quit, leaving the franchise in disarray. American actor John Gavin was signed for the role for DIAMONDS ARE FOREVER but Picker had second thoughts about his viability to play Bond. He arranged to meet Connery for a game of golf in Spain and convinced him to return for one more Bond movie, agreeing to the highest salary ever paid to an actor. The film’s success proved there was still a major market for James Bond and allowed Connery’s successor Roger Moore to thrive in the role of 007.
Picker, who was a modest and reserved figure in an industry strewn with big egos, during his days at United Artists, he and his fellow production executives were conscious of the fact that the company had been founded by actors: Charlie Chaplin, Douglas Fairbanks and Mary Pickford. Thus, it became the corporate philosophy to not interfere with a director or producer once a movie had been given the green light. The first time the UA brass often saw any of the film was when it was completed and screened. There were exceptions when a production was deemed to be in trouble and over-budget. Picker admitted he made a mistake when he green-lit director George Stevens’ biblical epic “THE GREATEST STORY EVER TOLD largely on the basis that he had grown up idolizing the filmmaker. The movie proved to be a box-office disaster and the studio only recovered because of the success of HELP and THUNDERBALL. Picker had also given the go-ahead for the big budget adaptation of James Michener’s HAWAII. When the budget started hitting the stratosphere, Picker went to the location and personally cut out the last half of the script in an attempt to salvage what became a box-office disaster. He also had to inform director/star John Wayne that he had to trim considerable footage from the roadshow presentations of THE ALAMO when the film went into wide release in order to ensure profitability. Wayne complied without complaint but when the same situation arose with Stanley Kramer’s IT’S A MAD WORLD…, it resulted in bad feelings between the two men. Picker always claimed that although the film is beloved by many, he couldn’t stand to watch it because it brought back so many negative memories of feuding with Kramer.
David V. Picker was arguably the last major studio head from a Golden Age of Hollywood film production. His 2013 memoir “Musts, Maybes and Nevers” is an essential read for anyone who likes classic movies.
Here’s David talking about his career-
httpss://www.youtube.com/watch?v=ktVJGcjYA_w
Glad to see Joe & Frank plugging YouTube, as it REALLY is the BEST resource for dedicated movie fans…
Here’s Melissa Mason and her astounding kick-
httpss://www.youtube.com/watch?v=m_KuKHYsrIw
I’m sure not too many movie fans remember her, but a few days ago a legendary producer and studio executive called DAVID V. PICKER died at age 87…
You probably don’t know the name but David was studio head of United Artists in the 1960’s, the studio that was the most dynamic and award-winning for that era… An era that was just as CLASSIC HOLLYWOOD as the 1930’s and 40’s…
Because Picker gave you THE MAGNIFICENT SEVEN, THE ALAMO, WEST SIDE STORY, THE GREAT ESCAPE, JUDGEMENT AT NUREMBERG, IT’S A MAD, MAD, MAD, MAD WORLD, IN THE HEAT OF THE NIGHT…
He also thought outside the box by green-lighting MIDNIGHT COWBOY, making it the only “X-rated” movie to win a Best Picture Oscar. He also backed director Bernardo Bertolucci’s controversial film LAST TANGO IN PARIS and developed a gradual distribution roll-out that used the movie’s notoriety as a marketing took, making the film a sensation. When he heard about a director named Sergio Leone having great success with the European Western A FISTFUL OF DOLLARS, Picker ignored conventional wisdom and struck a deal to release the film in English-language markets. The Leone trilogy of films with Clint Eastwood made both men international celebrities and went on to become acclaimed as classics despite their modest production values. Picker also struck a long term production deal with Woody Allen, resulting in many highly acclaimed films.
Picker also saw early potential in the Beatles before they became household names internationally. He arranged a multiple picture deal and hired young director Richard Lester to helm A HARD DAY’S NIGHT. The film became a sensation. Perhaps his greatest success was arranging a deal with James Bond producers Albert R. Broccoli and Harry Saltzman to bring Ian Fleming’s 007 novels to the big screen after Columbia passed on the opportunity. Picker foresaw the potential of a long-term franchise but later admitted no one could have foreseen it thriving after a half-century.
David V. Picker was arguably the last major studio head from a Golden Age of Hollywood film production. His 2013 memoir “Musts, Maybes and Nevers” is an essential read for anyone who likes classic movies.
Here’s David talking about his career-
httpss://www.youtube.com/watch?v=ktVJGcjYA_w
Glad to see Joe & Frank plugging YouTube, as it REALLY is the BEST resource for dedicated movie fans…
Here’s Melissa Mason and her astounding kick-
httpss://www.youtube.com/watch?v=m_KuKHYsrIw
I’m sure not too many remember her, but a few days ago a legendary producer and studio executive called DAVID V. PICKER died at age 87…
You probably don’t know the name but David was the man who green-lit the following while he was studio head of United Artists in the 1960’s, the studio that was the most dynamic and award-winning for that era… An era that is just as CLASSIC HOLLYWOOD as the 1930’s and 40’s…
Because Picker gave you THE MAGNIFICENT SEVEN, THE ALAMO, WEST SIDE STORY, THE GREAT ESCAPE, JUDGEMENT AT NUREMBERG, IT’S A MAD, MAD, MAD, MAD WORLD, IN THE HEAT OF THE NIGHT…
He also thought outside the box by green-lighting MIDNIGHT COWBOY, making it the only “X-rated” movie to win a Best Picture Oscar. He also backed director Bernardo Bertolucci’s controversial film LAST TANGO IN PARIS and developed a gradual distribution roll-out that used the movie’s notoriety as a marketing tool, making the film a sensation. When he heard about a director named Sergio Leone having great success with the European Western A FISTFUL OF DOLLARS. Picker also struck a long term production deal with Woody Allen, resulting in many highly acclaimed films.
Picker also saw early potential in the Beatles before they became household names internationally. He arranged a multiple picture deal and hired young director Richard Lester to helm A HARD DAY’S NIGHT. The film became a sensation. Perhaps his greatest success was arranging a deal with James Bond producers Albert R. Broccoli and Harry Saltzman to bring Ian Fleming’s 007 novels to the big screen after Columbia passed on the opportunity. Picker foresaw the potential of a long-term franchise but later admitted no one could have foreseen it thriving after a half-century.
David V. Picker was arguably the last major studio head from a Golden Age of Hollywood film production. His 2013 memoir “Musts, Maybes and Nevers” is an essential read for anyone who likes classic movies.
httpss://www.youtube.com/watch?v=ktVJGcjYA_w
Glad to see Joe & Frank plugging YouTube, as it REALLY is the BEST resource for dedicated movie fans…
I’m sure not too many remember her, but a few days ago a legendary producer and studio executive called DAVID V. PICKER died at age 87…
You probably don’t know the name but David was the man who green-lit the following while he was studio head of United Artists in the 1960’s, the studio that was the most dynamic and award-winning for that era… An era that is just as CLASSIC HOLLYWOOD as the 1930’s and 40’s…
Because Picker gave you THE MAGNIFICENT SEVEN, THE ALAMO, WEST SIDE STORY, THE GREAT ESCAPE, JUDGEMENT AT NUREMBERG, IT’S A MAD, MAD, MAD, MAD WORLD, IN THE HEAT OF THE NIGHT…
He also thought outside the box by green-lighting MIDNIGHT COWBOY, making it the only “X-rated” movie to win a Best Picture Oscar. He also backed director Bernardo Bertolucci’s controversial film LAST TANGO IN PARIS and developed a gradual distribution roll-out that used the movie’s notoriety as a marketing tool, making the film a sensation. When he heard about a director named Sergio Leone having great success with the European Western A FISTFUL OF DOLLARS. Picker also struck a long term production deal with Woody Allen, resulting in many highly acclaimed films.
Picker also saw early potential in the Beatles before they became household names internationally. He arranged a multiple picture deal and hired young director Richard Lester to helm A HARD DAY’S NIGHT. The film became a sensation. Perhaps his greatest success was arranging a deal with James Bond producers Albert R. Broccoli and Harry Saltzman to bring Ian Fleming’s 007 novels to the big screen after Columbia passed on the opportunity. Picker foresaw the potential of a long-term franchise but later admitted no one could have foreseen it thriving after a half-century.
David V. Picker was arguably the last major studio head from a Golden Age of Hollywood film production. His 2013 memoir “Musts, Maybes and Nevers” is an essential read for anyone who likes classic movies.
httpss://www.youtube.com/watch?v=ktVJGcjYA_w