One Foot in 1941

THE THIN MAN (1934) AFTER THE THIN MAN (1936) ANOTHER THIN MAN (1939) SHADOW OF THE THIN MAN (1941) THE THIN MAN GOES HOME (1945) THE SONG OF THE THIN MAN (1947)

William Powell and Myrna Loy on a promotional tour for "Song of the Thin Man", a 1947 American murder mystery-comedy film directed by Edward Buzzell.

Myrna Loy and William Powell with Asta

William Powell & Myrna Loy The Thin Man (1934), directed by W.S. Van Dyke

The Thin Man (1934), directed by W.S. Van Dyke

Myrna Loy as Nora Charles in The Thin Man (1934)

Nick + Nora THE THIN MAN (1934)

Myrna Loy as Nora Charles and "Asta" the Wire Fox Terrier (whose real name was Skippy) in a publicity portrait for the MGM/W. S. Van Dyke mystery comedy Shadow of the Thin Man, 1941. This was Skippy's last appearance in the Thin Man series (originating the character in 1934, he appeared as "Asta" four times), with his successor taking over the role in the remaining two movies. Enjoying his retirement, Skippy lived to be an impressive twenty years old, passing away in 1950. Fun Facts: Though Skippy was owned and primarily trained to be an animal actor by actress and comedienne Gale Henry East and her third husband Paul, his additional trainers were brothers Rudd and Frank Weatherwax, the uncles of Ken Weatherwax who later played Pugsley Addams on the 1960s television series The Addams Family. A happy, easy-going dog, Skippy was trained with love and treated respectfully by Gale and Henry East, with Gale stating in a 1938 magazine interview: "Treat a dog kindly and he'll do anything in the world for you." A star among animal actors, who were normally paid $3.50 per day at the time, Skippy received the princely sum of $250.00 per week for his services. Among his many other film appearances, Skippy made memorable turns as Cary Grant and Irene Dunne's dog "Mr. Smith" in the 1937 screwball comedy The Awful Truth, and with Katharine Hepburn and Cary Grant (again) as Hepburn's aunt's dog "George" in the screwball comedy Bringing Up Baby the following year.

What drew [June Mathis] to Valentino as the right choice for the lead in The Four Horsemen? Blasco Ibáñez's description of Julio Desnoyers in the novel gives a partial answer: "He was of medium height, and dark complexion, with a... triangular face under two masses of hair, straight, black, and glossy as lacquer," a young man of "slender elegance, medium stature and muscular agility." The actor who played Julio had to be credible as the handsome, indulged Argentinian favorite of his Castilian grandfather, Madariaga, a rich cattle baron. [...] After the Desnoyers family moves to France, Julio must be convincing as a Montmartre poseur who dons a smock to paint half-naked models and lives on the indulgence of his mother. His mastery of the tango must qualify him to become the rage of Paris tea salons, every dowager's dream tango partner and instructor. Valentino matched the novel's physical description, and he excelled as a tango master. But the actor who played Julio had to have depths; he must convincingly mature from selfish lady-killer into a brave soldier seasoned by love, suffering, and sacrifice who redeems himself by dying in battle. June Mathis saw a soulfulness in Valentino that resided in his eyes, "Whenever I view a possible choice for a role," she once said, "I first notice the eyes. There I find what I call soul. You may alter everything except your eyes, in these days when tucks are taken in necks, chins blunted or sharpened and noses remodeled at will. Hair may be dyed, eyebrows plucked and teeth replaced, but the soul that looks out of the eyes is the real 'you'." — DARK LOVER: THE LIFE AND DEATH OF RUDOLPH VALENTINO BY EMILY W. LEIDER

Georges Simenon

Myrna Loy and Clark Gable as Ann and Jim TEST PILOT (1938) — dir. Victor Fleming

1937

Bette Davis on the set of Dark Victory (1939)