Old Hollywood Kitchen: Laura La Plante

One of my goals for the new year (and beyond) is to build my cooking and baking skills and be more confident in the kitchen. What better way to experiment than to bring in my love of classic film? There are many fine websites that explore celebrity recipes, but as a relatively inexperienced cook, intimidation has kept me from trying them out myself. Until now.

Perusing my stack of cookbooks, only one stood out: a well-preserved copy of Favorite Recipes of the Movie Stars, published by Tower Books in 1931. It's a slim volume, but varied in the types of recipes it offers, from light sandwiches to stews, breakfast to dessert. I figured the easiest way to take the plunge was to test a recipe with no actual cooking involved.

The charming Laura La Plante offers her Favorite Salad, an ambrosia-like creation that she recommends serving in lettuce cups along with crackers or cheese straws. The challenge with this recipe was determining the proper proportions of ingredients. How many ounces was a can of pineapple back then? A box of marshmallows? Is 1/2 pint of cream enough? Here is the recipe as I made it, with noted modifications:

Laura La Plante's Favorite Salad (updated)

1 20 oz. can crushed pineapple, drained
1 10 oz. bag mini marshmallows (I used about half of the bag)
1/2 pint whipping cream
Crisp lettuce leaves
Small crackers or cheese straws (optional)
Mayonnaise (I omitted- the heavy cream was sufficient)
Dash of paprika

Even with my changes I followed the recipe as written, and it turned out pretty well! I had hoped to find the fruit-flavored mini marshmallows to add more color, but no luck. The next time I make this recipe I might even incorporate more fruit, like maraschino cherries. As a thank-you to Ms. La Plante I'd like to recommend one of her films: the spooky, fun silent The Cat and the Canary, wonderfully restored by Kino Lorber.

(Edit: I have since made this salad with just the crushed pineapple, whipped cream and fruit-flavored marshmallows, to great success! Lighter than your standard ambrosia salad without cloying sweetness. It's like eating a pastel Art Deco cloud, if that makes any sense.)

Are you interested in making this or other film star recipes? Do you have a tried and true favorite? Feel free to share in the comments, and enjoy!

The Artist at the Little Theater, 3.3.12

A quaint lunch, a charming date, and decidedly brisk weather conspired to create a delightful Saturday afternoon, which concluded with a trip to the Little. Having never gone far beyond its illustrious Art Deco facade, and with two free tickets burning a hole in my pocket, I had a fine opportunity to see The Artist and wrap my head around the post-Oscar buzz. Curiosity over this modern silent film! was strong enough to lead into some reviews, most of which led me to believe that there would be a little something missing. More on that in a bit.

We're dropped into a film premiere, opening right at the climax of A Russian Affair, the latest George Valentin vehicle. The curtains swish closed, and we have our star! Valentin flashes his suave Fairbanks grin, soaking up the audience's cheers with faithful companion Uggie in tow. It becomes obvious that Valentin lives for the adoration, and is blinded so that he nearly forgets to share the stage with his female costar. As he steps out of the theater and greets his public, he has an accidental run-in with a striking mystery girl, shortly thereafter to take on a meteoric rise to fame as Peppy Miller. She soars, he crumbles under the pressure to make talking pictures; the classic "opposite trajectories" scenario. I'm not going to go into great detail with the plot, as there are several reviews already covering that ground. Ultimately, as was the standard in most early Hollywood productions, you get the happy ending.

Despite a relatively predictable plot (and mentally bracing myself for disappointment), I rather enjoyed The Artist. Jean Dujardin, sure to receive a huge boost from this film's critical success, turned out a fine performance as Valentin. While Bérénice Bejo's Peppy Miller was pretty and fun to watch, her story wasn't terribly compelling, and her character rather limited in expression; by comparison, Clifton (James Cromwell), Valentin's chauffeur, had a far more intriguing tale despite being a minor character. Peppy's one bright spot was the scene in which she pretends to give life to Valentin's tuxedo jacket...tender and humorous. Nevertheless, I found myself yearning for the likes of Clara Bow, whose bright-eyed, vivacious personality leaps off the screen, hooks you hopelessly, and never lets you go. Then again, I don't suppose that this screenplay could have handled two strong leads.

In a bitter Hollywood stew of overblown CGI, superfluous sequels, and money-hungry 3D features, the satisfying antidote is a drop of sincerity. The Artist isn't quite there. It's a breath of fresh air from the lifeless blockbusters, but not exactly groundbreaking, especially when pitted against the very films it emulates. Having seen quite a few silent films (though I am certainly no expert...I still have a lot to learn, and gladly so), I didn't feel that swell in my heart as when viewing an epic like Metropolis, or when engrossed in a story like Pandora's Box. There was a glaze of artifice where there should have been heart and soul. If you are unfamiliar with silent film, I'd suggest that you view one of the classics first, so as to understand Norma Desmond's lament. Regardless of your comfort level with the medium, if curiosity is nipping at your heels, The Artist is a pleasant way to spend an afternoon.