Reader poll write-up, Spring 2022 | A reel librarian gets shushed in ‘Breakfast at Tiffany’s’ (1961)

“There you are, right in the public library!”

As per the winning entry in the most recent reader poll — thanks again to everyone who voted in the poll! — I am analyzing Breakfast at Tiffany’s (1961) and its library scenes set in the New York Public Library. The Oscar-winning film, based on Truman Capote’s classic 1958 novella, was directed by Blake Edwards and written by screenwriter George Axelrod. The film stars Audrey Hepburn as Holly Golightly, a New York “society gal” and free spirit who started out as Lulamae, a “wild thing” from Tulip, Texas. George Peppard co-stars as Paul Varjak, a once promising writer who now idles away his time as a “kept man” of married socialite Mrs. Emily Eustace “2E” Failenson, played by Patricia Neal. Buddy Ebsen and Martin Balsam also shine in supporting roles.

The film’s original trailer focuses primarily on Hepburn’s charm and style, which have helped make this movie a cultural and sartorial touchstone (especially Hepburn’s iconic “little black dress”).

Breakfast at Tiffany’s (1961) Trailer #1 | Movieclips Classic Trailers” uploaded by Movieclips Classic Trailers, Standard YouTube License.

But this movie is dark, y’all. It has its issues, which I will get into, and every character has flaws. Beneath the glitter and parties, there’s an undercurrent of sadness and self-doubt; this is also reflective of the source novella’s tone. When I was a teenager, I remember a friend of mine couldn’t stand this movie because of how the cat was treated at the end of the movie. (Orangey, who played the no-name cat, has his own Wikipedia page!) The film’s saddest and most truthful moments are the ones I personally relate to and remember the most (e.g., “the mean reds“).

And I cannot write about this movie without mentioning that it features one of the most racist portrayals of an Asian character ever onscreen, with Mickey Rooney, a White actor, portraying Mr. Yunioshi, a Japanese photographer. Rooney reportedly wore false teeth, used tape for his eyelids, and wore “yellow face” makeup for this role. SO NOT OK. TV networks now showing this movie have either cut out the Mr. Yunioshi scenes altogether or inserted trigger warnings or context cards before showing the movie.

And I don’t think pointing out this film’s flaws and racism is unfairly holding up this 1961 film to 2022 standards. “It was considered a crude caricature even at the time of the film’s 1961 release,” and critics expressed qualms about Rooney’s portrayal from the beginning. For example, in 1961, the movie reporter in Variety called the film “whitewashed” and that “Mickey Rooney’s participation as a much-harassed upstairs Japanese photographer adds an unnecessarily incongruous note to the proceedings.” Rooney’s personal assertion in a 2008 interview that “Never in all the more than 40 years after we made it – not one complaint” is revisionist history.

So… do the library scenes fare any better? Let’s investigate.

Library scene #1

Let’s set the stage for the events that lead to the first library scene, seen in the video clip below.

At 1 hour and 8 minutes into the 114-minute film, Holly and Paul decide to go out and “spend the whole day doing things we’ve never done before.” Holly muses that “Of course I can’t really think of anything I’ve never done” — but she’s wrong!

Breakfast at Tiffany’s – Paul and Holly Go to the Library (13) – Audrey Hepburn” video uploaded by EverythingAudrey.com, Standard YouTube License

Five minutes later into the film — after a trip to Tiffany’s, as you do — Paul takes Holly… to the New York Public Library!

The lobby to the New York Public Library's central branch in Breakfast at Tiffany's (1961). Note the Black male reel librarian at the right-hand counter.
The lobby to the New York Public Library’s central branch. Note the Black male reel librarian at the right-hand counter.

Holly: What is this place, anyway?

Paul: You said you wanted to sit down. It’s the public library. You’ve never been here?

Holly: No. That makes two for me. I don’t see any books.

Paul: They’re in there.

They take a peek into the Reading Room.

Peeking into the Reading Room at the NYPL Central Branch
Peeking into the Reading Room at the NYPL Central Branch

Then Paul takes her to the wall of card catalog drawers. (So dreamy! Happy sigh. 🙂 )

Paul then explain the basics about card catalogs and library organization.

Paul: Each one of these little drawers is stuffed with little cards, and each little card is a book or an author.

Holly: It’s fascinating.

Paul: V-A-R-J-A-K.

Holly: Really?! [flips through the cards] Look! Isn’t it marvelous? There you are, right in the public library. “Varjak, Paul. Nine Lives.” Then a lot of numbers. You think they really have the book itself, live?

Paul: Sure. Follow me. [He takes the drawer out]

They walk across the room to the desk, where a Black man, dressed in a brown suit and tie, stands beneath a sign that reads “File call slips here.” Holly and the man share polite smiles. This reel librarian is not included in the credits list.

Holly Golightly and the Black male reel librarian politely smile at each other at the "File Call Slips Here" desk
Holly Golightly and the Black male reel librarian politely smile at each other at the “File Call Slips Here” desk

A moment later, then a board lights up with the number 57 — it’s like waiting at the doctor’s office or at the DMW, hah! — and Holly and Paul walk up to another desk, where a middle-aged, auburn-haired White woman stands. She is also dressed in a suit, this one a dark blue plaid. This reel librarian is credited in the cast list, and was played by Elvia Allman.

The visual introduction to the female librarian in this scene is from the back and over her shoulder — a common visual introduction to minor reel librarian characters in movies

Holly [in a loud voice]: 57, please. Nine Lives by Varjak, Paul.

Librarian: Shhhhhh.

Holly: Did you ever read it? It’s simply marvelous.

Librarian: No, I’m afraid I haven’t. [Goes back to filing or typing cards.]

Holly: Well, you should. He wrote it. He’s Varjak, Paul in person. [To Paul] She doesn’t believe me. Show her your driver’s license or your diner’s club card or something. [To the librarian] Honest, he is the author. Cross my heart and kiss my elbow.

Librarian: Would you kindly lower your voice, miss?

Here is the reel librarian’s EPIC shushing face:

The librarian's shushing face
The librarian’s shushing face

Holly: [To Paul] Why don’t you autograph it for her, Paul? [To the librarian] Don’t you think that would be nice? Sort of make it more personal?

Librarian: Really, miss. [whispers something unintelligible]

Holly: [To Paul] Go on, then. Don’t be so stuck-up. Autograph it to her.

Paul: All right. What shall I say?

Holly: Something sentimental, I think.

Librarian: What are you doing? Stop that!

Paul: [To the librarian] Shhhhh!

Librarian [in a quieter tone]: You’re defacing public property!

Holly: Well, all right, if that’s the way you feel. Come on, Fred darling, let’s get out of here. I don’t think this place is half as nice as Tiffany’s.

And here’s the reel librarian getting shushed herself!

The librarian gets shushed!
The librarian gets shushed!

This first scene lasts 2 minutes total.

Here was my initial summation of this scene from my undergraduate thesis over 20 years ago:

“The films that provide glimpses of librarians for humorous purposes only also are the films that exhibit probably the crudest portrayals of librarian stereotypes. … George Peppard and Audrey Hepburn in Breakfast at Tiffany’s (1961) harass a middle-aged librarian (played by Elvia Allman) in the New York Public Library by signing a book, thereby “defacing public property.” (p.13)

Jennifer Snoek-Brown, “A Glimpse Through the Glasses: Portrayals of Librarians in Film.” Thesis, West Texas A&M U, 2001.

I think my initial view was a bit harsh and more than a little biased. Maybe I’ve mellowed as I’ve gotten older. 😉 I certainly don’t condone the dismissive and flippant attitude that Holly displays, but I also think that the librarian could have been a LOT friendlier and shown some basic human kindness to them with a greeting and small talk. I mean, she greeted Holly with a shush! NOT COOL. I realize that this script is played for laughs, and stereotypical portrayals of minor characters help set the foundation for easy laughs, but it still kind of irks me that the librarian character is written so stereotypically. The point is definitely to laugh AT this uptight, prissy librarian.

I do kind of love that the librarian gets shushed by Paul, though! That made me laugh. But honestly, these kinds of shushing scenes perpetuate the myth that libraries are these tomb-like, quiet places. Libraries DO often have designated quiet zones, but libraries also serve as community spaces where small groups and friends and family gather, so I almost always encounter a low-to-medium hum of noise whenever I visit public libraries.

I also quite like that the beginning of this library scene depicts joy in discovering how a library works. I love that little micro-scene at the card catalog wall because of the look of delight on Holly’s face! Also, this scene conveys the joy of writers having their names and resources in libraries. (I’m married to a writer, so this scene rings true for me on both counts. 😉 )

Card catalog joy!
Card catalog joy!

And Paul does a very efficient job in explaining the purpose of the card catalog system. (And thank you for being accurate in the call numbers, as they are indeed under the correct “U-V” section of the card catalog. Those kinds of details matter!)

This is also an example of a “closed stacks” library, where the public users do not have access to most of the library’s collection. Most public libraries have what are known as “open stacks,” or bookshelves and collections that are open for the public to wander around and browse. By the way, the NYPL Library website has a “Library Lingo” page that defines this common library term and concept:

“STACKS: The area where the library’s books and other materials are stored. In common with other major research libraries, The New York Public Library has “closed stacks”: you must request material instead of going to the shelf to retrieve it yourself. The New York Public Library’s Branch Libraries have “open stacks” where you may browse and retrieve material yourself.”

General Research Division, “Library Lingo,” New York Public Library, Nov. 1995

The White female librarian in this first library scene fulfills the Comic Relief character type, while the uncredited Black male librarian is your basic Information Provider character type. I think it’s interesting to note that the reel librarian of color is visibly friendlier than the White reel librarian, although the reel librarian of color has much less screen time and makes less of an impression onscreen.

Library scene #2

The second, and final, library scene in Breakfast at Tiffany’s (1961) needs a little context, as well. At 1 hour and 24 minutes into the film, Paul dumps his lady friend and goes in search of Holly. He calls and looks everywhere and finally finds himself back in the New York Public Library, where he is surprised to see Holly!

This second library scene is in the video clip below:

Breakfast at Tiffany’s – Paul Tells Holly in the Library He Loves Her (16) – Audrey Hepburn” video uploaded by EverythingAudrey.com, Standard YouTube License

By the way, in earlier viewings, I had missed that a different reel librarian was on duty at the “File Call Slips Here” desk in the library lobby. This time, a younger White man, also dressed in a suit and tie, is standing at the desk and helping a library patron.

A different male librarian, this time a younger White man, helps a patron at the "File Call Slips Here" desk in the library lobby
A different male librarian, this time a younger White man, helps a patron at the “File Call Slips Here” desk in the library lobby

From the look of surprise on Paul’s face, it’s clear that he wasn’t expecting to see Holly there; rather, the NYPL must one of his own comfort spots.

Holly is reading at the NYPL
Holly is reading at the NYPL

Paul comes over to her and kisses her neck, which startles her. Dude is NOT READING THE (READING) ROOM.

Paul: Hi.

Holly [turns back to her book and adjusts her sunglasses]: What do you want?

Paul: I want to talk to you.

Holly: I’m busy. [turns a page of her book]

Paul: What are you doing?

Holly: Reading.

Leave the lady be, Paul. She’s reading!

Paul [picks up a book from the table]: South America: Land of Wealth and Promise?

Holly: It’s very interesting.

SIDE NOTE: Y’all *know* I looked up that title in WorldCat, the online catalog of the world’s libraries, right?! Right. From what I can tell, that book title was very likely made up, as there is no record in WorldCat for a book with that title.

Paul: Let’s get out of here. I said, let’s get out of here. I want to talk to you.

[Another patron shushes him, but the camera never pans to the other person.]

Paul [to Holly]: What’s the matter with you, anyway? What’s happened?

Holly: Fred, would you please just leave me alone.

Paul [grabs her arms]: Holly, I love you.

Holly gets up from the table and walks away with her purse, leaving the books on the table. Paul follows her and grabs her arm. He raises her voice, shouting at her, and Holly tells him, very clearly, “Let me go” three times. She tries to get away, but Paul roughly grabs her arms again several times.

Holly reveals that she’s going to marry a South American, Jose de Silva Pereira. (What Paul doesn’t know is that Holly is doing this so she can help take care of her brother when he gets out of the Army.) This further enrages Paul, who continues to shout at her and grab and shake her in front of several library patrons.

Physical assault alert in the library!
Physical assault alert in the library!

Paul [grabbing her again]: You’re crazy.

Holly: What, do you think you own me?

Paul: That’s exactly what I think.

Holly: I know, I know. That’s what everybody always thinks. But everybody happens to be wrong.

Paul: Look, I am NOT everybody. Or am I? Is that what you really think? That I’m no different from all your other rats and super-rats? [Holly walks away.] Wait a minute. [He takes his $50 writing check out of his breast pocket.] That’s it. If that’s what you really think, there’s something I want to give you.

Holly: What’s that?

Paul: Fifty dollars for the powder room.

He turns and walks away, and we see that everyone in the Reading Room is staring at him. No wonder! He just grabbed a woman and yelled at her in the library! Physical assault alert in the library!

Paul walks away at the end of this second library scene
Paul walks away at the end of this second library scene

THIS SCENE IS NOT OK. This is NOT romantic. Red flags EVERYWHERE. Paul is abusive, both verbally and physically, and he confirms that he thinks he “owns” her. NOPE. And then he gives her his $50 check and stalks away. This parting shot by Paul echoes what we had learned earlier, that one of the ways that Holly earns money is to get guys to pay her $50 every time she goes to the powder room. It’s a “gotcha” moment — a moment that, script-wise, works quite well on the page — but it’s a cheap moment focusing on shaming a woman trying to earn a living, for herself and for her brother. NOT OK. Even as a young woman, this scene made me feel uneasy when I first watched this movie; now, I am better able to articulate why this scene is problematic.

One thing about this scene that I realized is positive? That Holly went back to the library for research! Although she ended the first library scene with a flippant remark, “I don’t think this place is half as nice as Tiffany’s,” she DOES return when she needs some information, and when she needs a place to read and think. 🙂

This second scene in the library lasts 3 minutes. The second male reel librarian is also uncredited and serves as an Information Provider.

Altogether, we spend 5 minutes total at the New York Public Library in Breakfast at Tiffany’s. Although they don’t last that long, the two library scenes are memorable, landing in the Class III category, in which reel librarians play supporting characters.

Continuing the conversation

It was an interesting exercise to revisit this movie — one I have seen several times, and a movie I do enjoy overall, despite some quite troubling scenes and portrayals, as I’ve detailed in this post. I can recognize the negatives — like the racist portrayal of Mr. Yunioshi and the physical assault in the library — while also enjoying the positives, like Holly’s style, the haunting “Moon River” song on the fire escape, and of course, Holly’s utter delight in learning about the card catalog system. ❤

I agree with this reviewer, who sums up Breakfast at Tiffany’s like this:

Holly’s ambiguities, flaws, and layers make her a much more interesting protagonist […] Breakfast at Tiffany’s is a weird, gorgeous, difficult, fascinating, dark film—and it’s all the better for it, but if you’re looking for something aspirational that you can watch purely for aesthetics, well, there are thousands of other films to choose from. So next time you claim this is your all-time favorite movie, I hope you’re able to back it up with some of the film’s flaws, and not just cite the fashion as the reason.

Elizabeth Logan. “Breakfast at Tiffany’s Problems No One Ever Talks About.” Glamour, 30 Dec. 2016.

What are your thoughts upon revisiting Breakfast at Tiffany’s and reflecting on its library scenes? Did anything new come to the surface for you? Please leave a comment and share!

Sources used

‘Just Cause’ to re-examine a Latina newspaper archivist portrayal

“Delores Rodriguez. Keeper of the archives. News trivia expert.”

It’s scary season again during the month of October, and this is a time when I focus on analyzing reel librarian portrayals in horror movies, thrillers, etc. We’re also finishing up the annual observation of National Hispanic Heritage Month, which runs from Sept. 15-Oct. 15, when we celebrate “the histories, cultures and contributions of American citizens whose ancestors came from Spain, Mexico, the Caribbean and Central and South America.” This is a time to research and reflect on more diverse stories and figures of Hispanic history — and present. It’s also a time to reflect on and re-examine one’s own biases. There are unfortunately very few Latinx portrayals of reel librarians or archivists; in my most recent “Reel librarians of color” post from earlier this year, I have identified only 4 (!) Latinx reel librarian portrayals thus far. I chose to revisit the 1995 thriller Just Cause, in which Liz Torres, a well-known American character actor and comedian with Puerto Rican heritage, plays newspaper archivist Delores Rodriguez, a character with Cuban roots.

At first glance, Just Cause (1995), which stars Sean Connery, Laurence Fishburne, Blair Underwood, Kate Capshaw, and Ed Harris, seems to have a patina of respectability and pedigree, thanks to its extremely talented cast. Connery also served as an executive producer on the film, which is based on John Katzenbach’s 1992 novel of the same name. Here’s an original trailer for the movie, which outlines the plot:

“Just Cause (1995) Official Trailer – Sean Connery, Laurence Fishburne Movie HD” video, uploaded by Movieclips Classic Trailers, Standard YouTube License.

As I think you can tell from the trailer, this film is a MESS. In my opinion, this movie actually gets worse the more you watch it and the more you think about it. I found myself nodding in agreement at this recent analysis of the film, “Racial Inequalities of the 90s Brought to Your Screen: Review of Film ‘Just Cause’,” a review which points out how problematic and racist this film is, with scenes and themes of White saviors, White privilege, and racist stereotypes. This movie wants to get credit for “good intentions” when Sean Connery’s character, a law professor, calls out in a legal debate the unjust imbalance of Black men in prison and Black men who are prosecuted, but the script and its “shock” twist ending end up contradicting itself.

No surprises, then, when I share that the portrayal of reel archivist Delores, a Latina, is not particularly positive, either. Let’s examine the 3 scenes in which Delores features.

*POTENTIAL SPOILERS ALERT*

Introduction to the newspaper archives and archivist

At 13 1/2 minutes into the movie, law professor Paul Armstrong (Sean Connery) has traveled down to Florida with his wife (Kate Capshaw) and young daughter (a very young Scarlett Johansson in her second movie role!). Paul visits his father-in-law, Phil Prentiss (Kevin McCarthy), who seems to be the head of a Miami newspaper, in order to get access to records and archives. Phil also takes the opportunity to diss the newspaper — “Not a bad paper as papers go, but of course that’s not saying a hell of a lot” — as he walks Paul through the newspaper offices. (White privilege alert! This movie has a lot of “good ol’ boy” types of scenes.)

Phil introduces the archivist Delores to Paul. We see that the archives room is filled with stacks and stacks of folders atop every surface. We also get a glimpse of Delores’s work station cubicle and computer. And Delores seems to be the only archives staff? (Compare to the 2015 film Spotlight, in which there are multiple newspaper researchers.)

A glimpse of the newspaper archives in Just Cause (1995)
A glimpse of the newspaper archives

Phil: Delores, sweetheart.

Delores: Hey, Mr. Phil. [They hug.]

Phil: It’s been a long time. This is Paul Armstrong, my son-in-law. [Delores takes off her glasses.]

(Click each image in the collage above to view in a larger window.)

Phil: Delores Rodriguez. Keeper of the archives. News trivia expert. Buried three husbands. Were it not for Libby [his wife], I could well be photo op #4. 

Delores: And how is Libby’s health these days?

Phil: It’s very good.

Delores: Pity. [Phil chuckles.]

Phil: Business. Paul needs to see what you’ve got on the Joanie Shriver murder trial.

Delores: That poor kid from Ochopee? 

Phil [to Paul]: Watch your back in here.

Delores then looks over Paul, bites her lip, and hums as she walks him over to the archives section, which has compressed shelving that she has to crank to open.

(Click each image in the collage above to view in a larger window.)

Delores only puts her glasses on to read files. She then takes off her glasses again when she returns to Paul.

We then cut to Paul seated at a microfiche machine reader, and we see a montage of articles relating to the murder case that led to the conviction of Bobby Earl Ferguson (Blair Underwood).

Delores: So far, we are online back to 1985. Everything else before that is still on microfiche, but I can dig around the back and see what else I can find.

Paul: How long will that take?

Delores [leaning in, wearing her glasses this time]: Oh, that depends, sweetheart. You would be amazed at what I can do with a little help.

Paul smirks, sighs, and turns back to microfiche machine.

(Click each image in the collage above to view in a larger window.)

Three side notes here:

  • The captions state that Delores “sings Guatanamera in Spanish” while she’s opening up the archives. OF COURSE I looked that up, and “Guatanamera” is a very famous Cuban song, and the title translates in English to “(The Woman) from Guantánamo.” This tidbit is primarily why I assume the character of Delores is meant to have Cuban heritage.
  • The call number label on the right-hand shelves reads: “Photos / Names / RAN-STI” (sorry the screenshot above is blurry, but you can make it out), but the stickers on the folders in that shelf clearly have “DEL” on them. The left-side shelf has folders with “ADJ” labels, so the “RAN-STI” call number label on the outside of the shelves is clearly an error. (Yes, I analyze call numbers on screen VERY thoroughly, as evidenced in this prior post, because incorrect call numbers are a personal pet peeve.)
  • Why is Paul on a microfiche machine? Delores just said that they have everything online back to 1985, which should cover the time period he’s looking at. And he’s clearly not searching archives online at a computer, because we can see the standard microfiche/film screen markings on the article closeup. Looks like another error to me.

This introductory scene lasts two minutes total. What did we learn from this scene about Delores?

  • Delores is definitely NOT the “Spinster Librarian” character type. We learn that she has been married multiple times, and she is still clearly interested in men, from her flirtatious remarks at both Phil and Paul. But she is written more as an aggressive, man-mad flirt — although Phil is the one who first calls her “sweetheart” and jokes about her love life while introducing her!
  • Delores clearly cares about her appearance, wearing colorful clothing, full makeup, and her hair in an updo hairstyle. Overall, she makes quite a glamorous impression. But is she also being sartorially styled to evoke a Latina stereotype of the “sex siren and feisty-Latina trope“?
  • Delores is self-conscious about her glasses — or perhaps she has traditional, old-fashioned ideas about female beauty and glasses (e.g., that outdated saying that “men seldom make passes at girls who wear glasses“).
  • Delores is most likely Cuban or of Cuban heritage, based on the Cuban song she is humming. (And she is being played by a Latina actress of Puerto Rican heritage.)
  • Delores immediately demonstrates her knowledge of the murder trial and location. However, her knowledge of the murder and phrasing of “that poor kid from Ochopee” comes off more like gossip, rather than professional knowledge.

This scene could have been a much more straightforward scene, with a brief introduction and then the newspaper archivist pulling the necessary files to propel the plot. I’m left with a lot of “Why?” questions. Why did they include so much backstory for a minor character? Why was Delores portrayed this way, as an incurable flirt always “on the prowl” for her next husband? Why do the male characters have to smirk at her and treat her like a running gag? Why was she portrayed as more of a gossip than a knowledgeable professional? Why isn’t she thanked for her help? Why is Delores seemingly the only Latinx character in a film set in Miami and the surrounding rural counties?

And as this article points out:

When it comes to Latino representations in Hollywood, they’re often rooted in stereotypes. Most female characters are either cleaning ladies or spicy Latinas.

Tre’vell Anderson, “4 Latino stereotypes in TV and film that need to go,” LA Times, 27 April 2017.

While Delores is not a Latina cleaning lady in Just Cause, she is portrayed as a “spicy Latina” stereotype.

Spoiler: It goes downhill from here.

More microfiche research

At 48 mins into the movie, Paul returns to the newspaper archives for information on another convicted serial killer, Blair Sullivan (Ed Harris), who Bobby Earl claims is the real killer. We get another closeup of microfiche.

(Click each image in the collage above to view in a larger window.)

Delores: They called it “The Pilgrimage of Death.” Sold a lot of papers. The guy started out with his landlady in New Orleans, a prostitute in Mobile, and a sailor in Pensacola. And then he got real busy — a body every 100 miles.

Paul: Pensacola? When was that? 

Delores: Oh, late April, early May? You know, it was incredible. APBs in 3 states, FBI flyers all over the place,  and nobody spots him.

In this 30-second scene, Delores’s information once again propels the plot forward. She is serving as an Information Provider in this scene. But again, the script is written as though Delores is gossiping (“sold a lot of papers,” and “then he got real busy“), rather than being the informed professional that she is. It comes across so contradictory and condescending to me. Delores is also dressed in another colorful top, and she is wearing her glasses again.

Party scene

At one hour and 9 minutes into the movie, the legal team gathers for a celebration party at the newspaper businessman’s home. (Is that a conflict of interest? Very sketchy.) Also, they planned this party before inviting Bobby Earl to it — in an earlier scene, he turned down the invite and said that he had other plans — even though they are ostensibly celebrating Bobby Earl. I guess they’re really just wanting to celebrate the “just cause” and not the Black man at the center of their “just cause”? Are they just wanting to celebrate how the White men saved a Black man from injustice? (Fumes of White supremacy and White saviors here…)

Surprise, surprise, Delores is at the party — and looks to be the only person of color there. We get to see Delores out of the archives, and she is stunning with bright red lipstick and curly hair down with one side pinned back with a bright red flower.

As Phil gets drinks to pass around for a toast, he passes by Delores, who is talking with Bobby Earl’s attorney, Lyle (Chris Sarandon).

The newspaper archivist, Delores, attends a party.
#TeamDelores

Lyle: The firm’s been more successful than I ever dreamed it would be when I started it.

Delores: So, Lyle, are you single at all?

Lyle: No, I’ve been married for 8 years. 

Delores: Oh good. It’s time for you to fool around.

[Phil hands Delores a glass of champagne.] 

Delores: Thank you, Phil.

Phil [shrugs and smirks at Lyle]: Oh, Delores.

After the toast (“To innocence revealed. To death denied. To the triumph of truth over appearance” — again, a vague, self-congratulatory toast ostensibly to the Black man who wasn’t there), we return to Delores’s conversation with the lawyer Lyle.

Delores: What are you doing after the party?

Lyle: What am I doing after the party? I have a very important appointment. I’m afraid, in fact, that I have to leave now.

This is the last time we see Delores onscreen, and her part of this scene lasts less than 30 seconds. It’s just a throwaway aside during the party scene. So why is this scene in here? They’re not bothering to also celebrate Delores’s contributions to cracking the case. Rather, AGAIN, Delores is portrayed as man-crazy, and determined to go after married men. And she is now openly encouraging an affair (“It’s time for you to fool around” followed by “What are you doing after the party?“). And again, the man in her sights is shown to be visibly shaken at her attentions — even showing disgust? — and Phil is still hanging around long enough to “jokingly” warn other White men about Delores.

I’m honestly so angry at this script and how it has written Delores’s character. I have no idea if Delores is a character in the source novel; please leave a comment if you have read the book. Sure, it’s nice to see a newspaper archivist out of the archives and enjoying her personal life. Delores, at least, is confident in being herself. But then we constantly witness how men react negatively or jokingly around her, again like they’re not taking her seriously. They do not take her seriously as a woman. These men are laughing at her, and by proxy, it feels like the movie is inviting the viewers to laugh at her — to laugh at, again, the ONLY LATINX PERSON in a film set in and around Miami and southern Florida. Given how racist this movie is with other BIPOC characters, I don’t think this is a coincidence.

In essence, Delores “Keeper of the archives, news trivia expert, buried three husbands” Rodriguez serves as the film’s running gag. It’s such a condescendingly written character, and it feels more negative every time I think about it. And I do not pin the blame on Liz Torres. She seems to be making the best of a bad situation and having fun in the role — she is an Emmy-nominated comedian — but I feel uneasy being encouraged and manipulated to laugh AT her, not WITH her. Liz Torres deserved better than this tone-deaf script. Real-life newspaper archivists deserved better. We all deserved better.

My own self re-examination

This post was hard to write. Like I mentioned above, the more I sat down to write about this movie, the more frustrated and angry I got, and the harder it got to try and articulate WHY I was angry. And I’m going to be honest, part of the reason is because I was angry at myself. Because when I first analyzed this movie — maybe 20 years ago? — this is the way I summarized it:

Law professor Paul Armstrong (Sean Connery) investigates the case of a young man (Blair Underwood) on death row in a Florida prison. A newspaper archivist, Delores, helps him find information for his research; she is also known as a flirt.

Tone deaf. So innocuous-sounding (“she is also known as a flirt“), but that description papers over the harm of how this character is written. I also didn’t mention race at all in this description. I also originally stated that this character fulfills the Information Provider and the Naughty Librarian character types. After having revisited this film, I stand by the Information Provider role. But now I realize that, as written, this character was also meant to fulfill a Comic Relief role. We are being manipulated to laugh at her. It’s just not ok.

I know I didn’t like this movie when I first watched it — and this movie was not a commercial success! — but I didn’t realize back then the extent of how problematic, racist, and stereotypical this movie was. I didn’t call it out then, because I hadn’t taken the time to reflect. But this month IS a time and opportunity to reflect, and I’m calling it out now.

Additional perspectives

So you’ve read how negatively I reacted to Just Cause. How did other critics react?

Here are excerpts from a contemporary review by movie critic Desson Howe in The Washington Post:

Connery is touched by Dee’s devotion, as well as the revelation that Underwood went to Cornell. (What would he have done if Underwood hadn’t gone to Cornell?) […]

Of course you want Connery to rain justice on those small-minded rednecks (no matter what color they are) and save Underwood from the chair. Unfortunately, this desire for retribution is dangled like a moral carrot before the audience. […]

So it’s brutal, horribly manipulative, and we’ve seen this stuff before in better pictures.”

Desson Howe, “‘Just Cause’ (R).” The Washington Post, 17 Feb. 1995

I’ve linked to the following review a few times already in this post, and it’s well worth a read.

To clarify; Armstrong is a man who dedicates his life fighting for justice for black people he thinks are wrongfully imprisoned. So the only conclusion one can draw from this instance is that his entire premise is a fallacy. Connery’s only potential arc is to become a racist. All black people in jail should be there, according to Just Cause. […]

Most of the conversation was focused on plot twists and lines like Connery’s, “If that’s a confession, then my a** is a banjo!” Not on the fact that it was promoting an agenda with harmful consequences on an entire community. However, this film speaks to the decade and it is something we can learn from. Just Cause got a pass at the time because we didn’t see a very obvious problem that’s apparent today.

Kenneth Hedges, “Racial Inequalities of the 90s Brought to Your Screen: Review of Film ‘Just Cause’,” ArtsHelp, June 2021

My husband’s summation was similar:

The moral of the story seems to be that even an innocent Black man is guilty.

Continuing the conversation

Let’s wrap this one up!

Did you ever catch Just Cause back when it was released in the mid-1990s? Have you watched it since? Is it as problematic as you remember? Did you recall Delores’s character as a reel archivist? Please leave a comment and share.

Sources used

First impressions: Wong’s cameos in ‘Shang-Chi and the Legend of the Ten Rings’ (2021)

“Wong! I always bet on Asian.”

This is another post in my “first impressions” series, which focus on current films that I have watched in theaters that include reel librarians and/or scenes in a library or archives. It’s been more than two years since I’ve written a “first impressions” post — the most recent one before this was in June 2019, for ‘John Wick: Chapter 3 – Parabellum’ (2019) and its memorable fight scene in the NYPL‘ — because of, you know, the ongoing COVID pandemic. (Please get vaccinated if you can!) I am still not comfortable going inside a movie theater for 2+ hours to watch a movie with other people, but luckily, we have a drive-in theater nearby, the Rodeo Drive-in. I was sooooo happy they were showing Shang-Chi and the Legend of the Ten Rings (2021) on opening weekend, because (a) I really wanted to see the movie sooner rather than later, (b) I want to support a Marvel movie with a primarily Asian cast, hopefully the first of many, (c) I knew that one of my fave reel librarian characters, Wong, would be making a cameo, which I wrote about earlier this summer here, and therefore, (d) I wanted to write up a “first impressions” post for you all.

Please note: My “first impressions” posts are necessarily less detailed, as I don’t have the luxury of pausing the movie, taking notes, and rewatching scenes. I do, however, take notes as soon as I can after watching the film.

This also marks the fifth (!) time I’ve analyzed a reel librarian, library, or archives scene in a Marvel movie, three of which were “first impressions” posts. These past posts include: 

Below again is the full trailer for Shang-Chi and the Legend of the Ten Rings, and you can see a glimpse of Wong battling Abomination in a cage fight at 1:51 minutes into the trailer below:

Marvel Studios’ Shang-Chi and the Legend of the Ten Rings | Official Trailer” by
Marvel Entertainment
, Standard YouTube License

First impressions of the movie overall

I’m sooooo happy that Shang-Chi and the Legend of the Ten Rings is a certified hit already after smashing Labor Day box office records — and during an ongoing pandemic! It deserves all its accolades and then some. Everything worked in this movie, as it had great balance with drama, action, humor, casting, direction, and special effects. Tony Leung’s performance was particularly epic and grounded this larger-than-life movie in real-world heartbreak.

This tweet really sums up my feelings about the movie, including the final bullet point:

As a White person, I know that I cannot fully comprehend what this movie — and its vision and execution of Asian excellence on and behind the screen — must mean for Asian viewers all over the world. But I do know how much representation and visibility matter, and I know this movie matters. As Vox reporter Alex Abad-Santos stated in a review about the movie, “It’s fantastic at touching upon the Asian American experience, and it’s so buoyant in how it celebrates Asian American culture. I, like [lead star Simu] Liu, would love if we could change the world and smash ceilings and persevere against the nasty stuff — racism, prejudice, hopelessness — that keeps us pinned down. If only it were as simple as buying a movie ticket.

My husband woke me up on Saturday morning with the news that Wong was trending on Twitter… because reel librarian Wong made not one, not two, but THREE cameos – !!! – in Shang-Chi and the Legend of the Ten Rings. (Plus, we already know that Wong makes a cameo in the upcoming Spider-Man: No Way Home, and of course, he will return in Doctor Strange in the Multiverse of Madness.) It is quickly becoming the Wong Multiverse, and I’m not the only one who is excited about that!

Also, this realization warmed my librarian heart: ❤

Okay, so let’s get into each Wong cameo. And I cannot fully discuss Wong’s cameos without getting into major spoilers, so you are heretofore warned. If you haven’t already seen this movie, then go and watch it!

*MAJOR SPOILERS ALERT*

*MAJOR SPOILERS ALERT*

*MAJOR SPOILERS ALERT*

We good? Let’s go! And by the way, all the movie quotes below are to the best of my recollection. If I need to correct anything, please leave a comment and let me know.

Wong cameo #1

Wong’s first cameo comes in at about 30 minutes into the film, when Shang-Chi and Katy travel to an underground fight ring in Macau, which they later learn is run by Shang-Chi’s sister, Xialing (played by Meng’ er Zhang), who is a total badass. They’re led through the club by Jon Jon (played by Ronny Chieng), who takes them to the main cage fight, where Wong is battling Abomination. Abomination lands a punch on Wong, who shouts, “That hurt! Want me to show you how it feels?” Wong then manifests a couple of sling ring circles so that the Abomination punches himself out!

Shang-Chi Sees Wong and Abomination Fighting! Scene – SHANG-CHI (2021)” video, uploaded by KinoCheck International, Standard YouTube License

My favorite part of this scene? The reaction to Wong winning! The crowd erupts and chants Wong’s name. And Jon Jon shouts out the best line in the movie:

Wong! I always bet on Asian.

My second favorite part of this scene? That Wong thinks his way to a victory in the cage fight. Reel librarian role model. 😀

After the fight, we see Wong offering the Abomination some cream to help him heal. Wong then says something like, “Maybe you’ll start controlling your punches, like we talked about?” before they step through another sling ring circle.

My husband and I had slightly different takes on this scene. To me, it seemed like Wong was more like a mentor and helping to train Abomination (perhaps helping him to re-enter the MCU, as Abomination is most likely set to return in the upcoming She-Hulk TV series?). My husband focused more on the fact that the fight was staged, and wondering why trustworthy Wong was willing to participate in a rigged fight. Perhaps this is a Wong from another multiverse? Director Destin Daniel Cretton revealed in this interview that they had gone through many scenarios and pairings for this cameo, and that “we landed on a pairing [of Abomination and Wong] that felt really great, but it was also a pairing that made sense to what’s happening in the MCU around the time of our movie.”

This Screen Crush video also goes into some of the possibilities behind this cameo:

SHANG CHI: Wong and ABOMINATION Fight EXPLAINED” video by ScreenCrush, Standard YouTube License

Wong cameo #2

At the very end of the movie, Shang-Chi and Katy are sharing their adventures with a couple of their friends at a bar, and they see a sling ring circle appear behind their friends. Wong emerges, and we can see rows of books behind him. He’s back in a library!

And we are are ALL Shang-Chi in this exchange:

Wong [calling out]: Shang-Chi?

Shang-Chi: [raises his hand]

Wong: Shang-Chi? I’m Wong.

Shang-Chi: Yes, I know. I’m a big fan.

Wong then asks Shang-Chi if he has the ten rings, and that they have work to do. He also invites Katy along. And then we are blessed with another meme-worthy bit from actor Benedict Wong as he downs the friend’s drink and pulls this face:

Comic gold! Benedict Wong really has perfected the balance of the serious and humorous facets of Wong’s character.

In a red-carpet interview at one of the movie’s world premieres, Benedict Wong shared that he thinks Wong will be getting out of the library more in upcoming films. You can see the exchange at 1:18 minutes into the video below:

Benedict Wong on Leaving the Library | Marvel Studios’ Shang-Chi Red Carpet LIVE” video by Marvel Entertainment, Standard YouTube License

But my favorite part of these this second cameo — plus the final cameo, which we’ll get to next! — is that Wong is back IN the library! It’s unclear whether he’s in a library at the New York sanctum or back in the main library at Kamar-Taj. My bet is on Kamar-Taj, based on the conversation in Wong’s third and final cameo.

Wong’s cameo #3

As the film finished, my husband remarked that this movie had focused on the legend of the ten rings — specifically, the legends stemming from Wenwu’s thousand-plus reign with the rings — but not the origin of the rings.

Enter Wong’s final cameo that slides in during the credits, in which Wong has clearly been wondering the same thing. Katy and Shang-Chi have joined Wong in the library — again, my bet is that he’s back in the Kamar-Taj library, where Wong is the master librarian — where Captain Marvel and Bruce Banner (just Banner as himself, not as Professor Hulk) have also joined in via hologram Zoom.

This line about the ten rings from Wong made the librarian side of me squeal in delight:

They don’t match any artifact from our codex.

Wong has been researching the ten rings! As Wong is the expert on the Infinity Stones, as demonstrated in a brief but pivotal scene in Avengers: Infinity War, it makes sense that he would be researching the ten rings, as well. And just the fact that the word “codex” is mentioned in a Marvel movie… yes, I am geeking out over that! (In historical contexts, a “codex” refers to a bound collection of handwritten sheets of paper, essentially an ancient manuscript and precursor to modern books. In more modern library science contexts, a “codex” is also used to mean an official list of names, ingredients, definitions, or artifacts, etc., kind of similar to an index. But a codex is complete unto itself, while an index usually accompanies a resource.) Wong could be using either one — or both! — meanings of the word “codex” in this scene.

Also, I loved that Wong is in top reel librarian mode in this scene. He’s doing what librarians do best: knowing who to ask for help! There’s a saying in the library world, that we librarians do not need to know everything ourselves, we just need to be able to find out who does. 😉 So that’s what Wong is demonstrating, that he is researching the ten rings, but he is also reaching out to others for help, such as Captain Marvel (for her expertise and experience in intergalatic technology) and Bruce Banner (for his scientific knowledge).

Wong also says to Shang-Chi that “every time you used the rings, we could feel it in Kamar-Taj.” This line is VERY revealing. For example, it reveals that:

  • the sorcerers could NOT feel the rings for the thousand-plus years that Wenwu controlled the rings, meaning that Wenwu was also accessing only a portion of the rings’ power
  • that Shang-Chi wields the true, full power of the rings, confirming what we saw visually when the rings’ aura turned from blue to a golden hue in Shang-Chi’s hands during the fight with his father
  • probably other beings or dimensions felt the rings, too, when Shang-Chi used them (ruh roh)
  • this is NOT the last we shall see of the rings or or Shang-Chi… perhaps we’ll even get a Shang-Chi and the Origin of the Ten Rings movie??

And finally, more comic gold, as Wong then joins Shang-Chi and Katy in singing karaoke! EPIC. 😀 😀 😀

You can see more of this mid-credits scene and theories in this Screen Crush video:

SHANG CHI POST CREDITS SCENE EXPLAINED” video by ScreenCrush, Standard YouTube License

Final thoughts and musings

  • I was surprised — pleasantly so! — that Wong was as impactful a character in this movie as he was, and also what a vital character he is proving to be in the MCU, and potentially in the multiverse. Wong helps set up the continuation of Shang-Chi as a character (and the ten rings as important artifacts), so he is a crucial part of this movie. Wong’s not just a cameo.
  • Wong had to have been aware that Shang-Chi’s sister, Xialing, was the one running the cage fight club. But he didn’t know who her brother, Shang-Chi, was? There’s something fishy about that, especially as you would think Wong would be sure to research who owned the club, plus their family connections. Hmmm….
  • Wong is very well-connected and knows EVERYBODY, based off his holographic Zoom session with Captain Marvel and Bruce Banner. In my experience, this is also pretty true-to-life to librarians, at least for academic librarians. On a college or university campus, librarians tend to work with a wide range of faculty, students, and staff across various departments and program areas, so we tend to have a lot of connections and personal relationships across campus. It makes sense to me that Wong would also have a lot of connections across the MCU.
  • Wong is well-known AND well-loved, judging by the crowd chanting his name after his cage fight with Abomination (and the fact that Wong was trending on Twitter the day after the movie’s premiere!)
  • In my post exploring perspectives about Wong’s reel librarian character, I noted the criticism about how Wong’s character lacks agency or a central, in-depth narrative. In that post, I wondered “Will Wong have more of an independent identity and narrative” in upcoming films? And this film seems to be answering that question with a resounding YES! 😀
  • And whatever Dr. Strange is up to, Wong is the glue, and the one doing the work out there. Wong is not just Dr. Strange’s sidekick; rather, he is his colleague and demands recognition and respect on his own terms. (Also see my post about Avengers: Endgame and how Wong is the one who actually assembled the Avengers.)
  • Wong serves as both an Information Provider and Comic Relief character types in his cameos in this movie.

Continuing the conversation

So those are my thoughts and first impressions after watching — and cheeringfor ! — Shang-Chi and the Legend of the Ten Rings. What are your thoughts? Did you like the movie? What do you think Wong’s up to with Abomination? Please leave a comment and share!

Also, can’t get enough of Wong? Here are additional posts I’ve written about reel librarian Wong:

Sources used

‘Drop Dead Gorgeous’ librarian

“Didn’t even get to keep my damn tiara.”

A couple of weeks ago, I read a post on the Go Fug Yourself site about how the film Drop Dead Gorgeous (1999) was now old enough to buy booze. In other words, happy 21st anniversary of the premiere of this cult classic! I first saw this movie years ago, and I remembered three main things about it: (1) it is a teen comedy, but it goes a LOT darker then you would expect, (2) this film is super quotable, and (3) it features a reel librarian! This last reason is why you’re here, right? 😉 So let’s get to it!

If you haven’t seen Drop Dead Gorgeous (1999) in a while, the film’s tagline will get you up to speed: “A small-town beauty pageant turns deadly as it becomes clear that someone will go to any lengths to win.” The plot includes murder, a huge swan float engulfed in flames, beauty pageant contestants upchucking contaminated seafood, and so much more!

The film is very well-cast, starring: Kirsten Dunst, Denise Richards, Brittany Murphy (RIP), Amy Adams (I had totally forgotten she was in this movie!), Allison Janney, Kirstie Alley (I had *not* forgotten about her scene-stealing her way through this film!), and Ellen Barkin, among many others. Here’s a trailer:

“Drop Dead Gorgeous Trailer” video uploaded by pbiasizzo, Standard YouTube License

The reel librarian shows up in two short cameos, but each time, she is very memorable.

Librarian scene #1: “Didn’t even get to keep my damn tiara.”

Claudia Wilkens plays Iona Hildebrandt, who gets introduced as the local pageant winner in 1945, the first year of the Sarah Rose Miss Teenage Princess pageant. And that first beauty pageant winner grew up to be… the local public librarian! Does it blow the audience’s mind that the movie’s title could also include the librarian?!

Below is a side-by-side comparison of Iona in ’45 versus 54 years later. It’s interesting to note that however else she has changed physically, Iona still wears her hair in a similar style, with rolls of hair on either side of a middle part.

The pageant winner becomes the town librarian
The pageant winner becomes the town librarian

She reveals that she had to give up her crown for scrap because of World War II. And she utters one of my favorite lines in the film:

“Didn’t even get to keep my damn tiara.”

You can tell she is STILL upset about this, 54 years later. Which is even funnier as the actress says all this in the driest, most deadpan voice and intonation.

The reel librarian with all her reel library props
The reel librarian with all her reel library props

The words “library” or “librarian” are never uttered, so we only know that this character is a reel librarian because of the physical props and setting. The library background behind her includes a desk, stacks of books, old lamps, bookcases, files, and tall windows. All those stacks of books give the library a fairly messy look, and the setting is all about the inanimate objects. There are no other people in this library.

The reel librarian’s personal props include a book and a due date stamp. She is dressed very plainly and conservatively, in a brown dress with long sleeves and a high neck. I am rather shocked that they did NOT add glasses on a chain to her look!

Here’s a clip of this brief scene, which lasts 15 seconds:

“Mount Rose American Teen Princess 1945” video, uploaded by Cam Williams, Standard YouTube License

Librarian scene #2: “It’s best with lots of butter.

Librarian shows up again briefly, this time to explain lutefisk, a culinary detail that immediately reinforces the film’s setting in the Upper Midwest, where many Nordic immigrants settled in the U.S.

What is lutefisk, you may wonder? The librarian is back to explain:

“Lutefisk is codfish that’s been salted and soaked in lye for a week or so.”

She pauses, and then states:

“It’s best with lots of butter.”

Yeah, lutefisk is… an acquired taste. (My mom, a real-life librarian, once had a shirt that read: “Just say no to lutefisk!“)

The reel librarian explains about lutefisk and how it's best with lots of butter.
Truer words were never spoken. See this gif, and others from the film, online here.

Almost everything in this scene looks the same as the first library scene. The librarian still has a library stamp in her hands — although this time, she’s sitting at her desk instead of standing in front of it — and she’s wearing the same dress and hairstyle.

This final scene with the reel librarian lasts less than 10 seconds total.

The reel librarian’s role

What is the purpose of this reel librarian’s role in Drop Dead Gorgeous (1999)? Although she is quite informative — first embodying the origins of the beauty pageant and then explaining what lutefisk is, with devastating efficiency — she primarily serves the role of Comic Relief in this Class IV film. This reel librarian is like the straight (wo)man in a comedy routine.

The comedy in these librarian cameos are all about juxtapositions, including hearing a librarian cuss and seeing how this beautiful young woman, the first winner of the local beauty pageant, turns into a sour-faced librarian.

Ahhhhhhh, the comedic irony! The upending of expectations! Or wait… is this really a cautionary tale of what awaits beauty pageant winners?! Discuss. 😉

Sources used

Reel librarian Mr. Stringer returns in ‘The Alphabet Murders’ (1965)

“Of course, we would have no idea that Mr. Stringer is a reel librarian character if we were not already familiar with MGM’s Miss Marple movies.”

In contrast to this month’s earlier post, a marathon post delving into Mr. Stringer’s village librarian role in MGM’s 1960s Miss Marple movie series, this week’s post is short and sweet.

Stringer Davis and Margaret Rutherford, who were married in real life, reprised their roles as Mr. Stringer and Miss Marple in a joint cameo appearance in the 1965 comedy The Alphabet Murders. The film was based on Agatha Christie’s 1936 novel The ABC Murders.

Interesting casting choices abound in this film:

  • Tony Randall, an American actor, played the role of Belgian detective Hercule Poirot (!)
  • The very first actor to portray Poirot onscreen, Austin Trevor, played a cameo role in the film; this was also Trevor’s final film.
  • Robert Morley plays Hastings in the film, and Morley also starred alongside Margaret Rutherford in the second of the Miss Marple films, Murder at the Gallop (1963)!

The cameo scene with Mr. Stringer and Miss Marple lasts a total of 30 seconds. Poirot and Hastings descend a building’s front steps when Mr. Stringer and Miss Marple, in the middle of a conversation about the ABC murders, walk along the sidewalk and up the same stairs.

Mr. Stringer and Miss Marple make a cameo appearance in The Alphabet Murders (1965)
Mr. Stringer and Miss Marple make a cameo appearance in The Alphabet Murders (1965)

Miss Marple: I cannot see why they’re having such difficulty. The whole thing is very clear, Mr. Stringer.

Mr. Stringer: I quite agree, Miss Marple.

Miss Marple: The solution is ABC to anyone with half a brain cell.

Mr. Stringer and Miss Marple make a cameo appearance in The Alphabet Murders (1965)
Mr. Stringer and Miss Marple make a cameo appearance in The Alphabet Murders (1965)

During this brief scene, we hear strings of the distinctive theme song from the Miss Marple movies, another inside reference!

Remember, this film was released in 1965, one year after the final Miss Marple film, Murder Ahoy! (1964). The IMDb.com Trivia page for Murder Most Foul (1964) reveals there had been rumors about making a fifth Miss Marple film, possibly one based on Christie’s 1942 novel The Body in the Library, but this never came to pass. But perhaps their cameo in this film was a way to extend potential interest in continuing the series?

I find it extremely interesting that the screenwriters took care for each character to say each other’s names — Miss Marple, Mr. Stringer — so that the audience could be “in on the joke” for their cameo roles. However, the two actors were not included in the film’s credits.

Of course, we would have no idea that Mr. Stringer is a reel librarian character if we were not already familiar with MGM’s Miss Marple movies, Murder, She Said (1961), Murder at the Gallop (1963), Murder Most Foul (1964), and Murder Ahoy! (1964). Although the name “Miss Marple” is recognizable on its own, being one of Agatha Christie’s iconic recurring characters, Mr. Stringer’s name would not be. At his wife’s insistence, his role as the village librarian sidekick was created just for MGM’s Miss Marple movies.

Due to the very brief time onscreen in The Alphabet Murders (1965), Mr. Stringer’s reel librarian role in this film gets downgraded to the Class IV category, films in which librarian(s) plays a cameo role and is seen only briefly with little or no dialogue. He serves as Comic Relief in this comedy.

Last but not least, here’s a YouTube video of Mr. Stringer’s cameo and final screen appearance of his memorable reel librarian character:

“Hercule Poirot Meets Miss. Jane Marple” video uploaded by
docwho97
, standard YouTube license

Sources used

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