Barbara Runs an Orphanage

Steve Bradford (James Cagney) owns a steel company. He worked his way up from the bottom, and is now wealthy and powerful. But, he longs for something he threw away years before. As a young man, he impregnated his girlfriend, but refused to acknowledge her or his child. Unmarried and childless, Steve wants to find the son he abandoned 20 years before. He arrives at The Haven, the orphanage where his child was placed, to ask the supervisor, Ann Dempster (Barbara Stanwyck) for information on the boy's whereabouts - information Ann cannot give him. While there, Steve befriends unwed mother Suzie Keller (Betty Lou Keim), who awaits the birth - and adoption - of her own child. Reminded of the family he rejected, Steve finds himself becoming closer to Suzie, as he tries to open the records that will lead to his son.

These Wilder Years (1956) is a film trying to make a point, and it does a good job of it. In 1956, once a child was given up for adoption, the natural parents had no rights - after all, most adoptions were results of unwed relationships, and the mother was considered morally suspect (see The Adoption History Project for more information on the topic). Children of adoption were discouraged from seeking out their natural parents; records were closed, ostensibly to protect the child. It wasn't until the 1970s that a movement began to open adoption records, and allow birth parents and their offspring to connect.  (Not that this was the first film about adoption - Our Very Own in 1950 had already tread the ground, though the marital status of Gail's parents is underplayed. And Blossoms in the Dust (1941) had looked at adoption through the lens of the illegitimate child.). Thus, the idea of a parent - an illegitimate parent - wanting to contact his child was fairly new and perhaps dicey.

Let's get it on the table that there isn't ANYTHING that James Cagney cannot do. Naturally, he is excellent in this film - he is able to make you both like and loathe Steve Bradford simultaneously. As the facts about Steve's past actions are revealed, a lesser actor would lose his audience. Cagney, however, keeps the viewer engaged - his eyes reveal the disgust that he feels for himself; thus, you root for him to find some semblance of peace. 

That Stanwyck and Cagney only appeared in the same film this one time is a shame, as they are wonderful together.  Stanwyck has the capacity to go toe-to-toe with this tough guy and not blink, yet at the same time retain her dignity and femininity. Ann's integrity shines from Stanwyck; at the same time, she portrays a sympathy for him that is genuine. However, you never worry that she will pull the routine of sacrificing her integrity for the man she loves. If Ann does start to love Steve (though the real "romance" here is Steve and Suzie),  it is not something that gets in the way of her ability to perform her job. Stanwyck, however, was not the first choice for the role - both Myrna Loy and Helen Hayes were considered. In fact, it appeared Ms. Hayes would do the part until she abruptly withdrew due to "scheduling conflicts." (AFI catalog)

This is a film that is very much about counterpoints. We have Steve and his unseen lover, compared to Suzie and her unseen lover. We have the two lawyers, the scrupulous James Rayburn (Walter Pidgeon) and the slimy Leland G. Spottsford (Edward Andrews). Finally, we have the two sons that are the results of the affairs - one an adult, the other just born, whose lives are impacted by the actions of their parents. But (without spoilers), the ending for all are satisfactory, if not necessarily the ending each person wanted.

According to the AFI catalog, Debbie Reynolds was offered the role of Suzie, but turned it down because she was uncomfortable with playing an unwed mother (perhaps she was afraid of being typecast. That same year, she played an unwed mother of sorts in Bundle of Joy - a musical remake of Bachelor Mother). Susan Strasberg was also considered, but ultimately the part went to the relative unknown Betty Lou Keim. Ms. Keim had already done some television, but this was her first feature film, and the trailer to the film (below) advertised a new star in the making. But that stardom never came. After a few more films and television performances, Ms. Keim married actor Warren Berlinger and retired from acting in 1960. The marriage produced four children and lasted until her death in 2010, at the age of 71.
Two other young actors got a boost to their careers in this film. Don Dubbins (Mark Nelson) had done some uncredited parts in feature films, and had been appearing on television. But, as a result of this part, Mr. Dubbins was cast in Tribute to a Bad Man (1956) with James Cagney (this TCM article states that Mr. Cagney requested him for the film). Mr. Dubbins would work steadily in television (primarily) until his retirement around 1988; he died from cancer in 1991; he was 63.  Mr. Dubbins appeared in episodes of three television series: Bonanza, Little House on the Prairie, and Highway to Heaven. The star of those shows also appeared for a nanosecond in this film - Michael Landon made his film debut as Boy in Poolhall (if you blink, you miss him. We did!)

The New York Times' Bosley Crowther gave the film a negative review calling it "hackneyed and slushy," but we disagree wholeheartedly. We suggest you give it a try, and leave you with a scene featuring Ms. Stanwyck and Mr. Cagney:

Elliot Flies

One of the real delights of modern technology is being able to see a phenomenal film, with an outstanding score performed by a live orchestra.  I recently had the pleasure of seeing the Baltimore Symphony Orchestra perform John William's entrancing score to E.T.: The Extra-Terrestrial (1982), as the movie played behind them. This is a film in which the music is intrinsic to the intensity of the film as a whole. Try and picture Elliot and E.T. flying before the full moon without Mr. Williams soaring score - it just wouldn't be as effective. Your pleasure is doubled when the orchestra is sitting there with you, helping to make the film come to life. Not surprisingly, the score is #14 in AFI's 100 Years of Film Scores, with John Williams winning the Oscar for Best Score that year (Mr. Williams has won five Oscars out of 50 nominations), as well as the BAFTA, the Golden Globe, and three Grammys.

The story of an alien, accidentally abandoned on Earth by his colleagues, E.T.: The Extra-Terrestrial, follows the adventures of E.T. and the young boy, Elliot (Henry Thomas) who befriends him. It's a beautiful story that I actually saw when it first opened (I stood on line at the Kips Bay Theatre in New York City to see a preview, and befriended some like-minded gentlemen. We held each others places on line, sat together in the theatre, and cried in all the same scenes. I've never seen them again, but if they ever read this, just know it was a special evening of camaraderie for me).

The beauty of E.T. is the relationships of the children; adults, like Elliot's mother Mary (Dee Wallace) are either oblivious or menacing.  For the children, after some moments of shock, E.T. becomes a friend - they recognize him as someone that is nonthreatening. Yes, E.T. is initially a plaything - witness Elliot's comment to older brother Michael (Robert MacNaughton), "I'm keeping him," like E.T. is a lost puppy; or Gertie (Drew Barrymore) dressing E.T. up like one of her dolls. But in the end, it is the three children and Michael's friends, who risk all to get E.T. home. 

At the 1983 Oscars, E.T. was nominated for 9 awards (including Best Picture and Best Direction for Steven Spielberg). Including the Score award for Mr. Williams, the film won a total of 4 awards, the others for Sound Mixing, Sound Editing, and Visual Effects. But the film was up against Gandhi that year (which won both Picture and Direction). It wasn't until 1993, that Mr. Spielberg finally one a Best Direction Oscar - for Schindler's List, which, to date, is the ONLY one of his films that has one the Best Picture nod. He's won best Direction twice (the other award for Saving Private Ryan in 1999)

Despite that oversight, E.T. is #24 on the AFI 100 Years, 100 Movies list, and it has also been included on the AFI 100 Year, 100 Cheers list (at #6), as well as AFI 100 Years, 100 Quotes (#15 for, what else, "E.T. phone home").

There was a scene in the film in which Elliot is scolded by the school principal that was eventually cut from the film - the principal was played by Harrison Ford. Peter Coyote (Keys) met Spielberg when he auditioned for the part of Indiana Jones; Dee Wallace came to Spielberg's attention through her work in the television show Skag. Producer Kathleen Kennedy spent 6 months interviewing child actors before settling on her cast. (AFI catalog).

Reese's Pieces became quite a "thing" after the film's release; however, the producers originally contacted Mars for permission to use M&Ms. Mars said no - the film would frighten little children. (TCM article). All I can say is I bet there is a Mars executive out there who has been kicking himself for 35 years!

I'll leave you with the scene that perhaps is most emblematic of the effect of Mr. Williams impressive score. It is not just the special effects that make Elliot fly!

Dorothy is a Young Mother

Claudia and David (1946) picks up nearly four years after we left the Naughtons in Claudia.  Claudia (Dorothy McGuire) is very much involved in mothering her little son, Bobby (Anthony Sydes), with the assistance of Bertha (Elsa Janssen), who now serves both as nanny and housekeeper. While at a dinner party hosted by David's sister-in-law Julia (Gail Patrick), the Naughtons meet Elizabeth Van Doren (Mary Astor), a wealthy widow who wants to completely redesign the farm which she purchased some years before. David (Robert Young) is thrilled to be offered what he sees as a dream job, but Claudia becomes annoyed at the amount of time David is spending on the project, pulling him away from home for longer periods of time.

There was no difference in opinion on this one - the entire group enjoyed the film, and found the more mature Claudia very appealing.  Sure, we have an initial driving sequence where we discover that Claudia is a terrible driver, but other than that, you spend a lot of the movie rooting for Claudia (and conversely getting very aggravated at David for being a total jerk).  Dorothy McGuire gives us a Claudia who wants to be a good mom; we know that she learned from the best, and it is reflected in her attitude towards her child. Her irritation towards David is the result of his unjustified petulance. David is almost blase about his son's illness and is oblivious to Claudia's concerns when she suspects the little boy is ill. I found myself cheering when she told him off.

One scene in particular is very telling in demonstrating the growth of the character of Claudia. Confronted by Edith Dexter (Rose Hobart), the wife of neighbor Philip Dexter (John Sutton), who has been visiting Claudia and little Bobby (Philip had driven Claudia home the night before, when he realized her concern about her child's health), Claudia is able to ultimately disregard Edith's nastiness (Edith smacks Claudia across the face), and have a kind and moving heart-to-heart with the older woman. Claudia's gentleness of spirit shines through, and you can see her reflecting back the teachings of her mother.

It's always good to see Jerome Cowan (Brian O'Toole); and he is very good in the part of stage medium.  We did feel that Brian's telling Claudia that David is going to have an accident seemed a bit over-the-top for a man who is essentially a performer. It is perhaps that the screenwriter wanted Claudia to seem silly for believing him, but her naive belief in him isn't all that odd - he's summoned up memories of her late mother, and already convinced several of the other dinner-party attendees of his veracity. By the conclusion of the film, you do have to wonder if he really has ANY psychic powers.

This was Anthony Sydes first film; though his name was not immediately familiar, he had a respectable career as a child actor.   Most of us probably remember him as Thelma Ritter's son, Peter in Miracle on 34th Street (1947) or as Tony in Sitting Pretty (1948).  Born in 1941, he worked in films and television until he was 17 years old, after which, he joined the Army, serving two tours in Vietnam. His next career was as a professional auctioneer - he started an auction business and an auction college (to train new professionals in the field). His firm was still in business in 2015 when he died at age 74.  (For more information, see this obituary in The Hollywood Reporter).

For those of you who might wonder if the mustard bath that is used was actually a treatment of the time, it was. It was a long-time home remedy for fever.  By 1949, according to this Archives of Disease in Childhood article, it was considered by doctors, at any rate, as a way to keep parents busy until the doctor could arrive (back in the era of house calls!) -  much the way Philip sets Claudia doing tasks that will keep her occupied until the Doctor (Harry Davenport)'s arrival.

We also enjoyed John Sutton, who gave Philip a kindness that (for us) eliminated any thought of a pursuit of Claudia.  Sutton had a fascinating life - before becoming an actor, he worked as a tea plantation manager, a hunter, and a rancher; living in what is now Pakistan (where he was born), China, Malaya, and the Philippines. With over 103 film and television credits, he had an impressive career (usually as a villain or second lead) in such films as Jane Eyre (1944), Captain from Castile (1947), and The Three Musketeers (1948). He died of a heart attack in Cannes in 1963, age 54.

The New York Times review was fairly positive, though we think they were harder on Claudia then she deserves (and much kinder to David than HE deserved). There was a third Claudia film planned (AFI Catalog), but as Ms. McGuire and Mr. Young were never free at the same time, the picture never happened. Regardless, this is a nice conclusion to the series, and worth a visit.

Dorothy Marries Young

Claudia (1943) Brown Naughton (Dorothy McGuire) and her architect husband David (Robert Young), live on a farm outside of New York City.  Recently married, Claudia is having a hard time adapting to her new life. She can't balance a checkbook, she's convinced her husband doesn't find her attractive (when he actually adores her), and she misses her mother (Ina Claire) terribly. Unbeknownst to Claudia, Mrs. Brown is ill; Mrs. Brown has told David that she will be seeing a doctor immediately. In the meantime, Claudia is trying to convince David to sell the farm and rent an apartment in the City - nearer to her mother.

The reaction among our group to Claudia were mixed, primarily because of the title character. Let's face it, Claudia Naughton is very immature. But, that is the point - just barely 18, never really away from her mother, Claudia is a lost lamb. And David, in trying to encourage her to grow up, isn't helping all that much. He's taken a city girl, and plunked her down on a farm, pretty much alone all day (yes, there are servants, but they can't provide the emotional support she needs). David is in the city all day at work, and Claudia is trapped at home. She's having to cope with the farm, as well as run the household - and the girl has never balanced a checkbook in her life. So, if she is eager to get out of Connecticut and back to New York City, who can really blame her? What perhaps is more problematic is her inability to understand that David loves her and finds her attractive - resulting in her kissing lothario Jerry Seymour (Reginald Gardiner) in her husband's presence. That IS a bit much.

Though released in 1943, it's apparent that Claudia is set before the start of the war (the play on which the screenplay is based opened in February of 1941). The perfectly able-bodied David is not set to go into the army, and he asks Claudia if she has heard of The Depression. Claudia is a flashback to an earlier and perhaps less painful time.

Dorothy McGuire came to Hollywood and this film, her first, straight from the New York stage, where she starred in the run of this play (from February of 1941 to January of 1943; Olga Baclanova and Frank Tweddell also came over from the play).  Ms. McGuire would return to the stage several times after she she arrived in Hollywood. She was not a shoo-in for the part - Jennifer Jones, Joan Fontaine, and Katharine Hepburn were all considered.

In the years that followed this film, Ms. McGuire made some remarkable film, including The Enchanted Cottage (1945), A Tree Grows in Brooklyn (1945), The Spiral Staircase (1946), Friendly Persuasion (1956), and Gentleman's Agreement (1947) (for which she was nominated for an Academy Award as Best Actress). She worked fairly steadily until 1990; she would become a staple at Disney in films such as Old Yeller (1957) and (one of my favorites) Summer Magic (1963). She also made the transition to television, appearing in television films like She Waits (1972) and episodic TV such as St. Elsewhere (1986). Yet, despite this, she's really not acknowledged as one of the "greats" perhaps because, with her quiet beauty and low key performances, she literally melts into her characters.  In fact, after she died in 2001 (at the age of 85), she was NOT included in the Academy's "In Memoriam" at the 2002 Oscars! Married to photographer Tom Swope from 1943 until his death in 1979, Ms. McGuire had two children.

Robert Young is fine as David, though his lack of understanding of his very young bride does make you want to throttle him at times. Does he really need to tease her about her attractiveness when she is so obviously insecure? And bringing a teenager, with no knowledge of life outside a big city to a farm, then leaving her there all day to fend for herself seems inconsiderate. Young wasn't the only actor considered for the part: Cary Grant, Franchot Tone, and Don Ameche were all considered (AFI Catalog).

By far, the most appealing character in the piece is Ina Claire as Mrs. Brown.  Claudia's mother is very aware of her daughter's foibles, and desperately needs Claudia to grow up. Regardless, she is a loving mother AND mother-in-law. Her affection and regard for David are genuine, and his regard is mutual. The lack of backstory in the film proves to be a deficit; one wonders how Claudia and David met, and why Claudia, with such a capable mother, is such a flibbertigibbet-gibbet? But we can assume that Mrs. Brown believed Claudia would gain maturity in college and with time, and would learn to do some of the tasks in which she is now immersed a bit more gradually.

Claudia was based on a series of short stories and books about the character. There was a second movie (which we will discuss next time), a radio show, and a television series (with Joan McCracken as Claudia). While the film is not perfect, it is certainly worth a viewing, if for no other reason than to see Dorothy McGuire's screen debut.