John Parrish (Glenn Ford), a former captain in the Union Army, has spent three years in the West, recovering from his wartime injuries. Engaged to Caroline Vail (May Wynn), Parrish has decided to sell his ranch and return east at Caroline’s urging. The only potential buyer is Lew Wilkison (Edward G. Robinson), the owner of Anchor, a huge estate. It's no surprise when Wilkison underbids for Parrish's ranch. But Parrish is infuriated and a new war is set in motion when Cole Wilkison (Brian Keith), Wade Matlock (Richard Jaeckel), and The Violent Men (1955) murder John's ranch hand Bud Hinkleman (Bill Phipps) to "convince" Parrish to take the offer. This is an adequate western, with a stellar, though not well-used cast. Glenn Ford is fine as a man who seems condemned to using violence, even though he yearns for a life of peace. His interactions with Edward G. Robinson are good (though short and on the technical side). Also convincing are his scenes with Dianne Foster as Judith Wilkison, the daughter of Lew and Martha (Barbara Stanwyck). Mr. Ford is quoted as saying this was one of his favorite films - primarily because he got to work with Ms. Stanwyck and Mr. Robinson (Glenn Ford: A Life by Peter Ford).
What we missed were strong exchanges between Ms. Stanwyck and Mr. Ford or Mr. Robinson. Ms. Stanwyck's key scenes are with Brian Keith, an actor we all admire, but who is given precious little with which to work. Cole Wilkison is a villain - he's out for money and for sex; if he is able to hurt or kill someone while getting it, all the better. But his motivations are one-dimensional. As a result, the dialogue between these two fine actors is mere speechifying. It's a waste of talented performers who can give so much more. In Peter Ford's book, he says that he believed his father had fallen for Ms. Stanwyck. That alone makes you wish for just one scene in which she and Mr. Ford really talked.
In his book Barbara Stanwyck: The Miracle Woman, author Dan Callahan says: "whenever Stanwyck has blond hair in a movie...get out
of the way, buster, there's going to be a lot of trouble" and he is certainly correct in this instance. Martha is, without a doubt, one of the most unscrupulous characters Ms. Stanwyck has ever done. I'm sure you are thinking - "wait, what about Phyllis Dietrichson? Martha can't be worse than her!" But Indeed Martha is worse, because there is no depth to the character. Ms. Stanwyck tries, but she doesn't have the tools, in the form of a script, which allow Martha to have some substance. Ms. Stanwyck has one really good scene, in which she and Edward G. Robinson are trying to escape a burning house. It's only a moment, there is no real dialogue, but it is proof that when you have two dynamic actors, the results are electric.
Lew Wilkison has managed to distance himself from the current violence; Edward G. Robinson's portrayal is of a man who wants the power, but feels himself emasculated by the injury that limited his ability to walk. His daughter, Judith, as portrayed by Dianne Foster is far different than either of her parents. Initially unlikable, Judith becomes the only truly good character in the film. She has one goal, and it is not that of either of her parents. There is, however, a bond between father and daughter that is certainly not evident with her mother. Lew shows a concern for his child; Martha would rather just send her away. Ms. Foster had a brief film career; between 1953 and 1958, she was in 11 films (including The Kentuckian (1955) and The Last Hurrah (1958)). Beginning in 1959, she mostly appeared on television, guesting in shows such as The Wild, Wild West, Hawaiian Eye, Ben Casey, and Perry Mason. She's been married three times; her last marriage to Dr. Harold Rowe was in 1960 - the couple were together until his death in 1999. Ms. Foster has three children and lives in California, where she is a painter.
Based on the novel Smoky Valley by Donald Hamilton (AFI Catalog), the film does not appear to have been well received; Though it is a beautifully filmed movie, done in Technicolor and Cinemascope, the New York Times review by Bosley Crowther said: "If, at the end, it leaves you feeling you've seen just another horse-opera...it's no wonder, for that's what it is." The New York Herald-Tribune called the two leads "Little Caesar in buckskin" and "Lady Macbeth of the plains" (TCM article). It's not that it's a bad movie, it's just not a good one. With such a good cast, it's worth a single viewing (but if you have to choose a Stanwyck western, go for Trooper Hook). Here's a trailer from the film:
Marsha Meredith (Rosalind Russell) has been nominated for a federal judgeship. Standing in her way is her recent divorce from Peter Webb (Bob Cummings), an acrimonious affair that is frowned upon by the Senate committee investigating her. To make matters worse, Peter is interfering in the proceedings; Peter wants Marsha back. But Marsha - and her Grandfather (Harry Davenport) - want him out of her life. Marsha suspects him of having an affair with Ginger Simmons (Marie McDonald) who Peter - a lawyer - claims is a witness; Grandpa just doesn't like him. Our film is Tell it to the Judge (1949). We are all admirers of the wonderful Rosalind Russell, and were looking forward to this film. We were, unfortunately, quite wrong - it's awful on many levels. Primarily, it's really hard to view in 2019 - the antics of Peter Webb in his quest to get his wife back are horrific. Why any woman would want to marry him is really beyond our ken. Ms. Russell does her level best to make some sense of Marsha, but it's quite impossible, and by the end of the film, you wonder why she would involve herself with such a bunch of schlemiels. Jeanine Basinger calls Marsha one of the "nightmare career women" Ms. Russell played during the 1940s (A Woman's View: How Hollywood Spoke to Women, 1930-1960) - Ms. Russell recalled at least 23 such parts (TCM article). Which brings us to Robert Cummings - I've mentioned before that most of my group are not fans (see our entry on him in For Heaven's Sake). He's even worse in Tell It to the Judge. He doesn't bother to act - he mugs, he overdoes everything, he's shrill. The character is abusive and stupid, constantly putting Marsha into situations designed to do her bodily injury. Even a scene as simple as Cleo (the badly used Louise Beavers) trying to get a ton of luggage out of the room points out his callousness. Certainly, a lot of it is the script, but Mr. Cummings brings nothing to the part. We wondered if a more competent and appealing actor (Cary Grant) might have had a more positive effect on the film - it would certainly be an uphill battle.
Harry Davenport is an actor we always enjoy, but not here. Gramps is a bully in a different direction. HE'S decided Marsha should be a federal judge, and it is implied that he has helped manipulate the divorce because he sees Peter as a hindrance. With the exception of a scene in the middle of the film where he attempts to shanghai Peter, Mr. Davenport has precious little to do. It's a waste of a wonderful actor. Marie MacDonald's character is in genuine danger from gangsters, but the film plays this down to rev up the "other woman" angle. She's not at all interested in Peter (a woman of sense), but she is afraid for her life, and he's the only person in a position to help her. By trivializing her danger the film again demonstrates that Peter is a jackass who cares for no one but himself.
When we meet Alexander Darvac (Gig Young), we initially think he might be a better match for Marsha. But as the film progresses, we realize he is just as bad - if not worse - than Peter. It's clear that Mr. Young has no clue who this fellow is; basically he's just another abusive male in this woman's life. With a screenplay - originally titled My Next Husband (AFI catalog) - that has random scenes that are way too long and characters that are cruel manipulators, we have to agree with Bernard F. Dick when he calls the film "low farce jacked up a few notches to screwball without the accompanying wit" (Forever Mame: The Life of Rosalind Russell). Unless you are a Rosalind Russell complete-ist, this is one to avoid.
When the ancestral home of the de Canterville's is sequestered for use by the U.S. Army, the heiress, Lady Jessica de Canterville (Margaret O'Brien) meets an American decendent of the family Cuffy Williams (Robert Young). They also meet the resident ghost, Sir Simon de Canterville (Charles Laughton) who was condemned to walk the halls of the house until a descendant performs an act of bravery. Could Cuffy be the one to free The Canterville Ghost (1944)?
As part of the 10th Anniversary celebration for the Classic Movie Blog Association, we're featuring film-related anniversaries. Now 75 years old, The Canterville Ghost is also part of the memorials for the Second World War and D-Day (it was released in August, just two months after the invasion).
Let's begin by mentioning that the screenplay, adapted from an Oscar Wilde short story of the same name, has only marginal similarity to its inspiration. This is very much a World War II tale - there is no need for a descendant to perform an act of bravery for Sir Simon in Wilde's version. For one thing, Sir Simon's crime in Wilde's story is far more deserving of his horrible fate - in an unjustified fit of jealousy, he murders his innocent wife. In the film version, Sir Simon runs away from an opponent in a duel - even Sir Simon's adversary thinks his punishment horrific. Because the victim of his crime in the Wilde novella was a woman, Sir Simon must be saved by a woman: "you must weep for me for my sins, because I have no tears, and pray with
me for my soul, because I have no faith, and then, if you have always
been sweet, and good, and gentle, the Angel of Death will have mercy on
me." (The Canterville Ghost by Oscar Wilde). The idea of courage under fire was deemed more meaningful in the midst of the war.
As we saw inJourney for Margaret (1942), the chemistry between Margaret O'Brien and Robert Young is outstanding. He's also faced with the unenviable task of playing a coward as his country (and the viewers of the film) face an horrific war. It cannot have been easy to play a man who begins the film running from danger, but Mr. Young takes on the task. He makes Cuffy even more the hero, because the audience is aware that he is truly afraid. (Mr. Young remained in Hollywood during World War II. He participated in war bond rallies and worked with the local civil defense.)
Equally enjoyable are the scenes between Charles Laughton and Ms. O'Brien. He was "enchanted" by Ms. O'Brien (TCM article) and their affection shows. It's been said that Mr. Laughton wanted children, however his wife, Elsa Lanchester, was either not willing or unable to have children (she admitted to at least two abortions). Mr. Laughton was allegedly quite receptive to interactions with youngsters - in fact, his only work as a director, The Night of the Hunter (1955), focused on two children. We were especially takien with the dancing sequence in which a young soldier asks Lady Jessica to dance. As the child is unfamiliar with swing dancing, the soldier does all the steps for her. Ms. O'Brien really gets into the routine - even when she is unable to do something, she turns control over to her partner. It's a lot of fun to watch.
The film also demonstrates the skills of a number of excellent character performers: Una O'Connor (Mrs. Umney) is good as Lady Jessica's nanny. William Gargan (Sargent Benson) has just the right amount of military demeanor for a man who has literally just seen a ghost. Peter Lawford (Anthony de Canterville) dons a blonde wig that we suspect he stole from June Allyson to play Sir Simon's brother. Reginald Owen (Lord Canterville) is autocratic as a man who values courage over the life of his son. The film was originally to be directed by Norman McLeod, but Charles Laughton was concerned with Mr. McLeod prior experiences with broad comedy (he was the director on two Marx Brothers and one W.C. Fields films), and requested that he be replaced. Jules Dassin stepped in, and he and Mr. Laughton got on swimmingly. As this was one of Mr. Dassin's earliest feature films, Mr. Laughton provided advice in private, which the director found helpful.
There have been numerous adaptions of The Canterville Ghost. An early television broadcast (September 1949) starred Wendy Barrie and Edward Ashley. The following year, Robert Montgomery Presents Your Lucky Strike Theatre (November 1950) had a version with Cecil Parker and Margaret O'Brien. In April of 1951, the Du Mont network aired a show with Lois Hall and Reginald Sheffield. May 1953 saw Ziv TV show the story with John Qualen and Connie Marshall. It was made into a musical in November of 1966 - again on television - with Michael Redgrave, Douglas Fairbanks, Jr. and Peter Noone (of Herman's Hermits fame), John Gielgud and Andrea Marcovicci were in a 1986 television film, and Patrick Steward and Neve Campbell tackled the parts in 1996. (AFI catalog). A Film Commentarticle from 2018 calls this version "the strangest one of all," but we agree with them that it is "definitely charming." Here's a trailer:
This post is part of The Anniversary Blogathon hosted by The Classic Movie Blog Association - celebrating it's 10th Year. Happy anniversary, fellow members! Please visit the website to read the other posts that are part of this celebration.
Sisters Myra (Ann Dvorak) and Olga (Aline MacMahon) run a gas station/diner/motel deep in the desert of the American Southwest. Isolated from the rest of the world (except for the customers who are always heading somewhere else), Olga is protective of her younger sister. She forbids her from socializing with men, especially Steve Laird (Theodore Newton), much to Myrna's fury. Olga's life is disrupted by the arrival of George (Preston Foster), a man who was once Olga's lover. Our film this week is Heat Lightning (1934). Aline MacMahon is always remarkable, and this film is no exception. When we meet Olga, her face is closed. She interacts with strangers on a business level only. She is not unfriendly, but distant and cautious. With the arrival of George (who Olga - and only Olga - calls Jerry), Ms. MacMahon changes her whole demeanor. The suspicion begins to slowly melt into affection, and finally into the hope for a resumption of their earlier relationship. Some of this is accomplished with costuming, as Olga literally lets down her lush hair (George had commented on the beauty of her thick, long hair), but most accomplished with Ms. MacMahon's eyes and posture. This was the first picture in which she received star billing, and she makes the most of it. Ann Dvorak's part is relatively small, but the last scenes in which she appears are very strong and truly heartbreaking. Myra's early rebellion and the results that revolt make it appear that the sisters will end up very much alike. The emptiness in Ms. Dvorak's face tell us the future of Myra far better than words could.
We're not used to seeing Lyle Talbot (Jeff) play a weakling, but he does here. By the end, he develops a small amount of backbone, but primarily he is under the thumb of the domineering - and nasty - George. We previously discussed his impressive film career when we viewed A Lost Lady, but this was a new side to a decidedly versatile, and underrated, actor. Frank McHugh (Frank) is also playing a somewhat different part from his usual sidekick roles. He's a chauffeur to Mrs. Feathers Tifton (Glenda Farrell) and Mrs. Tinkle Ashton-Ashley (Ruth Donnelly), two new divorcees, on their way home (with LOTS of expensive jewelry) from Reno. Surprisingly, Mr. McHugh is also the current object of both their affections! Mr. McHugh is amusing and effective with relatively little screen time. But seeing him as an object of lust does take some getting used to. As is often the case, Glenda Farrell doesn't get enough to do, though her interplay with Ruth Donnelly is especially fun. They are a good combination; in the end, Ms. Donnelly gets the better lines and the stronger part.
The script is intriguing, in that the backstory is supplied in tiny spoonfuls - you get just enough to understand Olga, and no more. It's script writing by insinuation, and is effective. You keep watching the movie to find out more, as you are given just a tad more information about Olga's life in the city. While several of the characters seem extraneous - the girls who arrive with "Popsy" (Harry C. Bradley), for example - it's evident by the end of the story that each of these visitors is telling us more about Olga and her decision to live in the desert. As you can see, it's an amazing group of character actors - Jane Darwell also appears in the opening scene as Gladys, wife to henpecked husband Herbert (Edgar Kennedy), a couple motoring through the desert with a really unreliable jalopy. It's another humorous interlude, but fascinating as well - Olga is a skilled mechanic, better than most men - even in the precode era, it's not usual to see a woman who is skilled at a trade.
The story was based on the play, Heat Lightning which was on Broadway for a month in 1933. and starred Jean Dixon as Olga. In 1941, there was remake (of course, drastically altered. The remake was, after all, well within the code) as Highway West (1941) (AFI catalog). Reviewer Mordaunt Hall of the New York Times was not enthusiastic about the film in his review, but did like Ms. MacMahon, saying "she gives a believable performance the rôle is not well suited to her". We disagree; there is not a part written which Ms. MacMahon cannot in some way make suit herself.
Released in March of 1934 (just 4 months before the Code began to be strongly enforced), the picture has not been widely circulated since then, as it was on the Legion of Decency's Banned List (TCM article). We think that it's a shame it - and its star - are not better known, and really recommend a viewing. Here's a trailer to get you started:
