Multi-millionaire John P. Merrick (Charles Coburn) is furious. Though he studiously keeps himself out of the limelight, a recent labor protest by the employees of a department store he owns have brought his name front and center. Determined to fire all of the people involved in the protest, he hires private detective Thomas Higgins (Robert Emmett Keane) to infiltrate the store and find the protesters. Mr. Higgins is unable to start immediately (his wife is about to have a baby), so Merrick fires him and uses the store credentials Higgins has acquired to become an employee in the store's shoe department. It's not long before he discovers that he really likes the store employees and despises the management. Our film this week is The Devil and Miss Jones (1941). The tone of this sweet and funny film is set at the opening credits, when we are introduced to the "devilish" Mr. Coburn and the angelic Ms. Arthur. While Ms. Arthur gets above-the-title billing, this film really belongs to Mr. Coburn, as it should. J.P. Merrick could be a bully and a bore, but not in Mr. Coburn's capable hands. He treads a fine line in being lovable, but still keeping you in suspense as to what he will do in the end. Though, as he becomes increasingly furious at the store managers and supervisors, you really want to give him a hug.
Charles Coburn came to the screen late in life - he was 60. He'd spent his career working in a touring company with his wife, Ivah Wills (they had 6 children). When Ivah died of congestive heart failure in 1937, Mr. Coburn moved his family to Los Angeles to try his hand at film acting. Between 1938 and his death in 1961, he appeared in more than 90 films and television shows. He received a Best Supporting Actor Oscar in 1944 for his work in The More the Merrier, and was nominated two other times - for his work in this film, and for The Green Years (1946). He was active in the Motion Picture Alliance for the Preservation of American Ideals (Hollywood Traitors: Blacklisted Screenwriters - Agents of Stalin, Allies of Hitler by Allan H. Ryskind), a group supporting the McCarthy hearings. Following a second marriage (he was 81 at the time), and the birth of a seventh child, he died of a heart attack at the age of 84. His papers are housed at the University of Georgia, Hargrett Rare Book and Manuscript Library.
Jean Arthur is delightful as Mary Jones. Though her romantic interest is Robert Cummings (Joe O'Brien), it is Mr. Coburn with whom she has the most scenes and the best chemistry. She would work with Mr. Coburn twice more: The More the Merrier (1943) and in The Impatient Years (1944) (TCM Article). The part of Mary Jones was specifically designed for Ms. Arthur - this film's producer was her husband Frank Ross. He had set up an independent production company and was eager to find a property that fit her talents better than the scripts she was being offered. Though Mr. Coburn's part is much stronger, Ms. Arthur refused rewrites that would have given her character more screen time. (Jean Arthur: A Biofilmography by Jerry Vermilyeand). She was fond enough of the part that she planned to do a remake of it in 1966, to be titled The Devil and Mr. Jones, with Ms. Arthur as the Devil; sadly, it didn't materialize.
Robert Cummings is good in a relatively small part. An early scene in the film has Joe cavorting with Mary on the beach at Coney Island. It's quite delightful to watch, and there is a naturalness to the performances. Mr. Cummings was not the first choice for the role - Jeffrey Lynn was originally considered. (AFI Catalog) Also in a small but important part is Spring Byington (Elizabeth Ellis). A gentle woman who just wants to find someone to love, she fixes her sights on Merrick when she thinks that he is indigent. One feels that Merrick has avoided any kind of entanglements because of his money. Ms. Byington makes Elizabeth into someone who cares nothing for money. She wants to find a man she can make happy, and Merrick is the right fit.
There are so many excellent character actors in the film it is hard to focus on just one or two. Edmund Gwenn is marvelous as the repugnant Hooper, one of the bosses who drive Merrick to distraction. S.Z. Sakall appears as George, Merrick's very tolerant butler, and is his usual warm self. William Demarest shows up in the small part of a detective, Regis Toomey is a police officer in Coney Island, and Florence Bates plays a professional shopper - all contribute greatly to the film.
The film, which opened in April at Radio City Music Hall, received an enthusiastic review from New York Times critic Bosley Crowther "Out of the sheerest gossamer the most captivating webs are sometimes spun". Unfortunately, it did not do well at the box offer (Author Jerry Vermilye speculates that the "unsubtle pro-union stance" was a factor"). In January 1942, there was a Lux Radio Theatre production which starred Lana Turner and Lionel Barrymore. The film was nominated for two Oscars: Norman Krasna for his original screenplay and Charles Coburn as Best Supporting Actor.
This is a movie that is not to be missed, especially if you are a Jean Arthur fan. We'll leave you with a clip, in which Charles Coburn meets Ms. Arthur:
2020 has been a year of interesting times, and in interesting times, we need comfort. What better comfort is there than a good movie? So, from May 19-22, the Classic Movie Blog Association (CMBA) is hosting the Classics for Comfort Blogathon, in which we will all discuss those films that bring a smile to our lips or a song to our hearts. In no particular order, I'm pleased to share with you five movies (and an honorable mention) that I turn to in times of trouble, stress, and/or sorrow that are comfort films for me.
No comfort film list is complete without something from Ms. Hayley Mills. She is a delight - a wonderful actress with a list of excellent films to her credit. Adding just one to this list was a hard choice - in the running were Pollyanna (1960), which I discussed in a previous blogathon, Summer Magic (1963), and The Moon-Spinners (1964). But, I ultimately opted to select The Parent Trap (1961), because there are TWO Hayleys to make me glad.
Sharon McKendrick and Susan Evers live on opposite sides of the U.S. Sharon is in Boston with her mother; Susan lives in California on her father's ranch. They accidentally meet at summer camp, loathe each other at first sight, only to discover that they are "separated at birth" twins - when their parents divorced, each took one daughter, planning to never meet again. It was also decided by the parents that they would not tell their children of her sibling's existence. Knowing it's the only way to get to know the other parent, the sisters decide to change places. But when Susan discovers that father Mitch (Brian Keith) is about to marry the gold-digging Vicki Robinson (Joanna Barnes), the girls hatch a plan to get mother Margaret (Maureen O'Hara) back with her ex. This was Ms. Mills second film with Disney, and she shines in the dual role. She gives the two sisters distinct personalities. Even when dressed alike, you can tell them apart (amusingly, their parents can't). Sure, the story is a fantasy, but who cares? The early rivalry episodes are full of tween deviltry and the latter partnership includes deviousness of quite a different ilk - you'll cheer when the twins set their sites on the obviously bad Vicki. And when Ms. Mills sings "Let's Get Together," a dare you to not groove to the music.
We think of Edward G. Robinson (Martinius Jacobson) as a tough guy, but in Our Vines Have Tender Grapes (1945), he's the gentlest man you could ever meet. A loving husband to wife Bruna (Agnes Moorehead) and father to his daughter Selma (Margaret O'Brien), he works as a farmer in a small Wisconsin town. In many respects, the film is a series of short stories, about Selma and her adventures (and arguments) with her younger cousin, Arnold (Jackie "Butch" Jenkins), about Martinius and his desire to build a new state-of-the-art barn, and about the budding romance between new teacher Viola Johnson (Frances Gifford) and newspaper editor Nels Halvorson (James Craig). The script hangs together beautifully, as the characters weave in and out of each others lives. The beauty of the film hinges on the relationship between Ms. O'Brien and Mr. Robinson. There is a genuine tenderness between the two; adding Agnes Moorehead to the mix - an actress who, in my estimation, can do no wrong - only adds to the charm of the family connection. In one biography, Ms. O'Brien said she became very close to Mr. Robinson during filming (Margaret O'Brien: A Career Chronicle and Biography by Allen R. Ellenberger); this is certainly reflected on screen. Yet the films avoids becoming schmaltzy. The town in which the Jacobson's live is not perfect. The town is poor; most of the young men are gone to the War; there is even a hint of child abuse. Ultimately, though, the film is about family and unity - the Jacobson's live in a community that comes together in crisis, even if it is only donating a calf to a cause.
When times are bad, you need to laugh, and nothing will make you laugh more than Ball of Fire(1941). Gary Cooper (Bertram Potts) plays an English professor at work with six colleagues on a new encyclopedia. Professor Potts is horrified to discover that his understanding of slang is archaic. How can he write the needed article for the encyclopedia without further research? So he ventures out of the their cloister to learn the language of the day. On his journey, he meets Sugarpuss O'Shea (Barbara Stanwyck), a night club entertainer who knows just a bit too much about gangster boyfriend, Joe Lilac (Dana Andrews). Joe's solution - stash Sugarpuss with Bertram and his colleagues until Joe can marry her and keep her from testifying against him. The combination of Gary Cooper and Barbara Stanwyck is comic dynamite. She's forward and alluring; he's shy and retiring. But they spark on screen like nobody's business. With her as the aggressor, Ms. Stanwyck is at her comic best - she needs him to become enamored of her, but there is danger in the air. She's never met anyone as gentle and considerate as him, and she finds herself falling for him (much to the consternation of Joe Lilac!) There are so many wonderful scenes - Sugarpuss teaching the assembled professors the conga; Sugarpuss demonstrating the new slang to Bertram (in the form of yum-yum); Bertram learning to box. I could go on, but you get the idea. We discussed this film at more length several years ago. But like so many of the great Ms. Stanwyck's films, it is a movie that cries for rewatching (and will have you in stitches throughout.
Take two remarkable actors, add in some suspense, sprinkle it with comedy, write dialog that sparkles and you've got Charade (1963). It's easily one of the most re-watchable and entertaining mystery stories around - even when you KNOW the ending, you really don't care. You want to watch the film again to meet with the charming, intelligent, and witty Regina Lampert (Audrey Hepburn) and the man of mystery Peter Joshua (Cary Grant). They are a combination to be imbibed regularly. Regina is on vacation at a skiing resort in the French Alps with her best friend Sylvie Gaudel (Dominique Minot) when Sylvie's mischievous son Jean-Louis (Thomas Chelimsky) "introduces" her to Peter. He's intrigued, but she "already know an awful lot of people, so until one of them dies I couldn't possibly meet anyone else." Regina returns to her home in Paris, determined to divorce her always-absent husband Charles, only to find her apartment stripped bare and a message from the police. Charles is dead - murdered and thrown from a speeding train. The appearance of three threatening men, who demand to know the whereabouts of money Charles stole from them, add to Reggie's distress. And then there is the question - just WHO is Peter Joshua? Cary Grant didn't want to do the film - he thought he was too old to be romantically involved with Audrey Hepburn, so the script was altered - she pursues him, and the effect is magic. After all, what woman wouldn't want to woo Cary Grant? Combine their interplay with an engaging story and you have a film to watch over and over. You'll laugh, you'll gasp, but you will never be bored.
Sometimes, an inspirational film that brings tears to your eyes is just what you need when you feel blue. The true story of The Miracle Worker (1961) is one that does it for me. Based on the autobiography of Helen Keller (Patty Duke), a blind-deaf woman who lost both senses after a childhood illness, the movie introduces the uncontrollable child to Anne Sullivan (Anne Bancroft), herself almost blind, but as determined to teach Helen to communicate as Helen is to have her own way. As a child, I was addicted to biographies of famous women. I think I read every one I could find in our local library. The woman that fascinated me most was Helen Keller. Her autobiography, The Story of My Life, was awe-inspiring. So too does this film bring a feeling of warmth and love that few movies are able to do. The strength of these two individuals, along with the unquestioning love of Helen's mother, Kate (Inga Swenson) make this a film of great passion. Don't get me wrong - this is a film with humor as well, but I defy anyone to get to the end without a tear in their eyes. With Oscar-winning performances by Ms. Bancroft and Ms. Duke (both recreating their Broadway roles), The Miracle Worker is a film to lift your spirits.
Honorable Mention: No list of my comfort films is complete without a mention of one of my primary sources of comfort since childhood. Sure, including To Trap a Spy (1964), is a bit of a cheat. It’s a filmed version of two Man from U.N.C.L.E. episodes, but for me it's one of the places I go when I need to feel better. It was love at first sight when I saw Robert Vaughn in an early episode of the show. My father took me to a double bill of this and another U.N.C.L.E spinoff movie The Spy with My Face (1965). To say I was in heaven is an understatement.
The show ended up forming the basis of my first close friendship - one that abides to this day. When times are tough, when I’m sad or anxious, it’s Napoleon Solo who can make everything just a little bit better. (And it doesn't hurt to have Illya Kuryakin as well!)
Don't forget to read some of the other blogs that are participating in the Classics for Comfort Blogathon. You're sure to find some other films that will brighten your days.
An elderly man screams "I killed Mozart," then attempts to slash his own throat. Transferred to an asylum, former court composer Antonio Salieri (F. Murray Abraham) tells a visiting priest (Herman Meckler) his life story, and why he believes that he killed Amadeus (1984). The Baltimore Symphony Orchestra hosted another film with live orchestra (back when we were still allowed to go to the theatre), this time the award-winning story of the lives of Wolfgang Amadeus Mozart and Antonio Salieri. With a score consisting almost entirely by the works of Mozart, this is a film that fairly shouts for a performance with a live symphony orchestra, and it did not disappoint. The glorious music added immensely to this fascinating film. I saw the film when it first came out. I'd already seen the play three times on Broadway (I've since seen it another three times) and confess that I was disappointed in the film then. I love the stage play - I truly feel it is one of the best modern plays - and the focus of the movie was different than the play. The stage version was about Salieri, while the movie is centered more on Mozart. It's a subtle difference, since their lives keep intersecting, but an important one. This time, I made the determination that I would push the play out of my mind as much as possible and view the film as an independent entity. The result - I really enjoyed the movie.
I'm going to begin with a bit of history about the play. It opened on the West End in 1979 with Paul Scofield as Salieri. When the play transferred to Broadway in 1980, Ian McKellen starred in the show (I had the opportunity to see him; later I saw Frank Langella and David Birney). That production ran
for 1,181 performances with actors David Dukes, John Wood, and Daniel Davis also taking over the part of Salieri. The play also opened with Tim Curry
as Mozart (Simon Callow had played Mozart on the West End) and Jane Seymour as Costanza - later Mark Hamill and Amy
Irving would later take on those roles. In 1999, the play returned to
Broadway, this time with David Suchet and Michael Sheen as Salieri and Mozart. It ran for 173
performances (Yes, I saw that one too). This past December, The Folger Theatre did a superb imagining of the play with Ian Merrill Peake as Salieri.
Director Milos Forman made two determinations before he began filming - one was that the filmed version needed to be substantially altered from the stage play. He cited the movie Equus as an example of what happens when you try to transfer a play directly to the screen (New York Timesarticle). He also wanted virtual unknown Americans for the two lead roles (New York Timesarticle). Thus, he selected Tom Hulce as Mozart over contenders such as Mark Hamill, Kenneth Branagh, David Bowie and Mikhail Baryshnikov (Mental Floss article); and F. Murray Abraham over Mick Jagger and John Savage (AFI catalog). Costanze Mozart went to Elizabeth Berridge after Meg Tilly injured her leg; Patti LuPone was also in the running at one point. (F. Murray Abraham discusses his casting in this Rolling Stonearticle) The film's cast is remarkable, and give a depth of performance that contributed to its success. New characters such as Leopold Mozart (with a sinister Roy Dotrice playing the part) and Emanuel Schikaneder (Simon Callow, the only actor from a stage production to appear in the film) add nuance to the movie. We also have a couple of future stars introduced - Christine Ebersole plays Salieri's protege Katerina Cavalieri (she does not, however, do her own singing. Suzanne Murphy was given the vocals) and Cynthia Nixon plays maid and Salieri spy, Lorl. She was 17 years old during production - the year of the film's release she would appear in TWO Broadway plays (The Real Thing and Hurlyburly) simultaneously, so far the only actor to do this on Broadway (Playbill).
There always seem to be questions as whether Salieri actually poisoned Mozart. It's unlikely. This BBC article looks at the historical anomalies in the play and the film. Author Shaffer was influenced by a play written in the 19th Century by Alexander Pushkin. The murder story serves only as a means for giving Salieri vent to the real concern of the play - what happens when God gives you the ability to identify true genius, without the capability of creating it yourself. While the play includes quite a bit of music, the film is able to incorporate so much of Mozart's work that the sheer beauty of his compositions is undeniable. The film introduced many people to his work (TCM article), as well as to the compositions of Salieri (if you've never heard his work, here is a link to his Requiem).
The film was a huge hit - it grossed $51.97M and was number 12 on the box office list for 1984. It won both the Oscar and Golden Globe for Best Picture, Actor (F. Murray Abraham), and Screenplay (Peter Shaffer). Director (Milos Forman) won the Oscar and Director's Guild Awards. It also won Oscars for Art-Set Direction, Costume Design, Sound, & Makeup. Sir Neville Marriner and the Academy of St. Martin in the Fields won the Grammy for Classical recording. It received Oscar nominations for Tom Hulce in the Best Actor category, for Cinematography & Film editing. A director's cut of the film was released in 2002 that includes a number of cut and lengthened scenes (Movie-Censorship.com). In 2019, it was added to the National Film Registry in 2019. On many levels, this is a remarkable film. I'll leave you with a trailer, and the recommendation that you view film. And, if the opportunity arises, do see the play.
Ruta Lee, who appeared in the small role of Diana in Witness for the Prosecution (1957) spoke about her appearance in the film during the TCM Cruise. Ms. Lee got the part when Arthur Hornblow, Jr. saw her at a Frank Sinatra night club appearance. Hornblow approached her, and asked her to do a screen test; after which Marlene Dietrich (Christine Vole) insisted that her hair color be changed (so Ms. Lee became a brunette for the film). Sir Wilfrid Robarts (Charles Laughton) has just returned home from hospital, with his nurse Miss Plimsoll (Elsa Lanchester) in tow, when he is approached by solicitor Mayhew (Henry Daniell) to possibly take on the defense of Leonard Vole (Tyrone Power) who is about to be arrested for the murder of Emily Jane French (Norma Varden), a wealthy widow who Vole had befriended. Sir Wilfred finally agrees to take on the case (over the objections of Miss Plimsoll), as he is convinced of Vole's innocence, and the barrister he intended to recommend is not (John Williams as Brogan-Moore). Complications ensue in the form of Vole's wife, Christine. Is she really trying to help her husband, or is she using the murder as a means of getting rid of him for good? I've seen this film dozens of times on television; I always appreciated the humor that floats through this very serious story. But, seeing it with an audience really impressed upon me how FUNNY it really is - especially the interplay between Charles Laughton and (his wife in real life) Elsa Lanchester, who acts as straight woman for his bon mots. For example, when Miss Plimsoll checks Sir Wilfred's thermos (to verify no brandy is present), he counters her with "If you were a woman, Miss Plimsoll, I would strike you." And when she informs him that she was engaged to a lawyer but he died, he responds, "He certainly was a lucky lawyer." But the humor would not work if the audience didn't sense the affection between Laughton and Lanchester, and they easily give you the sense (even before the ending of the film) that these two are now a team.
Based on a short story by Agatha Christie, Witness for the Prosecution was adapted by Ms. Christie as a play which opened on the West End (London) in 1953. David Horne starred as Sir Wilfred and Derek Blomfield appeared as Leonard Vole. When the play moved to Broadway, Francis L. Sullivan took on the role of Sir Wilfred, with Gene Lyons as Vole. The character of Miss Plimsoll does not exist in the stage version. Only one member of the Broadway cast reprised her role in the film - Una O'Connor as Janet McKenzie, housekeeper to the murder victim. Born in Ireland in 1880, Ms. O'Connor started her career on the stage, in both Ireland and England. In 1911, she appeared in her first Broadway play (The Playboy of the Western World), and by 1929, she was appearing in films, first in the UK and then in Hollywood. She's perhaps best remembered as Maid Marian's lady-in-waiting, Bess in The Adventures of Robin Hood, and as Reginald Gardiner's housekeeper in Christmas in Connecticut. But, even while doing films, she still managed to squeeze in the theatre - she appeared in 11 Broadway plays and 64 films, and ventured into television in the 1950s. She was 77 when she appeared in this film, and when it wrapped, she retired. She died two years later.
This was also Tyrone Power's final film appearance. According to these TCM articles, Power was not the first choice for Leonard Vole - William Holden was. Also considered were Gene Kelly, Kirk Douglas, Glenn Ford, Jack Lemmon, and Roger Moore. Power, who had at first turned down the role, finally accepted; with this role came the part of Solomon in Solomon and Sheba, which Power started shooting on September 15th, 1958. But on November 15th, after shooting a dueling sequence, Power complained of arm and chest pain. Despite being rushed to the hospital, he died of a massive heart attack.
Ava Gardner and Rita Hayworth were also considered
for the role of Christine, and while Gardner very much wanted to do it,
Billy Wilder wanted his friend Marlene Dietrich in the lead. Without
giving anything away (in case you've not seen it), it has often been
said that Dietrich lost out on an Oscar nomination because of the
secrecy about the film's ending.
Finally, there is Charles Laughton. Laughton was nominated for an Oscar for this role, but lost to Alec Guinness in The Bridge on the River Kwai. Certainly, a notable performance, but my vote goes to Laughton. A consummate actor, an impressive director (he directed once - the magnificent Night of the Hunter, and Robert Mitchum once claimed Laughton was his favorite director), Laughton won the Oscar once - for his role in The Private Life of Henry VIII (1934), and was nominated twice more - for this and for The Mutiny on the Bounty. His performance here is layered and substantial. He's funny, he's businesslike, he's subtle, he's passionate. All in all, his performance is special.
These notes
from the AFI catalog go into some detail about the changes to the
script, including, interestingly, the film's end. The film got
excellent reviews, as is evidenced by this New York Times review, and the AFI named it #6 in its list of Top 10 Courtroom Dramas. All in all, this is an excellent film, only enhanced by being able to learn some of its history firsthand. We'll close with this scene, in which Christine Vole is interviewed by Sir Wilfred: two actors at the top of their game. Unlike her husband in an earlier scene, Christine takes no nonsense in her examination:
Laurel Stevens (Jane Russell) is a successful actress with a new film being released - The Kidnapped Bride. She's a tough negotiator, who is careful to protect her career and image, and who uses her power to make sure her studio also protects them. Having successfully brokered several concessions for the release of the picture, she leaves for the premiere, only to find that her driver is, in fact, a kidnapper. Driven to a beach-side bungalow and handed The Fuzzy Pink Nightgown (1957), Laurel tries to find a way out. It's unfortunate that this effort at filmmaking is not really successful. It has a decent premise, and a number of good actors, but nothing really gels. It's not that the movie is bad - it has some good moments and presentable performances, but in the long run, the film sinks because of a poorly designed script. Jane Russell does her best with what she's given. Laurel is a strong woman, who sees her career as the most important thing in her life. She's smart and she is determined, so it is hard to understand why she would fall for someone like Mike Valla (Ralph Meeker). He strikes her, and he has forcibly removed her from her home. Part of the problem is that the years have made some aspects of the film distasteful - Laurel is hit a several times; when she hits back, it's set up as being amusing. Quite honestly, there is nothing amusing about her predicament.
None of our group are particular fans of Ralph Meeker, and we didn't find that there was any chemistry between him and Ms. Russell. He's not bad, but he is much more convincing in menacing mode (like in Jeopardy) than in as the romantic lead. Ms. Russell very much wanted Dean Martin to appear as Mike, but director Norman Taurog selected Mr. Meeker after Ray Danton was released from the film (Flashes from Filmland, January 12, 1957 by Erskine Johnson) - it was decided that Mr. Danton looked much too young to be romancing Ms. Russell. The interactions between Laurel and Mike's best friend Dandy (Keenan Wynn) are far more engaging. There seems to be real affection between the two, and Dandy is a more likeable character than Mike. The son and grandson of actors (Ed Wynn and Frank Keenan, respectively), Mr. Wynn spent his film career as a second banana, with a body of work in some outstanding films: The Hucksters(1947), B.F.'s Daughter (1948), Annie Get Your Gun (1950), and Dr. Strangelove (1964) are just a few examples. He'd started on Broadway (he appeared in 9 plays between 1935 and 1943); worked in radio, and eventually segued into television - he took over the role of Digger Barnes in Dallas when David Wayne's other commitments forced him to leave the role. Mr. Wynn was married three times. His first marriage, to Evie Lynn Abbott ended in divorce (the next day Ms. Abbott married Mr. Wynn's best friend, Van Johnson. She would later state that she was forced to marry Mr. Johnson to protect Mr. Wynn's career (The Independent)). His third marriage to Sharley Hudson lasted from 1954 until his death of pancreatic cancer in 1986.
There are some other good character actors in the cast, who make the most of what screen-time they have. Fred Clark (Sgt. Ed McBride) is convincing as a police officer trying to make amends to Mike Valla for wrongly imprisoning him. Una Merkel (Bertha) gives a nice turn as Laurel's assistant, confidant, and best friend. Adolphe Menjou (Arthur Martin), however, is quite over-the-top as the studio head. Ms. Russell and her husband Bob Waterfield purchased the novel on which
the script is based for Russ-Field, their production company (AFI catalog). The novel by Sylvia Tate was based on the alleged kidnapping of actress Marie McDonald (TCM article). Though Ms. MacDonald was found battered on a desert road in California, police and her ex-husband Harry Karl (who would later marry Debbie Reynolds and ruin her financially) believed the kidnapping was faked to garner Ms. MacDonald some publicity (Pulp International). The truth of the story was never proved or disproved.
The New York Timesreview was dismissive, and we have to agree with it. Even at 87 minutes the film seems long. It's not a bad film, it just is a very mixed-up one. It seems like the writers wanted to write a romance, but then decided it should be a comedy - neither holds for very long. You wait for hi-jinx you never get; or for a real romance that never quite materializes. We'll leave you with this trailer:
Retired Colonel William Seaborn Effingham (Charles Coburn) has returned to his hometown of Fredericksville, Georgia. He approaches the local newspaper editor, Earl Hoats (Allyn Joslyn) and offers his services as a military commentary columnist. Seeing a possible increase in advertisements, Hoats agrees, only to find that the Colonel's idea of a "military" column is not the same as the publisher. The Colonel is intent on using the column to undermine the efforts of the local government to raze the courthouse, and line their own pockets with the proceeds. Thus begins Colonel Effingham's Raid (1946). The idea that a small town is willing to get together (at the urging of the dynamic Colonel Effingham) to save their 200 year old courthouse is an interesting premise. In an age where what was old should be destroyed to make way for the new, it is refreshing to see a film that is concerned with not only preserving the older structure, but spending the time and the funds required to make it a useful structure again. As people who watched beautiful structures (like Penn Station in New York City) demolished to make way for the new and supposedly better, only to have the change decried AFTER it was too late, we were sympathetic to the efforts to preserve an elegant 18th Century building.
Charles Coburn is compelling as the assertive Colonel Effingham. A military man, used to having his orders obeyed, he sees no difference in his duties in civilian life. His interactions with Ninety Eight (Nicodemus Stewart), who is apparently the only man of color in this southern berg, show Effingham training his "Orderly" to be a soldier. There is a rather odd fencing scene (in which it is clear that neither man knows how to fence), but by in large, the relationship between the two characters is good. At one point, Monty Woolley was considered for Colonel Effingham (perhaps because of his appearance as Retired Colonel Smollett in Since You Went Away two years earlier). Georgia-born Coburn was a far better fit.
William Eythe (Albert Marbury) is attractive in a Tyrone Power-type sort of way. In fact, he spent much of his career assigned to roles that Mr. Power turned down (TCM article). However, unlike Mr. Power, he's not a particularly powerful actor, and his character is easily overshadowed by the more commanding Mr. Coburn. Mr. Eythe's film career was short-lived - a scandal sheet outed his relationship with Lon McCallister, and Mr. Eythe eventually returned to work on stage (he appeared in four Broadway plays) and on television. He was with his partner, Mr. McCallister, when he died of hepatitis in 1957 at the age of 38.
Totally wasted in a part that was originally intended for Alabama-born Mary Anderson (Maybelle Merriweather, and screen-tested actress for Scarlett O'Hara in Gone with the Wind) (AFI Catalog), is Joan Bennett (Ella Sue Dozier). Smart and gorgeous, we found it rather horrifying that Albert only notices her when a gust of wind blows up her skirt slightly. We also found the wolf whistle that the director used (much like a laugh track) offensive. Once was bad enough, but the whistle is repeated several times. Ella Sue and Ms. Bennett deserves better. The film demonstrates the abilities - to a greater or lesser degree - of some outstanding character actors: Elizabeth Patterson has a small amount of screen time as Emma, cousin to Effingham. Donald Meek and Thurston Hall make a nice pair of charlatans as Doc Buden and Mayor Edgar. And Allyn Joslyn as the shady newspaper editor is also well-served.
One interesting side note - the film, though released in 1946 is actually set in 1941, just before the American entrance into World War II. That Albert joins (to impress Ella Sue) the Georgia National Guard becomes an issue as the film ends - the National Guard is mobilized, with Albert saying he would have been drafted soon anyway.
Based on the 1943 novel of the same name by Berry Fleming (which was based on an actual attempt to raze the Richmond County Courthouse in Augusta, Georgia). The film got decent reviews - Bosley Crowther in his New York Times review called it "pleasantly amusing". Charles Coburn would reprise the role in 1949 on the Hallmark Playhouse radio show. It's a cute movie - not great. It hasn’t aged very well - it is sexist and borders on racist. The main selling point of the story is Charles Coburn in a lead role - he is always fun to watch.
