Paul Hears an Angel

Guffy McGovern (Paul Douglas) is the foul-mouthed, angry manager of the Pittsburgh Pirates. The team is in last place in the National League, and his players loathe him.  Sports writer Fred Bayles (Keenan Wynn) hates him - Guffy got him fired from his announcing job with the team - and Bayles is doing his best to return the favor. Then, one evening, Guffy hears a voice, which tells him that, if he can refrain from blaspheming, there will be Angels in the Outfield (1951) to help his team to a pennant.

When this film was suggested to the group, one of the members was reluctant to include it. She's not a baseball fan, and was sure the film would bore her. She later admitted that she enjoyed the film a lot. The beauty of this movie is that, if you are a baseball fan, the film resonates with the enjoyment of the game, and the passion of the fans. If you don't like baseball, it really doesn't matter. Guffy's journey is one that could be anyone - he's a man who has shifted his life into one of anger and misanthropy. The movie is about him searching for the joy that can be present in anyone's life. Baseball is just the jumping off place.

Paul Douglas is excellent as this very conflicted man. From his first appearance, his portrayal makes apparent that his conflicts are very deep. He dislikes everyone - no one on his team is exempt from his fury, not even players like Saul Hellman (Bruce Bennett) who used to be his friend. It's not just that the Pirates aren't winning; Guffy is pushing them into loss. His antagonism results in so much stress that the players freeze, and are unable to get past their anxiety (much like we saw with Pat Pemberton in Pat and Mike). It's enjoyable to see Guffy gradually relax and relate to those around him; we see the man beneath the acrimony and find he can be a pretty nice person. Mr. Douglas was not the first choice for the part - originally, Clark Gable was to have played Guffy (AFI catalog).

While it is true that Janet Leigh (Jennifer Paige) is rather young to play Paul Douglas' love interest (Mr. Douglas was 20 years her senior), she is very convincing as the household hints reporter who is sent to the ballpark to do a human interest piece on the Pirates and McGovern. It's made quite clear that Jennifer has no knowledge of baseball, but she has an inquiring mind, and quickly absorbs the niceties of the game. Ms. Leigh was on the verge of marrying Tony Curtis when she was filming this picture. A photo of her being carried from the ball field by Pirate outfielder Ralph Kiner hit the newspapers, intimating a relationship between the two. Mr. Curtis was assured by Ms. Leigh that it was all a fabrication (Janet Leigh: A Biography by Michaelangelo Capua)

This was Donna Corcoran's (Bridget White) first screen appearance.  She comes from screen stock - her siblings Hugh, Brian, Kelly, Noreen (Kelly on Bachelor Father), and Kevin (Moochie from Spin and Marty) were all actors. She's winning as the little girl who summons the angels to assist her beloved Pirates, and you can well believe the growing affection of the two adults for this winsome child. Ms. Corcoran had a brief acting career; by 1963 (at the age of 21) she had retired from television and film.

There are several other performances of note. The always enjoyable Spring Byington (Sister Edwitha) is fun as the baseball-loving head of the orphanage. Lewis Stone (Arnold P. Hapgood) as a judge tasked with deciding Guffy's competence gets one satisfying segment. Keenan Wynn is appropriately despicable as a nasty sports writer. There are brief appearances by Ellen Corby (Sister Veronica) and Barbara Billingsley (Hat-check Girl); by Bing Crosby (an owner of the Pittsburgh Pirates (TCM article)), Joe DiMaggio, and Ty Cobb. But the standout in his small role is Bruce Bennett. His portrayal of Saul fairly oozes with the exhaustion of a man who is in his last season in a game he loves. Mr. Bennett doesn't often get strong parts, but this is one in which he makes the most of a minor, but crucial role.

Because the marketers thought the overseas market would not understand the word "outfield", the name of the film in Europe was The Angels and the Pirates. In April, 1953, Ms. Leigh and Ms. Corcoran reprized their roles on the Lux Radio Theatre (with George Murphy as Guffy).

In his book Mr. Deeds Goes to Yankee Stadium: Baseball Films in the Capra Tradition,  author Wes D. Gehring discusses the influence of Frank Capra on this film. And certainly this is true. There is a certain Capraesque quality to the film. The New York Times review was primarily positive (though the reviewer wanted the New York Giants to win. I can sympathize). In short, this is an amiable movie well worth watching.  We'll leave you with the trailer.

Thomas Has a Theory

 

Professor Henry Todhunter (Thomas Mitchell) has been diagnosed by his friend, Dr. Lawrence Stevens (James Stephenson) with severe coronary disease; he has, at most, six months to live. University Dean Somers (Thurston Hall) forces Todhunter’s retirement; with nothing better to do, Professor Todhunter spends his days developing new theories. He hypothetically asks his colleagues what they would do if they had only six months to live. Professor Peterson (John Eldredge) has a disturbing idea - murder someone who the law cannot touch but deserves to die. Our film this week is Flight from Destiny (1941).

This is a nicely paced mystery story that will keep you guessing through the entire film. The cast is led by Thomas Mitchell, who is wonderful as the dying man. Mr. Mitchell keeps the character just teetering on the edge of sanity - when he proposes his theory that, as he is neither living nor dead, he has the authority to judge the right of another being to live, you wonder if he is sincere. Discovering he is indeed deadly serious (no pun intended), one is chilled to the bone.

Without going into too much detail, some of the plot focuses on an art forging racket.  This is worth noting, as Thomas Mitchell was himself and art collector, who it is believed, was the victim of a forger.  He reportedly purchased a forged Rembrandt, that is currently in the Fogg Museum at Harvard. (Hollywood’s Original Rat Pack: The Bards of Bundy Drive by Stephen C. Jordan)

First billing in the film is given to Geraldine Fitzgerald (Betty Farroway), but don't expect to see her very much. Her character is crucial to the film, setting Professor Todhunter on his mission of "justice," but Ms. Fitzgerald has little to do but look pained.  It's a shame really; she's a talented actress and uses what screen time she has well. 

Jeffrey Lynn (Michael Farroway) is also convincing in the part of the erring husband. Mr. Lynn doesn't often get roles that allow him to do much more than be handsome, but this one gives him a part he can sink his teeth in, and we were impressed with is performance.

On the other hand Mona Maris (Ketti Moret) left something to be desired in the part of the thief and seductress.  Ms. Marris is a striking woman, but but doesn't have all that much allure. The character was supposed to use her charms to win over her victims; while we only see her briefly with Michael, we do see her with Professor Todhunter at some length.  She is just too cold to be convincing as a woman whose primary gift is allegedly her sexual appeal. She does get to show off some remarkable dresses by designer Damon Giffard (who worked in Hollywood for only one year).

Mary Gordon as Professor Todhunter's housekeeper,  Martha is worth comment.  Though a small part, it's a good character that is well acted by Ms. Gordon. And, if you are a fan of Alexis Smith, she appears in a small role. That same year, she'd appear in Dive Bomber with Errol Flynn (TCM article).

Based on the 1937 novel Trial and Error by Anthony Berkeley Cox, it had two working titles: that of the book and Invitation to a Murder (AFI Catalog). It garnered a very positive review from Thomas M. Pryor in the New York Times, saying that "it was most fortunate that an actor of Mr. Mitchell's ability was selected to interpret [Professor Todhunter].

All in all, this is a little-viewed film that deserves some attention. Do try to find it. 

William Has Amnesia

Newly married diplomat David Talbot (William Powell) is celebrating his three-month anniversary with his wife, Lucienne (Hedy Lamarr) when he receives a message, addressing him as Jean, and informing him that he needs to repay a million franc debt by tossing the money over a fence near a deserted farmhouse. Talbot decides to do so, but after advising the police that he is being blackmailed. At the trial, the accused claims that Talbot - who lost his memory after nearly dying in a train accident - is in actuality Jean Pelletier, a thief.  Our film is Crossroads (1942), and is posted to celebrate William Powell's day on Summer Under the Stars.

It's always a pleasure to see a William Powell film, and this one is no exception. He brings gravitas to any part he plays, and ably fits the bill of a diplomat.  Mr. Powell had played amnesia for laughs in I Love You Again (1940). Here, he brings sympathy to this man who has had to reconstruct his entire life following his near death accident. His relationship with Ms. Lamarr as his stalwart wife is convincing (though, as we'll discuss later, she is severely underutilized). He also is able to make the audience wonder throughout the film how much truth there is in the accusations leveled by his nemesis, Henri Sarrou. 

It's a shame Hedy Lamarr has such a small amount of screen time. Her early scenes with Mr. Powell bring some humor to an otherwise serious film, and the conclusion of the film uses her to good effect. She would later work with him in The Heavenly Body (1944). Certainly, she does not have the chemistry with him that he had with actresses like Myrna Loy, but we believe in their romance.

Marlene Dietrich was offered the role of Michele Allaine, but turned it down (TCM article); regardless, Claire Trevor is convincing as David's alleged former lover, and really a better fit for the role. Ms. Trevor keeps the viewer wondering - especially interesting is a scene in which a locket with a surprising photograph is dangled before the eyes of David's wife - just enough out of range that she cannot see it, but close enough to cause David - and the audience - concern. It's Ms. Trevor's adept handling of the scene that makes the audience hold their breath as the action proceeds.

When you have Basil Rathbone (Henri Sarrou) in the cast, you know you are in for a good time. Sure, it's hard to believe in the early scenes that he really is David's rescuer (of course, we are right - he is not), but wow, he is suave and scary as the head of the blackmail ring.  It is because of the interplay between Mr. Rathbone and Mr. Powell that you are never quite sure who to believe.  They verbally duel, and they make it easy to believe the one or both is hiding more than they are revealing.

Margaret Wycherly  (Mme. Pelletier) is excellent as an old lady, allegedly the mother of Jean Pelletier. Ms. Wycherly is a character actor who can turn on a dime - she can go from the sweet little old lady to the she-devil in the blink of an eye. She's probably best noted for her performance as Cody Jarrett's Ma in White Heat (1949).

Two other actors of note in the film are Felix Bressart as Dr. Andre Tessier and Sig Ruman as his nemesis in court,  Dr. Alex Dubroc. Their scenes together are well done, and Mr. Bressart is enjoyable as David's doctor, friend, and supporter. 

Crossroads was based on the screenplay for a 1938 French film, Carrefour, and had several working titles during production: The Man Who Lost His Way , 'Til You Return and The Man from Martinique (AFI catalog). The New York Times review by Theodore Strauss (T.S.) was not enthusiastic - except for Mr. Powell, calling him "particularly, flawlessly urbane and crisp...an actor whose talent for under-statement is perfectly adapted for a melodrama of this genre." The story was reprized with a Lux Radio Theatre broadcast in March of 1943, with Lana Turner and Jean Pierre Aumont in the lead roles. 

We enjoyed the film greatly, and recommend it for your viewing pleasure. In the meantime, here is a trailer: 

Laraine Wants Jewelry

On his wedding day,  John Willis (Gene Raymond) is approached by Dr. Harry S. Blair (Brian Aherne). Dr. Blair claims to be the ex-husband of John’s fiancée, Nancy Patton (Laraine Day). Her name was then Nancy Monks, and she was responsible for the deaths of three men, all because of The Locket (1946). 

This is by no means a simple movie. It employs the film staple of the flashback, and turns it on its head by taking a single flashback and embedding within it a flashback to a flashback, and another flashback from the second one. Yet, the film is so well written that the audience is always clear as to what is happening - unless, as Eddie Muller noted in his introduction, you arrived after the start of the film (as was so often the case in 1946!). It's a clever device, and keeps the viewer on pins and needles from the beginning to the end of this intriguing film noir.

Laraine Day is excellent in the part of Nancy. You are never really sure how much she knows of her own behavior - does she know about the thefts she committed, or does she forget the kleptomania-induced robberies once they are accomplished. Ms. Day uses her experience as the sweet ingénue to create an intelligent yet enigmatic woman, who is highly attractive to men without be openly seductive. She's a chameleon who adapts herself to the preferences of the men in her life. At one point, Hume Cronyn owned the script, which he intended to feature his wife, Jessica Tandy. When he sold it to RKO, the credited screenwriter (more on that later) wanted Joan Fontaine, but she was not available. Olivia de Havilland campaigned for the part, but producer Bert Granet wanted Ms. Day, and he won the day (TCM article). Interesting, the mother of Joan and Olivia, Lilian Fontaine, appeared as Lady Wyndham.

Robert Mitchum (Norman Clyde) had recently been nominated for an Oscar for his work in The Story of G.I. Joe, and was one year away from what is often cited as his best role - Out of the Past.  His appearance as Norman, a moody artist whose life is upended by his relationship with Nancy, is a strong addition to his film credits. He'd known Ms. Day when they worked with the Long Beach Players; she was looking forward to working with him. He however, had formed an idea that she ignored him at one point in their lives, and refused to speak to her during the production (he naturally never told her WHY he was cutting her).

Ricardo Cortez has a small, but pivotal part as Nancy's employer, Andrew Bonner. He manages to put just the right amount of the rake into his performance, making you did wonder exactly what was going on between him and Nancy.  Ms. Day was a long-time fan of Mr. Cortez, and asked that he be cast in the film (The Magnificent Heel: The Life and Films of Ricardo Cortez by Dan Van Neste). It is always a pleasure to see him, and he provides a memorable performance.

Ms. Day was also a fan of her other leading men - Brian Aherne and Gene Raymond.  Mr. Raymond has the smaller part; as the intended groom of the lethal Nancy, he serves as the audience's conduit to her story. Mr. Aherne is our narrator; it is he who tells Nancy's long, involved history. It is also worth noting that all three stories are told to us by him. The question becomes - should we believe him? Is he the victim of Nancy, or is she innocent of the his charges?

Laraine Day also had some talent as a dress designer.  She helped to create Nancy's wedding dress, and used a spun glass fabric which she discovered. (AFI Catalog) Her discovery is referenced in this lovely Press Kit from the William K Everson Collection at New York University. Before you read it, just know that there are a lot of spoilers included. 

Originally titled What Nancy Wanted, the screenplay was written by Norma Barzman. She heard the story of a woman who was accused of stealing a necklace as a small girl, which resulted in a life-long history of depression and kleptomania. It was that script which was purchased by Hume Cronyn.  When he sold it to RKO, they gave it to Sheridan Gibney, whose major  contribution was to set the middle section in England.  It took until 2014 for Ms. Barzman to finally was credited with writing the script (Los Angles Times, Eddie Muller extro). It probably didn't help that she was blacklisted for being a member of the Communist Party. 

In an interview, the credited screenwriter Sheridan Gibney, called Ms. Day’s performance “weird”. (Film Crazy: Interviews with Hollywood Legends by Patrick McGilligan). Regardless, Ms. Day got good reviews “Laraine Day gives what must be her most fascinating performance” ("Laraine Day Psychopath”. Los Angeles Times, May 27, 1947), and considered this her best role. The ending, which was to have been more oblique, was forced on them by the censors. And the film ended up being under-marketed because of the execution of an innocent man in the story. Some states (Massachusetts in particular) were leery of death-penalty error stories.

This is a remarkable film, that is only recently getting the attention that it deserves.  We'll leave you with an early scene, and the suggestion that you seek this one out: 

Kim Tempts Fred

A bank robbery results in the murder of a guard and the theft of $92,000. Police detectives Paul Sheridan (Fred MacMurray) and Rick McAllister (Phil Carey) are assigned to watch the girlfriend of the suspect, Lona McLane (Kim Novak).  But it’s not long before Paul finds himself a Pushover (1954) for Lona.  With a plot as twisty as a pretzel, the intrigue increases in intensity as Paul decides that he can have lots of money AND the girl by trapping robber Harry Wheeler (Paul Richards) and convincing his police colleagues that the money is long gone.

It's impossible to view this movie without mentally comparing it to Double Indemnity. While this is a decent film, the similarities to that earlier, brilliant picture, do it no service. As good as Fred MacMurray is - and he is very good - there is a major problem. Kim Novak is no Barbara Stanwyck.

This was Ms. Novak's first major role. She'd appeared in two other films (under her birth name, Marilyn Novak) (American Classic Screen Features edited by John C. Tibbetts, James M. Welsh). She's merely adequate as Lona - she has one expression, that of perennially unhappiness. As lovely as she is, it's difficult to understand why Paul falls so hard for her. She's not all that seductive, nor does she seem particularly intelligent or intriguing. Even her relationship with Harry Wheeler is haphazard - when asked why she was with him, her response is that he bought her nice things, but with a lack of enthusiasm that is numbing. Ms. Novak's casting is the film's weak link.

Fred MacMurray is excellent as a good cop gone bad for the love of a woman (and for a lot of money). Mr. MacMurray makes you believe his passion for Lona; to the very end of the film, Paul clearly is infatuated with her. As he spirals into more problematic actions, the audience can see, thanks to his deft performance, the guilt that plagues Paul for the choices he has made. 

Dorothy Malone (Ann Stewart) has a relatively small part as a nurse living next door to Lona. When we first meet her - seen through the binoculars of Rick McAllister - her presence seems to be merely a romantic interest for the honest cop in the team. That he is watching her constantly without her knowledge is rather creepy for a viewer in 2020, it does begin a theme that will be echoed more fully in Rear Window later that same year (TCM article). Ms. Malone gets her moment to shine towards the end of the movie. Ann is splendid under pressure and the audience is rooting for her because of her strength.

Philip Carey (he's Phil in this movie) is good as Paul's stoic partner.  A Marine, who served in both World War II and the Korean Conflict, Mr. Carey started his film career as a military man. At 6'4", he made an impressive soldier and police officer, and much of his film career cast him in those roles. He also made a convincing cowboy, and it is interesting to note that, the film marquee of the theater where Lona meets Paul is showing The Nebraskan - starring Philip Carey (Columbia Noir: A Complete Filmography, 1940-1962 by Gene Blottner). Mr. Carey would segue over to television, working as a guest star in a number of shows (including a highly regarded All in the Family episode as Archie Bunker's pro-football player friend, who turns out to be gay), and starring in the series Laredo and, from 1979 until 2007, the soap opera One Life to Live. Married twice, Mr. Carey died of lung cancer at the age of 83 in 2009.

Two supporting players should be noted - E. G. Marshall (Lt. Carl Eckstrom) as the stern lead on the investigation manages to make a character, who could have been an automaton, sympathetic. Allen Nourse (Paddy Dolan) is especially noteworthy as an alcoholic police officer who is on the edge of losing his job - and his pension - but who has a strict moral compass that will put him in jeopardy.

Based on the novel The Night Watch by Thomas Walsh, Pushover went through several working titles - The Killer Wore a Badge, 322 French Street and The Night Watch (AFI catalog). The reviews for the film were positive; the New York Times review by Howard Thompson (HHT) commented on the similarities to Double Indemnity, though acknowledged that the film should be reviewed independently (by the end of his review, Mr. Thompson did find it hard to completely eliminate comparison).

Pushover is a good but not great film. But, with the opportunity to see Fred MacMurray in another noir, playing a morally compromised character, it's one to see.  We'll leave you with a scene between Mr. MacMurray and Ms. Novak.

Katharine Plays Tennis (and Golf)

Women's athletic coach at Pacific Tech, Pat Pemberton (Katharine Hepburn) has a problem.  A gifted athlete, she freezes when she is around her fiance, Collier Weld (William Ching). She resigns her job when her presence at the college endangers funding from an irate donor (she wasn't respectful enough to his wife when they lost a golf game), and competes in a golf pro-am. There, she attracts the attention of Mike Conovan (Spencer Tracy), a sports promoter. He encourages her to go pro, with him as her manager. Our film this week is  Pat and Mike (1952).

In their seventh (of nine) film appearances together (TCM article), Spencer Tracy and Katharine Hepburn are at the top of their game in this engaging and humorous film. When the two of them are together on screen, the fireworks are palpable. Their verbal sparring is part of what makes this film a classic.

The film was written specifically for Tracy and Hepburn by their friends, Ruth Gordon and Garson Kanin (they'd previously penned Adam's Rib for the couple), with George Cukor in the director's chair. The authors were particularly interested in highlighting Ms. Hepburn's athletic prowess with their screenplay, and Ms. Hepburn did all the sports scenes herself (Sports Cinema 100 Movies: The Best of Hollywood's Athletic Heroes, Losers, Myths and Misfits  by Randy Williams). Besides being excellent at golf and tennis, Ms. Hepburn swam on a regular basis, including dips in the ocean near her Fenwick, Connecticut home, even in winter (Women's World).

If there is one problematic aspect to the film, it's why someone as smart, sassy, and gifted as Pat would be involved with a dolt like Collier. William Ching is not all that attractive, and he is a bit of a stiff as an actor, so he brings nothing to the role that explains their relationship. On paper, Collier is a vile bully; he's verbally abusive and downright disgusting. He walks in late to his fiance's tennis match, making tons of distracting noise, openly laughing at her. He'd likely be thrown out of a real tennis match. We'd have like to have seen that happen. It was an absolute joy to see Pat throw her luggage out the window of the train and abandon her obnoxious fiance.

In the capable hands of Spencer Tracy, Mike starts as a conniver and learns the benefits of honest sports from his scrupulous charge. In their first scene together, Mike admires Mrs. Pemberton - "nicely packed, that kid. Not much meat on her, but what's there is cherce," he says. In the original script, the line was to read that Pat was "pretty well stacked." The film's producer Lawrence Weingarten objected - Ms. Hepburn, he said, was not "stacked."  So the line was rewritten to "choice." It was Mr. Tracy who put the New York spin of "cherce" into the performances (Spencer Tracy: A Biography by James Curtis). 

Chuck Connors (Police Captain) was a minor league baseball player - he'd been in the major leagues for 67 games (1 with the Brooklyn Dodgers; 66 with the Chicago Cubs), and was now working for the Los Angeles Angels (the Cubs minor league affiliate) - when he was approached by casting director (Memories and Dreams, 2018).  Realizing his days as a player were coming to a close, he tried his hand at acting - this was his first role, and he is just fine as the bemused policeman. Mr. Connors would continue in films (like Move Over, Darling (1963) and Old Yeller (1957). But it was television that made his career - his five years as Lucas McCain on The Rifleman would bring the actor fame and a career that continued until his death of pneumonia and lung cancer (he was a three-pack a day smoker until the mid-1970s) in 1992. 

Aldo Ray (Davie Hucko) had already done a few minor parts in films; the same year that Pat and Mike was released, he starred with Judy Holliday in The Marrying Kind. In his hands, Davie is child-like and trusting. His resentment of Pat blossoms into affection when she begins to look out for his career. He's a versatile actor, who doesn't always get noticed. If you've never seen him, Nightfall (1957), we strongly recommend you add it to your viewing list. 

Two other performances are worthy of note. Jim Backus (Charles Barry) has two small scenes as a tennis pro who encourages Pat to enter the golf pro-am.  Charles Buchinski (Hank Tasling) is a riot as a gangster who gets a pummeling from our lady athlete (she's boxed, by the way). Mr. Buchinski would later gain fame as Charles Bronson.

The New York Times review by Bosley Crowther was very positive, and in his introduction to the film, Ben Mankiewicz called it one of Tracy & Hepburn's "best." It did well at the box office, bringing in nearly $2.7 million.  Ruth Gordon and Garson Kanin received an Oscar nomination for Original Screenplay (AFI Catalog) - they lost to The Lavender Hill Mob.  

We agree wholeheartedly that this is a film well worth viewing - it's not often you get to see a film about a female athlete that makes you want to pick up a tennis racket (or golf club) -  and suggest this one for a day when you need a good laugh.  We'll leave you with this trailer:

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