Kim Marries a Stranger

A man brags that he has ten thousand dollars in cash with him; the next day he is found murdered. That same day, new bride Millie Baxter (Kim Hunter) is on the train to New York City to meet her groom, Paul Baxter (Dean Jagger). A traveling salesman, Paul left almost immediately after the wedding; the couple married having only known each other for four days. Millie is about to find out what happens When Strangers Marry (1944).

A suspenseful film that keeps you on guessing throughout, this is a fun way to spend an evening. It's not a perfect film by any means, but it has some redeeming values, not the least of which is the performance of Dean Jagger.  It's unusual to see Mr. Jagger as a romantic lead. Often, he is the older, wiser man, but here he is love interest. Casting him threw this audience off balance; we are so used to him in more sinister roles that it was easy to accept that he might be the murderer. Paul Kelly, another actor with a bit of a sinister background (you can learn a bit more about his past in this post), was also considered for the lead (AFI catalog).

Kim Hunter also contributes to the film's success, though one has to shake their head at the character's stupidity.  Millie comes across as a traveling salesman groupie.  She's already had one unsuccessful relationship with Fred Graham (Robert Mitchum) - it ended, he said because of his job.  Yet Millie marries Paul after having been with him for four days in a three month period. This certainly makes Paul all the more suspect, but it also makes Millie appear very, very naive - almost to the point of stupidity. How can she have married someone she barely knows, who then disappears for an extended period of time?

Kim Hunter began her film career in 1943, with a lead role in The Seventh Victim. After several years, she went to New York, where she joined the Actor's Studio, and was cast in the Broadway production of A Streetcar Named Desire as Stella DuBois Kowalski, a role she reprized in the film version. She continued to appear on Broadway on television in the 1950s, despite being blacklisted (Unfriendly Witnesses: Gender, Theater, and Film in the McCarthy Era by Milly S. Barranger). Television would continue to be her main medium until 1968, when she was cast as Zira in Planet of the Apes. She would appear in two more of the franchise's films. She died of a heart attack in 2002 - two years after the death of her husband of 49 years, Robert Emmett - at the age of 79.

This is one of Robert Mitchum's first credited roles. We are, of course, used to Mitchum as the cool leading man. At this point in his career, he is still learning, and it is obvious. Towards the end of the film, he overacts quite a bit.  Of course, it may have been that he was truly afraid for his life. The film was produced by Frank, Herman, and Maurice Kozinsky, aka the King Brothers (TCM article).  Mitchum agreed to do the film as a one-time thing, but the Brothers were eager to sign him to a contract. According to Kim Hunter, he would be harassed daily by men who Mr. Mitchum claimed had guns.  Luckily for him, filming was over in seven days, after which he signed a contract with RKO (Robert Mitchum: "Baby I Don't Care" by Lee Server). Once at RKO, he started to get parts in films like The Locket (1946), Crossfire (1947), and Out of the Past (1947).

 

William Castle was offered the opportunity to direct the film. The Kings told him that, if he could finish filming in 7 days, he would be given a $1,000 bonus. He asked his cast if they would consent to a rehearsal period of one week (with no pay!). They did, and filming was completed in the one-week period.

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When the film was reissued in 1949, there was a change in title - it was now Betrayed, which kinda gives a lot of the plot away. It also had a new star.  Mr. Jagger was now third billed, with Mr. Mitchum dominating the poster (above). 

The film got good reviews on release - James Agee in Time, and Variety both were enthusiastic in their praise.  Orson Welles actually talked to William Castle about working together following this film's release.

While we didn't love this film, it was certainly a pleasant way to spend an evening - an interesting film noir, good performances, and a chance to see Robert Mitchum learning his trade. What's not to enjoy? We'll leave you with a scene from the film:

Ida Sings

Petey Brown (Ida Lupino) is moderately successful as a torch singer in a New York club, but it is nearing Christmas and Petey misses her sisters and brother in California. She arrives on the West Coast to find her brother Joey (Warren Douglas) working for nightclub owner Nicky Toresca (Robert Alda); sister Sally Otis (Andrea King) dealing with her husband Roy’s (John Ridgely) post-war mental issues; and sister Virginia (Martha Vickers) avoiding the world. Petey decides she better stay to set things in order. Our film this week is The Man I Love (1947).

While there is nothing extraordinarily unique about the story, this is a fantastic film, with an exceptional cast. The focal point is the always stunning Ida Lupino as a determined and strong woman. Even when we think she is weakening, Petey bounces back and dominates every scene and the situation.  She is supportive of her sisters and brother, and glides in and out of their lives like the hero in a western - she stays while they need her, then rides off into the sunset! Ms. Lupino was not the first choice for Petey; Warner’s purchased it with Ann Sheridan in mind (AFI catalog). Peg LaCentra provided Ms. Lupino's singing voice in this film, though later (in Road House), she did her own singing (Ida Lupino, Director: Her Art and Resilience in Times of Transition by Therese Grisham and Julie Grossman).

Also providing a noteworthy performance is Robert Alda. A highly-regarded singer, Mr. Alda - the original Nathan Detroit on Broadway, (and the father of actor Alan Alda) - does not sing here. As Nicky Toresca, he is as far from the boy singer as you can get.  Nicky is sleazy - first he is on the prowl for Sally Otis, then Petey, and eventually Sally’s neighbor Gloria O'Connor (Dorothy Moran).  Mr. Alda bring a smoothness tinged with menace to Toresca.  It’s clear he is interested in Petey primarily because she is not interested in him, making the character all the more perverse. Like Ms. Lupino, Mr. Alda wasn’t even the first choice for the role - originally it was intended for Humphrey Bogart; later Jack Carson was scheduled to do it (Music in the Shadows: Noir Musical Films by Sheri Chinen Biesen). 

Bruce Bennett (San Thomas) spends much of his time in his films being a forlorn and moody victim (for example, his turn as Bert Pierce in Mildred Pierce), but it works in this film. San spends much of The Man I Love pining for his ex-wife; the audience gets to shake their respective heads at his denseness. Why on earth is he still mourning this feckless woman when he has the magnificent Ida waiting for him? However, faced with Petey's determination, the viewer is left with the feeling that San will be getting over his past in time. Dane Clark was also considered for the role; he surely would have brought an entirely different vibe to the character.

The film is blessed with an excellent supporting cast: Andrea King's almost matches Petey with her strength of character. Faced with a husband who has been hospitalized following his service in the Army, she is forced to work to support her young son, as well as deal with a husband whose illness causes him to expresses his hatred for her when she is able to visit. Dorothy Moran as the next-door neighbor with a husband, twin babies, and a penchant for the night life that husband Johnny (Don McGuire) can't afford, is convincing as a lady with more than housework on her mind. The few brief scenes in which Alan Hale appears are always a pleasure. As Riley, Toresca's good natured assistant, he brings a bit of comic relief to the proceeding. Both Craig Stevens (Johnson) and Florence Bates (Mrs. Thorpe) have minor parts - blink and you will miss them. Also worth noting are the beautiful gowns that were designed by Milo Anderson, one of which was so tight, Mr. Lupino had to be literally cut out of it (see below).

Ms. Lupino became ill during the filming, at one point fainting during a scene (partially caused by the tightness of her dress) - Mr. Alda caught her before she hit the ground. (Ida Lupino: A Biography by William Donati). As a result of her illness, the film ran 19 days overtime and $100,000 over budget (TCM article). It did earn a profit, however, and came in at number 71 on the year's list of top grossing movies (Ultimate Movie Rankings).

Based on the 1942 novel Night Shift by Maritta Wolff, Bosley Crowther's New York Times review of The Man I Love was not all that complementary, but it seemingly didn't hurt the movie.  Frequently cited as a film noir, Eddie Muller in a 2017 "Noir or Not" segment said it was not noir because "the protagonist (Petey) is not flawed". His book Dark City: The Lost World of Film Noir goes into detail on Ms. Lupino's career both inside and outside of noir. 

We'll leave you with a trailer and the suggestion you keep your eyes peeled for this one:

Gloria Hides a Refugee

Peter Kuantan’s (Vittorio Gassman), a refugee who has been in concentration camps for 10 years, stows away on a U.S. bound ship.  Immigration authorities have no options except to send him back to Hungary. In desperation, Peter jumps from the ship, breaking a rib, and runs, hoping to find the soldier he saved while working for the Underground. All he knows is that the man is named Tom (Jerry Paris), plays the clarinet, and worked in Times Square. Unbeknownst to Peter, there is a clock ticking - if he is not located by 7am, he will be barred from entry to the U.S. forever.  Our film is The Glass Wall (1953). 

Vittorio Gassman was new to American films (AFI catalog), though he had had starring roles on stage and in films in his native Italy.  His recent marriage to Shelley Winters brought him to the U.S. and his role in this film. He’s impressive as Paul, a man with nothing to lose if forced back to his native land. In Mr. Gassman’s hands, Paul is an intelligent man who has seen too much in his lifetime. He knows his rights - he quotes The Displaced Persons Act, which states that “priority in the issuance of visas shall be given first to eligible displaced persons who during World War II bore arms against the enemies of the United States and are unable or unwilling to return to the countries of which they are nationals...” (UCLA Film and Television Archive article). His problem is, he has so little information that the government officials determine he must be sent back. Gassman’s Paul is determined, but desperate. He’s trying to save his own life - returning to Hungary is a death sentence.

Gloria Grahame is excellent as the down-on-her-luck lady who is befriended by Paul. Fired from her job when she became ill, sexually harassed by her work supervisor and by the landlady's son, Maggie Summers is a woman who is literally down to her last teabag - she goes to a restaurant to get a free cup of hot water for said teabag, and to eat the remains of someone else's lunch. It's when she attempts to steal a coat that Paul becomes involved. Her affection for this man who is the only decent person she's met is palpable. Shelley Winters wanted the part, but her studio (Universal) would not allow her to go to Columbia (Gloria Grahame: Bad Girl of Film Noir by Robert J. Lentz). We sincerely believe this was a very good thing. It's hard to picture anyone else but Ms. Grahame explaining how she came to be broke and friendless.

Another characterization that impresses is that of Tanya aka Bella Zakolya, an exotic dancer played by Robin Raymond. Like Maggie, Bella has to deal with sexism on a daily basis. A working mother, and the primary support for her widowed mother, she has learned to cope with the indignities of her job. She's still a caring human being; she's not stupid, as we quickly learn, but she has a good heart.

Likewise, Tom (Jerry Paris) is a decent man, who is torn between his desire to marry his fiance, Nancy (Ann Robinson) and what he feels is his duty to assist the man who saved his life.  Mr. Paris had a long career in films as a character actor - you might remember him as Marty's (1955) cousin. In television, he's remembered as Dick Van Dyke's next door neighbor, Jerry Helper. Mr. Paris also had a career as a television director (TCM article). He died in 1986.

It's a delight to see New York City, primarily Times Square circa 1952 through the film's lens. You also get a tour of the newly opened United Nations Building - the first film to use it as a location.  Brian Camp's blog  outlines many of the film's locations (using screen shots), as well as some notes on the many film titles we see on marquees.

The reviews for the film were decent though not over the moon (Columbia Noir: A Complete Filmography, 1940-1962 by Gene Blottner). Regardless, this is a fast-paced, suspenseful, and thoroughly enjoyable film. If the ending of the film is a trifle abrupt, it still is a satisfying movie with an excellent cast, and still so very topical.

We'll leave you with the trailer and the suggestion that you add this to your viewing queue:

Mama Irene

Katrin Hanson (Barbara Bel Geddes) reflects on her life with her Norwegian immigrant family in San Francisco. Her sisters, brother, father, aunts, uncle, and cousin are all recalled, but Katrin tells us, mostly, I Remember Mama (1948).
 
When asked several years ago to list five movies I would have with me on a desert island, I Remember Mama was one of my choices. Our group had not watched it in recent memory (though all but one member had seen it before), and when the opportunity arose to view it, we were thrilled. No matter how many times you see this film, it is one of which you will never tire.

I Remember Mama is a series of vignettes, all centered around the Hanson family. Mama Marta (Irene Dunne) and Papa Lars (Philip Dorn) came to the United States just after their marriage to join Marta's family - Uncle Chris Halvorsen (Oskar Homolka), and sisters Jenny (Hope Landin), Sigrid (Edith Evanson), and Trina (Ellen Corby). The children were all born in San Francisco - Nels (Steve Brown), Katrin, Christine (Peggy McIntyre), Dagmar (June Hedin), and Sigrid's son Arne (Tommy Ivo). The Hansons and Halvorsens are hard working people. They are not wealthy, but they are getting by, and Marta and Lars are working and saving so that their children can have a better life through education. 

There are many memorable performances. But the film must anchor itself on Mama, and Irene Dunne does not disappoint. She was not the first choice for the role - Greta Garbo was approached (and said no), Katina Paxinou was also considered (the family would have been changed to Greeks), and Marlene Dietrich campaigned for the part (she was deemed too sexy) (AFI catalog). When Irene Dunne was asked, she said yes, on the condition that the director was selected from a list she provided.  Luckily, George Stevens (his first film since he returned from Europe during World War II), who was already on the film was also on Ms. Dunne's list (TCM article). He guides her to a subtle, yet strong performance as the heart of this family. Perhaps the incident that most demonstrates Ms. Dunne's power is that of Dagmar's hospitalization. Ms. Dunne gives us a purposeful and wise woman who does what is needed to get to her ailing child. 

Philip Dorn is a low-key actor who is used to good effect. He seems at first glance to be nothing compared to Mama, but he is clearly a partner in the marriage. He's a calming influence - he is observant, supportive, and acts when necessary. Watch him when he realizes his son has begun smoking, or when Katrin makes what is a very grown-up choice. It's Lars who is the leader in those situations. 

His counterpoint is Uncle Chris. Oskar Homolka provides a brusk, noisy man who loves his family, but brooks no nonsense. His conversation with his nieces, who he discovers fear him, is a remarkable one. His care for his grand-nephew Arne is warm and understanding - the scene with young Tommy Ivo is handled beautifully. Uncle Chris is a man who likes to shock. Marta knows this - watch her attitude to Jessie Brown (Barbara O'Neill in another beautifully, subtle performance), which is why she is the only one of his nieces Uncle Chris can stand!

Barbara Bel Geddes has to age over a period of nearly 10 years and does it splendidly. When we first meet her, she is a grade school student; we see her through her teen years, as she advances in school and in maturity. One incident in particular shows her growth - as she and her mother travel by train to visit the ailing Uncle Chris, we see the girl staring out the window of the train, a sandwich in her hand, almost oblivious to the import of what is happening. But the narrative tells us what she, in retrospect, remembers of the event and the scenes that follow reveal the impact of her uncle's distress.

Ms. Bel Geddes started on stage, most notably as the original Maggie in Cat on a Hot Tin Roof.  After well-received performances in six films (including Panic in the Streets), she was blacklisted. Eventually she was cast by Alfred Hitchcock in Vertigo; he included her in four episodes of his television show Alfred Hitchcock Presents, among them "Lamb to the Slaughter," perhaps the most wicked of all his teleplays. In 1978, she joined the cast of Dallas as Miss Ellie Southworth Ewing, the matriarch of the family; with the exception of a one-year break in which she was recovering from surgery, she played the part until 1990; at which point, she retired from acting. Married twice, with two daughters, she died of lung cancer in 2005. 

The number of remarkable character performances in the film is astonishing. Edgar Bergen has a rare dramatic part as the shy undertaker Mr. Thorkelson, He's paired with Ellen Corby, equally shy and perhaps the sweetest of Mama's sisters.  Sir Cedric Hardwicke uses his impressive speaking voice to bring dignity to Mama's boarder, Mr. Hyde, the man who brings literature to the family. Rudy Vallee, also in a dramatic role, is Doctor Johnson, physician who cares for Dagmar. And finally, the frequently underrated Florence Bates as Florence Dana Moorhead, a successful author and gastronomist, who meets Mama for "two glasses sherry."

Some portions of the movie were filmed in San Francisco, which adds to the verisimilitude of the story.  When it opened at Radio City Music Hall in New York City, Bosley Crowther's New York Times review was glowing. It was also #24 on the list of top grossing films for 1948 (Variety). It was nominated for 5 Academy Awards: Irene Dunne for Actress (she lost to Jane Wyman in Johnny Belinda); Oscar Homolka for Supporting Actor (lost to Walter Huston in Treasure of the Sierra Madre); Barbara Bel Geddes and Ellen Corby for Supporting Actress (lost to Claire Trevor in Key Largo); and Nicholas Musuraca for Cinematography. Ellen Corby did win the Golden Globe for Supporting Actress.

The story was based on the novel Mama's Bank Account by Kathryn Forbes, which became a Broadway play by John Van Druten. The play starred Mady Christians and introduced Marlon Brando as Nels - Oscar Homolka was the only cast member to appear in the film. Later, Irene Dunne, Oscar Homolka, and Barbara Bel Geddes reprized their roles for the Lux Radio Theatre production in August 1948. The story aired as a television series with Peggy Wood, which ran from 1949 to 1957.  In June of 1961, British ITV did a television play with Stella Bonheur as Mama. There were also two musical versions. One, Mama, featuring Celeste Holm in the title role, but closed in 1972 before it reached Broadway. In 1979, it was made into a Broadway musical (with music by Richard Rogers) I Remember Mama with Liv Ullmann as Mama. 

If you've never seen this film, please consider finding it. It is heartwarming, but in a good way. We'll leave you with this trailer: