Don't Disturb Doris

Having relocated to England for her husband, Mike's (Rod Taylor), job, Janet Harper (Doris Day) is busily trying to learn the local currency and find a place for them to live. Only Mike wants an apartment in London, close to work while Janet goes out and rents a house far outside the city.  They begin to bicker as Mike spends more time away from home with his assistant Claire Hackett (Maura McGiveney), and Janet spends her time redecorating with the help of Paul Bellari (Sergio Fantoni). Our film is  Do Not Disturb (1965).

This post is part of the Classic Movie Blog Association's blogathon Laughter is the Best Medicine. Click on the link to read other posts in this series.

On his deathbed, Edmund Gwenn said "Dying is easy. Comedy is hard." He wasn't kidding. And things that were funny in 1965 are not necessarily humorous in 2021. That's one of the problems with this film. Though blessed with an excellent comedienne in Doris Day, the movie today is one sexist trope after another.

Sex comedies were a thing in the 1960s: Sex and the Single Girl (1964), Sunday in New York (which also featured Rod Taylor) (1963), Under the Yum-Yum Tree (1963) are a few examples. Doris Day was in another one as well - Lover Come Back (1961), And while some of that film is dated, it has the benefit of Ms. Day working with Rock Hudson. One of the problems with Do Not Disturb is that there is precious little chemistry between Ms. Day and Mr. Taylor (they did a little better when they appeared together in The Glass-Bottomed Boat (1966)). 

Another problem with the film is that Janet is clueless. She complains that he husband is never home, but she's rented a house in the country - it takes him hours to get home from work (and Janet can't even find the train station). She says she wants to learn to use English money (back in the days of farthings and shillings) but never really figures it out. She also jets off to Paris with another man, and proceeds to get blind drunk. Unlike other Doris Day heroines, Janet is a dimwit, with little regard for her husband's feelings.

Not that he's all that liberated.  Mike is told by his colleagues that he needs to attend stag parties, which he does (without telling his wife). He's also hired an assistant, Claire Hackett (Maura McGiveney), who is eager to use Mike as a stepping stone for her own career in any way he might want.

There is also a problem in the relationship between Ms. Day and Mr. Taylor. He's a much better dramatic actor; he doesn't have the comic flair of, say, Rock Hudson or James Garner.  Even with a weak script, the chemistry between Ms. Day and the these wonderful actors mitigates some of the chauvinism in their respective films (Pillow Talk, The Thrill of it All). Because you don't feel that special relationship between Mike and Janet, it's hard to believe they're really married.

Despite a negative review from  New York Times critic, Bosley Crowther, the film did well financially (AFI Catalog) (proving indeed that times were different then). Though it was not her choice to do this film, her manager/husband Marty Melcher signed her up for it without her knowledge or consent (Doris Day: All American Girl). Here is the film's trailer:

This post is part of the Classic Movie Blog Association's blogathon Laughter is the Best Medicine. Please visit the link to read the other noteworthy posts in this blogathon.

Claudette Goes Mad

As Ellen Ewing (Claudette Colbert) is about to take her wedding vows to David McLean (Robert Ryan), a stranger accuses her of already being married to another man, Lucian Randall (Dave Barbour), a charge which Ellen denies.  Ellen and David attempt to disprove the charges, but a succession of people claim to have been a part of the so-called wedding.  Our film this time is The Secret Fury (1950).

This is a fun film, primarily because of the performances of Ms. Colbert and Mr. Ryan.  Though the script has more holes in it than a piece of Swiss cheese, it does have a decent mystery story, and you will be hard pressed to identify the villain until the very end.  Regardless, it is a lesser work of Ms. Colbert.

Despite that, she is very good as a woman being driven slowly mad for no apparent reason.  A gifted pianist, with a substantial inheritance from her father, Ellen seems rock solid. However, as more and more strangers contradict her beliefs, her mind deteriorates and she ends up institutionalized, giving Ms. Colbert the opportunity to play a character who has completely lost her place in the world. Ms. Colbert was interested in the part because Mel Ferrer was directing (TCM article).

One of the major attractions of this film is Robert Ryan, who gets to play a good guy.  David never loses faith in Ellen, despite the evidence piling up against her. He keeps digging to get at the truth. Mr. Ryan makes David a warm and engaging character. He's funny, he's loyal, and he is clearly in love with Ellen.

Also in the cast is Jane Cowl as Ellen's Aunt Clara. We're never quite sure of Aunt Clara. Like many of the other characters, she suspects that Ellen is either lying or has gone insane. Ms. Cowl manages to keep Aunt Clara ambiguous.  Likewise, Paul Kelly as DA Eric Lowell also questions Ellen's mental status and becomes suspect to the audience.  This, of course, keeps the audience guessing through the whole film. 

This was the film debuts for both Philip Ober (playing Ellen's lawyer Gregory Kent) and his then-wife Vivian Vance (playing Leah, the hotel maid) (AFI Catalog). Ms. Vance is quite interesting as the cagey maid.  The marriage to Mr. Ober would end nine years later; Ms. Vance would go on to play Ethel Mertz in I Love Lucy. One more actor to watch out for is Jose Ferrer in a cameo appearance.

As I've mentioned before, I'm always on the lookout for women playing physicians in films. We have one here - Elisabeth Risdon as Dr. Twining, Ellen's psychiatrist.  Dr. Twining is a competent physician and a kind person. As is often the case in these films, there is no questioning by the patient or their family of the presence of a female physician.

Bosley Crowther was unimpressed with the film in his New York Times review, puzzling as to why "a respectable cast...descends to such cheap and lurid twaddle."  While we would not quite call the film twaddle, we should note that it doesn't seem to be particularly film noir (it was advertised as such on the film channel), and the script IS inferior to the talents of the cast.  But we do recommend it to see Mr. Ryan and Ms. Colbert together.  We'll leave you with a scene from the film:

Bette Doesn't Age

Reknowned New York beauty Frances Beatrice "Fanny" Trellis (Bette Davis) is being pursued by most of the eligible bachelors in the City.  Fanny relishes the attention; even though she and her brother Trippy (Richard Waring) are deeply in debt. One evening, Mr. Skeffington (1944), Trippy's boss arrives to inform Fanny that Trippy has stolen $24,000 from his company.  Intrigued that Job Skeffington does not seem to respond like her other suitors, Fanny elopes with Job, alienating Trippy.

It's Interesting that the film is named Mr. Skeffington when Job disappears for most of the latter part of the film. As you can see from the Italian poster, they just changed the title to reflect the real focus of the film, the beguiling Fanny Skeffington. But the title change misses a point. Yes, the film is about Fanny, but it is Fanny as reflected by Job.  Even when he is gone, Job Skeffington is an influence on Fanny's life, much to her chagrin.

Bette Davis was not the first choice for the role of Fanny Skeffington - Katharine Cornell was originally approached; when she declined, Irene Dunne and Claudette Colbert also turned it down. Next up was Tallullah Bankhead; that deal was nixed by Hal Wallis (Dark Victory: The Life of Bette Davis by Ed Sikov), after which, Ms. Davis was approached. She was reluctant - she worried about the aging of the character, which originally had the story told in flashback (and Fanny going from old to  young and back again).  Adding to her anxiety, her husband, Arthur Farnsworth died just as production was to begin (TCM article),  Regardless of her fears, she is letter-perfect making it Fanny's charm that is the attraction, not her beauty.

The film, however, lives and dies on the character of Job Skeffington, and Claude Rains does not disappoint.  He is marvelous as a man floored by his love for a woman who is incapable of loving anyone but herself.  You might ask why such a sensible man would fall for such a woman, but Mr. Rains makes us appreciate his feelings, and his growing sorrow as he realizes that Fanny will never love him. Both James Stephenson (Mr. Stephenson died before production began) and Paul Henreid were considered for Job (AFI catalog).

Walter Abel (George Trellis) is also excellent as Fanny’s tolerant cousin.  A good man, who cares deeply for Fanny and Trippy, he also forms a bond with Job following Job’s marriage to Fanny.  George acts as a conscience for Fanny, reminding her when she is being more selfish than normal - not that she pays much attention!

There are some excellent performances by other members of the cast. Marjorie Riordan as the grown Fanny Rachel Trellis, who has lived in her mother's shadow all her life, is quite good as a daughter battling her dislike of her mother with her father's desire that she always treat her mother with affection. The trio of suitors played by John Alexander (Jim Conderley), Jerome Cowan  (Edward Morrison), and Peter Whitney (Chester Forbish) are delightfully ridiculous, with Jerome Cowan leading the pack in the last section of the film. 

New York Times review by Bosley Crowther was not enthusiastic. Regardless, the film did well at the box office.  It was adapted for the Lux Radio Theatre in October 1945 with Bette Davis and Paul Henreid as the two leads.

This is an excellent film, and while a tad long, well worth the time.  We'll leave you with a trailer:

Spencer's Daugher Gets Married

When Kay Banks (Elizabeth Taylor) informs her doting parents Stanley (Spencer Tracy) and Ellie (Joan Bennett) that she is engaged to be married, all hell breaks loose as Stanley tries to deal with the loss of his daughter to a husband he barely knows, and to the escalating wedding arrangements that Ellie is planning.  It's not easy to be the Father of the Bride (1950).

Spencer Tracy is perfect as the indulgent daddy forced to confront his daughter's big step into adulthood.  He's warm and loving and completely flummoxed by his wife's obsession with a fancy wedding party. Though director Vincente Minnelli wanted Mr. Tracy from the start, Dore Schary agreed to let Jack Benny (who badly wanted the part) to star. Mr. Minnelli insisted on a screen test; he found he could not get Mr. Benny to refrain from doing his famed double takes. Finally permitted to ask Mr. Tracy, Mr. Minnelli was turned down - Mr. Tracy wasn't interested in being second choice. When Mr. Minnelli told him that he would turn down the directing work if Mr. Tracy was not in the film (and Katharine Hepburn interceded), Mr. Tracy agreed to take on the part (TCM article). 

Joan Bennett is lovely as Ellie Banks.  A loving mother and wife, she's completely absorbed in the ideal of a fancy church wedding for her only daughter - something she missed when she got married. She had already worked previously with Spencer Tracy, and he was happy to work with her again. Mr. Tracy said obviously their marriage in Me and My Gal (1932) had worked and look at the offspring they produced!

Which brings us to the eldest of that offspring - Elizabeth Taylor is a delight as Kay Banks. Torn between pleasing her mother and her own desire for a smaller affair, Kay embraces the fancier reception, while trying to calm her panicked father.  Ms. Taylor was on the verge of marrying Nicky Hilton, and MGM was ecstatic at using Ms. Taylor's real wedding to publicize the film.  Besides stocking the wedding with every MGM star available to attend, the wedding was timed to coincide with the film's release (South Florida Sun-Sentinal); sadly, the marriage was over in less than a year, thanks to Hilton's drinking and womanizing. 

The movie is blessed with a remarkable supporting cast. The always wonderful Billie Burke teams with Moroni Olson as in-laws to-be Doris and Herbert Dunstan. Don Taylor is convincing as their son, Buckley. Sadly for him, most of his scenes are with Ms. Taylor, so one doesn't really spend much time looking at the groom! Rusty (Russ) Tamblyn has a small part as Tommy Banks, and Tom Irish is the other Banks son, Ben.  Mr. Irish appears as Ben in the 1991 remake of the story! Finally, Leo G. Carroll steals all his scenes as wedding planner, Mr. Massoula - a bit of snob, but that is part of his charm.

The film opened at Radio City Music Hall and received a glowing review from Bosley Crowther in his New York Times review.  Before the film has even opened, a sequel, Father's Little Dividend (1951) was put into production (AFI Catalog). In 1991, a remake with Steve Martin, which was also very successful, was released.  The film had previously been a TV series with Leon Ames as the titular character.

For anyone who has ever been married, been friends with someone who has married, or attended a wedding, this is the movie for you. The film manages to show the truths in wedding planning, but with warmth and humor. If you've seen the film before, it's worth a rewatch.  If not, treat yourself to a visit with The Father of the Bride.  In the meantime, here is a trailer: