White House Kay

Lucy Chase Wayne (Kay Francis), the wife of Secretary of State Stephen Wayne (Preston Foster) is the granddaughter of a U.S. President. She has ambitions for her husband to achieve the same position.  Lucy also wants to circumvent the efforts of Irene Hibbard (Verree Teasdale), the wife of Supreme Court Justice Carter Hibbard (Walter Connolly) to romance Senator Gordon Keane (Victor Jory). So, to tweak Irene's nose, she suggests to woman's club president Lavinia Mae Creevey (Louise Fazenda) that Carter would be an excellent presidential candidate, never dreaming it will interfere with her own desire to be the First Lady (1937).

Kay Francis doesn't often get the chance to do comedy, but she's a excellent comedienne, as we've seen in films like The Goose and the Gander, Jewel Robbery, and Cocoanuts. First Lady is in the category of the first two films - a romp, where Ms. Francis gets to figuratively wink at the goings-on in the political arena, circa 1937.

This is a fictitious Washington - no mention is made of the current political administration, and there is certainly no President Chase in U.S. history. Regardless, the film is gently poking fun at the ways in which candidates for office are selected, and it looks like not much has changed in that regard. Though Lucy knows politics (she writes and/or edits her husband's speeches), she cannot run for office - it is a man's world; women can maneuver from behind the scenes, and be the "power behind the throne."  

Most of the action focuses on the two female adversaries, Lucy and Irene. There has long been bad blood between the two, and Lucy now sees a way to embarrass Irene. The reasons for Lucy's ire are, not surprisingly petty - Irene stole Lucy's cook, and is also making a play for the man Stephen's niece Emmy Page (Anita Louise) loves. But, her plans backfire horribly, and Lucy has to concoct a new means of besting Irene. 

Where Ms. Francis plays her part tongue-in-cheek, Verree Teasdale is downright serious. Ms. Teasdale's Irene is an avaricious woman, who wants power and men (though not necessarily in that order). As a result, the interplay between the two is spot-on, with each getting good lines, but with Ms. Francis coming off as the more sympathetic character. Without such a strong actress to play against, Lucy would seem ridiculous. Opposite Ms. Teasdale, she is delicious. It is worth noting that Irene's prior divorce does not seem to be an impediment to her husband seeking higher office.

The men in the film mainly serve as support to the the two women. Preston Foster does a good job in a part that could resemble a tree in the hands of a lesser actor.  Victor Jory gets the rare opportunity to play the juvenile and romantic interest to both Emmy and Irene. Walter Connolly, however, steals every scene as the somewhat bumbling Supreme Court Justice who would rather listen to the radio than romance his bored wife. 

It's unfortunate that Anita Louise doesn't have more to do than look innocent, she's a good actress, but the part pales in comparison to the lead actresses.  Louise Fazenda, however, as the annoying Mrs. Creevey is hilarious. The script has a lot of fun with her strict abstinence. Her inability to understand that she is drinking strong alcohol when she given a glass of absinthe -  and keeps asking for more - is very funny. 

Unfortunately, the film did not do well at the box office, and helped to begin Ms. Francis' slide from the top at Warner Brothers (TCM article).  It may not be her best film, but we really enjoyed it and suggest you add it to your list.

Margaret Hires a Maid

Having not been paid by her employer for four months, housekeeper extraordinaire Lizzie (Ruth Donnelly) quits her job and heads off to an employment agency. She meets Joan Smith (Margaret Lindsay), a young married woman who is searching for a maid. But with her limited income, Joan can't really afford a maid of Lizzie's qualifications. Lizzie, however, is intrigued by Joan and  her son Bobby (Ronnie Crosby), and agrees to take a pay cut to work in the household. Lizzie has a plan to bring Joan and husband Jimmy (Warren Hull) up to her employer standards. This week, we're discussing Personal Maid's Secret (1935).

Every once in a while you fall into a film you've never even heard of, and that provides low expectations.  Personal Maid's Secret is one of them. Originally entitled Living Up to Lizzie, (AFI catalog), it is in fact a delightful little comedy. While the plot is pretty transparent, the acting is so good that you warm to the film almost immediately. Leading the cast (though she got fourth billing) is Ruth Donnelly. Her Lizzie is a practical sort - she leaves her current employment confident that she can secure another position immediately. While she is qualified for a much more well-paid position, she takes on the job with the Smiths because she has a good feeling about them - and because she feels she can help them. Finally Lizzie is a woman with a past - we know it from the start, and when we discover the truth about her, she becomes even more endearing (we wondered if perhaps the film was originally written before the code, as some of the early hints about Lizzie's past suggest a bit of hanky-panky).

Margaret Lindsay gets first billing and is engaging as the young wife trying to help her husband make his way in the world of business. Jimmy is an insurance salesman, and as such, needs contacts. Lizzie suggests to Joan that the best way for Jimmy to get ahead is for the Smith's to entertain. But to do that, they'll need to have a display of affluence. Using her pin money and some ingenuity, Joan is able to get the ball rolling. Ms. Lindsay plays the part with warmth - there is never a suggestion that Jimmy needs to succeed to make her life easier. Their marriage is a partnership, and his success is hers as well.

It's not often that one gets to see Frank Albertson (Kent Fletcher) play a good guy, but he does here, and is quite appealing as Joan's inventor-brother. As with the other characters, there is no hint of grubbiness - Kent lives with his sister because it is expedient for both of them. He is working - and working to develop a new engine carburetor, which he hopes will increase gas mileage. When he becomes enamored of Diana Abercrombie (Anita Louise), you root for him to get the girl. Ms. Louise is lovely as the wealthy young lady whose life is about to change. And it's nice to see Arthur Treacher (Owen) - as always, playing Arthur Treacher!

One 21st Century problem with the film is the character of Bobby. Bobby is fascinated by "colored" people (in the 1930s, "colored" was a polite term. Think of the NAACP). The Smiths had a maid who was African-American at one point, and Bobby clearly adored her. So, he's decided that he wants a friend who is African-American. But what makes his constant queries interesting is that Bobby doesn't really see race - he asks the very white Palmers (Henry O'Neill and Lillian Kemble Cooper) if their son is colored. So, while his questions can be a bit unnerving, it's also an interesting comment on the ability of children to accept regardless of race. The song "You've Got to be Carefully Taught" comes to mind.

Our villain, Warren Sherrill, is convincingly played by Gordon Elliott. If he seems familiar, you might know him from his later career as a Western actor and the role Red Ryder - Will Bill Elliott. Born on a ranch in Missouri, Mr. Elliott came by his Western expertise naturally. He became a horse breeder, and retired to a ranch in Nevada after his retirement. He died in 1965 at the age of 61.

Given that this was a B movie, the set design and costuming are outstanding. The Smith's home needs to reflect their life, and the work done by Carl Jules Weyl are an important part of the story.  Orry-Kelly did the costume design, and, as always, it is impressive.

The film was not widely reviewed, but Variety gave it a very positive review (Wild Bill Elliott: A Complete Filmography by Gene Blottner), as did the Sydney Morning Herald, which complimented Ruth Donnelly for "the warmth with which she plays this part and the perfectlon of the portrait's detail," and said the film itself is" shrewd and humorous and the conversation is so natural that the spectator is able to forget the plot, which contains no surprises." There ARE a couple of slight surprises, though by and large it's a convention plot; but with such fine acting and such appealing characters, you won't care.

We'll leave you with a trailer and a suggestion that you seek this one out.

Evelyn Investigates

Dangerous Blondes (1943) is a wartime film that pretty much ignores the war.  Set in New York City, it stars Evelyn Keyes as Jane Craig and Allyn Joslyn as her husband, Barry, a mystery novel author.  Barry is a bit of a show-off, and has recently bested the police team on a radio quiz show, making him not the most popular of men.  So, when Jane's friend, Julie Taylor (Anita Louise) inadvertently gets Jane involved in a murder investigation, the interference of Barry does not win him any more friends with the local constabulary. 

The script has a lot of plot; with an 81 minute running time, the film goes by very fast.  We found ourselves rerunning certain segments (the joys of DVR) to clarify plot points.  Regardless, it's a fun film and not in the least boring.  It's based on a story by Kelley Roos called If the Shroud Fits.  Roos also wrote A Night to Remember (1942); we previously discussed the film version of that book.  In Dangerous Blondes, Keyes and Joslyn are playing the same characters that Young and Aherne portrayed in  A Night to Remember; again, the character's names from the book (Jeff and Haila Troy) have been changed.   The following year, Keyes and Allyn would again play married amateur detectives in Strange Affair, though NOT the Troys (or the Craigs).

What makes the movie especially enjoyable is the relationship of Jane and Barry.  Surely, this was an attempt to make another Thin Man type of film, and while Evelyn Keyes and Allyn Joslyn are no Myrna Loy and William Powell, they are very good (they are FAR more interesting characters than those in A Night to Remember).  Jane Craig is a smart woman who loves her husband, and Barry is obviously deeply in love with her.  Evelyn Keyes makes Jane attractive and not silly; her involvement in the murder investigation is mere coincidence.  She is not the ambulance-chasing wife who MUST get in on her husband's action.  And Allyn Joslyn is able to keep Barry personable even when he is being a bit of a twit.  He too is accidentally involved, though Barry relishes the attention far more than Jane.

We have the usual married-couple banter, but it is affectionate and never over-the-top.  We discover that Jane isn't really the best of cooks (though she is dealing with the difficulties in getting food - our only reference to World War II is Jane's brief comment on the amount of food one can buy with one's points).  And we see Barry helping out around the house, which we all found to be a breath of fresh air.  Imagine, a man doing housework and not being laughed at! 

We found the costuming to be attractive;  we were especially impressed, though, with the set design.  Jane and Barry's apartment is so totally appropriate for their finances.  It is the kind of apartment one would expect young marrieds to inhabit in 1943.  It's not fancy, but it is clean and nicely furnished.  It compliments the marriage that we are being shown. 

The always funny William Demarest plays a cop - Detective Gatling.  It's established from almost the first scene that he is not very smart (he doesn't know who invented the first machine gun).  Demarest, however, serves as a good antagonist for Allyn Joslyn. He doesn't get a lot to do, but it is always a pleasure to see him.

Before we go, a quick nod to Minerva Urecal, who plays Jane and Barry's landlady in several scenes.  You probably don't know the name, but you will know the face when you see her.  With 276 film credits in film and TV (according to IMDB), she was always tiny parts, and often uncredited. She provides the first hint of trouble, and then she is pretty much gone.  Ms. Urecal worked until her death of a heart attack at the age of 71 in 1966.

Next week, we'll return with another World War II vintage film.

Gary Has a Three Wives (Almost)

Gary Cooper stars in the title role as Casanova Brown (1944), a man who discovers that his one-day marriage to Isabel Drury (Teresa Wright) has resulted in a daughter - a child she is planning to give up for adoption.

Upon returning from a trip, Cas Brown rushes to the home of Madge Ferris (Anita Louis), intent upon asking for her hand in marriage.  Her father (Frank Morgan) is determined to circumvent him - Mr. Ferris is not keen on marriage, having been unhappily with Madge's mother for over 20 years.  When Cas receives a note from a Chicago maternity hospital, Mr. Ferris' curiosity  forces Cas to reveal that he was briefly married about 9 months before.  His bride's family took an immediate dislike to him, and when he carelessly allows a cigarette he is hiding (Mrs. Drury, played by Patricia Collinge, despises "cigarette fiends") to set fire to the house, his goose is proverbially cooked.  He leaves in disgrace, and without his wife.  The marriage is quickly annulled. Though Mr. Ferris discourages it, Cas travels to Chicago to investigate the mysterious letter, only to find out that his former bride has a baby girl she has decided to give up.  A horrified Cas cooks up a scheme to take possession of the infant.

As films go, this one has a fairly absurd plot, with scenes that go on for much too long.  Much of the film is over the top.  The scene in which the Drury's home becomes an inferno is played for laughs (watching a beautiful home and all its contents become an inferno is funny?).  And then, there is the section where Cas arrives at the maternity hospital: men assume CAS is pregnant (huh?) and Cas blithely allows a complete physical to be performed without ANY questions.  We wondered on what planet anyone would accede to multiple blood tests, physicals, and x-rays with nary a question?  In an age of escalating health care costs and uninsurance woes, this just doesn't age well.  Also ludicrous is Cooper's ability to merely don scrubs in order to sneak his daughter out of the newborn nursery.  He's a man in scrubs - naturally, he is a doctor... (?!)

The film plays the Drurys as a farcical couple; Mrs. Drury's penchant for astrology is annoying.  Assumedly, a 1940's audience would find her aversion to cigarettes to be odd as well (though as non-smokers in the 21st Century, we applaud her for that). Luckily, we don't have to put up with her all that long; she is only in the one, extended scene.  Quite frankly, Patricia Collinge is totally wasted. 

We also found it distasteful that the hospital literally sneaks in the news that baby Drury (the name on the bassinet) is being put up for adoption.  The rights of the father (and we know that the doctor and staff are well aware that Isabel and Cas were married at one point) are completely ignored.  Cas' panic at the loss of his daughter is understandable.  And Cooper, with his wide, lovely eyes and amiable demeanor makes Cas' predicament all the more sympathetic.  He is one of the reasons that the film ends up being somewhat enjoyable. The other is his reunion with Teresa Wright.  They are an enjoyable couple (just watch them together in Pride of the Yankees). One just wishes they had a bit more to work with. 

We found it fascinating that the film was nominated for three academy awards: music, art direction, and sound recording.  The competition in Dramatic or Comedy Score category, which had 19 nominations included Max Steiner (for Since You Went Away and The Adventures of Mark Twain), Miklos Rozsa (Double Indemnity, Women of the Town), and Alfred Newman (Wilson).  Since You Went Away took the prize.  Art Direction had 7 nominations (including Gaslight and Laura.  Gaslight won).  Sound had 10 nominations, with Wilson taking the prize from Kismet, Double Indemnity and Cover Girl).

Though filmed right in the middle of World War II, Casanova Brown makes no mention of the War.  Perhaps it was considered escapist fare, but we found it strange that the War was so completely ignored.  It was also the first feature of Independent Pictures.  For more information on Independent Pictures, see this TCM Article on Casanova Brown. 

Though several worthy supporting players grace this film, with the exception of Frank Morgan, most have little to do.  We already mentioned Patricia Collinge;  Anita Louise is similarly wasted.  She really appears as a pretty face with no job but look lovely (which she does do quite well).  The always amusing Mary Treen gets a bit more screen time as the nurse, Miss Clark, and while she is amusing, this clearly is Cooper's film.  He is in nearly every scene, and when he is in the scene, the film focuses on him.  And of course, Frank Morgan is a delight as a character who, in close analysis, one would find despicable in real life.

Finally, a quick mention of Jill Esmond as Dr. Martha Zernerke.  It's always fun for me to find a film with a woman doctor.  Interestingly, Zernerke's sex is not dwelt upon; she is portrayed as competent, and ultimately sympathetic.  Her sex has no impact on her ability to do her job.  Esmond, by the way, was Laurence Olivier's first wife and the mother of his eldest son, Tarquin.
In closing, we leave you with Cooper arriving at a clinic for testing.

Connie Marries the Elite

This week, we again join Constance Bennett in a precode film.  This one is Our Betters from 1933.  Connie is Lady Pearl Saunders Grayston.  We meet her as she has just married Lord Grayston (Alan Mowbray).  She is determined to be a good wife to him, though she is aware that their marriage was one of convenience - he needs her money to  support his lifestyle.  But Pearl finds almost immediately that her dreams of a life as a happy wife are naive.  Her husband has no intention of giving up his mistress.  

The film, taken from a play by W. Somerset Maugham,  produced by David O. Selznick, directed by George Cukor, and with music by Max Steiner is not a great one, but it is interesting.  Besides having some of the best behind-the-scenes talent in Hollywood, we have a fantastic performance by Bennett.  Her Pearl becomes a society hostess, but one who is jaded and cold. We also want to pay homage to the fantastic costuming of Hattie Carnegie - take a look at the stunning (and scandalous) black dress Ms. Bennett wears to a party - it's a knockout!

At one of her parties, we discover that she is planning to bring her sister, Bessie (Anita Louise) into the same lifestyle, by arranging her marriage to Lord Harry Bleane (Hugh Sinclair).  Though Bessie seems willing, it soon becomes clear that she really loves Fleming Harvey (Charles Starrett).  But everything begins to implode at a weekend outing to the Grayston estate, as we learn more about Pearl's rather seedy existence.  
 

Among the party guest are GIlbert Roland.  We enjoy him as an actor, but felt he was wasted here as the gigolo who pursues Pearl, but is involved with the wealthy Duchess Minnie.   We also discover that Pearl is essentially destitute, thanks to her husband's bad handling of her finances, so she is using her wiles to "borrow" money from Arthur Fenwick (Minor Watson).  

Much of our conversation focused on the bartering of American heiresses for English titles.  It is surprising that, in 1933 (this is a contemporary story), this was still going on.  We especially discussed the life of Consuelo Vanderbilt, who was literally imprisoned by her mother until she consented the Duke of Marlborough

Here is a clip from the film:

Mommy Kay

In 1938's My Bill, Kay Francis plays Mary Colbrook, the widowed mother of four children.  3 of her little darlings are rude, selfish, graspy creeps.  But then there is Bill (played by Dickie Moore), who for some unexplained reason calls his mother "Sweetheart", and who is the only sensible member of this family. Though Kay was left some money on her husband's death, she has wasted every cent of it providing the selfish bunch with piano lessons and new dresses.  Now, she's broke. So the obnoxious 3 leave her (after she squanders more money on cabs and flowers); Bill remains, begins a paper route, and takes on the job of "Man of the Family" to support his mother.

I think it would be fair to call this an odd movie. It's based on a play (from 1928), but really the biggest problem is the character of Mary.  By the end, we get a lot more back-story (which does make her story more interesting), but she is such a scatterbrain that one wonders how she has survived as long as she has. Bill, however, is a stand-up young man, and Dickie Moore plays him with verve. Bonita Granville, Anita Louise and Bobby Jordan as the other three nightmarish offspring bring obnoxious to new heights. And Elizabeth Risdon as Aunt Caroline confirms they are from the correct gene pool.

This film came out the same year that Kay got labeled "Box Office Poison" (along with Katharine Hepburn and Marlene Dietrich); it's obvious it was less her and more some of the parts she was being given.  She does the best she can, but in a sense, this IS Dickie Moore's movie.  And he kinda runs with it.