Charlie's Home Invasion

Aloysius T. McKeever (Victor Moore) has just arrived at his winter home in New York City - the mansion of multi-millionaire Michael J. O'Connor (Charles Ruggles), who is currently in Virginia at his winter home. Mr. McKeever, it seems, has been inhabiting the O'Connor home for several winters now, all unknown to the home's owner. When McKeever happens upon Jim Bullock (Don DeFore), a homeless vet, he invites Jim to stay at the house as well. But things get out of control when Trudy O'Connor (Gale Storm) arrives at the house, and Jim invites his buddies Whitey Temple (Alan Hale, Jr.) and Hank (Edward Ryan, Jr) and their wives (and a baby) to stay at the O'Connor home. It Happened on 5th Avenue (1947).

Victor Moore and Charles Ruggles walk away with this movie as the opposing force and the immovable object, with the dynamic of servant and master completely reversed. The two men bicker and argue throughout the film, but the audience watches as O'Connor grows to like McKeever, despite his laissez-faire attitude towards life and work. 

Victor Moore's Broadway career began in 1906 - he would ultimately appear in 23 Broadway productions, through 1957 (when he appeared as the Starkeeper in Carousel). His film career began in 1915, and continued until 1955. He's probably best remembered as Fred Astaire's pal, Pop in Swing Time (1936) and as the husband being forced to separate from his wife of 50 years in Make Way for Tomorrow (1937). The Victor Moore Bus Terminal in Queens was named for him - he'd funded construction on a bus station there to help local performers get into Manhattan more quickly.  Mr. Moore died in 1962 at the age of 86. 

Frank Capra had originally planned to direct the film, but he eventually passed on it, and the director role was passed onto Roy Del Ruth. Gale Storm found working with Mr. Del Ruth to be somewhat of a problem, as he refused to allow her to sing, even though she was a trained singer (TCM article). Regardless of the lack of her real singing voice, she's enjoyable as Trudy, a plucky young woman who is willing to leave her luxurious life style and take on a job in a music store. Ms. Storm is best remembered today for her television series, My Little Margie and The Gale Storm Show (originally called Oh, Susanna). Later in her career, she would guest star in an episode of The Love Boat, which likely took some of its inspiration from The Gale Storm Show.

Like Gale Storm, Don DeFore (Jim Bullock) is remembered today primarily for his television work - specifically Hazel, in which he played the harried husband. This is one of the few film lead roles he got the opportunity to play, and he's earnest as the young veteran intent on making a better life for himself and his colleagues. His scenes with Ms. Storm are very nice; they make an appealing couple.

Ann Harding (Mary O'Connor), as always, is excellent as the rejected wife who is trying to reconnect with her husband. She'd not been appearing in a lot of movies by this point in her career (mostly appearing in one or a two film a year), but she makes the most of her limited screen time in this film.

Some extra footage was shot in New York City, which adds a verisimilitude to the film (AFI Catalog). We noticed that the house (which you can see is located on the corner of 79th Street and 5th Avenue) looks very much like the Cooper-Hewitt Museum (which was originally the home of Andrew Carnegie). The location of the O’Connor home is currently the site of the Ukrainian Institute of America (and was the home of Harry F. Sinclair).

The New York Times review by Bosley Crowther was positive - most of his praise centered on Victor Moore.  The story was aired on the Lux Radio Theatre in May 1947 with Mr. Moore, Mr. DeFore, and Mr. Ruggles reprizing their roles.

With Christmas coming, this is a delightful film that deserves to be included in the season's festivities.  We'll leave you with Victor Moore arriving at his winter home. However you celebrate, have a safe, healthy and happy holiday season!

Ann Has a Secret

John Shadwell (John Boles) and Vergie Winters (Ann Harding) were planning to marry, but Vergie's father (Edward Van Sloan) told John that Vergie is instead marrying Hugo McQueen (Creighton Chaney). In pain, John marries Laura Shadwell (Helen Vinson) on the rebound. But Jim Winters had been paid $10,000 to tell the lie, and trick John into the marriage with Laura. Unable to divorce his wife, John visits Vergie on a regular basis, while his political star begins to rise. Our film this week is The Life of Vergie Winters (1934).

Based on Louis Bromfield's short story (AFI catalog), this film is similar to the stories that are told in Forbidden (1932) and Back Street (1932) - a couple whose true love is thwarted by circumstance, but stay together despite the rules of society. And while this is not an original plot, Ann Harding makes Vergie so likable that you don't really care that you know the story. You keep watching just to see her. 

There are class issues regarding Vergie's potential marriage to John which assist the Shadwells' lies; and Laura is eager to marry a man with political possibilities. Vergie, however, is seemingly well regarded (initially) by the community. A milliner with a popular store, her wealthy clientele are friendly with her (albeit only during business hours). When her secret life becomes more public, she loses her society shoppers, but inherits a new customer base, represented by Pearl Turner (Cecil Cunningham), a local madam. Rich or poor, Vergie displays an easy relationship with her customers.

The film also has an interesting "innovation" not a part of the previously mentioned movies. The Life of Vergie Winters uses narratage (New York Times review); the inner monologues of the townpeople at the opening of the film (the film actually begins with John's death and Vergie's imprisonment) serve as a kind of Greek chorus, preparing the audience for the story that is about to unfold. The technique was very reminiscent of the inner monologue in Strange Interlude (1932) and is interesting, if a bit stylized.

Frank Albertson (Ranny Truesdale) is the kind of man every woman wants to marry. His love for Joan Shadwell (Betty Furness) is deep; when the couple discover Joan is adopted, Joan suggests they break the engagement, since her background is so nebulous. Ranny complies - he demands his ring back; then asks for her hand and places the ring back on her finger. No further discussion of the subject is required (much to the disgust of Laura Shadwell). Ranny is a true gentleman, and Mr. Albertson gives him a warmth that makes him very engaging.

Helen Vinson, on the other hand, plays Laura as a opportunistic witch. She has no regard for John; she wants the prestige that his political possibilities will provide and nothing more. It's pretty apparent that the marriage is eventually one of convenience; it's also clear that she has no use for the child that she has taken into her home (the end of the film - without giving much away - substantiates that). Ms. Vinson's career was primarily playing the "other woman." She started on Broadway, appearing in four plays between 1927 and 1932, then went to Hollywood, where she would make 40 films, including Jewel Robbery (1932), I Am a Fugitive from a Chain Gang (1932), and In Name Only (1939). Her final film was The Thin Man Goes Home (1945). Married for the third time to Donald Hardenbrook the following year, she left film at her husband's request. They were married until his death in 1976; Ms. Vinson died in 1999 at the age of 92.

One of the most appealing people in the film is that of Joan. We first see her as a girl of about 11 (played by Bonita Granville). She's an engaging child, kind to Vergie (who she has been told to avoid). The interaction between Ms. Harding and Ms. Granville is touching. The character does not alter as she ages - Betty Furness is lovely as a woman who has somehow stayed a good and loving person, despite being raised by a viper. 

There are a few other actors who should be mentioned - Lon Chaney, Jr. (still listed as Creighton Chaney - his true given name) has a few scenes as Hugo McQueen, the man Vergie's father says she is marrying. Donald Crisp is the villain of the piece as Mike Davey, a local pub owner who despises John. Sara Haden is Winnie Belle, the woman who has set her cap on Vergie's despicable father. Ben Alexander, who would later gain fame as the first of Jack Webb's partners in Dragnet, appears as Laura's brother Barry. And Walter Brennan has a brief scene as a rumor-spreading drunk.

The New York Times review by Mordaunt Hall was indifferent; the film was "important" enough that it opened at Radio City Music Hall. It probably will come as no surprise that the film landed on the Catholic Church's Condemned List, which also helped it to do well at the box office (TCM article).  But, with a release date of June 14, 1934, it's at the end of the pre-code era - the new regulations took effect on July 1st, and would effectively have made this film impossible to release in its current state. So, while it is not the most original of plots, it is handled well, and it's always a pleasure to see Ann Harding at her peak.  We enjoyed it, and think you will as well.

Ann Meets Myrna

Reporter Jimmy Lee (Robert Montgomery) is deeply in love with novelist Mary Howard (Myrna Loy). But despite his numerous proposals, she refuses to marry him. Jimmy discovers that Mary has fallen in love with her married editor, Rogers Woodruf (Frank Morgan). Having read the novel on which Mary is currently working - in which she proposes that her heroine, in love with a married man, has a calm discussion with his wife, to talk about her desire to wed her lover - Jimmy knows what Mary has in mind. He decides the best course of action is to introduce Mary to Claire Woodruf (Ann Harding), without revealing to either of them their mutual relationship. When Ladies Meet (1933) will determine the future of both women's relationships.

Though a pre-code film, this one is not really all that shocking. There's a lot of talk, but very little action. Mary has heretofore resisted Rogers' desire for a sexual relationship; just as she is about to give in, Jimmy blunders in and breaks up the rendezvous (certainly his intention!) We later discover from Clair that Rogers is a serial philanderer, and that Claire has turned a blind eye to it because she believes he really loves her. With the exception of some double-entendre blathering from Mary's friend Bridget Drake (Alice Brady), this is a pretty tame film.

 

That being said, this is an interesting and thoughtful movie, primarily because of the performances of Ann Harding and Myrna Loy.  Ms. Harding presents a woman who is both dignified and understated. Even when confronted by betrayal, there is no hysteria, no over-emoting, just a quiet sorrow that is signified only with her eyes and her stance. Ms. Harding can break your heart with a glance.

Ms. Loy mirrors her in dignity playing a woman who is the ultimate idealist. When confronted with the realities of life, she too remains stoic. Her determination lets you know that her life will go on, and she will remake it. But we came away wondering how her new novel would end, with the author enlightened about the truths of life. We come to realize, thanks to the talents of these two excellent actresses, that Mary and Claire are very much alike in their attitudes and emotions. Interestingly, Ms. Loy became great friends with Robert Montgomery and Alice Brady on this production.  Ann Harding remained distant from the "coterie of three." (TCM article)

Growing up with Frank Morgan as The Wizard does make it hard to see him as a romantic figure, especially one who is so deeply loved by these two remarkable women. It is certainly his skill as an actor that makes it obvious to the audience that Rogers is a cad. That he is so awfully unloving - more interested in the chase and in sex - becomes apparent later in the film. But Mr. Morgan does a good job in preparing you for this revelation.

Alice Brady seems to be present to provide the comic relief. Unfortunately, she becomes rapidly annoying.  An Oscar-winning actress - she was nominated twice, and won for her role in In Old Chicago (1937) - in this film, it feels as though she is doing screwball comedy, while everyone else is playing subtle humor and high drama.  We felt that Bridget was too shallow a person, where the other characters are fully developed. It felt as though Ms. Brady was in a different movie.  We wondered if a different actress in the part would have made a difference, and we may find out next week.

The film (based on Rachel Crothers' play, which was produced on Broadway in 1933) would be remade twice: once in 1941, with Joan Crawford, and again on 11 June 1952 as a ABC television presentation with Patricia Morison and Richard Carlson in the leads (AFI catalog). This film was nominated for the Best Art Direction Oscar, for Cedric Gibbons, whose sets are gorgeous (We were especially impressed with Mary's apartment).  We'll leave you with this scene, featuring appearances by three of our leads. Next time, we'll be viewing the 1941 version.

Dr. Ann

The Flame Within (1935) stars Ann Harding as Doctor Mary White, a successful psychiatrist in New York City.  For many years, she has been pursued romantically by Dr. Gordon Phillips (Herbert Marshall). Mary is aware, however, that Gordon will expect her to relinquish her career as part of their marriage and she is not ready to be just a housewife.  When Lillian Belton (Maureen O'Sullivan) attempts suicide, Gordon and Dr. Jock Frazier (Henry Stephenson) consult Mary on her treatment.  Mary discovers that Lillian is deeply in love with Jack Kerry (Louis Hayward), an unrepentant drunkard, and it is Lillian's fear for his life that drives her to suicide.  Mary determines that saving Jack is the best way to cure Lillian.  But there are consequences. 

In the pantheon of films about women doctors, this is one of the weaker ones.  Ann Harding is quite good as Mary, but the script gives her no help in creating a convincing character.  That you like and believe in Mary at all is due to Ms. Harding's abilities as an actress (according to this TCM article, she was Barbara Stanwyck's favorite actress, and with good reason!).  Released as the Production Code was being firmly enacted, it often feels like the screenwriters don't know what to do with Dr. White; as a result, the character goes from a strong, successful, independent career woman to an impulsive, dependent housewife. 

It's clear at the beginning of the film that Dr. White is good at her job, and well respected by her peers. Even Dr. Phillips, who wants her to stop working and be just his wife, refers his ailing patient to her care.  Despite this, nothing that she does from the moment she meets Lillian Belton convinces us that Mary actually knows what she is doing. Lillian attempts suicide in despair over Jack Kerry's alcoholism.  So Mary decides to cure Jack, and that will cure Lillian.  There is a highly regarded alcoholism specialist on staff, but Mary doesn't even consult him.  And how does curing Jack take care of Lillian's exaggerated co-dependence? The first time they have a fight, Lillian is probably going to again attempt a swan dive out a window. What the writers know about psychiatry one could engrave on the head of a pin.

On the plus side, alcoholism is treated as a disease, not as a joke (even if it can be treated successfully in two weeks), with specialists attached to the field. And the seriousness required to study medicine is addressed in Mary's early speech to Gordon, when he (AGAIN) asks her to give up her career to be his wife. "No work? Just Mrs. Gordon Philips, housewife? Oh what did I give up my youth for? Why did I give up most of my life to this thing if I were just to forget it and throw it away as if it had never been... it's more than a profession. It's a religion." 

It's hard to warm up to Herbert Marshall as Dr. Philips.  If he is so in love with Mary, why does he put conditions on their marriage? He seems to not love her, but loves his vision of her. At the same time, his pursuit is almost stifling, and he comes across more as a stalker than as a passionate lover. The unhappiness that will come with her selection of him over career is just not important to him.  As a result, he is unlikable, cold, and unbending.

Maureen O'Sullivan is good, if a bit manic in the role of Lillian.  At one point, the part was earmarked for Merle Oberon (AFI Catalog). Ms. O'Sulllivan had already made a name for herself in Hollywood with her appearance as Jane in Tarzan, The Ape Man (1932), notably for an apparently nude swimming scene with Johnny Weissmuller (she would ultimately appear as Jane in 6 films). She appeared in a variety of films in the 1930s and beginning of the 1940s, including The Barretts of Wimpole Street (1934), A Yank at Oxford (1938) and Pride and Prejudice (1939).  By the 1950s, she was primarily appearing on television; and in the 1960s, she changed to work on Broadway, both acting and producing.  She was married from 1936 until 1963 (his death) to director John Farrow; they had eight children including Mia and Tisa Farrow. In 1983, Ms. O'Sullivan remarried, and was with her second husband, James Cushing until her death in 1998 (at the age of 87) of a heart attack.

We were less impressed with Louis Hayward, a good actor who deserved a better part.  Mr. Hayward gets to do little that justify the passion of two women for his inebriated man about town.  Interestingly, it was Mr. Hayward's performance that was most lauded in this New York Times review

In some respects, this film almost feels like a precursor to Spellbound (1945), where we have a psychiatrist who becomes emotionally (and unprofessionally) involved with a patient.  Regardless, the film is worth a look, especially when compared to Kay Francis' pre-code women doctor films such as Mary Stevens, M.D. and Dr. Monica, or with Ms. Harding's other venture into medicine in The Right to Romance (1933).

Ann Snares William

We selected an excellent pre-code film for this week's discussion - Double Harness (1933) (Femme aux gardénias in France), starring Ann Harding  and William Powell.

The marriage of Valerie Colby (Lucile Browne) and Dennis Moore (George Meeker) leads Joan Colby (Ann Harding) to seek a spouse for herself.  Though she claims not to love him, Joan selects wealthy playboy John Fletcher (William Powell), despite the fact that he pays no attention to his family's business (to the consternation of Joan's father,  Colonel Sam Colby (Henry Stephenson)) and had been carrying on a very open affair with Monica Page (Lilian Bond).  Since John claims he'll never marry, Joan concocts a plan - have her father walk in on them when she and John are in a compromising position in John's apartment.  But there is a problem - Joan has fallen in love with John, and his suggestion of a marriage of convenience to placate her father is not really what Joan had in mind for her future. 

Our reference to the French title is purposeful, because the gardenia plays a major role in the film, symbolizing the relationship of Joan and John. The gardenia is Joan's favorite flower, and a corsage or bouquet telegraphs important moments in their lives. The film was based on the novel Double Harness by Anthony Hope (of The Prisoner of Zenda fame) and a play of the same name by Edward Poor Montgomery.   Elegant costumes were provided by Walter Plunkett - we were especially impressed with a fur embellished dress worn by Ms. Harding.

Ann Harding brings a matter-of-factness to Joan's pursuit of John which precludes disliking her, even when we believe her only motivations are selfish.  Harding makes Joan something of a businesswoman - she sees potential in John, and in return for their marriage, she'll be his helpmeet.  After her realization that she, in fact, loves John deeply, Harding makes Joan warmer and more sympathetic.  But never does she make her a doormat - Joan is strong and smart - she never allows the viewer to believe she is otherwise.

William Powell approaches John in much the same way he would later play Nick Charles - he has humor, but is a casual man, seemingly more concerned with his pleasures than anything else.  But like Nick, he has depth.  Though at first, he doesn't know how to do anything but play, he is taught by Joan that there is a joy in accomplishing something outside of a nightclub.  Powell's scenes with the two women in his life - Joan and Monica - are wonderful.  His eyes always let us know how he feels, no matter what his lips are saying.  Would he marry Joan eventually if he hadn't been tricked? We think so.

Neither of the other women in the film are particularly likable.  Of course, we aren't supposed to like Monica, but Joan's sister Valerie, as portrayed by Lucile Browne, is a selfish bubblehead, who milks her sister for money after running up a debt of $1,000 (nearly $18,000 in today's dollars) for clothing and doo-dads.  In revenge for her sister denying her more money, Valerie tries to break up Joan's marriage.  Browne does a decent job with the character - she doesn't try to make her attractive; our dislike for Valerie was powerful.  Browne appeared in 45 films and shorts between 1930 and 1950, mostly in small and/or uncredited roles. She primarily was a homemaker from 1938 on, after her marriage to William James Flavin (who also left acting to teach).  17 days after his death in 1976, the grief-stricken Lucile died at the age of 69.


While the New York Times reviewer was not particularly taken with this film, fellow blogger at Pre-code.com agreed with us that this is a film well worth your time.  Essentially lost for years (these TCM articles and notes from the AFI catalog  describe the history behind the film's disappearance), the film (along with five other Merian C. Cooper films) were aired on TCM and released under their TCM Vault logo in 2007.  When the film was restored, a scene that had been cut - Joan emerging from a bedroom in lounging pajamas, as John awaits her return - was reinserted.  Unfortunately, the film is out of print on DVD again (though still being shown on occasion on TCM).  We leave you with clip of Joan (in her gardenias), beginning her seduction of John.  

   

Larry's a Cad

A young couple has just married; they are deeply in love, and exuberant after their wedding.  They arrive at an inn, where the proprietress, Mrs. Truesdale (ZaSu Pitts) has obviously dealt with the young man before - she won't let him in until she sees a marriage license!  Flash forward a few months, and the couple are quarreling: being married is interfering with his writing, and then he discovers he is about to the a father.  Flash forward another three years:  our "hero" is frustrated with the duties of fatherhood, and the need to prostitute his "art" in order to pay the bills.  After yet another quarrel with his wife, he leaves, never to return.

Westward Passage (1932) stars Ann Harding as young wife Olivia Van Tyne Allen later Ottendorf) and Laurence Olivier as her husband, Nicholas Allen. It is unlikely that you will ever meet as unattractive a "hero" as Nick Allen.  He is a selfish boor, a horrible father, and a verbally abusive husband.  Why Olivia would want to be married to this man is beyond us.  When he meets his ex-wife 6 years after their divorce, he has to be reminded that he has a child (he can't even remember how old she is), and he would prefer to ship the little girl off to boarding school than actually deal with her. Quite frankly, Nick doesn't have even one redeeming feature. He knows nothing about compromise, and he remains unchanged throughout the film.  The only time we had even the tiniest bit of sympathy for him was when Olivia's friend spills tea all over his newly typed manuscript. Her callous disregard for his work and livelihood gave him at least ten seconds worth of appeal.

In the past few weeks, we've watched two movies with Asian characters, and in our discussion of Son of the Gods we discussed the "cringeworthy" nature of some of the Western attitudes portrayed in those films.  Here, Nick has a Chinese butler.  Nick's discussions with Olivia about Chung make those other films tame.  Both of their comments are so racially charged as to make one want to blush. 

Olivier's portrayal of Nick paints a very unappealing man.  We were puzzled as to why the author thought the audience would root for this cad.  And Olivier's makeup in this film is quite odd and distracting - he's wearing more eye-makeup than Ann Harding; one ends up looking at his eyeliner rather than him.

As to Ann Harding's Olivia, she is incomprehensible.  Olivia has remarried Harry Ottendorf (Irving Pichel), a good husband and a loving father to a child who is not his own.  Yet, she obviously prefers Nick.  Why? Who know.

A quick nod to that nine-year-old version of the young Olivia, played here by Bonita Granville.  She is quite good and appealing, as is the child that plays little Olivia at age 2. We also have near cameos by Zasu Pitts, as an innkeeper who never seems to want residents at her inn, and by Edgar Kennedy. 

According to this TCM article, the film lost a chunk of money. Yet it got a quite good review in the New York Times, which compared it favorably to Coward's Private Lives.  Also, it seems that this, Olivier's second US film, convinced Greta Garbo to request him as her leading man  in Queen Christina,  a somewhat notorious action that resulted in Garbo later asking that he be fired, and her former lover John Gilbert hired in his stead.  Seems Garbo felt she and Olivier had no chemistry.  As a result of these two films, Olivier goes back to the London stage, and it is quite a while before he can be attracted to appear in another Hollywood film.

We can't really recommend this one, unless you want to see Laurence Olivier before he was a big star. Next week, we'll venture forward, to the 1940's.

Nanny in Disguise

Devotion (1931) stars Ann Harding as Shirley Mortimer the maligned and ignored daughter of an intellectual family.  While assisting her family (Shirley runs the house. The rest of the family is “too busy”), she meets David Trent (Leslie Howard), a busy barrister in need of a nanny for his young son. Shirley is smitten with David, and decides to pursue their relationship by apply for the job as nanny. She facilitates this by inventing an older Cockney lady, Mrs. Halifax, and donning a grey wig, old clothing, and glasses. David, of course, is oblivious to the disguise, but it doesn’t take long for his client, Norman Harrington (Robert Williams) to realize that the wig is hiding an attractive, young woman.

It struck us that Shirley was the somewhat less unbalanced mother of Bette Davis’ Charlotte Vale (Now, Voyager). Both are looked down upon by their families, both seem to see themselves as unattractive.< However, Shirley decides NOT to have a nervous breakdown. Instead, she becomes someone else.

Though filmed in the Pre-code era, this isn’t really a Pre-code movie. Or is it? Norman has murdered his wife (and been found innocent, because the wife was a violent lush). And David has his own little secret (which we won’t reveal) that rather smacks of the Pre-code ethos.

Ann Harding is quite endearing as Shirley. Though her family doesn’t think so, she really does have a backbone, is smart, and ultimately quite attractive. Leslie Howard is appropriately befuddled as the overworked barrister. And then there is Robert Williams. Robert Osborne told us about his unfortunate, brief life – a life cut short just as he was receiving attention for his work. His Norman is JUST enough on the edge to make you wonder IF he was really a murderer. One is never quite sure if he is trustworthy or not. And watch for Louise Closser Hale as Shirley's witch of a mother. 

We leave you with a clip from the film. Next time, a real Pre-Code film!