Jessica (Barbara Stanwyck) and Brandon Bourne (James Mason) appear to be a successful, happily married couple. They dine weekly with Jessie's mother Nora Kernan (Gale Sondergaard), who shows deep affection for her son-in-law. They live in a lovely Gramercy Park apartment. But, there marriage was threatened some years ago when Brandon had an affair with Isabel Lorrison (Ava Gardner). Her departure helped repair their marriage; however, Isabel has just returned to New York, and she wants Bran back. Our film for this week is East Side, West Side (1949) Before I begin discussing the film itself, I wanted to comment on the "East Side" setting. One of my favorite places in the world is Gramercy Park. For those of you not from NYC, Gramercy Park is a small region in Manhattan; it encompasses an area from 19th Street to 21st Street, and from Third Avenue to Park Avenue South. In its center is the actual Park, a private garden available only to residents. Centered in the Park is a statue to Edwin Booth; across the street is The Players' Club, which Mr. Booth founded in 1888. Among the inhabitants of the area were James Cagney (who lived at #34), Gregory Peck (you can see him walking in the Park in A Conversation with Gregory Peck), and Margaret Hamilton; John Garfield died in #3. The home in which the Bournes reside is #36 (right next door to James Cagney!) and was my personal dream apartment. Now, there is no way that Jessica can see the river, even from the top floor of the east face of the building (Stuyvesant Town would be in the way), but it's still an impressive residence.
It goes without saying that Ms. Stanwyck is impressive as Jessica. Though Jessie is quiet, Ms. Stanwyck makes sure she is not passive. Jessie is determined that her marriage will survive (her parents' marriage was tumultuous, and it had a toll on their daughter), but neither is she a doormat. She has made it clear to her husband that she won't tolerate his philandering any longer. Though she has suspicions at times, she is willing to trust to a point that he is keeping his word. Ms. Stanwyck makes her pain evident, but also shows us Jessica's strengths - especially when she finally confronts her chief nemesis, Isabel (for an interesting discussion of the scene, please visit this review by Jeanine Basinger in The New York Review of Books. It includes a review of Ava Gardner: The Secret Conversations, by Peter Evans and Ava Gardner in which Ms. Gardner alleges an affair with Ms. Stanwyck's husband, Robert Taylor).
None of us are huge James Mason fans; though he is at his best when there is something a bit shady about the character. This film is no exception. Mr. Mason has no problem with making Bran distasteful and weak; the result however is that you know pretty quickly that he is not a fit husband for anyone, much less the caring Jessica. His interactions with Rosa Senta (Cyd Charisse, in a rare dramatic role) cut immediately to the chase. He flirts, she puts him down, saying "If I were your wife, I'd cut your heart out!" The audience totally understands her reaction; we don't even need to know that Isabel can summon him with a flick of her little finger to understand that he is spineless.
Conversely, Van Heflin as Mark Dwyer is excellent and immediately likeable. Sure, he falls for Jessica a bit too fast (but it is only an 108 minute film!) and he doesn't appreciate Rosa's affection for him, but he's a good man who has little use for Bran, and is upfront in his relations with the women in his life. Mr. Heflin, in his third appearance with Ms. Stanwyck (they had already appeared together in B.F.'s Daughter and The Strange Love of Martha Ivers) , shows an easy relationship with his co-star. There is an equality and regard in their relationship that (appropriately) is not present with Mr. Mason. Part of the reason that Mr. Heflin's character is so attractive is the regard with which he is held by Rosa Senta. She's loved him since childhood, but she is also a woman with a regard for herself. She won't accept him as a second choice. His honesty towards her; her response to their conversations make both characters attractive.
Let's also acknowledge that the women in this film are remarkable for their solidarity. Sure, Isabel and Felice Backett (aka "The Amazon", played by Beverly Michaels) are heinous people, but the interactions that Jessie has with Helen Lee (Nancy Davis) and Rosa, and the love that Nora has for her daughter demonstrate that not every female discussion results in a catfight. These women are protective of Jessie. Ms. Davis, (in her first screen role; she was on the set of this film when she met her future husband, Ronald Reagan), says it best, when she decries the belief "that [women] aren't capable of affection for one another and honest friendship." Rosa, Nora, and Helen show the depth of female friendships. (TCM article) Beverly Michaels was also appearing on the big screen for the first time. She was married to the film's producer Voldemar Vetluguin at the time (the marriage would end in 1952). She only appeared in 11 films (3 of them uncredited), but she's quite good in this small but memorable role. After her divorce, she married again, to screenwriter/director Russell Rouse. They were married for over 30 years, until his death, and had two children (their son Christopher is an editor). She died in 2007, at the age of 78, by which time she had become something of a cult figure as a noir-ish bad girl.
As is often the case, Mr. Mason and Ms. Stanwyck were not the first choices for the Bournes - Fred MacMurray and Claudette Colbert were the considered first. This would also be Gale Sondergaard's final film for 20 years - she and her husband Herbert Biberman were blacklisted; they moved to New York City where she was able to get work on Broadway. Finally, in 1969, she returned to the big and small screen (AFI catalog) with the film Slaves (directed by her husband) and the TV show It Takes a Thief. We'll leave you with the trailer to this excellent film.
Victor Albee Norman (Clark Gable) has just returned to New York City after several years service in the military during World War II. Vic is determined to make up for lost time by getting a job in advertising; but not just any job. He wants a high-paying one. He approaches "Kim" Kimberly (Adolphe Menjou) about employ in his agency, but Kimberly is skeptical. He has a problem client, Evan Llewellyn Evans (Sydney Greenstreet) who takes up much of the firm's time, and the only hiring he might do would be someone that would placate the troublesome Mr. Evans. Vic is quite certain he is that man as he enters the world of The Hucksters (1947) Having served as an officer in the Army Air Corps during World War II, Clark Gable returned to MGM to appear with Greer Garson in the film Adventure (1945). Advertised with the tag line "Gable's back and Garson's got him", the film proved a disappointment to all. Seemingly, there was little chemistry between the pair. It took two years for MGM to pair Mr. Gable with neophyte Deborah Kerr (Kay Dorrance) ("It rhymes with Star!" said MGM's publicity department), and it doesn't hurt that Mr. Gable also had the superb Ava Gardner (Jean Ogilvie) to bounce off of as well! This time, MGM's investment paid off, with the film making double the studio's investment.
The Hucksters is a fascinating examination of the world of advertising. Certainly, there are times when its message seems a bit over-the-top, but by and large it paints a picture of the advertising world that would later be echoed in the film The Man in the Grey Flannel Suit (1956) and in the television show Mad Men. Based on a novel by Frederick Wakeman, the film is a much sanitized version, as Gable was unwilling to play the part as originally written, calling it "filthy and not entertainment." (AFI catalog). For example, Kay in the book was not a widow - she was very much married and Mr. Gable objected to his character having an affair with a married woman. Even cleaned up, The Hucksters can be a strong indictment of the world of Madison Avenue. Take the character of Kim, and his drunken confession concerning his career's start. Or, the way in which Vic, who is by and large a good man, manipulates Dave Lash (Edward Arnold) to get what he wants. There is no question that life in this world results in a compromise of integrity if one is to succeed.
Though Mr. Gable was initially reluctant to star in the film, he was extremely supportive of his two co-stars once production started. He'd ask that Ms. Kerr do a screen test; obviously, once he saw it, he was more than satisfied - he had six dozen roses awaiting her in her dressing room. Ms. Kerr later stated that "He did everything possible to put me at my ease, and was a
man utterly without regard for himself as a film technician, or for his
status in movies." (TCM article) He was similarly supportive of Ms. Gardner, who'd had one major role the year before (she'd done a number of films, often uncredited) in The Killers. When Ms. Gardner had to perform in the night club scene (to an audience of no one - all the extras had left for the day), Mr. Gable arrived, sat down in front of her, providing her with an audience. They became fast friends, and would appear in two other films together (Lone Star (1952) and Mogambo (1953)).
Edward Arnold is excellent in the small role of Dave Lash, an agent who's client, Buddy Hare (Keenan Wynn) has caught the attention of Mr. Evans. Thanks to Gable's demand for changes to the script, the character of Dave Lash was made less charged. Mr. Wakeman's book had made much of Dave's ethnicity - his Jewish heritage was used as a club against him. Instead, the script changes Dave to a man who had had a bit of trouble in his past, but has spent his adult life trying to help children live a better life than he had. Allegedly, Wakeman built the book's character on agent Jules Stein, the founder of MCA (Freddie Callahan as portrayed by George O'Hanlon, was initially a caricature of Lew Wasserman). A tip of the hat as well goes to the delightfully crude Evan Llewellyn Evans, as portrayed by Sydney Greenstreet. Mr. Greenstreet pulls no punches in making Evans totally reprehensible. The audience is both amused and revolted by his antics, making Vic's rebellion against him a delight to watch. Also watch for Keenan Wynn as the atrocious comic Buddy Hare. His awful routine also shows up the horrid taste of Mr. Evans.
The reviews from Variety and Life Magazine were lukewarm at best (Life said: "Opposite the ladylike Deborah, Clark Gable's mannered virility seems embarrassing - something that never happened to him alongside such tough Tessies as Joan Crawford and Jean Harlow..). Regardless, the film made a respectable profit, Ms. Kerr's career was launched, and Mr. Gable was back the following year in the impressive Command Decision. We'll leave you with a scene from the movie: the introduction of Evan Llewellyn Evans and a suggestion that you look this one up.
Mogambo (1953), the remake of Red Dust is unique in that the same actor plays the lead over twenty years later. And frankly, it's hard to imagine anyone else doing it. Victor Marswell (Gable) is a big-game hunter in Kenya. Most of his work involves trapping animals for American zoos, though he will take on the occasional tourist or researcher. But when Eloise Y. (Honey Bear) Kelly (Ava Gardner) arrives, he is not prepared for the consequences. She is there to meet the Maharajah of Bungalor, who it happens, canceled his trip without informing Honey Bear. Since the next boat back isn't for a week, Honey Bear is stuck; a romance quickly develops between her and Vic. But not for long, because when the boat arrives, Vic happily shoves her on it - he assumed a brief fling, she (unbeknownst to him) had other ideas. The boat is also the bringer of business - Donald Nordley (Donald Sinden) and his wife of 7 years, Linda (Grace Kelly) alight. Donald plans on researching gorillas in the back country. Vic is at first reluctant - he considers gorillas far too dangerous, but changes his mind as he becomes attracted to Linda. Further complications ensue when Honey Bear returns - her boat broke down - the tension between the two women is palpable, as each makes her bid for Victor's affections.
Mogambo does not veer extensively from the story of Red Dust. It changes character names, the location of the action, and the reason for the visit of the Nordleys. It also extends the story somewhat. Much of this is in the nature of a travelogue. We are treated to many shots of stunning African vistas, exotic animals, all in wide-screen and Technicolor. Much of this is done to attract an audience that is dismissing film for their television - TV is not really available in color, so the film entices audiences with the promise of excitement and beauty. And viewes Clark Gable without his shirt (still a rather pleasant slight). The film was shot on location, a huge incentive for hunters Gable and director John Ford, and for Grace Kelly, who was delighted at the idea of a trip to Africa. Allegedly, Gable and Kelly also became romantically involved while there (at least according to Donald Sinden). This series of TCM articles is worth a read for many tidbits about the film.
Other actors were considered before the cast was finalized: Stewart Granger (as Victor - Granger actually suggested the remake, with himself in the lead. Sam Zimbalist, however, wanted Gable); Deborah Kerr, Greer Garson, and Gene Tierney (for the part of Linda) and Lana Turner (as Honey Bear). And while some of our group members were not impressed with Kelly (her Linda is much harder than Astor's Barbara), there was overwhelming praise for Ava Gardner. Her character has much more depth than that of Vantine - we learn a little about her past, and her gradual growth into acceptance is a big plus in liking Honey Bear. Gardner also get all the best lines. One of my personal favorites is: "The only lions I ever want to see again are in front of the public library." Spoken like a true New Yorker!
One thing that the character of Linda has that Barbara does not is more backstory. Linda and Donald are childhood sweethearts (she's known him since she was five years old). They've been married for 7 years, and she is only 27 (Barbara and Gary are newlyweds), and Linda has traipsed around the world with her husband, despite that fact that what she really wants is a set home and children. The affair with Victor becomes all the more understandable when one has all this background information - that she's been trying to sustain the marriage for many years, has been a "good sport" about her husband's penchant for exotic travel, and that she is reaching an age where the call for a family is probably quite loud (a call that Donald doesn't hear). Her husband's illness, and Victor's rescue of her from an animal trap make him Sir Galahad in her eyes. Small wonder that she falls for him.
If Gable at times seems impatient, we wondered if it could have been the difficulties he was having with John Ford, who resented Gable's need for retakes (Gable - compromised by years of drinking - now suffered occasional palsies, that would come unbidden. He would need to reshoot scenes if they popped up onscreen).
The one problem with the remake is there seems less reason for Victor's attraction to Linda. Certainly, Kelly is a beauty par excellence, but Gardner is no slouch in the looks department, and demonstrates a sense of humor and good fellowship that Linda sorely lacks. Yet, Gable shows his to Kelly attraction immediately: Victor's eyes light up
when he sees Linda, but there is a gentleness behind it, almost out of character for the rather gruff Victor. Nevertheless, it does make Victor more attractive - he is not the "two-legged boa constrictor" Honey Bear describes in his relations with Linda. And even 20+ years older, Gable is stunning - he mesmerizes on the screen, and it is perfectly understandable that Zimbalist would want him rather than Stewart Granger. No one else could duplicate the role; Gable is too dynamic.
Stories abound concerning the difficulties of working with John Ford, and as noted above, this film was no exception. Eventually, Gable came to terms with Ford, who had not, it seems, ever seen Gable in Red Dust. But Gable was not the only one to suffer Ford's wrath - Donald Sinden was also a victim - the ultra-Irish Ford decided to blame the English Sinden for the troubles in Ireland!
It was Ford who insisted on Grace Kelly for the part of Linda; and, both Kelly and Gardner were nominated for Oscars for their work on the film. The film also - at Ford's insistence, does not have a soundtrack. He wanted, and got - animal sounds and native music to be the background to his story.
We'll close with the scene in which we meet Honey Bear - a scene "borrowed" from the original film. Interestingly, according to this AFI article, the Censorship Board had problems with the scene; "the PCA believed the shower scene 'involved too much exposure' and demanded that some footage be eliminated" The ruling was protested (and, it seems MGM's Robert Vogel won). See if you agree (the dialog is in Spanish, but a picture is worth a thousand words):
