Jean is No Angel

Ambulance driver Frank Jessup (Robert Mitchum) is wooed by Diane Tremayne (Jean Simmons) after he responds to an emergency call involving Diane's stepmother Catherine (Barbara O'Neil). Diane convinces him to accept a job with her family as a chauffeur, ostensibly to help Frank earn enough money to open a garage. However, Diane has other plans for Frank.  Our film this week is Angel Face (1953).

One of the great attractions of this film is the presence of three really strong women.  Mona Freeman, who finally gets to play a character with gumption; Jean Simmons playing the determined murderess; and Barbara O'Neill as the bane of Ms. Simmons existence.  These are all performances worthy of these excellent actresses.

Jean Simmons stars as the malevolent Diane, who hungers to again be alone with her father.  In the way is her wealthy stepmother, Catherine.  When Diane meets Frank Jessup, she sees him as a possible accomplice in the removal of her stepmother from Earth. Ms. Simmons is excellent in the role that she really didn't want. She was under contract to Howard Hughes, who was furious at Ms. Simmons for cutting her hair, and with 18 days left on her contract, forced her into this film. Mr. Hughes told director Otto Preminger to make the set as uncomfortable for Ms. Simmons as he could, so Mr. Preminger felt quite comfortable slapping Ms. Simmons one day when he was annoyed with her.  He came to regret his actions - Robert Mitchum punched him back in retribution (TCM article).

Once Diane sees Frank, she is determined to lock him in.  That means getting him away from his long-time girlfriend, Mary Wilton (Mona Freeman). Frank is quick to cheat on Mary - we wondered how many times he had done this before. While Mary is willing to give him the benefit of the doubt in the beginning, a meeting with Diane makes Mary question her feelings for Frank.  Ms. Freeman plays the character with resolve.  She's no meek mouse allowing a man to get away with anything.  She wants her man to love her, not every female in the vicinity.

Catherine Tremayne, on the other hand, is satisfied with being second in her husband's life. She's aware that her writer-husband (who's been unable to produce a book for years) married her for her money. But he has affection for her, She is generous to him, and to Diane, but Diane is obsessed with her father, and sees Catherine as a barrier to her relationship with her father. Barbara O'Neil paints a portrait of a warm woman who is being maligned by her ungrateful stepdaughter.

Which brings us to the male members of the cast.  Robert Mitchum does a good job playing a not very strong man - Diane especially leads him around by the nose.  Shortly after we meet Frank, he's lying to his long-time girlfriend - and we don't trust him. Frank is a fairly unambitious man. He's interested in Diane, but it's a lazy kind of interest.  

Herbert Marshall (Charles Tremayne) is a good companion to Frank - he too is subservient to the women in his life - both Diane and Catherine.  Charles is weak and has lost any drive he might have had. One can see Frank becoming the same person in later years. 

The story was loosely based on the case of real-life case of Beulah Louise Overell and George Gollum who were accused of killing her parents (AFI Catalog).  The New York Times review by Howard Thompson (H.H.T.) was unenthusiastic, but this is an excellent, dark movie, with references to Out of the Past, Double Indemnity, and The Postman Always Rings Twice, without being a copy of any of them.  For more detailed information on the film, I invite you to view Eddie Muller's Noir Alley intro and outro to the film's airing.  Here's a trailer to give you a peek at the picture.

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:

Barbara Gives Up Everything

Barbara Stanwyck desperately wanted to play Stella Dallas (1937), despite the fact it that it would be the hardest part she had played up til that point.  In Victoria Wilson's epic biography of Stanwyck, A Life of Barbara Stanwyck: Steel-True 1907-1940, the author goes into some detail on Stanwyck's remarkable performance as Stella Martin Dallas and Stanwyck's efforts to get the job.  Stella is a working class girl, who lives in the small factory town of Millhampton, Massachusetts.  She is attracted to the new man in town, Stephen Dallas (John Boles), the son of a wealthy family.  His money lost, his father dead, Stephen has escaped to Millhampton, to take a job and try to put his life back together.  In doing so, he has abandoned his fiancée, Helen (Barbara O'Neil).  Stella and Stephen date, eventually marrying.  At first, she says she is eager to become like him, but after a year of trying to live his life, she wants more fun, with the people she understands.  However, the Dallases now have a little girl, Laurel (who will grow up to be Anne Shirley), and though Stella and Stephen bicker constantly, they agree on one thing - Laurel is the center of their world.

It's interesting that the studio originally wanted Ruth Chatterton for the part, and it is not unlikely casting - she had done a similar role in Frisco Jenny.  But Stanwyck IS Stella Dallas.  She takes a woman who could become unappealing and ridiculous and creates a character with appeal and sympathy.  Her Stella is a lonely woman, stuck between two worlds, unable to find her place in either of them. Her only pleasure is her child, for whom she will devote her life, and for whom she wants the best things in life - the life that ultimately only Laurel's father can give her.

 

Also excellent is Anne Shirley as Laurel.  Shirley gives us a portrait of a girl who dearly loves her mother, and while she doesn't have her mother's same way of dressing, she sees nothing odd about this woman who is a fashion nightmare.  It isn't until she hears others ridiculing her mother that she realizes how outlandish her mother appears.  Laurel's desire to whisk her mother away from these people is a mix of embarrassment and the desire to protect Stella from hurt.  Even when Laurel believes that her mother doesn't want her around, there is still a deep love on the child's part.  In her heart, she knows that Stella will never reject her.  Interestingly, the studio originally wanted Bonita Granville for the role, but she was deemed too young for the older Stella. 

Another impressive performance is that of Barbara O'Neil; her character is so idealized - the perfect society woman, perfect spouse, perfect mother - that it would be easy to just make her a caricature, but O'Neil carefully makes Helen genuine and sympathetic.  The scene between her and Stanwyck is magnificent, each accomplishing communication with their eyes and body that hearkens back to the silent era, but still retains the subtlety of the conversation.  It's a truly heartbreaking scene.

We can't forget the men - especially John Boles, who is also not afraid of making Stephen a bit unattractive.  Though Stephen tells Stella not to change, ultimately, that is what he is trying to force her to do.  And while we may not agree with Stella's wardrobe or attitudes, she is correct in her comment to him that SHE is the one who always has to change, not him.  And though this is not a pre-code film, there is the slightest implication that he is living with Helen while still married to Stella. 

Alan Hale as Ed Munn creates a character that is a companion to Stella, but clearly not a romantic interest.  Where Stella is over-the-top in her garb and attitudes, Ed is crude, foolish, and finally, a drunk (Stella, interestingly, never drinks).  We can't really like Ed - Hale doesn't let us, and with good reason - we need to understand why Stella will never be with him.  This TCM article comments briefly on Hale's outstanding performance.

Costumes for this film were by Omar Kiam, and he does a good job of defining the characters of Stella and Laurel through their dress.  The story was reprised by Ms. Stanwyck, Mr. Boles, Ms. Shirley, and Ms. O'Neil on the Lux Radio Theatre in October of 1937. 

I also wanted to bring to your attention this excellent salute of Stanwyck by Laura Dern, in which she comments that this is "one of the great performances of all time".  Be aware (if you've not seen the film before) that you WILL see the conclusion in this clip.  If you've seen the film, it will provide a reminder of how stunning Stanwyck is as Stella's story concludes.

We will leave you with the film's opening.  Next time, more Stanwyck!