Jerry Young (Fredric March) is an American flyer during World War I. Stationed in England with his colleagues Mike Richards (Jack Oakie) and Henry Crocker (Cary Grant), the team is eager to get to France and see some action. But when they get their orders,Young finds that the emotional and physical toll is more than he counted on. Our film this week is The Eagle and the Hawk (1933). This is not a film for the faint at heart. It's tough-minded and there is nothing uplifting about it. Every second of it is a condemnation of war and its barbarity. It's also well-paced and to the point - in a brief 73 minutes we learn all we need to know about the life of this flyer squadron in general and about Jerry Young in particular. Fredric March is excellent as a man who is much too good at his job, and who is tormented by the demons of those who he has killed or have died with him. Early in the film, he is devil-may-care - excited to begin fighting the good fight, as he sees it. But, much like the men in The Way to the Stars (1945), that eagerness doesn't last long, and in Jerry's case, gives way to horror and despair. One scene that is especially striking occurs late in the film. Jerry is on R&R, and is attending a dinner party in the home of a wealthy family. After being bombarded by congratulations on his kill record and on his bravery, he attempts to leave. However, more is in store - the wife of the family brings down her small son, a lad of about 8 who wants to know all about the war. "Don't you like to kill the enemy" "What do they look like when they fall? Are they on fire? Do they explode with a great, big bang?" the eager child inquires. The look of revulsion on March's face tells us all we need to know of the agony he is experiencing.
This is a very early effort in Cary Grant's career, and so the character we get is very different than the actor we are used to from his later films. Henry can come across as petulant at times, but Grant is able to demonstrate Crocker's resentment and anger at what he feels is a bias on Jerry's part. Crocker is NOT an attractive character - in one scene, we watch as he shoots at an enemy pilot who has parachuted from a disabled plane. At the same time, it's hard to argue with his rationale - a dead man is not going to kill either Crocker or his colleagues. In the end, we appreciate the grudging respect that Jerry and Henry have for one another; but where Henry feels that morals have no place in war, Jerry cannot disassociate from his ethical code, no matter the cost. Mr. Grant was not originally cast in the part - it was intended for Gary Cooper, who had to bow out due to conflicts (AFI catalog).
Carole Lombard had already appeared in 37 silent and sound films, including The Racketeer and No More Orchids, both starring roles. Her work here is very short - she is only in about two scene, both towards the end of the movie. Regardless, the scenes are crucial in better understanding Jerry Young. Ms. Lombard's character doesn't even have a name - she is billed as The Beautiful Lady - however you will remember her after the film ends. Importantly, these are not the start of a romance, rather, it is a woman who comprehends far too well what this soldier is going through, and who seeks a way to relieve his pain, albeit temporarily. Ms. Lombard had hoped for more to do in the film; alas it was not to be (TCM article). The next year, she would finally get the opportunity to show her comedic chops in Twentieth Century; her real breakthrough was in My Man Godfrey in 1936. Jack Oakie spent much of his career in comedies; while Mike gets the humorous lines, his part is in no way comedic. None of us were particularly fans of Mr. Oakie, but he's very good in this role. It is perhaps the kind of part he should have had more of an opportunity to perform.
Most of the reviews were positive: The New York Times, The Hollywood Reporter, and the Pre-code.com blog all expressed their regard for the film. Only Variety logged complaints. We wondered if this film might have had an impact on the pacifism that kept the U.S. out of World War II until 1942. It certainly is a film that makes demonstrates the pointlessness of war. We'll leave you with this scene, in which you'll see both Mr. March and Mr. Grant.
In 1940's Vigil in the Night, Carole Lombard stars as
Anne Lee, a dedicated nurse in a small English town. Anne loves her
work, and has convinced her younger sister Lucy (Anne Shirley) to follow
in her footsteps. Though almost through with nursing school, Lucy
doesn't have Anne's dedication; as a result of her neglect, she allows a
young child to die. Rather than let Lucy be ousted from nursing
school, Anne assumes responsibility for the child's death; she is fired
from her job, and forced to leave town. She ventures to Hepperton,
where she joins the staff of a local hospital, and gradually assumes
positions of greater responsibility. She also finds herself working
with the similarly dedicated Dr. Prescott (Brian Aherne). However, the
appearance of a nurse from her old job, Lucy's involvement with a local
man, and an epidemic in Hepperton all work to create problems for Anne.
Sure,
this is melodrama, but it is melodrama at its best. Ms. Lombard shines
here as a woman whose career is the most important thing in her life.
In the hands of a lesser actress, Anne could have come across as preachy
or shrill. But Lombard's Anne shines when she talks about nursing. Her
Anne is what a nurse SHOULD be - an idealized portrait of a woman who
values human life and the ability to bring comfort to the sick. She is
ably assisted by Anne Shirley (who's Lucy is the poster child for the
person who should NOT enter nursing school, and whose selfishness makes
you want to smack her in the film's early scenes.), and Brian Aherne (an
equally idealized doctor, Aherne also carefully avoids the maudlin).
Vigil in the Night
really is a neglected Lombard masterpiece; a film that is rarely seen
or discussed when talking about her (painfully short) career, but one
that should be looked at more often. We really enjoyed it, and suspect
you will as well. Take a look at this clip, to get an idea of what is in store:
Today, we again visit the pre-code world for Carole Lombard's 1932 film Virtue.
In it, she plays Mae, a young woman with a "career" on the streets,
who is literally run out of New York City on a rail (on what is today
Metro North, to be exact). She has no intention of leaving the City, so
she bails off the train at 125th Street, where she meets Jimmy Doyle
(Pat O' Brien), a smart-mouth cabbie who disdains marriage and women.
Mae runs away without paying her cab fair, much to Jimmy's disgust;
however Mae decides to go straight. Once she has the money, she seeks
Jimmy out to return the fare. After some difficulties, they fall in
love, and decide to marry. Of course, once they marry, Jimmy finds out
about Mae's past. He decides to forgive her, but of course, with
forgiveness does not automatically come trust.
Ms. Lombard is just
wonderful here as Mae. She is sympathetic, but tough. You never
forget her past, but you (as the audience) are far more aware of how far
she has come than the rather dense Jimmy. Pat O'Brien is quite good as
well playing a tough guy. You do want to smack him occasionally for
his stupidity, but I think we ultimately want him with Mae. Perhaps she
deserves better than him, but she loves him, and he is really not a bad
guy. Here, our couple have a conversation:
It is also nice to see Ward Bond (as Jimmy's pal Fran), who
is, as always, wonderful. He makes a small part something to look
forward to. Another treat is seeing Mayo Methot (the one time Mrs.
Humphrey Bogart) as Mae's best friend Lil Blair. Ms. Methot never
actually looked young! And certainly her somewhat hard features
complement the part of a hooker who has tied herself to a rather
disagreeable - and dishonest - lover (said boyfriend is played with a
good deal of slime by Jack LaRue).
Another Lombard movie that
doesn't get enough play, we think. Plus, as a precode film, you get the
extra bonus of something a tiny bit (by later standards) racy.
Lady by Choice from 1934 is an absolute delight. In it,
Carole Lombard plays fan dancer Alabam (Georgia) Lee, who finds herself
in court as the same time as Patsy Patterson (May Robson), a former
entertainer turned homeless drunkard. Patsy has friends, however -
Judge Daly (Walter Connolly) and Johnny Mills (Roger Pryor), a
wealthy young man whose father requested he always look after Patsy.
Patsy, Like Alabam, is a gutsy lady, who speaks her mind. As a result,
when Alabam's agent convinces her to adopt a mother (for the publicity),
it is Patsy she selects. And Patsy, who immediately adores Alabam,
tries to change her new daughter's life for the better, but not always
with the best of results.
May Robson is just
adorable. She gets most of the good lines, and you want to take her
home with you. Lombard's role is also quite rich. Alabam is a
kind, gentle soul; she loves deeply, and is a caring person. Badly used by her agent, she finds herself almost penniless, but still tries to
support Patsy's goals, to make her a legitimate performer, despite her
lack of self-confidence. We have, of course, some romantic
complications. Alabam falls in love with Johnny Mills, but Patsy thinks
that Alabam is after him for his money. It causes some strife, but all
comes right in the end!
This is one that I think most people have not seen. Give it a try. I think you will find it is worth your time. We'll leave you with a scene with Ms. Lombard and Ms. Robson.
If you've seen Singin' in the Rain, then you are familiar with the comic take on the beginning of sound films. The Racketeer,
from 1929, is an actual example of this phenomenon. The film features Carole Lombard as a
former society lady named Rhoda Philbrook, who left her husband for a
violinist Tony (played by Roland Drew). The only problem is, Tony is a drunk
and now Rhoda is reduced to cheating at cards in order to get enough
money to live. While working the tables, she meets the racketeer of the
title, Mahlon Keene (Robert Armstrong). He is smitten with her, and
eventually offers her marriage. Thinking her life with Tony is over,
she assents. But then, her life gets complicated. By today's
standards, this is not a good film. It is static and somewhat boring at
times; resembling in some ways a filmed play (with a lot less
movement). BUT it is an excellent sample of how the survivors of
silents were coping with the advent of sound. Of course, the actors
don't move very much. The film is very talky, but you can see the
beginning of something great. Lombard is lovely in the lead, and seems comfortable in the new mode (though some vestiges of silent film acting
remain). Armstrong (who never has been a favorite of mine), is fine as
Mahlon. He is stiff, but much of that is probably the camera restrictions. While there is not a lot to in this film to make it appealing, do give
it a look. It is a window back into the past - a baby step in the growth
of a new industry. TCM had a very nice article about the film during a Lombard festival.
In 1933's Brief Moment, Carole Lombard plays Abby Fane, a
nightclub singer who is loved by - and loves - wealthy Rod Deane (Gene
Raymond). Despite the objections of his family, Rod and Abby marry, and
have an extensive honeymoon in Europe. When they return to their home
in New York, they find that the home that Abby has hoped to design has
been completely done over by Rod's dilettante friend, Sigrift (Monroe Owsley), who
spends most of his time encouraging Rod to overspend and over-drink.
Abby is heartbroken at her husband's lifestyle, finally telling him that
he has one choice - to find gainful employ, or to lose her.
One thing that is rather odd about this film is the relationship between Rod Deane, his brother Franklin, and their
father. Mr. Deane runs a huge business, yet he has totally cut his
sons out of the running of the enterprise. Son Franklin is a
vice-president, but does nothing all day but play the horses. Why?
Because his father will not share the responsibility of the firm. One
wonders what will happen when Mr. Deane is no longer able to work. Then again, Mr. Deane isn't working all that much - he is MUCH more interested in his stable of horses. Given that the action is contemporary to 1933, one wonders how the family survived the Depression with their wealth intact. One interesting scene involves the writing of a check - we see the monthly allowance that is going to Rod - $4,000. In 1933, that would have been more than the yearly salary for most people. One can only imagine the shock of seeing that number being given out to a young man who is doing absolutely nothing with his life.
While
this is a slight little movie, the costuming is wonderful (Carole has
some lovely dresses), and our Ms. Lombard is just lovely as the noble
Abby. Abby is reserved and gracious - she has much more "class" than her upper-class husband and his obnoxious family. Gene Raymond is fine as Rod (though Raymond is not one of our
favorite actors). It is interesting to see Donald Cook again (just two
years after he appeared in Public Enemy). The actor that stands out, though, is Monroe Owsley, who is (again) playing a cad. He does it so well, and when he is on screen, he is fascinating to watch.
Certainly not one of Ms. Lombard's best films, but certainly worth a quick look.
Carole Lombard's 1932 film No More Orchids is a delight
from start to finish. Wealthy Anne Holt (Carole Lombard) is used to
getting what she wants, until she meets Tony Gage (Lyle Talbot). He has
no money, and she is engaged to royalty, but love blooms, and Anne is
quite willing to give up her wealth and position to be with the man she
loves. But, there is a fly in the ointment - her grandfather (C. Aubrey
Smith), a rather malevolent individual who will use anything in his
power to manipulate Anne into wedding his choice - Prince Carlos.
The
cast here is just magnificent, especially Louise Closser Hale as Anne's
outspoken grandmother. Hale is an absolute riot, and makes the
picture. From the second we see her, Ms. Hale steals the movie, and you
look forward to her every appearance. Also wonderful is C. Aubrey
Smith as Anne's nasty grandfather. The cameraman (Joseph August), has a
field day, filming Smith at angles, and with lighting that make him
appear as the devil. And Smith seems to relish the cruelty that Mr.
Cedric delights in imposing on those around him. Finally, there is
Lombard, who is just lovely as Anne. She is funny and sweet; running
the gamut from spoiled brat to loving daughter, without being maudlin.
One
interesting detail about the film is that it is a pre-code. That
becomes apparent when Lombard spends the night with Tony, and he later
makes a comment that casts aspersions on her "honor". (She has been
forced to break up with him; he doesn't know why and believes she has
been toying with his affections.) It's quite suggestive!
We strongly recommend this neglected classic. Here's a scene from the film:
This week, we look at a very pre-code (though it was released in
December of 1934, after the code was being enforced) Lombard film The Gay Bride.
Released in 1934, Lombard plays Mary, a woman determined to land
herself a wealthy husband, even if his "job" is not exactly legal. Her
"mark" is Shoots Magiz (played by Nat Pendleton), a rather dopey,
but deadly bootlegger, who is feeling the results of the repeal of
Prohibition. Shoots' assistant, Office Boy (also known as Jimmy, and
played by Chester Morris), takes an immediate dislike to the
gold-digging Mary, but still tries to warn her that a marriage to Shoots
has no prospects, either financially or health-wise. Mary, however, is
convinced that she can amass enough money in the marriage to set
herself up for life (and if Shoots' life span is shortened, all the
better).
Let's just start by saying that, wonderful
as Lombard always is, her Mary is hard to like. She is involved with
the mob for the money, and does not care how Shoots, or his inevitable
successor GETS that money. She is constantly warned of the dangers, by
Office Boy and by her best friend Mirabelle (ZaSu Pitts), but ignores
them until she is in so deep that it seems there is no way out. And
while Shoots is a blithering idiot who is easily manipulated by the much
smarter Mary, her relations with Dan Dingle (Sam Hardy) and Mickey the Greek (Leo Carillo) demonstrate that she is going from bad to worse to HORRIBLE.
Much
of the comedy comes from ZaSu Pitts' rather mournful countenance, as she
watches Mary get deeper into trouble. But, Lombard holds her own
comedy-wise, as she flits from man to man, in search of her fortune. Of
particular note is a scene in which Mary decides to get rid of her
ill-gotten gains. Clearly, this is a film that
must have squeaked by the censors, for certainly Mary is a prostitute,
living with criminals, yet is not punished for it. Take a look at the
costuming in the movie - it has some marvelous dresses designed for
Lombard by Dolly Tree. Of particular note was a "mourning dress" that
she wears in the middle of the film. Take a look at this clip for a glimpse into the film:
After a bit of a pause, thanks to the holiday season, we return to
our blog posts. We are revisiting Carole Lombard, beginning with her
1938's Fools for Scandal. In it, Ms. Lombard is Kay Winters, a movie star trying to tour Paris incognito. She runs into Rene
(Fernand Gravet), a man so broke he has to keep pawning his only two
suits of clothing. He is fascinated with her, and begins to pursue her
romantically. She finds him attractive, but is in France with her
boyfriend Phillip Chester (Ralph Bellamy), and has all but promised to marry him. Of course, hijinks ensue.
This
is a VERY odd movie. For one thing, it cannot decide if it is a comedy,
romance or musical. We have Ms. Lombard and Mr. Gravet speaking the
lyrics (a la Rex Harrison) of a Rogers and Hart song Fool for Scandal. According to The Richard Rogers Reader (available on GoogleBooks) and Lorenz Hart.org,
several other songs were dropped from the film. And while the film has
this song and two others, it isn't REALLY a musical (and it probably
doesn't help that the leads can't sing!!)
That being
said, this film is goofy and fun. We particularly enjoyed a scene in
which a newly awakened Kay is visited by all the women she knows, eager
to discover if she spent the night with Rene. Lombard's sarcastic digs
at the women (in particular her "friend" Lady Paula Malverton,
played with some degree of bitchiness by Isabel Jeans) Also hysterical
was a scene in Ralph Bellamy does a little dance of joy.
Lombard
is, as always a joy. Gravet, who did not have a huge career, is fine
as Rene. Ralph Bellamy is his usual (in this era) nebishy self, but
still funny. While not one of her best, this is a film that is worth a
viewing, if only to see Carole attempt a song.
Some time ago, we did a Carole Lombard film festival. There were a
few movies we didn't get to see because we couldn't lay hands on them,
but we finally got a copy of 1934's Twentieth Century, a
delightful comedy in which Carole trades tirades with John Barrymore.
Would be actress Mildred Plotka (Carole Lombard) comes under the spell
of producer/director Oscar Jaffe (John Barrymore). Their professional
partnership results in a name change (to Lily Garland) for Mildred, as
well as fame and fortune to them both UNTIL yet another fight results in
a rift that drives Oscar into near bankruptcy. His solution - woo Lily
back into his latest play, featuring her as Mary Magdalene. As they
say, high-jinx ensue.
This is a very funny movie, but it is LOUD.
Neither Oscar nor Lily believe in talking - they scream, screech, yell,
bellow, cry, but they NEVER just talk. Much of this movie resembles an
old fashioned farce, with lots of noise, slamming doors and just
generally weird characters. Some good character actors here - including
Walter Connolly as the much put-upon Oliver Webb (Oscar's favorite hobby
is firing poor Oliver), as well as Oscar's other aide Owen O'Malley
played with gusto by Roscoe Karns, Of course, one really does want to
see Barrymore and Lombard together, as they duel endlessly. And then,
there is Oscar's oft repeated line "I close the iron door..." Here's a little montage of the action:
Our thanks to Carole and Co.
blog for mentioning our efforts here. It was just a coincidence that we
had another Carole movie in the pipeline. We hope to find a few more.
In the meantime, we also hope for some other fine performances down the
road.
This week, we watched Nothing Sacred, a screwball comedy
which stars Carole Lombard as Hazel Flagg, a young woman from Warsaw, a
tiny New England town, who is diagnosed with radium poisoning. When
reporter Wally Cook (Frederic March) is looking for a story to get him
back on top, he hits on Hazel's misfortune as a means to re-ingratiating
himself with his boss. Only problem is, Hazel has since found out that
her doctor (Charles Winninger) was mistaken. She's fine. Hazel however,
wants her free trip to New York City (the gift promised by Wally), and
to get out of Warsaw, so she conceals her health, and goes to town as
the Martyr Who is About to Die. (My favorite line: "It's kind of
startling to be brought to life twice - and each time in Warsaw!")
In
some senses, it feels as though the writers wrote themselves into a
corner, and couldn't get out. They need a way to end it, so they do,
but whether it exactly works, is a matter of opinion. However, this is
screwball comedy, so on some levels it doesn't really matter. Ms.
Lombard is adorable as Hazel; loving the attention she is getting, but
horrified because people seem to so genuinely care that she is dying.
And, of course, falling in love with Wally who ALSO thinks she is about
to die. Here's a trailer:
There is also a great deal of wonderful character support
here. We were particularly tickled by a brief, uncredited appearance by
Hattie McDaniel, as the wife of a man pretending to be a Middle Eastern
potentate. One word from her, and we were laughing. You can't miss
that voice. Even without the closeup that we never got, we knew it was
her! Another delightful surprise was Margaret Hamilton as a local
neighbor of Hazel. She doesn't have a huge part, doesn't even have a
lot of dialog, but again, she is hysterically funny. We loved it.
Interesting to note is that both actresses were 2 years from their
breakthrough 1939 performances in Gone with the Wind and The Wizard of Oz.
The poster that we have attached to the posting is misleading, as is much about this movie. First of all, Now and Forever is
not REALLY a Shirley Temple movie. Miss Temple gets third billing
behind her co-stars, Gary Cooper and Carole Lombard, and doesn't appear
in the movie until about 15 minutes into the action. And while she
sings one little song (to entertain her little friends at a party),
there is no dancing to speak of. This movie is really about Gary Cooper,
who plays Jerry Day, a ne'er-do-well who supports his fancy lifestyle
by running small-time cons. Carole Lombard is his wife, Toni, who has
willingly taken the ride with Jerry, but is beginning to find it
wearing. When she discovers that Jerry has a small daughter, Penelope,
and that he is willing to "sell" her to support their lifestyle, she is
horrified. One look at little Penny, though, and Jerry is smitten. He
takes his daughter back from his in-laws, heads to Paris to reunite with
Toni, and begins to attempt an honest life. But temptation comes in the
form of Felix Evans (Sir Guy Standing), a jewel thief who wants Jerry
to work for him.
We said before that much about the movie was
misleading. As it opens, we get happy, bouncy music, some of it from
other Shirley Temple movies. Would an audience, already familiar with
Temple's films from earlier that same year Stand up and Cheer and Baby, Take a Bow
be stunned by this very serious movie, which is really about Jerry, NOT
Penny. Would they expect our little heroine to dance (not just tap her
feet)? Would they expect to get a few songs? As we mentioned, they
don't get that at all, for Penny is merely the catalyst to complicate
Jerry's life and force him to re-evaluate his choices.
Lombard,
too, has a minor part to Cooper. Her one lovely scene is when she is
alone in Paris, trying to decide on her life with Jerry. The emotions
that play across her face tell you everything in just a few moments, and
point out her power as a dramatic actress. We have some interplay
between her and Temple, as they struggle to become mother and daughter,
but otherwise, Carole is just there to look attractive. Here's a scene with the three of them; if you can take your eyes off little Shirley, you are a stronger person than we are:
The ending
says it all. It is, again, about Jerry - he will have to pay for what
he has done (after all, this is code movie). Little Penny will be happy
(he has made sure she will be cared for); even Toni (it seems) will have
a place in life. But Jerry, who just cannot find a way to be honest,
must make recompense for what he has done.
One more Carole Lombard movie to go. See you next week.
This week, we watched True Confession, with Ms. Lombard,
Fred MacMurray, and John Barrymore. It is surely interesting to see her
reunited with not one, but two of her prior co-stars, and, at least for
MacMurray, in such different parts. Lombard's Helen is nothing short
of a compulsive liar. There isn't a problem she won't try to fix with a
lie. Her husband, Ken, is the total reverse - a lawyer who despises
liars, and won't take on a guilty client (which makes him a very
underemployed lawyer indeed). When Helen is accused of murder, Ken's
insistence that she own up to her guilt ends in another lie, and in
creating a celebrity couple. And, when John Barrymore enters the
picture, hijinks ensue. Watch Carole lie her way out of a creditor repossessing a typewriter:
Certainly this movie easily fits into the screwball mode, and while it is no Love Before Breakfast, it isn't My Man Godfrey
either. Our group had rather mixed reactions to Ms. Lombard - one
person describing her performance as "shrill". But all were agreed that
it was at times quite amusing. Though, we did want to take Ken and
launch him into outer space. He is rather a self-absorbed piece of work.
Insisting his wife not work, because it will look like he can't support
her. And of course, he can't. His ethics won't allow him to represent a
guilty client. One can feel for Helen's predicament being married to
such a prig. As for Barrymore, his Charley is just weird. Not as manic
as the character he played in Twentieth Century, but certainly cut from the same eccentric cloth.
Next week, we visit Carol in the land of another star. Much smaller,and with curlier hair. Tune in then.
This week's movie was The Princess Comes Across. After
last week's odd outing, this was a welcome relief. Our Carol is the
Princess Olga, on her way from Sweden to become an actress in Hollywood.
Except, we quickly find out she is actually Wanda Nash from Brooklyn, a
wannabe actress who will do anything to get her Hollywood break - even
pretending to be a bargain-basement Greta Garbo. On the cruise ship,
our little princess meets King Mantell, a successful concertina player,
who is eager to get better acquainted. It doesn't take too much
convincing for the Princess to decide that she really rather likes
concertinas (despite the disgust of her traveling companion, Lady
Gertrude, aka Gertie, played with great verve by Alison Skipworth).
It
appears we are in line for a boy-meets-girl, boy-almost loses girl
story, but no. Wanda and Gertie are being blackmailed by Robert Darcy
(Porter Hall, at his unctuous best). He'd already tried to pry some
money out of King (who has served time in prison), but King isn't
interested in paying for his silence, so Darcy goes after Wanda. And
then ends up dead. In Wanda's room. And, so King decides to join the
search to find the murderer.
We loved Carole Lombard's phony
Swedish accent ("ney, ney") - an obvious nod to MGM's most famous Swede,
the ever wonderful Ms. Garbo. And it was a pleasure to see Fred
MacMurray paired with William Demarest (many, MANY years before they
became a TV "couple"). MacMurray seems to be having a lot of fun with
the part, as is Ms. Lombard. The murder plot is rather convoluted, but
who really cares. I don't think you will even remember who committed
the murder (or why), but you'll have a good time regardless.
A big thumbs up for this one. Here's a scene of Fred MacMurray singing (and playing a concertina. Not bad for a saxophonist!) Join us next time for True Confessions.
Our Carole Lombard focus this time is 1936's Love Before Breakfast. In the spirit of honesty, let's just start by getting it out in the open - we just DIDN'T
like this movie! Try as they might, this trio of excellent actors
(Carole Lombard, Preston Foster, Cesar Romero), could not make this mess
of a script into a cohesive whole. First off, the title - just WHERE
did they pick this title from? It made no sense, bore no relation to the
movie at all. Next, there is the relationship between Kay Colby (Carole
Lombard) and Scott Miller (Preston Foster). All they do is fight. And
fight to the point where it is ridiculous. I won't go into the ending
here, but just watch it. It makes no sense, and is just plain stupid.
Compare it to a similar ending in My Man Godfrey, where the ending is
handled brilliantly. Though it has been a long time since I've seen it
(and one of my viewing companions has not see it at all), we wondered if the screenwriters
were trying to recapture the screwball silliness of Twentiety Century. Regardless, it doesn't succeed.
Another
problem with the film is that it brings in elements, and then doesn't
use them. For example, very early in the film, Scott discovers that
Bill Wadsworth (Cesar Romero - here, for a change, not playing a Latin
lover or Indian houseman) is seeing another woman, though he is engaged
to Kay. So, to get rid of Bill, Scott ships Bill abroad (Bill works for
him), and tells Kay that he did it purposely, but NEVER tells her that
Bill is not faithful to her. WHY? Scott blabs everything else. Why not
that? And if he is not going to use the information, why do we need to
know it? It's dropped out there like some kind of time bomb, then turns
out to be a dud that never goes off.
And then there is Kay. She is stubborn beyond belief! Trapped in a small boat that is about to be
swamped by a storm, she refuses to come aboard Scott's large, warm, DRY
yacht. Bill (who has returned from his work abroad) is so drunk he can't stand up. The pair can't hide below decks
because it is already full of water. So, all they can do is sit on the
main deck, getting drenched and wait to be swept overboard. Could anyone
be that antagonistic towards someone that they would die for it?
So, not exactly one we can recommend. I'm sure we will find The Princess Comes Across much more enjoyable!
This week's movie is Hands Across the Table (1935), with Carole
Lombard playing Regina "Regi" Allen, a manicurist who longs to marry
up. When she meets Theodore Drew III (Fred MacMurray) she thinks she
has found the love of her life - he is funny, he is from an old family,
she is instantly attracted to him. Only problem is, he has no money, no
job, and no inclination to work. Oh, and he also is planning to marry
up - and in fact has found his "dream girl" - the wealthy Vivian Snowden
(played by Astrid Allwyn). When Ted gets drunk on a date with Regi, he
misses a cruise ship to Bermuda. With no money, and unable to go home -
since he is living with his finance's family, and they were the one's
who sent him away - he rooms with Regi while he waits for his wedding
day.
We were intrigued by this look into the past - a world were
MEN are the ones getting the manicures, not women! It's pretty clear
that Regi is working as a manicurist so that she will meet wealthy men.
And while we see several male clients in the shop (and on Regi's client
list), we only see one woman (and she doesn't want a manicure). And
while men still do get manicures, how many men do you see as you walk by
the nail salon in your neighborhood?
Fred MacMurray is always an
interesting actor to watch. His career has been so varied, it is nice
to be able to discuss him within the context of his entire body of
work. His early work (like this film) generally cast him as the
romantic hero; sometimes serious (as in Alice Adams), sometimes goofy (like here). But then he segwayed into slick villain roles (like The Caine Mutiny and The Apartment). And finally, becoming the family's favorite father in a string of Disney movies and the long-running TV series My Three Sons. An amazing amount of excellent work, and a tribute to his versatility an actor!
We
have another male lead - Ralph Bellamy as Allen Macklyn, a flyer
crippled in an accident. The film opens with him hiring Regi to relieve
his boredom and misery. Regi brings a joy to his life that he has not
known since his accident. And while Regi wants to marry a rich man, and
Allen is QUITE wealthy, it never seems to occur to her that she should
be pursuing Allen - who has become her best friend and confidante.
There's is a lovely relationship, and we quite liked Allen. We wanted
Allen to have a happy ending too, and we were mentally writing the
sequel where Regi and Ted find a girl for Allen!
And finally,
there is the every glorious Ms. Lombard. There is no way you can
dislike Regi. She is honest in her pursuit of a wealthy man, and she
seems to want to love whomever she finds. Ultimately, love triumphs for
our pair of opportunists. And Ted WILL be learning to work for a
living!
Made for Each Other (1939) is a delightful little melodrama. Carole
Lombard and James Stewart star as Jane and John Mason, a young couple
who meet while he is on a brief business trip, fall in love, and marry,
as they say, in haste. Jane returns to John's New York City apartment,
to find she has inherited a mother-in-law who is horrified that her son
has passed up marriage to the boss' daughter for this precipitous union.
Instead of winning a partnership in his law firm, John finds himself
and his bride crammed into an apartment too small for his wife, mother,
and new baby - the result of a salary cut that quickly plunges the new
family into debt. His frustration, the pain of his wife as she
struggles to keep them together, and the travails that must face make us
hope they are indeed "made for each other".
As with the film last
week, we spent a lot of time discussing the character performances.
Again, Charles Coburn shone. His role this time is that of Judge
Doolittle, the head of the law firm for which John Mason works. At once
humorous and infuriating, we watch this man, whom we originally think
is an ogre, morph into a human being - and one we begin to love. The
same is true for Lucile Watson as John's mother. The picture of the
mother-in-law from hell, we wait for her to come through in a crisis,
and she does. The thing that is wonderful about their performances, is
that we don't find either change out of character or unrealistic. Both
Coburn and Watson are such pros that understand exactly why we see a
change. Here, the happy couple let Ms. Watson in on their future:
Finally, a word about Louis Beavers as the supportive maid,
Lily. Her warmth and affection for Jane, which Jane reciprocates, make
for a lovely respite to all the troubles Jane faces. The New Year's
Eve scene where Lily visits as she is on her way to a party is
delightful, and says so much about the goodness of this enchanting woman.
We discussed Ms. Beavers at some length, eventually touching on her 1934
turn as Delilah Johnson in Imitation of Life and as Gussie in Mr. Blandings Builds His Dream House. A wonderful actress, she brought great strength of character to every role she played.
We'll be back soon with Ms. Lombard in Hands Across the Table.
We decided to keep looking at Carole Lombard's more serious movies, so we went what I suspect is her most melodramatic role - In Name Only (1939).
Carole plays Julie Eden, a widow, supporting herself, her young
daughter, and her sister, by working as a free-lance artist. Chance
meetings with Alec Walker (Cary Grant) result in attraction, until she
discovers he is married. But, she soon realizes that Alec's marriage
to Maida (Kay Francis) is a marriage of convenience. Well, convenient
for Maida anyway - she has his name, his money, and the love of his
parents. Alec tells Maida that he wants out to marry Julie, but she
manages to stall any activity until Julie leaves him in despair. And
then, the movie gets complicated.
I'm a fan of Kay Francis. I love
her lisp and her elegance, and she certainly is elegant here. She is
also a total witch. I think this is the only movie in which I've seen
her that she is just SO nasty. And to Cary Grant! Unthinkable! But she
is terrific. We (the audience) know how terrible she is but she still
has the charm and smarts to make everyone around her believe she is
nearly a saint.
We were pleased to see a very young Peggy Ann
Garner as Julie daughter, Ellen. She is quite appealing. The scene in
which she calls Alec to get him over the the house for Christmas is
lovely. Another delight was the always wonderful Charles Coburn as
Alec's father. We had just seen him in The Devil and Miss Jones,
and were amazed to learn that he has not been in movies before the age
of 60. He contributes so much to every film in which he appears, one
would think he had been doing it his entire life.
But let us not
forget our romantic leads. Carole Lombard and Cary Grant are a joy together. Julie and Alec's love is simple and sweet. One can see Alec
falling into the mode of father and husband, in a gentle, loving
relationship. Certainly, Julie is lovely. But unlike Maida, she is not
elegant or part of the social elite. The life Alec wants is what he
didn't get with Maida - a simple home, a little girl pestering him to
discover what her Christmas present is, and a wife who loves him for
himself, not his family, position, or bankroll.
And for those of you who would like a glimpse of this gem, here is a small preview:
Join us again soon for our next Lombard movie: Made for Each Other.
One so frequently thinks of Carole Lombard as the madcap that we
forget the many dramatic parts she does. THIS is one of them. This week,
we are looking at her 1931 film Man of the World. Here she
plays heiress Mary Kendall, who is close to marrying Frank Thompson
(Lawrence Gray), but falls in love with con-man and blackmailer Michael
Trevor (William Powell). Just when it seems that Trevor is about to
give up his wicked ways for Mary, he realizes that their life together
is doomed and openly blackmails her uncle, in order to drive Mary away.
We
were surprised at the bleakness of this film. Unhappiness is rampant here. No one ends this film on a happy note (except maybe
Frank). And given that this is precode, we expected a warmer ending.
But, it seems everyone gets punished for Michael trying to mend his
ways.
Lombard is, as always, lovely. She is also touching. Her
Mary is warm and fragile, deeply in love with Michael, willing to
forgive his past, and devastated by his betrayal. And Powell is also
wonderful here. His Michael truly loves; he even has feelings for his
partner-in-crime, Irene (Wynne Gibson). She loves him and finally
convinces him that his relationship with Mary is impossible, leading the
the unhappy ending.
This film was released
before Lombard and Powell married, and it was here that they met. While the marriage didn't last all that long, the friendship between the two did. They are quite sweet together in the film; their affection for one another is evident. It also was nice to see them in something
other than My Man Godfrey (oh, and we all LOVE My Man Godfrey). We enjoyed having the opportunity to see something that was serious.
Next week, we do another serious Lombard movie - In Name Only.
We've decided to begin a mini-Carole Lombard festival for movie
night (mini in the sense that we've done a bunch of her movies in the
past, and won't repeat most of them) We started with We're Not Dressing. This
is a very silly movie. Carole plays an heiress, pursued by two men
(one of who is a very young and callow Ray Milland!!), but she instead
falls in unwilling love with a hand aboard her yacht. His claim to
fame? He can sing to her pet gorilla. He, of course, is Bing Crosby, so
we get treated to a number of songs by the maestro of 1930s pop.
We wondered if Lina Wertmuller (Swept Away)
had seen this movie, because it is the same plot, only done for humor.
And we have additional humor in the form of the delicious Gracie
Allen. We talked a lot about Gracie. As always, she is so funny -
living in her own world, and bemused that others don't get it. This
movie, however, shows the earlier incarnation of George Burns, as an
exasperated and annoyed onlooker to Gracie's viewpoint. We much prefer
him in the 50s, when his response to her nonsense was always "I love
her, that's why".
We were also amused by the "special effects",
obvious cuts between a real gorilla and a man in a costume. Really,
they did do a decent job in the transition. (Why we needed the dumb
gorilla, we never quite figured out. It really was silly beyond
belief).
Is this a great movie? NO. Is it funny - yes, it is.
Thanks to Gracie Allen, and some lovely work by the ever luminous Ms.
Lombard, it is funny. Certainly worth a look (and if you like to listen
to Bing Crosby singing, again - worth your time.) And here is Crosby singing to Lombard in the trailer:
