Bette Doesn't Age

Reknowned New York beauty Frances Beatrice "Fanny" Trellis (Bette Davis) is being pursued by most of the eligible bachelors in the City.  Fanny relishes the attention; even though she and her brother Trippy (Richard Waring) are deeply in debt. One evening, Mr. Skeffington (1944), Trippy's boss arrives to inform Fanny that Trippy has stolen $24,000 from his company.  Intrigued that Job Skeffington does not seem to respond like her other suitors, Fanny elopes with Job, alienating Trippy.

It's Interesting that the film is named Mr. Skeffington when Job disappears for most of the latter part of the film. As you can see from the Italian poster, they just changed the title to reflect the real focus of the film, the beguiling Fanny Skeffington. But the title change misses a point. Yes, the film is about Fanny, but it is Fanny as reflected by Job.  Even when he is gone, Job Skeffington is an influence on Fanny's life, much to her chagrin.

Bette Davis was not the first choice for the role of Fanny Skeffington - Katharine Cornell was originally approached; when she declined, Irene Dunne and Claudette Colbert also turned it down. Next up was Tallullah Bankhead; that deal was nixed by Hal Wallis (Dark Victory: The Life of Bette Davis by Ed Sikov), after which, Ms. Davis was approached. She was reluctant - she worried about the aging of the character, which originally had the story told in flashback (and Fanny going from old to  young and back again).  Adding to her anxiety, her husband, Arthur Farnsworth died just as production was to begin (TCM article),  Regardless of her fears, she is letter-perfect making it Fanny's charm that is the attraction, not her beauty.

The film, however, lives and dies on the character of Job Skeffington, and Claude Rains does not disappoint.  He is marvelous as a man floored by his love for a woman who is incapable of loving anyone but herself.  You might ask why such a sensible man would fall for such a woman, but Mr. Rains makes us appreciate his feelings, and his growing sorrow as he realizes that Fanny will never love him. Both James Stephenson (Mr. Stephenson died before production began) and Paul Henreid were considered for Job (AFI catalog).

Walter Abel (George Trellis) is also excellent as Fanny’s tolerant cousin.  A good man, who cares deeply for Fanny and Trippy, he also forms a bond with Job following Job’s marriage to Fanny.  George acts as a conscience for Fanny, reminding her when she is being more selfish than normal - not that she pays much attention!

There are some excellent performances by other members of the cast. Marjorie Riordan as the grown Fanny Rachel Trellis, who has lived in her mother's shadow all her life, is quite good as a daughter battling her dislike of her mother with her father's desire that she always treat her mother with affection. The trio of suitors played by John Alexander (Jim Conderley), Jerome Cowan  (Edward Morrison), and Peter Whitney (Chester Forbish) are delightfully ridiculous, with Jerome Cowan leading the pack in the last section of the film. 

New York Times review by Bosley Crowther was not enthusiastic. Regardless, the film did well at the box office.  It was adapted for the Lux Radio Theatre in October 1945 with Bette Davis and Paul Henreid as the two leads.

This is an excellent film, and while a tad long, well worth the time.  We'll leave you with a trailer:

Bette Deceives

Christine Radcliffe (Bette Davis) races to a concert at a local college. A solo cellist, Karel Novak (Paul Henreid), new to the United States, performs to great acclaim. Before the war, he and Christine were lovers in Germany, but Christine has long believed him to be dead.  Their reunion is joyful, until the jealous Karel demands an explanation for Christine's luxurious life style. The Deception (1946) begins when Christine lies about her life since the war, and her relationship with the brilliant, but ego-maniacal composer Alexander Hollenius (Claude Rains).

Just who is the villain is one of the questions in this film. On the surface, one's instinct is to place Hollenius, a self-absorbed egoist if ever there was one, in that position. But, it's clear from the start that Christine has long ago learned how to deal with Hollenius' moods and demands, so why is she so spooked by him? The answer may be that Karel's jealousy is deranged. He almost strangles Christine when they meet again. His mania and her fears start the string of lies that lead to Christine's downfall.  What certainly is clear is that Christine has lousy taste in men.

Beyond a doubt, this is Claude Rains movie. As domineering as Hollenius is, it's hard to actually dislike him. He glories in his power and in his talent. He enjoys his life, and while he isn't actually mean, he doesn't appreciate anything that thwarts what he wants. The problem for Christine is that Karel thwarts Hollenius, and while she is immune to his head games, the troubled Karel is not. To see Mr. Rains at his absolute best, watch him manipulate Christine and Karel when they dine out. It is a masterwork of acting (TCM article).  In his commentary on the DVD, Foster Hirsch mentioned that some people claimed Mr. Rains stole the scene from Bette Davis - clearly (as Mr. Hirsch pointed out) no one steals a scene from Ms. Davis. If you watch her during the scene, she's reveling in Mr. Rains performance. 

Paul Henreid has the unenviable job of playing a man who is just short of being insane. His fits of anger are positively scary; he's worse then Hollenius in many respects because he has no clue that his self-absorption is so complete.  Mr. Henried does a good job playing an abusive individual and does make you feel that some of his behavior stems from his experiences during the war (though not all of it).

While Bette Davis could play the piano (and practiced hard to do the one scene in which she played), Jack Warner asked her to not worry about it - they would get a pro to do the actual music (but you can tell by her hands that she knows what she is doing).  Paul Henried, however, did not know how to play the cello, and had to have two actual cellists use their arms to make it appear that he was actually playing. 

This was the first Warner Brothers film in which Ms. Davis appeared that did not make money (partly due to the production running overtime, due to Ms. Davis' illness). She would only make three more films for Warners.

Based on the play Obsession, which was on Broadway in revival when the film opened, the original was a two-character presentation - just Karel and Christine. It was at one point intended as a vehicle for Barbara Stanwyck and Paul Henreid (AFI Catalog). 

The New York Times review by Bosley Crowther was not particularly complimentary - but Mr. Crowther didn't like the play much either.  He was, however, very taken with Claude Rains who "fills out a fascinating portrait of a titanic egoist".

This is not Ms. Davis' best film, but it is a tour de force for Mr. Rains, and as such worth your time.  We'll leave you with the trailer:

 

Peter Visits Arabia

Lieutenant T.E. Lawrence (Peter O'Toole) is working in the map division in the Arab Bureau in Cairo, when he was assigned by Mr. Dryden (Claude Rains) to evaluate Prince Faisal's (Alec Guinness) war against the Turks. Lawrence's interest in Arab culture and his eagerness to form a united Arabia impresses Faisal; when Lawrence comes up with a plan to cross the Nefud Desert with 50 men and attack the Turks in Aqaba, Faisal supports it. Lawrence's daring impresses his troops who make him one of their own -  Lawrence of Arabia (1962).

The recent TCM Presents: Fathom Events presentation of this film was a must-see. Jon Stewart was right - you have to see this movie wide-screen (and not on a cellphone!). The heat of the desert and the glare of the sun are visceral in the film - even in an air-conditioned theatre, you are hot and thirsty. With commentary by Ben Mankiewicz, this was an exceptional TCM Presents.

Albert Finney was originally approached for the lead role of T.E. Lawrence; he was even given an extensive, expensive screen test (costing £100,000), but Mr. Finney balked at a five-year contract with Sam Spiegel. (TCM article). At some point, Spiegel tried to interest Marlon Brando, but that raised a row in the U.K., and Brando pulled himself out of consideration (AFI Catalog). Anthony Perkins was also considered (but his appearance in Psycho made him less appealing to Spiegel).  Director David Lean was more interested in an unknown actor, and had seen Mr. O'Toole in The Day They Robbed the Bank of England (1960). Halfway through O'Toole's screen test, Mr. Lean stopped the cameras - "No use shooting another foot of film. The boy is Lawrence."

It is hard to imagine anyone but Peter O'Toole in the part. He embodies Lawrence, even resembling him a bit, as you can see from the photos below (though at 6'2", Mr. O'Toole would tower over the 5'5" Lawrence). Mr. O'Toole captures the whimsy as well as Lawrence's personal and emotional conflicts. Lawrence was born to unmarried parents (though his father was not an absentee one); he was well educated and lived fairly well, but he was also teased and tormented about his bastardy. In his book Hero: The Life & Legend of Lawrence of Arabia, Michael Korda states that Lawrence was tortured by the pleasure he found in pain. That he also took pleasure in killing is not discussed in this book - in fact, he was a vegetarian (PBS) who professed his gladness that "nothing had to be killed to feed us." His death on a motorbike was the result of his need for speed - he was probably going nearly 100 miles per hour. Mr. O'Toole did an interview for TCM about his work on the film here. His tale on the filming of the scene where Lawrence is given his white robes is fascinating.

Alain Delon was originally cast as Sherif Ali iben el Karish, but David Lean wanted Ali to have brown eyes, and Mr. Delon was unable to wear the contact lenses required to turn his blue eyes brown. So, they hired Maurice Ronet for the part - but his eyes were green. Director Lean, already in Jordan, asked to see photos of Arab actors - he was sent a photo of Omar Sharif, resulting in a collaboration that would result in Mr. Sharif getting the lead in Dr. Zhivago (1965). Mr. Sharif and Mr. O'Toole became great friends on the shoot, learning to do The Twist together; as a result of their dancing prowess,  Mr. O'Toole called Mr. Sharif "Cairo Fred" because "No one in the world is called Omar Sharif." Mr. Sharif won the Golden Globe for Supporting Actor for his work in this film.

The list of actors who almost appeared in the film is breathtaking - Cary Grant, David Niven, Gene Kelly, Kirk Douglas, Horst Buchholz were all considered or approached at one time or another. Even so, the list of actors in the cast is spectacular: Anthony Quinn (Auda Abu Tayi) is strong as a desert chiefan; Jack Hawkins (General Allenby) is both tough and sly as a British officer looking out for the best interests of his country; Alec Guinness is a cagey prince looking for the best deal for his nation; Anthony Quayle (Col. Harry Brighton) portrays an officer who cannot comprehend the man that is Lawrence; Jose Ferrer (Turkish bey) gives us a fiendish enemy to the Arab nation - and to Lawrence. Last, but by no means least, is the wonderful Claude Rains (Mr. Dryden), initially Lawrence's benefactor, but in the end, a pragmatic official using the best man at hand for the job.

Jackson Bentley (Arthur Kennedy) was to have been played by Edmund O'Brien, but he left three days into the shoot. Kennedy is excellent as an opportunistic reporter who builds his reputation - and Lawrence's - with the articles he publishes about the conflict. The character of Bentley is based on Lowell Thomas; the name of the character was changed because Mr. Thomas did not wish any association with the film (Beyond the Epic: The Life and Films of David Lean by Gene Phillips). Mr. Thomas would later state that "the only true things in it [the film] are the sand and the camels." Though initially friends, Lawrence became disillusioned with Thomas when Thomas toured with film footage he had shot of Lawrence in Arabia (PBS); Lawrence felt himself exploited, while Thomas claimed "[Lawrence] had a genius for backing into the limelight."

To say that you should see this film if you have not already done so is redundant. Though Bosley Crowther's New York Times review was unenthusiastic, it has since garnered much praise. Janet Maslin discussed the beauty of the movie when it was restored in 1989 (New York Times). It won 7 Oscars (Picture, Director, Cinematography, Art/Set Direction, Sound, Film Editing, and Score), and was nominated for 3 other (Actor: Peter O'Toole; Supporting Actor: Omar Sharif; Writing: Robert Bolt & Michael Wilson - Mr. Wilson's contributions were finally acknowledged in 1995). It also won best film awards from the Golden Globes and BAFTA, with David Lean taking the Director's Guild Award and Sam Spiegel winning the Producer's Guild Award.  It was added to the National Film Registry in 1991. It's also on five American Film Institute lists: #1 in the Ten Top Ten for Epic; #7 in the 100 Years, 100 Movies Anniversary Edition (#5 in the Original List); #3 in Film Scores; #23 in Thrills; #10 in Heroes.

Even if you can't see it on a big screen, do seek this remarkable film out. We'll leave you with the trailer to this amazing work of cinema:

Claude, The Genial Host

Secretary Rosalyn White (Barbara Woodall) is alone in the home of her employer, radio personality and "teller of strange tales" Victor Grandison (Claude Rains). She is on the phone with Grandison’s niece Althea Keene (Audrey Totter). Althea hears a scream on the phone, then nothing; Althea then calmly goes back to her party. The next day, Rosalyn’s body is found hanging from the chandelier; the police deem it a suicide. Some months later, Althea hosts a party for Victor’s birthday. A surprise arrival is Steven Francis Howard (Michael North) who claims to be the husband of Grandison’s other niece, the recently deceased Matilda Frazier (Joan Caulfield).  Welcome to the world of The Unsuspected (1947).

As part of the Spring 2019 Femme/Homme Fatales of Film Noir blogathon, we're going to take a look at this interesting film - which is worth watching for the Homme Fatale of the piece - the always intriguing Claude Rains (with a quick nod to one of the queens of noir, Audrey Totter!).

Any opportunity to see Claude Rains in action is one that should not be missed. He does not disappoint as the seemingly sympathetic uncle in this intricate mystery story. It's easy to believe him as a radio host who tells tales of murder and mayhem - likely scaring the hell out of the listening audience (his butler tells Grandison that he doesn't listen to the radio show. It's too scary. Grandison's response - "Do you like your job?"). Mr. Rains gets second billing to Joan Caulfield, however he is almost the whole show. When he is on the screen, I dare you to be able to take your eyes off him. With his imperious presence, one is never quite sure where he stands with regards to his two nieces. We believe he is a loving uncle to Matilda, but there is always that doubt - the true mark of a homme fatal! While Orson Welles was originally sought for Grandison (TCM article), and Robert Alda was announced as the film's lead (AFI catalog), the film is enhanced by Mr. Rains presence.

Audrey Totter is excellent as the malevolent Althea. Ms. Totter makes Althea a mystery - we know she is up to something, but the question is "what?".  She also seems to get most of the best lines. It's always a pleasure to see Ms. Totter; she rarely got star billing in A pictures, but she adds gravitas to any film in which she appears. Like Mr. Rains, she was not the first person considered for the part of Althea - Ava Gardner, Jennifer Jones and Joan Fontaine were all in the running. While we can't agree that Ms. Jones was suitable, Joan Fontaine could have been interesting in the part (take a look at her as Christabel Caine in Born to Be Bad (1950) to see her as a down and dirty noir fatale).

Not without her own great bon mots is Constance Bennett as Jane Moynihan, the director on Grandison's radio program: "After slaving all day over a hot typewriter, there's nothing I like better than a swan dive into a bottle of bourbon." Ms. Bennett is excellent as the one person in Victor's cadre who isn't afraid of him or after something.

This was Fred Clark's (Police Detective Richard Donovan) first film role, and he is good as a policeman with a brain. He was 28 when he joined the Navy in 1942; when he left the services (he had transferred to the Army), he started his acting career. He made a number of excellent films, including Ride a Pink Horse (1947) and White Heat (1949), but he his primary success was on television. He died in 1968, at the age of 54.

Dana Andrews was originally cast as Steve, but he wanted to part to be expanded; when that proved impossible, he withdrew from the production (as did his suggested co-star, Virginia Mayo) (Michael Curtiz: A Life in Film by Alan K. Rode). Actor Michael North was "introduced" in the film, but he'd actually appeared in 21 films and shorts, mostly under the name Ted North. We found him to be somewhat banal, but it does work for the film to keep him more in the background. The Unsuspected may have introduced him, but it was also his goodbye to moviemaking as a performer. He left acting to become an agent, representing clients such as Red Skelton and Amanda Blake.

Hurd Hatfield (Oliver Keane) and Joan Caulfield (Matilda Frazier) are underused in the film. Neither are particularly dynamic actors, and both fade out next to the talents of Mr. Rains, Ms. Totter, and Ms. Bennett.  Quite honestly, you forget they are there after awhile. 

This The New York Times review was not particularly enthusiastic, (though they liked Claude Rains and Michael North). In more recent years, the film has been discussed for the atmospheric camera work achieved by director Michael Curtiz and cinematographer Woody Bredell. (Film Noir Reader 4 by Alain Silver & James Ursini). Whether you watch it for the scenery, the acting, or the story, do consider giving this one a look. We'll leave you with the film's trailer:

   

This posting is part of the Classic Movie Blog Association's Spring 2019 Blogathon on Femme/Homme Fatales of Film Noir.

 

 

Jimmy Goes to Washington

Senator Sam Foley has died suddenly, and the governor of his state, Hubert "Happy" Hopper (Guy Kibbee) is tasked with naming a successor. The Governor is ordered by local boss Jim Taylor (Edward Arnold) to name one of his flunkies, but the citizenry rebel at the appointment of this yes man. The Governor's children campaign for the appointment of local Boy Ranger leader Jefferson Smith (James Stewart), a naive young man who Mr. Taylor finally agrees is the perfect solution. With no political background, Smith will be easily led by Senator Joseph Paine (Claude Rains) to vote according to Taylor's wishes. And so, Mr. Smith Goes to Washington (1939).

This outstanding film was included as this month's contribution to the TCM Presents series. Originally conceived as a follow-up to Mr. Deeds Goes to Town, the film changed titles and actors when Gary Cooper proved to be unavailable. (AFI Catalog)  James Stewart brings the needed innocence and gravitas to the role in his second film with Frank Capra and Jean Arthur (they had worked together the previous year on You Can't Take it With You).

One problem with Frank Capra films is that he doesn't always know how to end them. It's a big issue with Meet John Doe (1941); it's a smaller issue here. Mr. Capra does seem to back his character into a corner, and then create a deus ex machina to pull him out of his problem. However, in this film the director does set up hints that Claude Rains will be both the problem and the solution to that problem.

Mr. Rains is, of course, excellent as The Silver Knight, the senior senator from Smith's unnamed state. Best friends with Smith's father (a crusading newspaperman who was murdered after he wrote editorials against a mining syndicate), Paine has been in the pay of Jim Taylor for years. But Senator Paine remembers the ideals that brought him to law and to politics. As Mr. Rains looks at Smith, we see his yearning for the purity that he had when he worked with Smith senior.

A favorite villain for Mr. Capra is Edward Arnold. Mr. Arnold is able to be both affable and menacing at the same time. He helps us to understand why a respectable man like Senator Paine would fall into his clutches. He also has looming presence that gives the viewer pause - we know he is capable of any dastardly act to get what he wants. A stage actor at the beginning: between 1919 and 1933, he appeared in 13 Broadway plays, Mr. Arnold started his film career during the silent era. With his booming voice (and wonderful laugh) he was a natural for talkies, and appeared as the leading man in such films as The Toast of New York (1937) (he was billed ABOVE Cary Grant) and Diamond Jim (1935). Listed on the notorious "Box Office Poison" list, Mr. Arnold segued into more character parts, like Anthony P. Kirby, Sr. (James Stewart's father) in Capra's You Can't Take it With You (1938). Though he identified as a conservative Republican (and even ran for Los Angeles County Supervisor - he lost), he served as President of Screen Actors Guild, and was vocal in his opposition to the blacklisting of his colleagues during the HUAC era. Married three times, and divorced twice (he had three children with his first wife), Mr. Arnold died of cerebral hemorrhage in 1956 at the age of 66. His turn as Olivia de Havilland's father in The Ambassador's Daughter was released just after his death.

Jean Arthur (Clarissa Saunders) is picture perfect as the tough as nails assistant, who is sick and tired of the dishonest nature of politics. She's seen Taylor's influence on his state for too long, and is convinced that Jeff Smith is either an idiot or a stooge. When she finds he is a man of ideals, she becomes his staunchest ally. She is ALSO the smartest person in the film. She knows the rules of the Senate by heart, she understands the workings of the government, and she knows the people who work on the Hill. It's hard to imagine anyone other than Ms. Arthur giving Saunders such range.

The film is also blessed with a bevy of magnificent character actors: Thomas Mitchell (Diz Moore), Eugene Pallette (Chick McGann), Capra favorite Charles Lane (Nosey), Ruth Donnelly (Mrs. Emma Hopper), Astrid Allwyn (Susan Paine), and H. B. Warner (Senate majority leader). But leading this group are the always wonderful Beulah Bondi (Ma Smith) and Harry Carey (President of the Senate). Though their parts are small, you remember then. One only regrets that they are not on the screen for longer. Ms. Bondi would end up playing James Stewart's mother a total of five times (TCM article). This was the third outing in that role.

The film proved to be quite popular, though initially it was reviled by many U.S. Senators and by the Washington Press Corps. (WAMU article). Senate Majority Leader Alben Barkley described the film as "silly and stupid," adding that it made the Senate look like "a bunch of crooks." (U.S. Senate article). The film was also banned in Germany and Italy (they didn't like the fact that the film was about a democratic government, even a government that was having problems); however it did well in England, France (prior to the German invasion) and in the United States. Despite the jabs at journalists, the New York Times review was glowing, calling it "is one of the best shows of the year. "

 

The American Academy of Motion Picture Arts and Sciences obviously agreed; it was nominated for 11 Academy Awards, including Picture, Actor (for James Stewart), Supporting Actor (for both Harry Carey and Claude Rains), Director, Art Direction,  Film Editing, Film Scoring, Sound Recording, and Original story (for which it won it's only Oscar). But, in 1939 the competition was fierce, and the juggernaut called Gone with the Wind pretty much swept the awards (winning 9 of the 14 for which it was nominated). Among the other Picture nominees were Dark Victory, Goodbye, Mr. Chips, Ninotchka, Stagecoach, Wuthering Heights, and The Wizard of Oz!


The film was added to the National Film Registry in the Registry's first year, and has appeared on multiple AFI lists including: 100 Years, 100 Movies, 10th Anniversary (#26; and #29 on the Original List); the Heroes side of 100 Years, 100 Heroes and Villains (Jefferson Smith is #11) and 100 Years, 100 Cheers (where it is #5). It was even made into a television show with Fess Parker (it only lasted for one season in 1962-63). If you've never seen the film, please try and find a copy. It's certainly an essential. In the meantime, here is the trailer:

Robert Avoids Heaven

Joe Pendleton (Robert Montgomery) is a boxer with dreams of becoming the champion. He's trained long and hard, and is ready for the bout that will propel him to stardom. He's in his private plane, heading for New York when his aircraft is damaged. Plummeting earthbound, his spirit is plucked from his body by overeager heavenly messenger 7013 (Edward Everett Horton).  When Joe protests to Mr. Jordan (Claude Rains) that he doesn't feel dead, Mr. Jordan discovers that Joe is destined to live another 50 years! Since Joe's body is gone (cremated by Joe's manager Max Corkle (James Gleason)), Mr. Jordan and Joe go out to find Joe a new body. Here Comes Mr. Jordan (1941) tells the story of that quest.

I'm truly of the opinion that Robert Montgomery is one of our most underrated film actors. He's good in everything he does, and can play the villain, the anti-hero, and the hero with equal aplomb. He's delightful as Joe Pendleton, a man of deep feelings and simple tastes. He loves his plane, his saxophone, his dear friend Max, and ultimately, Bette Logan (Evelyn Keyes). His quest for a new body is governed by the purity of his nature - he wants simply what he is entitled to, and wants the body he is given to match the one that he had. After all, he kept it "in the pink!"

Robert Montgomery was born into a privileged family, but that all ended with his father's suicide when Robert was 18. He decided to try his hand at acting and writing; by 1924, he was appearing on Broadway, where he was in 7 plays (through 1928). He signed a contract with MGM in 1929, where his stage training was essential in the booming sound era; he was often the juvenile in this period (as in Untamed (1929)).  In 1937, he showed a new side of his talent in Night Must Fall,  as an insane killer. World War II disrupted his career - he volunteered to serve in the Navy, rising to the rank of Lieutenant Commander. Upon his return, John Ford cast him in They Were Expendable (1945); when Ford was injured, Mr. Montgomery finished directing the film. His characterizations became even more nuanced, as he appeared in films like the film noir Lady in the Lake (1946). He turned to television, to produce his own anthology show, Robert Montgomery Presents.  Married twice, he had three children by his first wife, Elizabeth Allen. His daughter, Elizabeth, went on to perform in film and television (and is best remembered for her role in the TV series,  Bewitched). He died of cancer in 1981.

We were a bit less enthralled with Evelyn Keyes. There are times, especially at the beginning when she is pleading for her father, that she seems over-melodramatic. She improves greatly in the love scenes with Mr. Montgomery, and they have a warm relationship that is easy to appreciate. Rita Johnson, as the other woman in Joe's life - the almost widow Julia Farnsworth - is quite good as the would-be murderer. She's properly bitchy, and you eagerly await her - and her paramour Tony Abbott (John Emery) - getting their comeuppance.

The film's strength really comes from two magnificent supporting roles - Mr. Jordan and Max Corkle. James Gleason is excellent as the frequently bemused Max. His fatherly affection for Joe is apparent from the minute we first meet him, and his pain from the repeated loss of Joe is palpable. But Mr. Gleason also brings humor to the part - his inability to see Mr. Jordan, while he tries to have conversations with him make for amusing scenes, yet maintain the integrity of the character. In their review, the New York Times says that Mr. Gleason "steals the film's most comic scene as the manager with cosmic premonitions," but he never lets Max become a fool, and we are grateful for it.

What can we add about Claude Rains that hasn't already been said? He's delightful as Mr. Jordan - warm and understanding. He cares about Joe, and about his predicament, but he has a heavenly duty to perform, and Joe isn't always willing to acknowledge that. Mr. Rains brings a sincerity to the role that perfects the movie. We believe he is an angel, and we know that Mr. Jordan will keep an eye on his charge until he meets him again in 1991. This article from the Criterion Collection talks about "the hint of steel" Mr. Rains brings to the part. It is the making of the character.

The story upon which the film was based was initially purchased as a vehicle for Cary Grant (AFI Catalog)  Years later, Warren Beatty would ask him to play Mr. Jordan in his remake.  (Evenings with Cary Grant by Nancy Nelson). When Mr. Grant said no, Mr. Beatty cast James Mason in his 1978  Heaven Can Wait - which was, in fact, the title of the original play by Harry Segall (TCM article). 

Lux Radio Theatre in January 1942 aired a version of the story with Cary Grant, Evelyn Keyes, Claude Rains, and James Gleason. It was remade again as Down to Earth (2001) with Chris Rock as a comedian who is untimely snatched from his body.

We'll leave you with this trailer, and the suggestion that you give this delightful film a first (or a second) viewing:

We'll Alway Have Paris

It is the 75th Anniversary of Casablanca (1942) and to celebrate AFI Silver featured the film for several days. I've seen the film more times than I can count on television and home video; I've also seen it several times on a big screen, but when your friend tells you that she's NEVER seen the film, what can you do but go again? The opportunity to see the # 1 film on AFI's list of 100 Years, 100 Passions, not to mention #2 on the AFI 100 Years, 100 Films list with a neophyte is just too good to resist. It really is like getting to see the film AGAIN for the first time.

If you are like my friend, and have never seen Casablanca, a quick plot rundown is in order (then again, if you've never seen Casablanca, stop reading this blog, and go watch the movie!)  It's December 1941, and Rick Blaine (Humphrey Bogart) owns a successful cafe and (illegal) casino in Casablanca. The cafe is inhabited primarily by refugees, trying to get to America. But, on the night when black marketeer Ugarte (Peter Lorre) is arrested for the murder of German couriers (they were carrying non-revocable letters of transit), Rick's past catches up with him, in the form of his lost love, Ilsa Lund (Ingrid Bergman).

It's likely that Casablanca is one of the most written about films in movie history - I know of four, one of which was just released: We'll Always Have Casablanca: The Life, Legend, and Afterlife of Hollywood's Most Beloved Movie by Noah Isenberg (2017); The Making of Casablanca: Bogart, Bergman, and World War II by Aljean Harmetz (2002), Casablanca: Behind the Scenes by Harlen Lebo and Julius Epstein (1992); and Casablanca: Script and Legend by Howard Koch (1995). As a result, it has a much storied history.

For example, the rumor (fed by a Hollywood Reporter news item) that Ronald Reagan and Ann Sheridan were to play Rick and Ilsa has been debunked by numerous sources (including Ms. Harmetz). Ms. Harmetz also clarifies the rumor that George Raft was offered the role - his name was suggested, however producer Hal Wallis wanted Humphrey Bogart. Ms. Harmetz also relates Paul Henried's (Victor Laslo) later antipathy for the part of Victor Laslo, and his disregard for Humphrey Bogart. He told the author in 1992 that "Mr. Bogie was nobody.... Before Casablanca he was nobody...he was a mediocre actor." To give him credit where credit is due, he had had a successful theatrical and film career in German before the rise of the Nazis, and had appeared on the New York stage as well.

Though Casablanca is really a fairly simple story of love and loss in time of war, what makes it unique and so thoroughly re-watchable is the dialogue. In AFI's list of  100 Years, 100 Quotes  for SIX of the 100 quotes, starting at #5 with "Here's looking at you, Kid."  The rest of this amazing list is: #20 - "Louis, I think this is the beginning of a beautiful friendship," #28 - "Play it, Sam. Play 'As Time Goes By'," #32 - "Round up the usual suspects, #43- "We'll always have Paris," and #67 - "Of all the gin joints in all the towns in all the world, she walks into mine."  It doesn't include the lines like "I was misinformed" (see the clip at the end), or "Are my eyes really brown?" I could go on, but you get the point. Check out these TCM articles for some quote that did not make the film!

Some of the more clever lines are uttered by that master of delivery Claude Rains as Louis Renault. Both my friend and I love "Serves me right for not being musical," said when Louis discovers where Rick hid the letters of transit, or "I'm shocked, SHOCKED to find out that gambling is going on in here," as Louis collects his gambling winnings. As always, Mr. Rains is an amazing actor; it is hard to keep your eyes from him when he is working - even in his stillness there is wit shining through.

The other actor who is impressive (besides our key three players, of course) is Conrad Veidt  as Major Strasser. A star of German cinema (Veidt is perhaps best remembered from his amazing performance as the somnambulist in The Cabinet of Dr. Caligari (1920)), Veidt left Germany in 1933. His wife was a Jew, and Veidt despised the Nazis. He emigrated first to England, then to the United States, where it seems that his most memorable roles were as Nazis (such as All Through the Night (1942) and Escape (1940)). He donated large sums of money to the war effort (TCM article); Veidt also required that, if he were cast as a Nazi, that character must be a villain (Casablanca: As Time Goes By: 50th Anniversary Commemorative by Frank Miller). Unfortunately, Mr. Veidt did not get a chance to escape from the Nazi typecasting - he died of a heart attack in 1943, shortly after he finished filming Above Suspicion.

Of course, Mr. Veidt was not the only refugee appearing in the film: Madeline LeBeau (Yvonne), S. Z. Sakall  (Carl), Peter Lorre, Marcel Dalio (Emil the Croupier), Helmut Dantine (Jan Brandel), and Paul Henreid were among the actors who escaped from German and the occupied nations to work in Hollywood. (AFI catalog)

In 1944, Casablanca won 3 Oscars in 1944 (Film, Michael Curtiz (Director), Adapted Screenplay (Julius and Philip Epstein and Howard Koch)) and was nominated for 6 others including Best Actor (Bogart), Supporting Actor (Rains), Score (Max Steiner), Editing, and Cinematography. It appears on several other AFI lists:AFI 100 Years, 100 Cheers at #32, AFI's top Heroes, with Rick Blaine at #4, and 100 Years, 100 Thrills at #37. But the true test of the film is watching it again and again (which I have). It's a picture which you decide you will watch JUST this one scene and end up watching the whole movie.  I'll leave you this this conversation between Rick and Louis, and another wonderful Rick quote:

Five Stars to Remember

To celebrate National Classic Movie Day, I'm going to break with our usual post, and contribute to the Five Stars Blogathon!  I'll be sharing with you today some of my favorite actors, and why I think you should give some of their films a look.

It would be easy to go with the well-remembered stars - Cary Grant, Katharine Hepburn, Tyrone Power, Errol Flynn, Bette Davis, Clark Gable, Grace Kelly are all high on my list.  But you've all heard of them, and undoubtedly have seen many of their films. So, I'm going to select some actors whose work you might not have viewed, or who don't come to mind in classic film discussions.  All have films we've reported on in this blog, and I hope you will click over and learn more about these wonderful actors.

Kay Francis

Ms. Francis started her career on the Broadway stage, but by 1929, she had begun a film career that extended over 69 films and 17 years.  Most famous perhaps for a lisp that made the letter r sound a bit like Elmer Fudd, Ms. Francis was an attractive woman who WORE dresses (they never wore her).  During the early part of her career, she was often the lead in "women's pictures" - lots of gorgeous clothing and jewelry, and much suffering on her part.  But these were roles she owned.  She had a strength that shone from her eyes, and when you watched her being menaced, she always seemed to know how to keep control of the situation. One of her best roles was as the woman on trial in Confession (1937).  We see her murder Basil Rathbone, seemingly in cold blood, but WHY? Ms. Francis keeps you wondering throughout the film; her mastery of her art is exceptional.

She was also quite comfortable in comedies. Witness her standout performance in Trouble in Paradise (1932), and her suggestive and fascinating exchanges with Herbert Marshall.  If you've never seen some of her later work, where she got to be a villain, you are missing a real treat.  Try In Name Only (1939) where she plays Cary Grant's manipulative and greedy wife. It's a shame that, by 1939 (as a result of being called Box Office Poison), Warner Brothers was relegating her to supporting roles.  But, even so, she took these roles and ran with them.

When World War II broke out, Ms. Francis devoted herself to entertaining the troops (Four Jills in a Jeep (1944) is a somewhat fictionalized account of that work); after the War, she returned briefly to films and tried her hand at producing at Monograph studios.  Sure, the scripts and production values were low, but Kay dominated her parts - take a look at Divorce (1945) and watch her make mincemeat out of Bruce Cabot. By 1946, she was done with films; she made a couple of TV appearances, and went back to the stage. She retired in the early 1950s, but left us a legacy of delightful film performances.

Claude Rains 

Was there any role Claude Rains could not play? From Shakespeare to Shaw, playing villain or lover, a man of honor or a man to revile, he could do it all.  Let's begin with the start of his film career, The Invisible Man (1933), in which he was literally ALL voice.  We see his character briefly, but for the greater part of the film, he is invisible, conveying his increasing mental illness with his voice alone. Five years later, he played Prince John in The Adventures of Robin Hood (1938), and managed to slide past the censors a subtle performance in which John is decidedly effeminate (Claude Rains: An Actor's Voice by David K. Skal and Jessica Rains).  That same year, he would appear as the loving and supportive father to Four Daughters (1938), in a role with both humor and dignity.

You can't mention Claude Rains without mentioning his performance as Captain Louis Renault Casablanca (1942) ("I'm shocked, shocked to find that gambling is going on in here!"), or his sympathetic portrayal of Dr. Jaquith in Now, Voyager (1944).  But the two performances that, for me, are truly unforgettable are Job Skeffington and Julius Caesar.  In Mr. Skeffington (1944), he again appears with Bette Davis (they had already appeared in Juarez (1939) and Now, Voyager). But this time, he is the sympathetic character - a man passionately in love with a careless and often demeaning wife.  In lesser hands, Job would have appeared merely as doormat; under Rains skillful control, Job is a good man who made an unwise choice.

When he appeared in Caesar and Cleopatra (1945), he made no attempt to disguise the fact that he was over 20 years older than his co-star, Vivien Leigh.  He uses his age to good effect - Caesar is a more a tutor than a lover, and entertained by the young queen's advances. He certainly is not immune to her charms, but Rains maintains an amusement, both with Cleopatra, and with himself.

Thankfully for us, Mr. Rains continued working until a few years before his death at age 77, leaving us a legacy of films, and radio and television performances to relish.

Thelma Ritter 

You just cannot sing the praises of Thelma Ritter too much.  Sure, she's funny, but give her a dramatic role, and she will run with it.  She was in her 40s when she started acting in films, and gave us performances that are truly unforgettable. Just think about Miracle on 34th Street (1947).  She has TWO scenes, and you remember her throughout the film, even though she is uncredited in it (as well as in A Letter to Three Wives (1949)).  When she disappears from All About Eve (1950), you wonder where she is; and you keep wanting her to return in Rear Window (1954).

Two of the performances that are high on my list are as different as noir and day.  In 1953, Ms. Ritter entered the world of Film Noir as Moe Williams in Pickup on South Street.  A peddler of necktimes and information, Moe is a rather seedy individual.  Ms. Ritter gives her a soul; Moe may be down, but she has her own code, and her life is her own.  Compare Moe to Ellen McNulty in The Mating Game (1951).  Again, Ms. Ritter is a poor woman, but a lady with spunk. Her desire to see her son happy, and to get to know his new wife without intimidating her is a pleasure to behold. We like her son Val (John Lund) BECAUSE of Ellen's unquestioning love.

 Ms. Ritter left us 43 television and film performances; she worked until her death of a heart attack at age 66.  I'm greedy, I wish there were more.

Ricardo Cortez

Ricardo Cortez began his career in silents. His parts at the time tended to be Latin lovers in the Valentino mold, but with the advent of talkies, the New York City born Jake Krantz changed directions.  He was often cast as the heavy, but had his share of leading man roles. He excelled in all of them.  

In Ten Cents a Dance (1931), he treads a fine line - we are never sure if he is the hero or the villain until the very end. However, in Mandalay (1934), he is one of the most truly despicable men you could ever meet.  He played Sam Spade in 1931's The Maltese Falcon, Perry Mason in The Case of the Black Cat (1936), and the slightly shady, but best of friends to Kay Francis in The House on 56th Street (1933).  

Mr. Cortez worked steadily throughout the 1920s and 1930s, but his acting career started to peter out in the 1940s.  He had directed a few films, but ultimately opted to leave the film industry for a new career as a stockbroker.  In 1958, he appeared in his last film, The Last Hurrah and two years later he was in an episode of Bonanza (playing a Latino!). Ricardo Cortez is an unknown gem of an actor, and one I recommend you seek out.

Barbara Stanwyck

Yes, I said I was going to concentrate on the underappreciated actors of the Classic Era, but to my mind, Barbara Stanwyck should be better known and admired.  Years ago, when going on my first job interview, I needed a focus for my demeanor. I thought about Katharine Hepburn, but it was wrong. So was Rosalind Russell.  But Barbara Stanwyck was perfect for me - a woman who projected an aura of strength and intelligence, who brooked no nonsense, but could also be kind and understanding. 

She started her career with talkies in 1929, and never really looked back. Her work in pre-code films is something to see - start with Baby Face (1933) and Night Nurse (1931) to see just a sample of her nuanced performances. She could do drama (Stella Dallas (1937)), comedy (my personal favorite, Ball of Fire (1941)), farce (the brilliant The Lady Eve (1941), suspense (Cry Wolf (1947)), romance (Remember the Night (1940)), and westerns (The Moonlighter (1953)).  She could be a convincing victim (Sorry, Wrong Number (1948), and an even more persuasive villain (Double Indemnity(1944)). She even could elevate a B movie to a new level (The Night Walker (1964)). 

Rather than appear in inferior films, Ms. Stanwyck moved over to television to continue her career; The Big Valley showcased her talent and her tremendous beauty.  One of her last television roles was as Mary Carson in The Thorn Birds (1983). Watch her lust after the considerably younger Richard Chamberlain in the scene below:

Missy, as she was called by her friends, was much admired by her co-stars, such as Linda Evans, as well as the crew on her various sets. Her co-star in Golden Boy (1939). William Holden, credited her with his success in the business - she worked with him in his first film role, helping him prepare for scenes. Holden would be instrumental in campaigning for the Honorary Oscar that Ms. Stanwyck finally received in 1982.  It was an honor long overdue, and I think that, if you give some of her movies a viewing, you'll agree she was one of our greatest stars.

So, for National Classic Movie Day, why not put some popcorn in a bowl and settle down with one of these marvelous actors - or pick one of your own. You'll be glad you did!