Fred Dances in the Dark

After years as a major film star, Tony Hunter (Fred Astaire) has sold his California home and memorabilia, and returned to New York City. He's met by his dear friends, Lester (Oscar Levant) and Lily Marton (Nanette Fabray), who have plans - a new play they've written just for him. They plan to enlist Jeffrey Cordova (Jack Buchanan), a major theatre director and actor, to head the production. But Jeffrey's concept of The Band Wagon (1953) is far different than the musical that the Martons had envisioned.

Our group had all seen this delightful film before, and were enthusiastic about seeing it again. One of the Freed Unit musicals, this story is biographical in nature, taking inspiration from the lives its star, its writers, and from other Broadway notables.  

Fred Astaire is perfection as the movie star who decides to retire rather than face a declining public. Many aspects of Tony Hunter are taken directly from Mr. Astaire's own life. He had starred on Broadway in 1931 musical The Band Wagon (then dancing with his sister, Adele), in which he'd sung "I Love Louisa" (The musical revue also featured the song "Dancing in the Dark"). In 1946, Mr. Astaire decided to retire, thinking that his career was starting to peter out (Starring Fred Astaire by Stanley Green & Burt Goldblatt). And he did express concern that his potential dancing partner Cyd Charisse (Gabrielle Gerard) was too tall for him (TCM The Big Idea). All these little nuances gel to create a character with some depth.

By 1953, Cyd Charisse, had been at MGM since 1944. She'd lost Easter Parade (1948) to Ann Miller after Ms. Charisse broke her leg (interestingly, Mr. Astaire returned from retirement to take on Gene Kelly's part when Mr. Kelly broke his ankle). And she was too pregnant to star in An American in Paris (1951). Her big break came in 1952, when she danced in the "Broadway Rhythm Ballet" in Singin' in the Rain. She's poetry in motion in this film. Just watch her do "Dancing in the Dark" with Mr. Astaire; the simple beauty of the dance - and the dancers - is perfection. She wasn't the first choice for the part - Vera-Ellen was initially considered. 

Ms. Charisse's singing voice was supplied by India Adams; sadly, one of her numbers was cut - "Two-Faced Woman." MGM didn't give up on the song though - they later used it in Joan Crawford's film Torch Song (they should have left it in The Band Wagon!). For more information on Ms. Charisse, take a look at this brief video from TCM on her career. And to quote Mr. Astaire (from this bio) "When you've danced with Cyd, you stay danced with."

Jeffrey Cordoba was originally intended for Clifton Webb, but as he'd become rather a big star by 1953, he wasn't interested in a secondary part. He suggested Jack Buchanan instead (TCM The Essentials).  MGM also considered non-dancers Vincent Price and Edward G. Robinson (AFI Catalog) before deciding on Mr. Buchanan.  He's very funny and an able song-and-dance man in a character that was inspired by both Orson Welles and José Ferrer; between 1950 and 1954 Mr. Ferrer staged and/or starred in TEN Broadway plays.

We were especially impressed by the costumes of Mary Ann Nyberg - they are beautiful, and in many cases, quite simple. The white flair dress that Ms. Charisse wears in "Dancing in the Dark" is perfect for a night scene - the simple lines of the dress flow with her dancing; the light color spotlights her and Mr. Astaire as they dance. In the documentary that accompanied the DVD of the film, Ms. Charisse commented on the red dress she wore in the "Girl Hunt Ballet" - it was one of her favorites.  Liza Minnelli (interviewed in that documentary) recalled that Ms. Nyberg made dresses that mirrored those of the stars for 6-year old Liza.  She loved them!

Musicals, of course, entail a lot of work. The "Triplets" number was especially difficult for the principles, involving multiple takes and painful leg binding - they were dancing on their knees and no one could stand the discomfort for more than 20 minutes. But that was not the only problem for those involved. Fred Astaire's wife was in the last stages of terminal lung cancer. Oscar Levant, always a curmudgeon, was even more belligerent, having just recuperated from a heart attack. When he yelled at Nanette Fabray just once too often, she told him off, and the entire crew applauded. Jack Buchanan decided to use his time in America to have some much needed dental surgery. Vincente Minnelli was distracted by his ex-wife, Judy Garland's problems while filming A Star is Born (TCM Behind the Camera).

The film received three Oscar nominations - for Costume, Score, and Original Screenplay. It was added to the Library of Congress National Film Registry in 1995. It's #17 on the AFI's 100 Years, 100 Musicals.  

When it opened at Radio City Music Hall in New York, Bosley Crowther's New York Times review was glowing:"Joined with the equally nimble talents of Fred Astaire. Jack Buchanan and Cyd Charisse and some tunes from the sterling repertory of Arthur Schwartz and Howard Dietz, this literate and witty combination herein delivers a show that respectfully bids for recognition as one of the best musical films ever made." Other reviews were equally enthusiastic. We heartily concur. 

If you've never seen this film, give yourself a treat and find a copy.  Here's a trailer from the film. Enjoy the music:

5 From the 50s

May 16th is National Classic Movie Day and to celebrate, I'm participating in this year's blogathon, Five Favorite Films from the Fifties. Be sure to follow the link to see the work of other bloggers, and find discussions of films you might never have thought to view.

As I've mentioned before, my favorite films change from day to day, so I've opted to pick five films I truly love in five different genres - comedy, musical, film noir, suspense, and western. My caveat is, if you asked me tomorrow, you might get a totally different list. I'm also going to avoid discussions of films we've previously covered (I'll link you over to a few noteworthy ones within my chosen categories). Regardless, all of these films are remarkable and definitely worth seeing. If there are some with which you are not familiar, get hold of a copy asap. You won't be sorry.

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Tony Hunter (Fred Astaire) has all but retired when his friends, writers Lester (Oscar Levant) and Lily Marton (Nanette Fabray) try to entice him back to work with their latest play. They plan to get Jeffrey Cordova (Jack Buchanan) to direct it. Cordova, however, has grandiose ideas, including the addition of ballerina Gabrielle Gerard (Cyd Charisse) to the cast. With misgivings ("I am not Nijinsky. I am not Marlon Brando. I am Mrs. Hunter's little boy, Tony, song and dance man."), Tony agrees, but conflicts arise as rehearsals begin.

When it comes to musicals of the 1950s, Singin' in the Rain (1952) and An American in Paris (1951) (justifiably) come immediately to mind. But The Band Wagon (1953) is a film that should always be included in the list of great 1950s musicals. With Cyd Charisse and Fred Astaire performing one of the greatest dance numbers in movie history, plenty of comedy, and a love story, it's a film not to be missed.

In 1931, Fred and Adele Astaire (along with Frank Morgan and Helen Broderick) starred in the Broadway play, The Band Wagon. It was a musical revue; this film has nothing to do with it, though I Love Louisa and Dancing in the Dark were both performed in the play. The film has a script by Betty Comden and Adolph Green, who loosely based the story on Mr. Astaire. He'd tried retirement for a few years, but was coaxed back to star in the very successful Easter Parade (1948); his most recent film, however (The Belle of New York) that had not done well (for more on Fred Astaire and The Band Wagon see this article in The Paris Review). The Martons were based on Comden and Green (though the real-life writing duo were not married), and Cordova was based on  José Ferrer, who between 1946 and 1948 produced, directed, and/or starred in 8 Broadway plays - and did 10 more in the next three years! (TCM articles).

Jack Buchanan was not the first choice for Gregory Cordova - Clifton Webb was approached initially; Edward G. Robinson and Vincent Price were also considered (AFI catalog).  And while Vera-Ellen was at one pointed listed for the role of Gabrielle, one wonders if the failure of The Belle of New York led to her not being used.

The film was well received upon release; the  New York Times review by Bosley Crowther was enthusiastic. It was nominated for three Academy Awards for Best Story and Screenplay, Best Costume Design (Color) and Best Scoring of a Musical Picture.  With all the wonderful musical numbers, the one for me that stands out is "Dancing in the Dark," perhaps Mr. Astaire's most romantic number since he and Ginger Rogers graced the screen.  We'll close this section with a video of that delightful dance.

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Dr. Benjamin McKenna (James Stewart) is on vacation in Morocco with his wife Josephine Conway (Doris Day), a well-known singer who retired to take care of their son Hank (Christopher Olsen).  They are befriended by Louis Bernard (Daniel Gélin), a Frenchman who asks way too many questions for Jo's tastes. Bernard is murdered and whispers to Ben that a statesman is targeted for murder. But the would-be murderers have their own plan - snatch young Hank to be sure that Jo and Ben don't contact the police.

The Man Who Knew Too Much (1956) is a remake of Hitchcock's 1934 film of the same name. The plots are similar, but this version has a lot more nuance. Hitchcock told François Truffaut that "the first version is the work of a talented amateur and the second was made by a professional" (Hitchcock by François Truffaut)

James Stewart had already appeared in Hitchcock's Rear Window (1954) and Rope (1948); they would work together one more time in Vertigo (1958). Mr. Stewart was attached to the project from the beginning; Doris Day was also Mr. Hitchcock's first choice for Jo, especially since he wanted part of the conclusion to replicate the search for Richard the Lionheart by his troubadour Blondel. (TCM article). Her song, "Que Sera, Sera," won the Academy Award for best song, became her theme song, and was used in two more of her films (AFI Catalog). An excellent dramatic actress, she portrays a strong woman who ultimately refuses to be cowed by the danger threatening her child. Ms. Day's recent passing has already contributed many caveats to her exceptional skills as an actress and singer. This film is further proof that she was a talented dramatic actress.


To my mind, The Man Who Knew Too Much is one of Hitchcock's great films that is often overlooked in discussions of his work. Perhaps because it was not seen for so many years - it was one of the five films that Hitchcock owned and refused to release (including Vertigo, Rear Window, Rope, and The Trouble with Harry) (Mental Floss article). The highly regarded Vertigo and Rear Window got much praise and viewing when the films finally came back to their audience in the 1980s. This one has just not received as much attention.

If you are ready to watch the master of suspense spin his web, watch The Man Who Knew Too Much; here's a clip of the trailer, with a bit of Ms. Day doing her famous song.

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Pregnant and dumped by her no-good boyfriend Stephen Morley (Lyle Bettger), Helen Ferguson (Barbara Stanwyck) boards a train with only her meager belongings - Morley gave her the ticket to get her out of town.  She is befriended by newlyweds Patrice (Phyllis Thaxter) and Hugh Harkness (Richard Denning), who are on route to introduce Patrice - who is also pregnant - to Hugh's family. Patrice lets Helen try on her wedding band while they are in the ladies room; at that moment, there is a train crash. Helen awakens to discover both her new friends are dead, and Hugh's family thinks that she is Patrice. With her baby to think about, and No Man of Her Own (1950), Helen is faced with a massive decision - accept help from the Harkness family, or leave before they realize her deception.

No Man of Her Own is on my list of favorite film noirs, as well as favorite Barbara Stanwyck films. As a woman abandoned by the man she loved, Stanwyck is remarkable (as always). Her ethical dilemma is obvious - the love she has for her unborn child, versus the need to lie to people as kind as Mr. & Mrs. Harkness (Jane Cowl & Henry O'Neill). There is the further complication of her growing affection for Hugh's brother Bill (John Lund). If it is a touch melodramatic, who cares? When you get a performer like Ms. Stanwyck telling the story, you want to watch.

One of the things that really intrigues me is that Helen is clearly an unwed mother, yet there are no recriminations from anyone. Patrice is obviously aware that Helen has never had a wedding ring, and generously lets Helen slip on Patrice's ring. Originally, Helen was to have been a prostitute (AFI catalog), but in my opinion, Helen as a rejected lover makes for a more interesting story line.

When the DVD was released in 2016, the New York Times provided some interesting commentary about the film (Bosley Crowther disliked it when it was released in 1950). The film was based on a Cornell Woolrich story (I Married a Dead Man), it has been remade several times, with versions in Japan (Shisha to no Kekkon (1960)), in France (J'ai épousé une ombre (1983)), in India (Kati Patang (1970), and in America (Mrs. Winterbourne (1996).

This is top-notch Stanwyck - and not one that comes up all the time, so watch for it! This trailer will give you an idea of what to expect.

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The beauty of The Quiet Man (1952) is that it is so much more than a comedy. It tells the story of Sean Thornton (John Wayne), who left his home in Ireland as a young boy to emigrate to America with his mother. He grew up with his mother's stories of his former home, their wee cottage, White-a-Morn and the roses that grew outside the house. Sean's life in America was a hardscrabble one, and as that life has become untenable, he retreats to Innisfree, and buys White-a-Morn. As he tries to settle into a country he doesn't know, he finds that his unwillingness to fight brings heartache to him, and to the woman he loves, Mary Kate Danaher (Maureen O'Hara).

The Quiet Man was based on a short story by Maurice Walsh; John Ford acquired the rights in 1937 and yearned to make it into a film (AFI Catalog). Republic Studios finally agreed to make it IF Ford, O'Hara, and Wayne would make a Western (read moneymaker - Republic considered Ford's little film a vanity project that would lose money), so the trio first did Rio Grande. Filmed in Ireland, with various members of the cast's and crews' families working on the film, Ford was also under express orders to bring in a film no longer than 2 hours. But, his final cut ran 2:09 - he showed it to his execs, and stopped the projector at exactly the 120 minute mark. They agreed to the longer time (TCM articles).

For me, the film is important for its portrayal of a strong woman who is trying to maintain her independence in a society that limits a woman's choices. Mary Kate, in hounding Sean to get her dowry, is not asking for money - she's asking for her independence. With his American upbringing, all Sean can see is that what's his is hers. Mary Kate wants "her [own] things about her," for they are what make the house and the marriage all her own. 

I could go on for hours about this film. As a child, I would watch it every St. Patrick's Day (and growl when they cut crucial scenes out. Thank heavens for TCM and uncut films!).  I've been in Ireland twice, and both times visited Cong, the little village in County Mayo where The Quiet Man was filmed. The Quiet Man is a song of joy about Ireland, and a tale of strength under pressure.

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There are some truly remarkable westerns in the 1950s - Shane, The Searchers (1956), Johnny Guitar (1956), among others.  But one film that should be in this list is the excellent Westward the Women (1951). The story of a group of 140 women who are recruited by rancher Roy E. Whitman (John McIntyre) as brides for his hands, the film portrays with as much truth as possible the dangers and hardships that faced the pioneers who went west. Leading the caravan is Buck Wyatt (Robert Taylor), a hard-nosed scout with little faith in the venture.

The women are a tough bunch. There is our star, Fifi Danon (Denise Darcel), a saloon girl who wants a new start. The widowed Mrs. Maroni (Renata Vanni) wants a new father for her son Tony (Guido Marfuti). Patience Hawley (Hope Emerson) has lost her husband and son to the sea, and also wants a chance with a new husband.
 
Robert Taylor is letter perfect as the man who decries Mr. Whitman's plan as foolhardy, but grows to respect the women in his charge.  Early in the film, he speaks to the assembled group. He asks if any can shoot a gun - he's stunned when Maggie O'Malley (Lenore Lonergan) shoots the eyes out of a picture. His regard grows as he sees the women take on more and more responsibility as they struggle towards California.

Regardless of his star billing, this is a film about the women.  Hope Emerson especially paints a portrait of a woman trying to begin a new life. She brooks no nonsense from her colleagues or from the men who lead the trail. She's brave and forthright, and you adore her from her first "hokum-smokum". Rose Myers (Beverly Dennis), a young woman pregnant with an illegitimate child is also an interesting character - accepted and loved by the group, with no condemnation of her past indiscretion. As this TCM article notes Westward the Women goes deeper into creating a female vision of the westward progression. These are the Pioneer Women (the film's working title) who would tame the western frontier.

Frank Capra had planned to direct, with Gary Cooper as Buck, but eventually sold the project to William Wellman (AFI catalog), which I believe added a layer of realism that benefited the story enormously.  Bosley Crowther in his New York Times review has certainly missed the point of the film; I suggest you take a look at A Woman's View: How Hollywood Spoke to Women, 1930-1960 by Jeanine Basinger for further discussion on this very timely picture.  In the meantime, take a look at the trailer:


And thus, our Five from the Fifties - there are many more excellent options (I didn't include a film I love, The Girl in White (1954). That's for another day). Just head over to Five Favorite Films from the Fifties and see the other wonderful films that were selected. In the meantime, Happy National Classic Film Day!

Gramercy Park Barbara

Jessica (Barbara Stanwyck) and Brandon Bourne (James Mason) appear to be a successful, happily married couple. They dine weekly with Jessie's mother Nora Kernan (Gale Sondergaard), who shows deep affection for her son-in-law. They live in a lovely Gramercy Park apartment. But, there marriage was threatened some years ago when Brandon had an affair with Isabel Lorrison (Ava Gardner). Her departure helped repair their marriage; however, Isabel has just returned to New York, and she wants Bran back. Our film for this week is East Side, West Side (1949)

Before I begin discussing the film itself, I wanted to comment on the "East Side" setting. One of my favorite places in the world is Gramercy Park. For those of you not from NYC, Gramercy Park is a small region in Manhattan; it encompasses an area from 19th Street to 21st Street, and from Third Avenue to Park Avenue South. In its center is the actual Park, a private garden available only to residents. Centered in the Park is a statue to Edwin Booth; across the street is The Players' Club, which Mr. Booth founded in 1888. Among the inhabitants of the area were James Cagney (who lived at #34), Gregory Peck (you can see him walking in the Park in A Conversation with Gregory Peck), and Margaret Hamilton; John Garfield died in #3. The home in which the Bournes reside is #36 (right next door to James Cagney!) and was my personal dream apartment. Now, there is no way that Jessica can see the river, even from the top floor of the east face of the building (Stuyvesant Town would be in the way), but it's still an impressive residence.

It goes without saying that Ms. Stanwyck is impressive as Jessica. Though Jessie is quiet, Ms. Stanwyck makes sure she is not passive. Jessie is determined that her marriage will survive (her parents' marriage was tumultuous, and it had a toll on their daughter), but neither is she a doormat. She has made it clear to her husband that she won't tolerate his philandering any longer. Though she has suspicions at times, she is willing to trust to a point that he is keeping his word. Ms. Stanwyck makes her pain evident, but also shows us Jessica's strengths - especially when she finally confronts her chief nemesis, Isabel (for an interesting discussion of the scene, please visit this review by Jeanine Basinger in The New York Review of Books. It includes a review of  Ava Gardner: The Secret Conversations, by Peter Evans and Ava Gardner in which Ms. Gardner alleges an affair with Ms. Stanwyck's husband, Robert Taylor).

None of us are huge James Mason fans; though he is at his best when there is something a bit shady about the character. This film is no exception. Mr. Mason has no problem with making Bran distasteful and weak; the result however is that you know pretty quickly that he is not a fit husband for anyone, much less the caring Jessica. His interactions with Rosa Senta (Cyd Charisse, in a rare dramatic role) cut immediately to the chase. He flirts, she puts him down, saying "If I were your wife, I'd cut your heart out!" The audience totally understands her reaction; we don't even need to know that Isabel can summon him with a flick of her little finger to understand that he is spineless.

Conversely, Van Heflin as Mark Dwyer is excellent and immediately likeable. Sure, he falls for Jessica a bit too fast (but it is only an 108 minute film!) and he doesn't appreciate Rosa's affection for him, but he's a good man who has little use for Bran, and is upfront in his relations with the women in his life. Mr. Heflin, in his third appearance with Ms. Stanwyck (they had already appeared together in B.F.'s Daughter and The Strange Love of Martha Ivers) , shows an easy relationship with his co-star. There is an equality and regard in their relationship that (appropriately) is not present with Mr. Mason.

Part of the reason that Mr. Heflin's character is so attractive is the regard with which he is held by Rosa Senta. She's loved him since childhood, but she is also a woman with a regard for herself. She won't accept him as a second choice. His honesty towards her; her response to their conversations make both characters attractive.

Let's also acknowledge that the women in this film are remarkable for their solidarity. Sure, Isabel and Felice Backett (aka "The Amazon", played by Beverly Michaels) are heinous people, but the interactions that Jessie has with Helen Lee (Nancy Davis) and Rosa, and the love that Nora has for her daughter demonstrate that not every female discussion results in a catfight. These women are protective of Jessie. Ms. Davis, (in her first screen role; she was on the set of this film when she met her future husband, Ronald Reagan), says it best, when she decries the belief "that [women] aren't capable of affection for one another and honest friendship." Rosa, Nora, and Helen show the depth of female friendships. (TCM article)

Beverly Michaels was also appearing on the big screen for the first time. She was married to the film's producer Voldemar Vetluguin at the time (the marriage would end in 1952). She only appeared in 11 films (3 of them uncredited), but she's quite good in this small but memorable role. After her divorce, she married again, to screenwriter/director Russell Rouse. They were married for over 30 years, until his death, and had two children (their son Christopher is an editor). She died in 2007, at the age of 78, by which time she had become something of a cult figure as a noir-ish bad girl.

As is often the case, Mr. Mason and Ms. Stanwyck were not the first choices for the Bournes - Fred MacMurray and Claudette Colbert were the considered first. This would also be Gale Sondergaard's final film for 20 years - she and her husband Herbert Biberman were blacklisted; they moved to New York City where she was able to get work on Broadway. Finally, in 1969, she returned to the big and small screen (AFI catalog) with the film Slaves (directed by her husband) and the TV show It Takes a Thief.

We'll leave you with the trailer to this excellent film.