National Classic Movie Day 2021

Welcome to our celebration of National Classic Movie Day for May 16, 2021. As part of a blogathon hosted by the Classic Film and TV Cafe, we're going to discuss six films - one from each decade beginning in 1920.  We hope you've seen these films.  If not, perhaps you'll consider giving them a viewing.  All are worth your time.

 

We'll start our discussion right at the beginning of our first decade with Way Down East (1920). Lillian Gish stars as Anna, an unwed mother who is thrown out of her home after becoming pregnant.  Following the death of her infant, she finds work as a servant girl and falls in love with David Bartlett (Richard Barthelmess), the son of her employer.  But gossip reaches the Bartlett farm about her past, causing her to flee out into the storm. What follows is a spectacular scene in which Ms. Gish gets trapped on an ice floe, while Mr. Barthelmess attempts to save her. The scene was actually filmed in the midst of a blizzard and Ms. Gish suffered hand pain for the rest of her life (TCM article).  You can see that scene below.  In the meantime, you get to see some fine acting and an engaging script.  It's a powerful film, primarily because of Ms. Gish's abilities. If you've never seen her in a silent film, this may be the one with which to start.

We'll go to the end of the 1930's for our next film. The Christmas rush over, Polly Parrish (Ginger Rogers) uses her lunch hour to begin job hunting; by Christmas Eve, she'll be unemployed again. She sees a woman abandoning a baby on the steps of an orphanage, and rushes over to make sure the baby doesn't fall - and is mistaken by the orphanage personnel for the mother.  Bachelor Mother (1939) changes Polly's world as she becomes tthe mother of a strange child, and is wooed by the scion of the department store for which she works. Ginger Rogers is delightful as the reluctant unwed mother. 

The beauty of this remarkable film is the way in which all around her treat Polly after discovering she has a child.  David Merlin (David Niven) wants to give her a permanent job; Polly's landlady, Mrs. Weiss (Ferike Boros) volunteers to take on baby-sitting duty, and David's father John Merlin (Charles Coburn) decides the baby is his grandchild. The film circumvents the code by showing sympathy to a mother on her own, by making that mother an adoptive one.  It's a remarkable and genuinely sweet film, and definitely worth viewing.  The trailer will give you a good idea of this lovely movie:

The 1940s was an especially difficult decade to nail down just one film, so I opted to go to the directing master Alfred Hitchcock, and discuss Notorious (1946), which for me is one of his often ignored masterpieces. Alicia Huberman (Ingrid Bergman), the daughter of a convicted German spy, is recruited by T. R. Devlin (Cary Grant) to spy on another suspected spy, Alexander Sebastian (Claude Rains). Part of the beauty of this film is that Alicia is no innocent - she's been running with a fast crowd since her father's conviction, and knows exactly what comes with her mission, consenting to wed Sebastian to get the needed information. 

The combination of Grant and Bergman is intoxicating. Their's is not so much a love story as a lust story that grows despite the reluctance of the leading man. Mr. Grant makes Devlin a dark and angry man, who finds himself loving a woman he thinks is unworthy of him, only to find that she is a far better person than he. Claude Rains turns the tables on the viewer by making the audience actually sympathize with him, despite the fact that he is a Nazi spy and murderer. It's a world turned upside down, and the viewer is given a wild ride to a tense ending. The trailer will give you a look at this absorbing tale.

The role of women had changed as the 1940s ended, and the 1950s began.  Women who had left the home to work were now been forced back into the home.  In response, Emily Dunning Barringer, a physician in New York, wrote an autobiography about her years as an ambulance surgeon in 1902 (she was the first woman to hold this position). The film that was made of her book is The Girl in White (1952). It's possibly the only biography of a female physician, and gives a clear picture of the kinds of abuse that women who were entering the field had to face.  

June Allyson brings both innocence and strength to the young woman who is bucking the system.  Arthur Kennedy is good as her suitor, who originally wants her to give up her career and become the supportive wife and mother. Without going into detail, the ending of the film is an eye-opener, and not the traditional Hollywood fare.  If you've never seen this before, I strongly recommend it. This trailer will serve as an introduction.

 I had to think long and hard in selecting a representative film of the 1960s.  In keeping with my theme of strong women, I selected The Lion in Winter (1968). Katharine Hepburn is dynamic as the power-seeking Eleanor of Aquitaine; she won her third Oscar (tying with Barbra Streisand - the only time thus far the Actress category has resulted in a tie).

The interplay between Ms. Hepburn and Peter O'Toole is dynamic. Sure, the dialog is not period but they film crackles with superb lines. My favorite has got to be Ms. Hepburn musing on her marriage annulment from Louis VII of France: "Good, good Louis. If I'd managed sons for him instead of all those little girls, I'd still be stuck with being Queen of France and we should not have known each other. Such my angels is the role of sex in history." You can see that scene in this discussion of Ms. Hepburn's career by Anthony Hopkins

Peter O'Toole had a discussion about Ms. Hepburn with Robert Osborne which is available here.  He had approval rights for the film, and he wanted Ms. Hepburn. While there was a remake of the story in 2003, with Patrick Stewart and Glenn Close - both marvelous actors and favorites of mine - nothing can top the electricity between all the actors in the 1968 film. 

If you've not seen it - please get hold of a copy. I hope this trailer will serve as an encouragement.

As the 1960s gave rise to more violent films, I admit to not seeing many of the "greats" of the 1970s, so making a selection took some thought.  I decided on The Way We Were (1973). Again, a strong woman attempts to take on the world - or at least her part of it. 

Katie Morosky (Barbra Streisand) is a college radical who falls in love - initially over her better judgement - with jock Hubbell Gardiner (Robert Redford).  When they meet again during World War II, their love for each other flames and they decide to marry.  But Hubbell's career takes them to Hollywood, where Katie's radical past becomes a threat to their future.

If there is one thing I regret about this film, it is the fact that a decision was made to cut a scene that explained the real reason for Hubbell and Katie's eventual divorce. You can see that scene and a few others in this excerpt from a documentary about the film. In my humble opinion, the inclusion of the one scene would have made an already great picture perfect.

I had my own personal connection to the movie - they filmed the scenes outside Katie's apartment a few blocks from where I lived in New York, and I got there just in time to see the trucks leave. Sigh.  But it was exciting to see the finished scenes in the film. You can actually see that location in this trailer from the film.

In conclusion, Happy National Classic Movie Day.  Please be sure to visit the other blogs that are posting for the day, and find out about some additional great films.

Ronald Duels

We aren't quite done with swashbucklers, as our film for this week is The Prisoner of Zenda (1937).  Ronald Colman plays Major Rudolf Rassendyll, an English officer on a fishing trip to Ruritania, when he meets Colonel Zapt (C. Aubrey Smith) and Fritz von Tarlenheim (David Niven).  Both are flabbergasted at Rassendyll's resemblance to King Rudolf V (also played by Colman); Rassendyll, it turns out, is descended from the Ruritania royalty on the wrong side of the blanket.  The King is also amused at the resemblance, and invites Rassendyll to his palace for a night of conversation and drinking, at the end of which, the Rassendyll, Zapt and von Tarlenheim discover the King unconscious, his wine drugged by servants in the pay of his half-brother, Black Michael  (Raymond Massey).  With the King's coronation scheduled for that afternoon, Zapt convinces Rassendyll to step in for the King, for if King Rudolf doesn't show up, Michael will stage a coup to take over the goverment.  Reluctantly, Rassendyll agrees, only to discover that Michael and his henchman Rupert of Hentzau (Douglas Fairbanks, Jr.) are all too quickly aware of the masquerade, and kidnap the King from his vacation palace.  Add to the problems - Rassendyll has fallen head over heels in love with the Princess Flavia (Madeleine Carroll), Rudolf's betrothed.  

With an absolutely magnificent cast, this is a film that is not be missed.  Colman creates distinctive personalities in the characters of King Rudolf and Rassendyll (and given he has very little to work with when it come to the King - who we barely see - it is all the more exceptional).  With his fantastic voice and his engaging personality, it is quite clear why Flavia would fall for him almost instantly, even when she thinks he is the King (who she dislikes).

His equal is Douglas Fairbanks, Jr as the arch-villain Rupert of Hentzau.  Fairbanks gives him a sparkle that makes him attractive and treacherous at the same time.  When the film was remade in 1952, James Mason took over the role; while Mason had the evil down perfectly, he just doesn't have the charm that Fairbanks does in the role.  That little twinkle in his eyes, as he performs his nefarious deeds is the difference.  Interestingly, Fairbanks badly wanted the lead role, and almost turned down the part of Rupert when that was offered instead.  His father, Douglas Sr, is the one who talked him into doing it - he told him the character was "witty, irresistible, and as sly as Iago".  That the part was "so actor-proof... that Rin Tin Tin could play the part and walk away with it!", we are inclined to disagree (in our opinions, Mason didn't walk away with it!).  It's proof of the talent of Fairbanks, Jr. that he could make you look away from Colman on occasion.   (This TCM article goes into more detail on the history of the film).

With actors like Mary Astor (as Michael's lover, Antoinette de Mauban), David Niven and Madeleine Carroll in the film, even the small parts are performed by experts.  Niven, who had started in films in 1932, primarily in unbilled parts, was about to become a star.  By 1939, he was the second lead in Wuthering Heights and starred (with Ginger Rogers) in Bachelor Mother.  A versatile actor, noted for his wit (if you've never read his autobiography, The Moon's A Balloon, you owe yourself a treat - many stories of him and Errol Flynn and their bachelor pad are included), Niven was highly regarded in the Hollywood community; in his article for Niven's Star of the Month turn on TCM, Robert Osborne recalled being at an event where a group was laughing at someone's tales.  Mr. Osborne surreptitiously wandered over, to discover Mr. Niven regaling the table with stories.  Mr. Niven married twice - he was widowed when Primula Rollo died after falling down a flight of stairs during a game of hide and seek.  Two years later, he wed Hjördis Tersmeden, and though they were together until his death in 1983 of ALS, it was allegedly not a happy marriage (Niven's close friends Roger Moore and Robert Wagner actively disliked her).  Niven served in the British Army during the Second World War, returning home from America when war broke out.  This hiatus had little effect on his career - he returned from military duty to make such excellent films as A Matter of Life and Death (1946), The Bishop's Wife (1947), and his Oscar-winning turn in Separate Tables (1958).

Madeleine Carroll is probably one of the most beautiful women in Hollywood history, but not only is she lovely, she is a strong, intelligent, and talented actress.  You believe that Princess Flavia could lead a nation, thanks to Ms. Carroll's strength of character.  After appearing in two Hitchcock films (his earliest "cool blonde") in Great Britain, Ms. Carroll came to America to appear in this film and The General Died at Dawn.  The parts she was given were uneven in quality, and she left filmwork in 1949.  She continued for a few years more in television (appearing, for example, in a Robert Montgomery Presents of "The Letter" in 1950).  She also appeared on Broadway in Goodbye, My Fancy, in the role Joan Crawford would assume on screen).  She also worked on film production aimed at promoting "better understanding among the peoples of the world".  He efforts also helped to raise money for an orphanage housing children injured in France during World War II.  She died in 1987, at age 81.

The film that we see today did change from the original concept.  It seems there was a prologue and an epilogue that were filmed and never used.  The film would have opened with the much older Rassendyll recounting the story of his adventures in Ruritania, now many years in the past.  As the film ended, he would have learned of the death of Princess Flavia.  Interestingly, this differs from the sequel written by Anthony Hope, entitled Rupert of Hentzau, in which Flavia become Queen after the deaths of King Rudolf and Rassendyll.

We'll close with the fencing scene from the end of the film.  According to the AFI Catalog, David O. Selznick was not satisfied with the scenes originally filmed by John Cromwell and brought in W.S. Van Dyke to reshoot them.  The fencing, as you will see, is excellent:

Olivia Loves a Thief

TA. J. Raffles (David Niven) is a young man of society - a well-known cricket player and man about town. Though Raffles has no real income, he lives quite well.  He supports himself with his hobby - in his spare time, he is the notorious Amateur Cracksman, a thief who has been bedeviling the local police.  Thus begins the fourth remake of Raffles (1939).

The film had already been made in 1917 (as Raffles, the Amateur Cracksman, with John Barrymore), in 1925 (with House Peters) and in 1930 (with Ronald Colman).  We were lucky enough to see some commentary from Robert Osborne, and he mentioned that this version was an almost scene by scene recreation of the Colman film.  Director Sam Wood (who had just come off Gone With the Wind) was too tired to waste effort on a new version, so he just cribbed from the Colman version.  This TCM article goes into a bit more detail.  We hope, at some later date, to view the 1930 Colman film and compare those two films.

Also fresh from Gone With the Wind was Olivia de Havilland, who was assigned to play Gwen Manders, Raffles love interest.  Ms. de Havilland had little interest in the role - it was mere window dressing to Niven's more rakish part (Cary Grant actually pursued the role of Raffles - he even offered to lower his normal salary).  Her disgust at being forced into roles that she viewed as inferior was the impetus for her eventual suit against the studio system.  For more information on this story - and it should be noted that Ms. de Havilland was a leader at great cost to herself in this protest - see this interview at the Academy of Achievement. 

So, while Olivia doesn't have a whole lot to do here (except be intelligently gorgeous, which is also quite a skill.)  Her Gwen is no dummy, and Ms. de Havilland can show you with just the merest glint in the eye what is going in within Gwen's head), David Niven shines.  He is quite dashing as A.J.  Our group found the film quite reminiscent of To Catch a Thief, and were fascinated by Cary Grant's interest in Raffles.  It seemed to us that, while it took nearly 20 years, Mr. Grant DID finally get to play The Amateur Cracksman. 

Many films from the period portray the police as complete dolts.  Not Raffles.  The police inspector MacKenzie, played by Dudley Digges, is a worthy adversary to Raffles, and someone that Raffles respects.  In fact, it is a mutual admiration society - MacKenzie also admires The Amateur Cracksman's skill and daring.  Nevertheless, MacKenzie is determined to put him behind bars. 

There is an attempt on the part of the screenwriter to make Raffles a more attractive - and admirable - character.  At least twice we see him steal in order to help someone else.  In the first scene, he snatches a piece of art, then secretly presents it to a retired (and hard up) actress, so she can collect the reward. This bit of Robin Hood in the character is surely meant to placate the code - we can't quite condemn him when the only thefts we see are those that help a destitute old lady and his future brother-in-law, Bunny Manders (Douglas Watson).

The screenplay is very well done, and there are some well-crafted scenes.  In one instance, Raffles needs to get down to the first floor of Lady Melrose's (Dame May Whitty) home.  However, he knows Inspector MacKenzie is hovering around his door.  His solution, to pretend to put his shoes outside the room, is done in total silence.  It's an effectively done sequence, and David Niven is quite excellent in his execution.  Also fun was Raffles attempt to stash a stolen bracelet in a humidor. Only he doesn't realize that Inspector MacKenzie is a pipe smoker.   And the Inspector has forgotten his tobacco. Finally, there is a wonderful bit where Raffles realizes another thief is in the house. Niven's relish at getting the best of his competition is delightful. 

All in all, a fun film well worth a viewing. We leave you with a clip from the beginning  of Raffles: