Ronald Does Dickens

Banker Jarvis Lorry (Claude Gillingwater) meets with Lucie Manette (Elizabeth Allen) to inform her that her father, who she thought was dead, is alive. A prisoner in the Bastille in Paris for over 18 years, Dr. Manette (Henry B. Walthall) has almost lost his mind, but his love for his young daughter helps him to be "recalled to life". On a ship back to England, the Manettes meet Charles Darney (Donald Woods), who is, unbeknownst to them, is the nephew of the man who caused Dr. Manette's imprisonment, the Marquis St. Evremonde (Basil Rathbone).  Our film this week is the David O. Selznick production of Dicken's A Tale of Two Cities (1935).

David O' Selznick became famous for adapting novels for the screen (think Rebecca (1940), Gone With the Wind (1939), David Copperfield (1935), Anna Karenina (1935)). When working on Gone With the Wind, he was quoted as saying "the book is the law, the book is the Bible" (Film Adaptation and Its Discontents: From "Gone with the Wind" to "The Passion of the Christ" by Thomas Leitch), and with one small exception, this is true of A Tale of Two Cities. Based on the novel by Charles Dickens, the story paints a picture of Paris leading up to and during the Terror. 

The one big change from the novel was forced by the casting of Ronald Colman as Sydney Carton.  He is, of course, magnificent in the part; his mellifluous voice provides a perfect ending to the film, as Sydney tells us "It is a far, far better thing I do than I have ever done; it is a far, far better rest that I go to than I have ever known." (it gives me chills very time I hear it). But Mr. Colman was adamant about one thing - he did not want to play both Sydney and Charles Darney. (AFI catalog).  Though Mr. Selznick was later quoted as saying Mr. Colman "had a dread of dual roles", Selznick would convince him two years later to perform in The Prisoner of Zenda as both the King and as Rudolf Rassendyll. Yet, the casting of two different actors works well, and makes Carton's efforts at the end of the story even more poignant.

It is fair to say that this is a film without any false performances. The supporting cast is excellent, featuring some of Hollywood's greatest character actors. Blanche Yurka, as Madame De Farge gives a frightening performance as a woman obsessed with the demise of the aristocracy. Notorious for her knitting skills, Madame is making a blanket with the coats of arms of all the aristos she plans to execute.  My friend noticed that Ms. Yurka was "throwing" her yarn in the English fashion (and in fact, was not really knitting - the needles never moved), which ended in a discussion about when would a knitter in France have knitted Continental style? The answer was in the early 19th Century (A History of Hand Knitting by Richard Rutt), what we now call the continental style was introduced to the rest of Europe from Germany, so it is likely that, in the 1790s, Madame would indeed have thrown her yarn.

Madame is a good companion to Lucille La Verne as The Vengeance, an odious woman, equally maniacal in her desire to murder. Ms. La Verne was at one point in the running to play Madame De Farge, along with Judith Anderson, May Robson, and Emily Fitzroy. Two years later, Ms. La Verne would be the inspiration and voice for the Queen/Witch in Snow White and the Seven Dwarfs. You can hear her doing that insane laugh in this film as well. 

Also outstanding is the always entertaining Edna May Oliver as Miss Pross. A determined lady whose life is devoted to the protection of her "Lady Bird," Lucie and Lucie's family, we know from the start that nothing will prevent Miss Pross from seeing the Manettes home to safety in England.  

Basil Rathbone has a relatively small part - that of the Marquis St. Evremonde. He is so totally despicable that you look forward to his eventual death. The only problem is that you don't get to see him any longer and he is so very good in the part, giving just the right amount of swagger and disregard to a horrible man.

Isabelle Jewell has a small but important part of a Seamstress swept up in the madness of the Terror. We see her once at trial, and then again in prison. She plays it well - though only introduced to the woman, you feel for her, and ultimately admire her courage.  Though director Jack Conway was convinced she would not fit the role, David Selznick disagreed, and insisted on testing her.  All parties were convinced by her test, and Ronald Colman got permission to give her the good news. (TCM article)

Colman portrayed Carton again on two Lux Radio Theatre  broadcasts, on 12 Jan 1942  (with Edna Best) and 18 Mar 1946, (with Heather Angel). Orson Welles took on the role for a 26 Mar 1945 Lux Radio Theatre broadcast. The story has been on film multiple times. There was a silent version in 1917; William Farnum played both Sydney and Charles.  In 1958, Dirk Bogarte appeared as Sydney; and a 1980 television movies featured Chris Sarandon as both Carton and Darnay. Two television  miniseries have also been produced - one in 1980 with Paul Shelley in the double role and a 1989 version with James Wilby as Carton.

The New York Times review by Andre Sennwald called the movie "a prodigally stirring production. . . .for more than two hours it crowds the screen with beauty and excitement. . ." We wholeheartedly agree, and leave you with a trailer:

Ms. Fontaine has No Name

"Last night I dreamt I went to Manderley again..." is perhaps one of the most famous opening lines of a novel.  Last night, I too went to Manderley again, submerging myself in the wonder that is Rebecca (1940), Alfred Hitchcock's first American film, and his only film to win a Best Picture Oscar. 

Aired as part of TCM's Summer Under the Stars tribute to Joan Fontaine, Rebecca is a remarkable film.  Starring Joan Fontaine as the nameless second Mrs. deWinter, Laurence Olivier as her husband - and the widower of the unseen, but always felt, Rebecca - Maxim, and Judith Anderson as the always creepy Mrs. Danvers, it faithfully represents the Daphne du Maurier novel, yet creates compelling cinema AND manages to placate the Production Code.  

The story of Rebecca open in Monte Carlo.  Our heroine is wandering the cliff-side, when she sees a man gazing over the edge of the precipice.  Alarmed, she cries out. He reacts violently, telling her loudly to mind her own business.  That evening, as she sits in the lobby of the hotel with her employer, the crude Edyth van Hopper (played by the always wonderful Florence Bates), who should appear but That Man - Maxim de Winter, the wealthy owner of Manderley, and a lion of the social set.  Mrs. van Hopper tries to ingratiate herself to him, to no avail (though she is oblivious to Maxim's disregard of her).  Maxim is much more intrigued by her paid companion, and when Mrs. van Hopper is relegated to her room by a cold,  the girl and Maxim begin to keep company.  She, of course, is immediately smitten by him.  He treats her as a child, needing constant care and correction. But, when Mrs. Van Hopper decides to drag the girl back to America, Maxim proposes marriage. Following a happy honeymoon, the couple returns to Manderley, and the second Mrs. De Winter finds that her life is a constant stream of insecurity and fear. 

 

Joan Fontaine is really perfect as the second Mrs. De Winter.  Her mannerisms, which can sometimes be annoying, work beautifully here; they highlight her naivety and anxiety.  Laurence Olivier provides the perfect balance of superciliousness and affection as Maxim.  One is never quite sure of his love for his second wife, nor his feelings for Rebecca.  Which is as it should be - Rebecca needs to hover over the proceedings, as her minion, the magnificent Mrs. Danvers attempts to destroy Maxim's marriage, as well as his new wife.  Ms. Anderson was rightfully nominated for an Oscar for her performance (losing to Jane Darwell in The Grapes of Wrath).  Watch her as she shows the second wife Rebecca's room and belongings.  Her obsession with, and passion for, Rebecca oozes from her.  She is frightening and fascinating.

Also notable is George Sanders as Rebecca's "cousin" Jack Favell.  Sanders revels in his "hail fellow well met" persona, as he tries to figure out the best way to wring some money out of Maxim, and intimidate the second Mrs. De Winter.  Just seeing his character, you get a clearer picture of who Rebecca really was (and don't like her much, as a result).

TCM has a wealth of information about this film.  One place to start is this article which discusses the uneasy relationship between director Hitchcock and David Selznick.  Where Hitchcock had intended to use the novel of Rebecca as merely a jumping-off point, Selznick required an exact retelling of the novel.  Though one change did have to be made - Rebecca's death in the book is somewhat different than the circumstances described in the movie.  The Production Code would not have allowed the film to end as it did with the original story line.  So great was Hitchcock's antipathy for Selznick, that he used him as the model for Raymond Burr's character in Rear Window!

A trailer from the film is below.  If you've never seen Rebecca, do yourself a favor and put it at the top of your list.

Connie Marries the Elite

This week, we again join Constance Bennett in a precode film.  This one is Our Betters from 1933.  Connie is Lady Pearl Saunders Grayston.  We meet her as she has just married Lord Grayston (Alan Mowbray).  She is determined to be a good wife to him, though she is aware that their marriage was one of convenience - he needs her money to  support his lifestyle.  But Pearl finds almost immediately that her dreams of a life as a happy wife are naive.  Her husband has no intention of giving up his mistress.  

The film, taken from a play by W. Somerset Maugham,  produced by David O. Selznick, directed by George Cukor, and with music by Max Steiner is not a great one, but it is interesting.  Besides having some of the best behind-the-scenes talent in Hollywood, we have a fantastic performance by Bennett.  Her Pearl becomes a society hostess, but one who is jaded and cold. We also want to pay homage to the fantastic costuming of Hattie Carnegie - take a look at the stunning (and scandalous) black dress Ms. Bennett wears to a party - it's a knockout!

At one of her parties, we discover that she is planning to bring her sister, Bessie (Anita Louise) into the same lifestyle, by arranging her marriage to Lord Harry Bleane (Hugh Sinclair).  Though Bessie seems willing, it soon becomes clear that she really loves Fleming Harvey (Charles Starrett).  But everything begins to implode at a weekend outing to the Grayston estate, as we learn more about Pearl's rather seedy existence.  
 

Among the party guest are GIlbert Roland.  We enjoy him as an actor, but felt he was wasted here as the gigolo who pursues Pearl, but is involved with the wealthy Duchess Minnie.   We also discover that Pearl is essentially destitute, thanks to her husband's bad handling of her finances, so she is using her wiles to "borrow" money from Arthur Fenwick (Minor Watson).  

Much of our conversation focused on the bartering of American heiresses for English titles.  It is surprising that, in 1933 (this is a contemporary story), this was still going on.  We especially discussed the life of Consuelo Vanderbilt, who was literally imprisoned by her mother until she consented the Duke of Marlborough

Here is a clip from the film:

Connie Becomes a Star

We'll be starting a number of Constance Bennett movies over the next few weeks.  The first is What Price Hollywood? (1932) in which Ms. Bennett plays would-be actress Mary Evans.  The film opens with an unseen woman looking through a magazine.  The ads show us just what the stars use to make themselves beautiful.  The woman who is looking at the magazine is using the stockings, and makeup that the ads recommend.  The camera pulls back to show a our heroine, who is living in a tiny apartment, with a Murphy bed.  No star she, just a simple waitress waiting for her big break.  

That night at work, she befriends director Max Carey (Lowell Sherman), a good man, but one with too large an affection for alcohol.  He reluctantly agrees to help Mary, but her stiffness and inexperience is evident; he decides to recast the role with someone else.  The next day, Mary convinces him to give her one more chance. And thus, America's Pal is born - Mary Evans becomes a star.

Certainly, this is so close to A Star is Born as to be the original source material for the 1937 Janet Gaynor film.  But, we understand from the TCM commentary, no credit was given by either this film, nor the Judy Garland film in 1954, to this lovely movie (the former was produced by David O. Selznick, and the latter was directed by George Cukor, the producer and director of this film).  For those of you familiar with the later films, take a look at this clip, which is very reminiscent of something that occurs in both of the later versions:

 

And a wonderful film it is!  Several scenes are especially worth mentioning.  The opening scene we described above is one.  Here is a clip from that, which contains a small tribute to the man who would become the King of Hollywood, Clark Gable:

 

Another, is the scene in which Mary, having been fired from her first acting job by Max, goes home and spends the night practicing her lines.  Ms. Bennett is just fabulous as she stubbornly attempts to master her craft. 

We should also tip our hat to the male lead for this film - Neil Hamilton, best known to a generation as Commissioner Gordon in the 1960's television show, Batman.  As children of the Batman generation, it was fun to see Mr. Hamilton in a totally different (and much younger) role.

Next week, another Connie Bennett film.