Charlie's Home Invasion

Aloysius T. McKeever (Victor Moore) has just arrived at his winter home in New York City - the mansion of multi-millionaire Michael J. O'Connor (Charles Ruggles), who is currently in Virginia at his winter home. Mr. McKeever, it seems, has been inhabiting the O'Connor home for several winters now, all unknown to the home's owner. When McKeever happens upon Jim Bullock (Don DeFore), a homeless vet, he invites Jim to stay at the house as well. But things get out of control when Trudy O'Connor (Gale Storm) arrives at the house, and Jim invites his buddies Whitey Temple (Alan Hale, Jr.) and Hank (Edward Ryan, Jr) and their wives (and a baby) to stay at the O'Connor home. It Happened on 5th Avenue (1947).

Victor Moore and Charles Ruggles walk away with this movie as the opposing force and the immovable object, with the dynamic of servant and master completely reversed. The two men bicker and argue throughout the film, but the audience watches as O'Connor grows to like McKeever, despite his laissez-faire attitude towards life and work. 

Victor Moore's Broadway career began in 1906 - he would ultimately appear in 23 Broadway productions, through 1957 (when he appeared as the Starkeeper in Carousel). His film career began in 1915, and continued until 1955. He's probably best remembered as Fred Astaire's pal, Pop in Swing Time (1936) and as the husband being forced to separate from his wife of 50 years in Make Way for Tomorrow (1937). The Victor Moore Bus Terminal in Queens was named for him - he'd funded construction on a bus station there to help local performers get into Manhattan more quickly.  Mr. Moore died in 1962 at the age of 86. 

Frank Capra had originally planned to direct the film, but he eventually passed on it, and the director role was passed onto Roy Del Ruth. Gale Storm found working with Mr. Del Ruth to be somewhat of a problem, as he refused to allow her to sing, even though she was a trained singer (TCM article). Regardless of the lack of her real singing voice, she's enjoyable as Trudy, a plucky young woman who is willing to leave her luxurious life style and take on a job in a music store. Ms. Storm is best remembered today for her television series, My Little Margie and The Gale Storm Show (originally called Oh, Susanna). Later in her career, she would guest star in an episode of The Love Boat, which likely took some of its inspiration from The Gale Storm Show.

Like Gale Storm, Don DeFore (Jim Bullock) is remembered today primarily for his television work - specifically Hazel, in which he played the harried husband. This is one of the few film lead roles he got the opportunity to play, and he's earnest as the young veteran intent on making a better life for himself and his colleagues. His scenes with Ms. Storm are very nice; they make an appealing couple.

Ann Harding (Mary O'Connor), as always, is excellent as the rejected wife who is trying to reconnect with her husband. She'd not been appearing in a lot of movies by this point in her career (mostly appearing in one or a two film a year), but she makes the most of her limited screen time in this film.

Some extra footage was shot in New York City, which adds a verisimilitude to the film (AFI Catalog). We noticed that the house (which you can see is located on the corner of 79th Street and 5th Avenue) looks very much like the Cooper-Hewitt Museum (which was originally the home of Andrew Carnegie). The location of the O’Connor home is currently the site of the Ukrainian Institute of America (and was the home of Harry F. Sinclair).

The New York Times review by Bosley Crowther was positive - most of his praise centered on Victor Moore.  The story was aired on the Lux Radio Theatre in May 1947 with Mr. Moore, Mr. DeFore, and Mr. Ruggles reprizing their roles.

With Christmas coming, this is a delightful film that deserves to be included in the season's festivities.  We'll leave you with Victor Moore arriving at his winter home. However you celebrate, have a safe, healthy and happy holiday season!

Jean Takes a Letter

Carol Baldwin (Jean Arthur) and Helen Davis (Ruth Donnelly) run a secretarial school.  Unfortunately, most of their students seem to be of the same caliber as their current student Maizie West (Dorothea Kent) - no brains, but plenty of looks and a plan to make time with the boss.  Thus begins More Than a Secretary (1936), in which Jean Arthur ends up working AS a secretary when the man who hired (and fired) one of her students complains.  The gentleman in question is publisher Fred Gilbert (George Brent).  His publication, "Body and Brains", is a body-building magazine which regularly uses the face of an attractive model on the body of the exceptionally well-built (and particularly unattractive) Ernest (Lionel Stander).  Of course, the magazine is NOT doing well.  It takes our Jean to put it on the right track.

This is a very cute movie, thanks to the interplay between Brent (who is always wonderful) and Arthur (ditto).  Her Carol, at the start, is somewhat reminiscent of a character she will revisit in 1948 - Phoebe Frost in A Foreign Affair. But she quickly discovers her outer beauty, and becomes the perfect secretary.  Beauty and brains in the same office!  Amazing! And Brent manages to make Fred a bit of a dweeb, but still let you know why Carol is attracted to him.  The scene where he takes her out to a tofu dinner (!!!) is quite humorous.

It is fun to see Lionel Stander as well.  His Ernest longs for the day when his face adorns his own body on the magazine - alas, it seems it is not to be.  Many of us remember Mr. Stander from Mr. Deeds Goes to Town and A Star is Born (as well as in Hart to Hart).  It is sad that his career in this country was abbreviated during the 50s and 60s thanks to the McCarthy hearings.

A few words are due, as well, for Dorothea Kent (as Maizie).  She is a hoot.  You can't help but like the opportunistic creature! One sympathizes with Carol's frustration, but I, for one, looked forward to her return.

We'll close with the moment in which Carol finally loses it with Maizie.  See you soon!