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!

Joan and Her Roommates

Our Blushing Brides (1930) introduces us to three roommates and colleagues in a local department store: Jerry March (Joan Crawford), a no-nonsense young woman, focused on her career, who doesn't have a whole lot of regard for men; Franky Daniels (Dorothy Sebastian), a lazy person, looking for a husband - any husband; and Connie Blair (Anita Page), a fairly naive girl who is deeply in love with the boss (David Jardine, played by Raymond Hackett), and who sees him as her ticket to a life of ease and happiness.

After a date with Marty Sanderson (John Miljan), Franky, in a drunken stupor, elopes with him.  It doesn't hurt that he appears to be quite wealthy.  Then, Connie moves into an apartment that David has rented for her - without benefit of marriage.  But Connie is sure they will wed, as soon as David convinces his father of their deep love.  Jerry meets Tony Jardine (Robert Montgomery), David's older brother, who woos her.  But when she realizes he is interested only in a quick visit to his bachelor pad treehouse (yes, you read that right - a treehouse), she walks out.

We were really impressed by the art design in this film.  The settings are attractive, but appropriate to each economic level.  The apartment Jerry shares with Connie and Franky is slightly more upscale than the one she ends up in when she is alone, and appropriately so.  But the designers still make the apartments places that young women would live, not just sets.  The one exception to this was Tony's treehouse - it is just much too large on the inside to fit the dimensions outside.  Perhaps Tony knows how to cast an Undetectable Extension Charm (a la Harry Potter). 
Jerry works in the store not only as a model, but as a salesperson.  One of our group recalled that her mother told her of a store practice in which salespeople did try on clothing for their preferred customers.  We felt that the film gave us a little insight into the business world of the 1930s.  The emphasis on  clothing in the film also provides a display of some lovely dresses of the period (all far more expensive than the average woman would be able to afford), but the fashion shows finally got a bit over the top.  In the last one,  it looked like they were channeling Busby Berkeley.

As always, Robert Montgomery is a pleasure to watch.  He makes Tony attractive, though he is not afraid to show him as a bit of a cad.  But he also allows us to see Tony grow as a person.   We found the male characters in general to be interesting. They run the gamut from coward to thief to someone who grows into a good guy. 

We were very impressed both with Joan Crawford, as well as with her character.   Jerry is a good person, very devoted and loyal to her friends. When she sees David in a movie theatre with his fiance, Evelyn Woodforth (Martha Sleeper), Jerry goes to Connie to be a support, but cannot bring herself to tell her of what she witnessed.  The beauty of this section is Crawford's reactions.  Without speaking a word, we see all the emotions running through her head - Crawford's silent film training is evident.  Jerry's loyalty to her friends is also admirable because of the obvious differences between her, Connie and Franky.  Quite honestly, Jerry is a lot smarter and more ambitious than either of them - Connie, especially comes across as a complete dolt.  Yet, Jerry sticks with them, even when their stupidity has gotten both of them into untenable situations.

We have a wealth of interesting performances here.  Hedda Hopper is back for a brief bit as Mrs. Weaver, a woman who is quite unpleasant.  We also have Edward Brophy as Joe Munsey for some  comic relief.  Brophy's long career extended from 1920 until 1961.  He died in 1960, at age 65, during production of his final film, Two Road Together. Anita Page also had an interesting career.  She appeared in many films from 1925 until 1936.  Then, after a long break, she appeared in a few more movies, first in 1961, then again in 1996.  She died in 2008, at age 98; her final film was released in 2010.  Dorothy Sebastian acted until 1948, dying in 1957 (age 53) after a long bout with cancer.

Interestingly, Crawford and Paige had already starred in the silent films Our Dancing Daughters (1928) and Our Modern Maidens (1929), MGM's "jazz age" trilogy (. Sebastian joined them in Our Modern Maidens.  This TCM article gives a bit more detail on the film and the trilogy.

The opening scene immediately places us into the world of the film, and introduces us to our heroines and their various personalities.  We see the girls clocking into work and listen to their discussions of their jobs and men.  Though the final scene in the film is a bit jarring in its abruptness, all in all, this is a well-paced film. We should mention, however, that the title is more ironic than a reflection of the story.
Before we go, here is an introduction to Jerry and Tony: