Katrin Hanson (Barbara Bel Geddes) reflects on her life with her Norwegian immigrant family in San Francisco. Her sisters, brother, father, aunts, uncle, and cousin are all recalled, but Katrin tells us, mostly, I Remember Mama (1948). When asked several years ago to list five movies I would have with me on a desert island, I Remember Mama was one of my choices. Our group had not watched it in recent memory (though all but one member had seen it before), and when the opportunity arose to view it, we were thrilled. No matter how many times you see this film, it is one of which you will never tire. I Remember Mama is a series of vignettes, all centered around the Hanson family. Mama Marta (Irene Dunne) and Papa Lars (Philip Dorn) came to the United States just after their marriage to join Marta's family - Uncle Chris Halvorsen (Oskar Homolka), and sisters Jenny (Hope Landin), Sigrid (Edith Evanson), and Trina (Ellen Corby). The children were all born in San Francisco - Nels (Steve Brown), Katrin, Christine (Peggy McIntyre), Dagmar (June Hedin), and Sigrid's son Arne (Tommy Ivo). The Hansons and Halvorsens are hard working people. They are not wealthy, but they are getting by, and Marta and Lars are working and saving so that their children can have a better life through education.
There are many memorable performances. But the film must anchor itself on Mama, and Irene Dunne does not disappoint. She was not the first choice for the role - Greta Garbo was approached (and said no), Katina Paxinou was also considered (the family would have been changed to Greeks), and Marlene Dietrich campaigned for the part (she was deemed too sexy) (AFI catalog). When Irene Dunne was asked, she said yes, on the condition that the director was selected from a list she provided. Luckily, George Stevens (his first film since he returned from Europe during World War II), who was already on the film was also on Ms. Dunne's list (TCM article). He guides her to a subtle, yet strong performance as the heart of this family. Perhaps the incident that most demonstrates Ms. Dunne's power is that of Dagmar's hospitalization. Ms. Dunne gives us a purposeful and wise woman who does what is needed to get to her ailing child.
Philip Dorn is a low-key actor who is used to good effect. He seems at first glance to be nothing compared to Mama, but he is clearly a partner in the marriage. He's a calming influence - he is observant, supportive, and acts when necessary. Watch him when he realizes his son has begun smoking, or when Katrin makes what is a very grown-up choice. It's Lars who is the leader in those situations.
His counterpoint is Uncle Chris. Oskar Homolka provides a brusk, noisy man who loves his family, but brooks no nonsense. His conversation with his nieces, who he discovers fear him, is a remarkable one. His care for his grand-nephew Arne is warm and understanding - the scene with young Tommy Ivo is handled beautifully. Uncle Chris is a man who likes to shock. Marta knows this - watch her attitude to Jessie Brown (Barbara O'Neill in another beautifully, subtle performance), which is why she is the only one of his nieces Uncle Chris can stand!
Barbara Bel Geddes has to age over a period of nearly 10 years and does it splendidly. When we first meet her, she is a grade school student; we see her through her teen years, as she advances in school and in maturity. One incident in particular shows her growth - as she and her mother travel by train to visit the ailing Uncle Chris, we see the girl staring out the window of the train, a sandwich in her hand, almost oblivious to the import of what is happening. But the narrative tells us what she, in retrospect, remembers of the event and the scenes that follow reveal the impact of her uncle's distress.
Ms. Bel Geddes started on stage, most notably as the original Maggie in Cat on a Hot Tin Roof. After well-received performances in six films (including Panic in the Streets), she was blacklisted. Eventually she was cast by Alfred Hitchcock in Vertigo; he included her in four episodes of his television show Alfred Hitchcock Presents, among them "Lamb to the Slaughter," perhaps the most wicked of all his teleplays. In 1978, she joined the cast of Dallas as Miss Ellie Southworth Ewing, the matriarch of the family; with the exception of a one-year break in which she was recovering from surgery, she played the part until 1990; at which point, she retired from acting. Married twice, with two daughters, she died of lung cancer in 2005.
The number of remarkable character performances in the film is astonishing. Edgar Bergen has a rare dramatic part as the shy undertaker Mr. Thorkelson, He's paired with Ellen Corby, equally shy and perhaps the sweetest of Mama's sisters. Sir Cedric Hardwicke uses his impressive speaking voice to bring dignity to Mama's boarder, Mr. Hyde, the man who brings literature to the family. Rudy Vallee, also in a dramatic role, is Doctor Johnson, physician who cares for Dagmar. And finally, the frequently underrated Florence Bates as Florence Dana Moorhead, a successful author and gastronomist, who meets Mama for "two glasses sherry."
Some portions of the movie were filmed in San Francisco, which adds to the verisimilitude of the story. When it opened at Radio City Music Hall in New York City, Bosley Crowther's New York Timesreview was glowing. It was also #24 on the list of top grossing films for 1948 (Variety). It was nominated for 5 Academy Awards: Irene Dunne for Actress (she lost to Jane Wyman in Johnny Belinda); Oscar Homolka for Supporting Actor (lost to Walter Huston in Treasure of the Sierra Madre); Barbara Bel Geddes and Ellen Corby for Supporting Actress (lost to Claire Trevor in Key Largo); and Nicholas Musuraca for Cinematography. Ellen Corby did win the Golden Globe for Supporting Actress.
The story was based on the novel Mama's Bank Account
by Kathryn Forbes, which became a Broadway play by John Van Druten. The
play starred Mady Christians and introduced Marlon Brando as Nels -
Oscar Homolka was the only cast member to appear in the film. Later, Irene Dunne, Oscar Homolka, and Barbara Bel Geddes reprized their roles for the Lux Radio Theatre production in August 1948. The story aired as a television series with Peggy Wood, which ran from 1949 to 1957. In June of 1961, British ITV did a television play with Stella Bonheur as Mama. There were also two musical versions. One, Mama, featuring Celeste Holm in the title role, but closed in 1972 before it reached Broadway. In 1979, it was made into a Broadway musical (with music by Richard Rogers) I Remember Mama with Liv Ullmann as Mama.
If you've never seen this film, please consider finding it. It is heartwarming, but in a good way. We'll leave you with this trailer:
Guffy McGovern (Paul Douglas) is the foul-mouthed, angry manager of the Pittsburgh Pirates. The team is in last place in the National League, and his players loathe him. Sports writer Fred Bayles (Keenan Wynn) hates him - Guffy got him fired from his announcing job with the team - and Bayles is doing his best to return the favor. Then, one evening, Guffy hears a voice, which tells him that, if he can refrain from blaspheming, there will be Angels in the Outfield (1951) to help his team to a pennant. When this film was suggested to the group, one of the members was reluctant to include it. She's not a baseball fan, and was sure the film would bore her. She later admitted that she enjoyed the film a lot. The beauty of this movie is that, if you are a baseball fan, the film resonates with the enjoyment of the game, and the passion of the fans. If you don't like baseball, it really doesn't matter. Guffy's journey is one that could be anyone - he's a man who has shifted his life into one of anger and misanthropy. The movie is about him searching for the joy that can be present in anyone's life. Baseball is just the jumping off place. Paul Douglas is excellent as this very conflicted man. From his first appearance, his portrayal makes apparent that his conflicts are very deep. He dislikes everyone - no one on his team is exempt from his fury, not even players like Saul Hellman (Bruce Bennett) who used to be his friend. It's not just that the Pirates aren't winning; Guffy is pushing them into loss. His antagonism results in so much stress that the players freeze, and are unable to get past their anxiety (much like we saw with Pat Pemberton in Pat and Mike). It's enjoyable to see Guffy gradually relax and relate to those around him; we see the man beneath the acrimony and find he can be a pretty nice person. Mr. Douglas was not the first choice for the part - originally, Clark Gable was to have played Guffy (AFI catalog).
While it is true that Janet Leigh (Jennifer Paige) is rather young to play Paul Douglas' love interest (Mr. Douglas was 20 years her senior), she is very convincing as the household hints reporter who is sent to the ballpark to do a human interest piece on the Pirates and McGovern. It's made quite clear that Jennifer has no knowledge of baseball, but she has an inquiring mind, and quickly absorbs the niceties of the game. Ms. Leigh was on the verge of marrying Tony Curtis when she was filming this picture. A photo of her being carried from the ball field by Pirate outfielder Ralph Kiner hit the newspapers, intimating a relationship between the two. Mr. Curtis was assured by Ms. Leigh that it was all a fabrication (Janet Leigh: A Biography by Michaelangelo Capua)
This was Donna Corcoran's (Bridget White) first screen appearance. She comes from screen stock - her siblings Hugh, Brian, Kelly, Noreen (Kelly on Bachelor Father), and Kevin (Moochie from Spin and Marty) were all actors. She's winning as the little girl who summons the angels to assist her beloved Pirates, and you can well believe the growing affection of the two adults for this winsome child. Ms. Corcoran had a brief acting career; by 1963 (at the age of 21) she had retired from television and film. There are several other performances of note. The always enjoyable Spring Byington (Sister Edwitha) is fun as the baseball-loving head of the orphanage. Lewis Stone (Arnold P. Hapgood) as a judge tasked with deciding Guffy's competence gets one satisfying segment. Keenan Wynn is appropriately despicable as a nasty sports writer. There are brief appearances by Ellen Corby (Sister Veronica) and Barbara Billingsley (Hat-check Girl); by Bing Crosby (an owner of the Pittsburgh Pirates (TCM article)), Joe DiMaggio, and Ty Cobb. But the standout in his small role is Bruce Bennett. His portrayal of Saul fairly oozes with the exhaustion of a man who is in his last season in a game he loves. Mr. Bennett doesn't often get strong parts, but this is one in which he makes the most of a minor, but crucial role.
Because the marketers thought the overseas market would not understand the word "outfield", the name of the film in Europe was The Angels and the Pirates. In April, 1953, Ms. Leigh and Ms. Corcoran reprized their roles on the Lux Radio Theatre (with George Murphy as Guffy). In his book Mr. Deeds Goes to Yankee Stadium: Baseball Films in the Capra Tradition, author Wes D. Gehring discusses the influence of Frank Capra on this film. And certainly this is true. There is a certain Capraesque quality to the film. The New York Timesreview was primarily positive (though the reviewer wanted the New York Giants to win. I can sympathize). In short, this is an amiable movie well worth watching. We'll leave you with the trailer.
As promised, this week we viewed the 1950 Harriet Craig, in which Joan Crawford plays the title role. As with the previous film, this movie centers on a manipulative, dishonest, demanding, and snobbish woman obsessed with her home. However, this story ditches the subplots that seemed to go nowhere in the prior film. Here, the screenwriters build on the original plot by George Kelly, and add more character development. As a result, Harriet becomes a more three-dimensional person.
The film opens with Harriet preparing for a trip to visit her ailing mother. Harriet is running the small house staff (Mrs. Harold played here by Viola Roache, and Lottie, played by Ellen Corby), and her cousin Clare (K.T. Stevens) ragged. Harriet is also incensed that she cannot contact her husband, Walter (Wendell Corey). But in the next scene, much about Harriet is revealed. Her
mother is quite ill, but it is a mental illness, and a severe one. Harriet is eager to please her mother; it becomes quickly apparent that her mother is only person she really loves. We also discover that Harriet was abandoned by her father when she was 14 (after she discovered him having an affair with a co-worker). As a result, she has no trust at all for men.
This film also subtly changes the relationship between Harriet and Walter. They have been married for over four years. She does rule the roost, but there is an affection for him that we did not see in the prior film. When she returns to find the house in disorder (Walter had friends over for a poker party), she goes up to reprimand him, but looking at him asleep, a small smile creeps across her face, and she rumples his hair to wake him. And, while she does scold him for the mess (what wife wouldn't), it is kindly done. And they end up kissing in the bed. It should be noted that this Harriet uses sex to control her Walter (but it is pretty clear that she enjoys it as well!) When he wants to go out golfing, she points out that she will be upstairs in the bathtub. The look on Walter's face as he cancels his outing tells us everything we need to know. Obviously, this Harriet is FUN in the bedroom! Her actions are usually motivated by jealousy and fear. Everything is about keeping him close to home and close only to HER.
Harriet's nastiness is
especially apparent in her behavior towards the servants. Lottie (Ellen
Corby) is an especial victim of her bile. Harriet is contemptuous of
her; even giving her flowers for her room is a sign of her disregard for
the woman (Harriet dislike flowers and especially dislikes that they
came from Mrs. Frazier.)
And then there is cousin Clare. Clare is portrayed as a doormat. She takes everything Harriet dishes out, and whines about how grateful she is. When she finally realizes that Harriet has been manipulating her to keep her away from her boyfriend, Wes, Clare leave, because she hopes that Wes will now take care of her. In the end, we found Clare to be almost as unpleasant as Harriet.
Other changes in this version: Harriet's is willing to have a party in her home; but while she consents to entertain, but only the guests SHE chooses. None of Walter's friends are welcome. The
Vase, which is quickly established in both films as Harriet's pride and joy, here is described as Ming China, and therefore quite valuable; in the prior film, no such claim was made. As mentioned before, the loss of the subplots is a definite plus here, as is the addition of Walter's friend, Billy Birkmire (Allyn Joslyn). Finally, there is her attitude towards children. In both films, she dislikes children, but in this version we discover she lied to Walter about her ability to conceive. We also find out she is willing to have a child IF it will keep Walter in place.
As in the first film, we were particularly taken with the scene in which Mrs. Harold (Viola Roache) resigns. It's quiet different in many respects, but the impact is the same. Both actresses shine as they face each other down. We also very much enjoyed Lucile Watson as Celia Fenwick. Mrs. Fenwick takes an immediate liking to Walter, and has Harriet's number in about two seconds. She seems to be trying to separate Harriet and Walter. But she is funny - we realize that she is cheating at cards, and that Walter knows it!
A nod as well to Sheila O'Brien, Crawford's designer in the 1950s. She creates the gowns for the film, and they were noteworthy. Here's a suit that we found particularly beautiful. We particularily loved the delicate collar.
