Senator Sam Foley has died suddenly, and the governor of his state, Hubert "Happy" Hopper (Guy Kibbee) is tasked with naming a successor. The Governor is ordered by local boss Jim Taylor (Edward Arnold) to name one of his flunkies, but the citizenry rebel at the appointment of this yes man. The Governor's children campaign for the appointment of local Boy Ranger leader Jefferson Smith (James Stewart), a naive young man who Mr. Taylor finally agrees is the perfect solution. With no political background, Smith will be easily led by Senator Joseph Paine (Claude Rains) to vote according to Taylor's wishes. And so, Mr. Smith Goes to Washington (1939). This outstanding film was included as this month's contribution to the TCM Presents series. Originally conceived as a follow-up to Mr. Deeds Goes to Town, the film changed titles and actors when Gary Cooper proved to be unavailable. (AFI Catalog) James Stewart brings the needed innocence and gravitas to the role in his second film with Frank Capra and Jean Arthur (they had worked together the previous year on You Can't Take it With You). One problem with Frank Capra films is that he doesn't always know how to end them. It's a big issue with Meet John Doe (1941); it's a smaller issue here. Mr. Capra does seem to back his character into a corner, and then create a deus ex machina to pull him out of his problem. However, in this film the director does set up hints that Claude Rains will be both the problem and the solution to that problem.
Mr. Rains is, of course, excellent as The Silver Knight, the senior senator from Smith's unnamed state. Best friends with Smith's father (a crusading newspaperman who was murdered after he wrote editorials against a mining syndicate), Paine has been in the pay of Jim Taylor for years. But Senator Paine remembers the ideals that brought him to law and to politics. As Mr. Rains looks at Smith, we see his yearning for the purity that he had when he worked with Smith senior. A favorite villain for Mr. Capra is Edward Arnold. Mr. Arnold is able to be both affable and menacing at the same time. He helps us to understand why a respectable man like Senator Paine would fall into his clutches. He also has looming presence that gives the viewer pause - we know he is capable of any dastardly act to get what he wants. A stage actor at the beginning: between 1919 and 1933, he appeared in 13 Broadway plays, Mr. Arnold started his film career during the silent era. With his booming voice (and wonderful laugh) he was a natural for talkies, and appeared as the leading man in such films as The Toast of New York (1937) (he was billed ABOVE Cary Grant) and Diamond Jim (1935). Listed on the notorious "Box Office Poison" list, Mr. Arnold segued into more character parts, like Anthony P. Kirby, Sr. (James Stewart's father) in Capra's You Can't Take it With You (1938). Though he identified as a conservative Republican (and even ran for Los Angeles County Supervisor - he lost), he served as President of Screen Actors Guild, and was vocal in his opposition to the blacklisting of his colleagues during the HUAC era. Married three times, and divorced twice (he had three children with his first wife), Mr. Arnold died of cerebral hemorrhage in 1956 at the age of 66. His turn as Olivia de Havilland's father in The Ambassador's Daughter was released just after his death.
Jean Arthur (Clarissa Saunders) is picture perfect as the tough as nails assistant, who is sick and tired of the dishonest nature of politics. She's seen Taylor's influence on his state for too long, and is convinced that Jeff Smith is either an idiot or a stooge. When she finds he is a man of ideals, she becomes his staunchest ally. She is ALSO the smartest person in the film. She knows the rules of the Senate by heart, she understands the workings of the government, and she knows the people who work on the Hill. It's hard to imagine anyone other than Ms. Arthur giving Saunders such range. The film is also blessed with a bevy of magnificent character actors: Thomas Mitchell (Diz Moore), Eugene Pallette (Chick McGann), Capra favorite Charles Lane (Nosey), Ruth Donnelly (Mrs. Emma Hopper), Astrid Allwyn (Susan Paine), and H. B. Warner (Senate majority leader). But leading this group are the always wonderful
Beulah Bondi (Ma Smith) and Harry Carey (President of the Senate).
Though their parts are small, you remember then. One only regrets that
they are not on the screen for longer. Ms. Bondi would end up playing James Stewart's mother a total of five times (TCM article). This was the third outing in that role.
The film proved to be quite popular, though initially it was reviled by many U.S. Senators and by the Washington Press Corps. (WAMU article). Senate Majority Leader Alben Barkley described the film as "silly and stupid," adding that it made the Senate look like "a bunch of crooks." (U.S. Senate article). The film was also banned in Germany and Italy (they didn't like the fact that the film was about a democratic government, even a government that was having problems); however it did well in England, France (prior to the German invasion) and in the United States. Despite the jabs at journalists, the New York Times review was glowing, calling it "is one of the best shows of the year. "
The American Academy of Motion Picture Arts and Sciences obviously agreed; it was nominated for 11 Academy Awards, including Picture, Actor (for James Stewart), Supporting Actor (for both Harry Carey and Claude Rains), Director, Art Direction, Film Editing, Film Scoring, Sound Recording, and Original story (for which it won it's only Oscar). But, in 1939 the competition was fierce, and the juggernaut called Gone with the Wind pretty much swept the awards (winning 9 of the 14 for which it was nominated). Among the other Picture nominees were Dark Victory, Goodbye, Mr. Chips, Ninotchka, Stagecoach, Wuthering Heights, and The Wizard of Oz!
Charles Poncefort "Hopsy" Pike (Henry Fonda) has led a relatively sheltered life. The son of the Pike's Ale magnate (Eugene Pallette), he's been guarded all his life by the inimitable Muggsy (William Demarest). Having finally ventured out on his own, to research snakes in South America, Hopsy is now on his way home to Connecticut. While onboard ship he meets a trio of con artists: "Colonel" Harrington (Charles Coburn), Gerald (Melville Cooper), and Jean Harrington (Barbara Stanwyck). While Jean's initial goal is to fleece this lost lamb, she finds herself falling in love with him, a feeling that is mutual. But, when Hopsy discovers Jean's stock in trade, he dumps her. Determined to get her revenge, Jean invents The Lady Eve (1941). If you have never seen The Lady Eve, please add it to your viewing queue immediately. You're in for a real treat. Besides the inimitable Ms. Stanwyck in one of her finest role, you also get Henry Fonda being totally adorable and a script without compare by director Preston Sturges. It's a win-win scenario! Henry Fonda is in the unenviable position of portraying a character you really want to hate, but can't quite bring yourself to do it. Hopsy is so totally guileless that, even when he is wooing Lady Eve Sidwich with the same lines with which he wooed Jean, you just laugh at his inept lovemaking and forgive him. Of course, you also want Jean to give him is comeuppance. But with two actors who are so equally paired, they are both able to succeed.
Ms. Stanwyck is a sexy delight as the two ladies in Hopsy's life. The scene in which she tries to seduce him by allowing him to put on her shoes is magnificent. It's a wonder they got that and some of the more naughty dialogue past the censors. And her running commentary as she watches the ladies in the dining room lust after Hopsy is a hoot. It's next to impossible to imagine this film without her, but Ms. Stanwyck was not the first (or even the second choice) of the studio. They wanted Claudette Colbert; Madeleine Carroll and Paulette Goddard were also considered. But Mr. Sturges wanted Ms. Stanwyck, and thankfully he won the argument (AFI catalog). Ms. Stanwyck has the unique ability to make the audience (who is in on the joke) believe that Eve and Jean are distinct characters. The studio also considered Brian Aherne, Fred MacMurray, and Joel McCrea for the role of Hopsy (TCM article), but again, Mr. Sturges was victorious and got his choice of Mr. Fonda. There is a lot of slapstick in this film - Hopsy takes a number of pratfalls - not something for which Mr. Fonda was known (sure, he'd done the screwball comedy; for example, The Mad Miss Manton with Ms. Stanwyck, but she's the screwball in that, not him). So, it was perhaps a risk to cast him in the part. But, frankly, he is perfect as the innocent abroad.
The quartet of supporting actors who grace the film are impressive. William Demarest, who must have been in the Preston Sturges stock company (he appeared in 8 of Mr. Sturges' films) is hysterical as the bodyguard/valet, Muggsy, who seethes with suspicion of anyone who approaches his charge. He's cagey though - he knows that Jean's father is not on the level; he's the only one who suspects that Eve is really Jean in disguise. But, his suspicious nature is also his downfall - like Cassandra, Muggsy's warnings go unheeded, to riotous effect. Eric Blore has a small part as Sir Alfred McGlennan Keith, or Pearly
to his mates, one of Colonel Harrington's con artist pals. Mr. Blore is
wonderful at looking exasperated, and does it quite well as he watches Eve get in deeper and deeper. We only
get a few scenes with him - he's a device to get Jean into Hopsy's
house, but he is always enjoyable.
From his entrance singing Come Landlord Fill the Flowing Bowl, Eugene Pallette is also excellent as Charles' father. The only member of the family with any common sense, he plays Mr. Pike as an endearing, if somewhat exasperated individual (witness his frustration as he tries to get breakfast). I look forward to seeing him in films, though my recent discoveries about his private life are dismaying. A supporter of Adolf Hitler, he refused to sit down at a table with actor Clarence Muse (TCM article) while filming In the Meantime, Darling, resulting in his firing by director Otto Preminger. Mr. Pallette eventually retreated to Oregon to hide near his own personal bomb shelter. He would return to Los Angeles in 1948, after a two-year retreat, but he never worked again. He died of throat cancer in 1954, at age 65.
Last, but certainly not least is Charles Coburn. Harry is a rogue, and Mr. Coburn makes no bones about it. He's willing to go against his daughter's wishes, the fleece an easy mark, but it is clear that he loves Jean dearly. One is never quire sure of Harry's motives, but one is sure of his personal integrity among his colleague. As a result, we like him, though we would be very wary of playing cards with him. For more on Mr. Coburn's life, visit our blog post from October 2, 2017.
The Lady Eve was based on a story Two Bad Hats by Monckton Hoffe. A radio version aired on the Lux Radio Theatre on March 1942 with Ray Milland and Barbara Stanwyck (For a discussion of Ms. Stanwyck's participation in this episode, see this article from Film Comment). It was remade as The Birds and the Bees (1956), starring Mizti Gaynor, George Gobel, and David Niven. (Having not seen this film, I won't comment, except to say, George Gobel? Really??) In 1994, The Lady Eve was added to the National Film Registry; since then, it has appeared on two of the AFI Lists: it was #26 on 100 Years, 100 Passions and #55 on 100 Years, 100 Laughs.
We're going to leave you with the trailer from this highly enjoyable film. We'd also like to mention this Vanity Fairarticle on Preston Sturges which you might find interesting. If you've never seen this film, please do give it a try.
Would-be actress Pamela Drake (Deanna Durbin) is eager to follow in the footsteps of her mother, noted actress and soprano Georgia Drake (Kay Francis). But when Pamela is offered a role in Karl Ober's (S. Z. Sakall) new play of St. Anne, complications ensue. Though the character is Pamela's age, Georgia is eager to play the role; Pamela, however is unaware of her mother's plan. Thus begins It's a Date (1940). The film is by no means great literature. The plot is fairly simple; you know almost immediately that John Arlen (Walter Pidgeon) is going to fall in love with Georgia. And that Pamela will discover her mother's interest in the part of St. Anne. It doesn't really matter, though. It's a frothy little film that you can enjoy simply to watch some really fine actors and one amazing singer. As you can see by the artwork accompanying this post, Ms. Francis is relegated to second billing (along with Walter Pidgeon) under the new star Deanna Durbin. Ms. Durbin had gotten her start at MGM; her first film was the short Every Sunday (1936) with another magnificent singer, Judy Garland. You can hear the two of them singing together in this clip:
Ms. Durbin's contract was dropped (according to the Deanna Durbin Devotees website, Louis B. Mayer instructed his people to "fire the fat one", and they let Deanna go). Universal, which was on the verge of bankruptcy, snatched her up. She is credited with single-handedly saving the studio from ruin (TCM article). With a good screen presence and an amazing voice, she became immensely popular, and continued working until age 29, when she retired and completely disappeared from public view. Her son announced her death at age 91 in 2013, providing no details and thanking her fans for "respecting her privacy." As we've mentioned before, Kay Francis was out of favor with Warner Brothers; they would give her awful scripts or loan her out to other studios, in hopes that she would quit. She didn't (the checks didn't bounce!). Though she is not around for half the movie, she's quite lovely as a good mother who only what is best for her daughter. She also gets some attractive costumes from Vera West.
The film is not short on supporting talent. Besides Ms. Francis and Mr. Pidgeon, we are also treated to such amazing character actors as S.Z. Sakall, Eugene Pallette (in what is basically a walk-on as the Governor of Hawaii), Henry Stephenson (as the ship's Captain Andrew), and Samuel S. Hinds (as agent Sidney Simpson). With such strong performers, the material is elevated beyond the scope of the writing. All the character parts are small (most of the heavy lifting in the film is Ms. Durbin, with Mr. Pidgeon getting a nice chunk of screen time), but we did think that Mr. Sakall, as always, made the most of what he had, to excellent effect. It is no wonder he was often called "Cuddles". Even here, playing the man who doesn't WANT Georgia in the role, you like him!
The New York Times actually liked the film, with reviewer Frank S. Nugent calling it "a charming, if highly improbable, entertainment" in his review. In some senses, it is a comedic/romantic version of All About Eve, with a bit of singing. The next time you are looking for a film to just sit and enjoy, this is one to consider. We'll leave you with this scene of Ms. Durbin doing Ave Maria (with a glimpse of Ms. Francis!):
Following the assassination of the Archduke Franz Ferdinand and the Duchess Sophia, a small town in Hungary begins to feel the effects of the war. Kindly mayor Dushan Radovic (Walter Huston) and his friend, Captain Geza Petery (Nils Asther) do what they can to minimize the effects, but, they have problems. The first is that Radovic is a Serbian, while Petery is Hungarian. The second is that Geza and Petery's wife Irina (Kay Francis) have fallen desperately in love. Storm at Daybreak (1933) could have been a good movie. The elements are there. Unfortunately, the film is way too long, and feels as though it were padded for no very good reason. A party scene seems to go on forever, and to no apparent purpose - it attempts to inject humor into a situation where there is precious little. A scene in a railway yard brings Geza momentarily back into the lives of Irina and Dushan, but for no reason; he's gone in an instant, and it doesn't forward the action a jot. One wonders what the writers were trying to accomplish. The script makes Walter Huston's Dushan comes across as a complete moron
who is unable to see that his wife and his supposed best friend are
having real problems. Despite the fact that Irina makes it clear that
she would rather Geza not be around their home, Dushan keeps bringing
him back, making it hard for two people who want to forget their
feelings for one another to function. And Huston, a remarkable actor in so many other roles (watch him in Dodsworth, for example) overacts horribly. Also opting for over-the-top is C. Henry Gordon as the villainous Panto Nikitch. He manages to twirl his mustache without even having one. One can almost hear the director (Richard Boleslawski - this TCM article provides a bit more information about him) shouting "Give me MORE!!" We wanted a lot less.
The New York Times review (the reviewer was Andre D. Senwald), though calling the film "dull entertainment", was far more impressed than we were with Huston (who "blusters picturesquely"), but not very complementary of Ms. Francis (she "hardly seems suited to the enigmatic and mysterious qualities demanded in the rôle of the wife.") Quite honestly, Kay Francis is the best thing in the movie. She doesn't have a whole lot to work with - the part is formulaic at best. But she carefully underplays Irina, making her far more attractive. That being said, a scene in which she runs out into a rainstorm in a huge dress (she could barely get it through the door) to warn her lover of impending doom, was almost ridiculous. Not her fault - she actually GOT the dress through the door - but a true waste of her talents.
We have two favorite character actors present: Eugene Pallette as Janos, Geza's aide-de-camp, and Louise Closser Hale as Militza Brookska, the housekeeper in Dushan's home. Attempts are made to milk their performances for some humor; mostly, it doesn't work (though Pallette does get all the best lines.) By and large they are wasted, as is everyone else in the cast. That the film is formulaic is not really a problem, usually it's a formula we like. But this one is not going down as our favorite Kay Francis movie.
I've Got Your Number (1934) is a film about the telephone: repairing them, using them, working with them. It opens with a fascinating examination of the importance of the telephone in the 1930s - surely dated, but so enlightening. In an age where we carry our phones with us, to see the phone being demonstrated as a new technology for both good and ill is a revelation. As a native New Yorker, I also enjoyed the references to the old exchanges that, back in the day, told you the location of the phone (Nowadays, we carry our numbers with us, no matter where we live!)
Wonderful supporting actors abound: We've already mentioned Allen Jenkins, who is, as always, a hoot. We also have Glenda Farrell as Bonnie, aka Madame Frances, a would-be psychic, who's not very good at it and Louise Beavers as her assistant. And the always wonderful Eugene Pallette as Terry's often frustrated boss, Joe Flood gives a fantastic performance as a man who wants to throttle the devil-may-care Terry, but, when the chips are down, is the first one to come to his defense.
We were not very familiar with Gordon Wescott. He made 34 films between 1931 and 1935, but died at the age of 32 from injuries sustained while playing polo. Another interesting bit of trivia - the last scene shows Blondell in bed. Well, she really WAS confined to her bed - she had just had emergency surgery, and the studio did the scene in Blondell's own bedroom! The book, Joan Blondell: A Life Between Takes states that the emergency was actually the result of a botched abortion. Released in January of 1934, this film just makes it into the pre-code era, and, as a result, it is quite risque - there is much double entendre. And the scene in which Terry lounges on a couch with Bonnie really needs no explanations. Orry-Kelly
does the film's costumes, and Joan Blondell has some wonderful dresses that no switchboard operator could afford. The dress with a fur collar is especially attractive.
Some years ago, we discussed The Adventures of Robin Hood, but the opportunity to see it on a big screen (at the AFI Silver Anniversary Celebration) begs for revisiting the film via this blog. Last time, we looked primarily at Olivia de Havilland; this time, we'll look a bit more closely at the wonderful character actors that grace this fantastic film.
That wonderful trio of villains, Prince John (Claude Rains), Guy of Gisborne (Basil Rathbone) and the Sheriff of Nottingham (Melville Cooper) are first on our agenda. We were fascinated that Prince John never shows fear. Even when Richard returns, there is not a line of apprehension on his face - John is much too busy perfecting his "spin" on his actions to worry about a little thing like death. Rains plays John with the bravura of a man who knows he will ultimately be successful. And of course, historically John survived his brother by many years, and ruled England after Richard's death. Perhaps he was not England's most popular monarch - remember the Magna Carta - but his longevity (he ruled for 17 years) show he had nothing but time on his side.
On
the other hand, the one character we expect to have a lot of nerve, Guy
of Gisborne, does not. Watch Rathbone's face throughout the movie.
Gisborne is afraid. And when he is captured by Robin Hood, he makes not
a move to defend himself or Maid Marian. He talks a good line, but the
only time he really seems confident is when he confronts Lady Marian.
This Gisborne is a bully, pure and simple. And not even a smart one.
Remember, it is the dim-bulb Sheriff of Nottingham who comes up with the
plan to trap Robin, not Gisborne. Then again, one gets the feeling
that Gisborne would just be happier picking on women and unarmed
peasants than confronting a talented swordsman. Rathbone is so
beautifully subtle in his portrayal that Gisborne's true character is
just a hint rather than outright cringing. Were he too obviously a
coward, John's regard for him would be laughable. This way, the
audience understands Gisborne's nature. John can only suspect (as he
does when Gisborne and the Sheriff return from their forest meal with
Robin), but it's not anything John can prove.
On the good guy side of the equation, we have the always wonderful Alan Hale as Little John. With his hearty laugh and amiable manner, Hale is the perfect John Little. His best (and most famous scene) is the "duel" with Robin on the tree bridge. It's a thing of beauty to watch Little John take Robin down a peg. Robin seems to always have this air of invincibility; Little John lets him know that even for the best fighter, there is always someone a little better.
Similarly, Eugene Pallette as Friar Tuck is another no-nonsense character, with nerves of steel. Overweight, years older, and a supposed man of peace, Friar Tuck confronts the Merry Men even when outnumbered, and fights boldly in all battles. He has brains but is a compassionate man of the cloth. Pallette, with his impressive voice and physique, make Tuck a memorable character.
Finally, Una O'Connor as Bess, is another gutsy character. Watch her in the ambush scene: her eyes fire when she believes her lady is in danger, and she is not afraid to verbally confront her attackers! Unlike Gisborne, she is more than willing to go toe-to-toe with any of Robin's men. Yet, she is immediately attracted to Much (Herbert Mundin), and flirts with him like a teenager. Her loyalty and devotion to Marian make her fearless; she risks all to save her lady, even when it is clear she will be killed if caught.
I'll leave you with a trailer from the film. Next time, we'll return to our usual discussion.
This week, our discussion looks at the ever wonderful The Adventures of Robin Hood.
I have to admit that it is hard to add anything worthwhile to a
discussion of this movie. Oh, I'm willing to admit to some flaws -
perhaps Errol's tights are a little to green and shiny; perhaps Sherwood
Forest is a TAD too perfect, but still - has ANYONE ever approached a
role with a more appropriate swagger than Flynn. His introduction to
our Ms. de Havilland is perfect: "Welcome to Sherwood, my Lady", issued
with aplomb from a tree limb! And then there is Olivia - so beautiful,
radiant even, as Maid Marian. She is spunky, in all the best senses of
the word, brave, and daring. Here, she is put on trial for helping Robin's cause:
And then, there is the perfect
character castings - the ever wonderful Claude Rains as Prince John. He
is unctuous, supercilious, and all-together bad to the bone. His perfect match in evil is provided by Basil Rathbone as Sir
Guy of Gisbourne. His fencing scene with Flynn is magical - and it so
delightful to remember that Rathbone was himself an excellent fencer;
easily the match of anyone to whom he (almost always) lost to.
Eugene
Pallette as Friar Tuck is delightful (though I always seem to see him in
The Mark of Zorro, bopping the enemy on the head as he
mutters, in his gravel voice, "God forgive me"). And of course, let us
not forget Alan Hale as Little John, and Una O'Connor as Marian's maid
Bess. This is an exceptional cast - a representation of the
brilliant character casts available at Warner Brothers.
Tune in next time for another Olivia de Havilland movie.
