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!

William Gets Married

Candace Goodwin (Frances Dee) is in love with Michael Stewart (William Holden), but Mike is reluctant to propose to her - Candy's family is well-off, and Mike is a simple working man. When Candy's father Pierce Goodwin (Grant Mitchell) announces that, should Mike marry Candy, he'll cut off her funds, Mike proposes, and Candy announces her intention to live on a budget.  But, it's a lot harder than the inexperienced Candy thinks. Our film this week is Meet the Stewarts (1942), and is part of the The Wedding Bells Blogathon, hosted by Hometowns to Hollywood.

This is a pleasant film that, unfortunately, goes off the rails a few times. It starts as a sweet look at a newly married couple facing financial woes, but then degenerates into unnecessary slapstick. Jeanine Basinger in her book I Do and I Don't: A History of Marriage in the Movies points out how difficult it is to write an entire movie about a marriage - most films lead us TO the marriage, and then stop (happily ever after). It's much harder to show day-to-day life and make it interesting. Meet the Stewarts is able to do that for awhile, then seems to feel it needs something else to keep the plot moving. We didn't think It was necessary. 

Frances Dee is quite engaging as Candy. She's ill prepared for life as a struggling wife - she's never cooked, or cleaned, or kept a budget, but she is determined to learn. Ms. Dee creates a no-nonsense woman who believes she can do anything she puts her mind to. She can, but it takes time, and her husband is not really convinced that she can learn the skills of a homemaker. Their arguments become diatribes about money - with Mike looking the worse for their encounters.

Frances Dee started her career as an extra in 1929. She worked regularly, rising to more important parts. In 1933, while filming The Silver Cord, she fell in love with its star, Joel McCrea. They married that October, eventually having 3 children. They were together until Mr. McCrea's death in 1990 (on their wedding anniversary).  Ms. Dee died in 2004, at the age of 90. 

William Holden is a good partner for Ms. Dee in Meet the Stewarts. Despite his anxiety over money, you like Mike, but Mr. Holden plays the role so it is clear that Candy is making appropriate decisions and trying to learn how to be a wife with not a whole lot of money. Ms. Dee was just returning to work after a maternity leave, and was having problems adjusting to the work schedule. The film's director, Alfred E. Green decided to fire her, but Mr. Holden went to Harry Cohn and interceded. Ms. Dee remained in the film (William Holden: A Biography by Michelangelo Capua). William Holden enlisted in the Army Air Force; Columbia was able to get a dispensation so he could finish the film before entering the service, (AFI Catalog) and the film opened in May, 1942.

We looked forward to seeing Margaret Hamilton (Willametta) in the cast, but were very disappointed when she finally arrived on screen. She's supposed to be funny as an inept maid, but she is just annoying. Her incompetence is intolerable, and we kept wondering why someone didn't fire her on the spot (and dock her for breaking the glassware). Anne Revere (Geraldine Stewart) was a breath of fresh air as Mike's older sister. You think that you won't like her, but she turns out to be a good woman looking out for both her brother and her new sister-in-law.

Based on the short story Something Borrowed by Elizabeth Dunn, there are things to many like about this little film - Candy and her efforts to make the marriage work is one of the major attractions. When she goes back to work to pay a debt that she inadvertently incurred, she is admirable, and the film does not try to make it feel like she is in some way emasculating her husband by working for the money. Yes, the film gets silly at times, but in the long run, we all enjoyed it for what it was - a light, rather breezy entertainment (with some scenes we'd like to excise), as well as a look at two young people starting a new life as a married couple.

This post is part of The Wedding Bells Blogathon, hosted by Hometowns to Hollywood. Please visit the blogathon website to view the other posts in the series. 

Barbara's Secret Marriage

Ruth Vincent (Barbara Stanwyck) and State Attorney General Robert Sheldon (Warren William) elope. When the ceremony ends, they look for a phone - he to call his office; she to contact her father, Governor W. H. Vincent (Arthur Byron) with their good news.  But Robert's call results in a roadblock to their happiness; Ruth's father has been accused of taking a bribe, and the only way for Robert to investigate the charges is for Ruth to remain The Secret Bride (1934).

Audiences at the time of release would have known from the trailer the serious nature of the film, though the title really makes one believe this is a romantic comedy. Based on an unproduced play, Concealment, by Leonard Ide, this was not really a movie anyone wanted to make (except producer Hal Wallis) - William Dieterle later said "the script was bad..." (TCM article).  Both director Dieterle and Ms. Stanwyck were under contract to Warner Brothers, however and neither could afford to be suspended  - Ms. Stanwyck was supporting herself, her son, and her then husband Frank Fay, and the Fays were having financial issues with the Internal Revenue Service [A Life of Barbara Stanwyck: True Steel 1907-1940 by Victoria Wilson]. So, rather than go on suspension, Ms. Stanwyck apparently grit her teeth and took on a role that was certainly beneath her talents.

The role of Ruth is really not one of Ms. Stanwyck's best - the part is under-written and she has little to do except be morose about her hidden marriage. She's only given one really good scene - Ruth goes to confront her father with evidence that his personal typewriter was used to write a letter demanding bribe money. Ruth, who has a close and loving relationship with her father, is distraught and feels betrayed by her suspicions about her father's actions. His denial of the charges, and her reactions to his protestations of innocence are strong and convincing. It's interesting that Dan Callahan in his biography, Barbara Stanwyck: The Miracle Woman, felt exactly the opposite. We, however, thought that Ms. Stanwyck played the scene perfectly. Stanwyck plays her as young and inexperienced, making the scene strong and appropriate for what little we know about Ruth.

Also wasted is Glenda Farrell as Robert's secretary, Hazel Normandie. She SHOULD have a pivotal role - she's romantically involved with one of the villains (she doesn't know he is a villain), and she is accused of a murder. But by the end of the film, she's all but disappeared from view. She doesn't even really figure into her own murder trial. A shame really, because Ms. Farrell is able to deliver a clever line like no one else.

Grant Mitchell's Willis Martin, the pawn in the scheme, should be a more interesting character, but that role too is poorly outlined. As a result, Martin, with his constant weeping and quivering, is merely annoying. You really want to shake him and tell him to get a grip on himself. It's a shame because, again, Grant Mitchell is a strong character actor who is given no opportunity to grow his characterization. (To see him in better form, try The Man Who Came to Dinner (1942).

The only actor who really gets to do anything in the piece is Warren William, and he runs with it. He does appear a trifle old for Ruth, but he's clearly well established in his political career, so the age difference is consistent with character. Mr. William started his acting career on Broadway (as Warren W. Krech  - he was born Warren William Krech) in 1920. The advent of sound brought hime to Hollywood and a contract with Warner Brothers. With his impressive speaking voice, he was likely a godsend to the studio, and was a leading actor in many pre-code films, including Three on a Match (1932)  and Gold Diggers of 1933 (1933). He also was cast in several series - Perry Mason and the Lone Wolf among them. Besides film work, he also did some radio, specifically a series entitled Strange Wills.  He died in 1948, at the age of 53; his wife of 25 years died a few months later.

There is a very nicely done scene which features 1930s criminal forensic science - an analysis of the typewriter used to type a bribery note. Of course, it helps if one knows what a typewriter is! 

The costuming by Orry-Kelly is stunning, especially a fur-trimmed dress that Ms. Stanwyck gets to wear (you can see it in the trailer). She also gets several really stunning hats. But Ms. Stanwyck deserves more than nice clothing - a script would help. We'll leave you with the trailer to the film: