Bette Writes a Letter

Nighttime at a rubber plantation in Singapore; most of the workers are sleeping peacefully when shots ring out. A man stumbles from the main house, pursued by a woman with a gun. She fires into the man over and over again. She then calmly sends one of the workers for the district officer, saying it was an accident. We are discussing The Letter (1940).

This film features one of the more dramatic openings in movie history - a peaceful night interrupted by gunfire, as a woman pursues a fleeing man.  The report of the gun, the sounds of the previously quiet jungle screaming with panic - director William Wyler did 33 takes of the scene, though producer Hall Wallis told Wyler that it was the first take that he used in the final film (TCM Behind the Scenes). 

Bette Davis is the dominant force in the film. She is powerful even in scenes of quiet. While you are suspicious of Leslie Crosbie from the start (we did after all watch her gun down a man), Ms. Davis gently feeds the information to us strand by strand, much like the crochet lacework that is constantly in her hands. Ms. Davis was eager to work with Mr. Wyler - they'd previously worked together on the Jezebel, a performance which had won Ms. Davis an Oscar. (TCM The Big Idea). Nonwithstanding of their mutual affection and regard for one another, they still had disagreements - in a late scene, Mr. Wyler insisted that Ms. Davis look into Herbert Marshall's (Robert Crosbie) eyes to tell him she loved another. Ms. Davis was horrified - it was too cruel, she said, but Mr. Wyler insisted.  When she won the AFI Lifetime Achievement Award, Mr. Wyler was in attendance. "Even today 37 years later," he said, "we still disagree on it. Well, Bette read it the way I asked her to, but I'm sure she would like nothing better right now than to drive over to Warner Bros. and re-shoot the scene her way." The camera caught Ms. Davis nodding her head vigorously in agreement (TCM Trivia)

James Stephenson brings nuance to the character of lawyer Howard Joyce, the man who first grasps the levels of Leslie's duplicity.  He'd appeared in a variety of parts since he began in films in 1937 but this film was the first to use him to good effect.  He had his issues with Mr. Wyler, but Ms. Davis would convince him to try Wyler's way. Ultimately, he was nominated for an Oscar for Best Supporting Actor (he lost to Walter Brennan in The Westerner).  Sadly, Mr. Stephenson would only appear in five more films - he died in 1941 of a heart attack.  

The first actress considered for Mrs. Hammond was Anna May Wong, but William Wyler felt she was too young and too attractive to portray the sinister widow.  Instead, Gale Sondergaard was given the part, and she is excellent in a part that relies on facial expression and body language for her communication with the audience (Mrs. Hammond does not speak English). Ms. Sondergaard would eventually be forced to leave Hollywood for the New York stage when her husband Herbert Biberman was accused of being a communist.  She eventually returned to Hollywood, where she worked in film and television until her retirement in 1982. 

Herbert Marshall is very good in what is basically a thankless role as the cuckolded husband.  He'd appeared in the 1929 version of the film (as the murder victim) (TCM Pop Culture). He has several heartbreaking scenes at the end of the film that reveal much about this misused man.  

It's worth noting the presence of Frieda Inescort (Dorothy Joyce) in a very small role as defense lawyer Joyce's wife. Victor Sen Yung (here billed as Sen Yung) is quite convincing as Ong Chi Seng, the somewhat shady lawyer in training, who is the first to reveal the existence of the Letter. 

There is one other character in the film, and that is Leslie's lace crochet.  We see it immediately after Geoff's death, and slowly the project grows as Leslie's lies become more and more intricate.  The dropped lace project at the end signals the film's ultimate conclusion, much like the three fates weaving out the lives of mortals.

The New York Times review by Bosley Crowther was glowing, and the film was ultimately nominated for Academy Awards in the categories of Picture; Supporting Actor, Actress, Editing, Direction, Original Score, and Black and White Cinematography (it didn't win in any category) (AFI catalog).

Jeanne Eagles starred as Leslie in the 1929 film version (which had a very different ending, the Production Code not being an issue at that point).  There were three Lux Radio Theatre productions - May 1938 with Merle Oberon and Walter Huston; April 1941 with Bette Davis, Herbert Marshall, and James Stephenson; and March 1944 with Bette Davis, Herbert Marshall and Vincent Price.  The October 1956 Producer's Showcase television version was directed by William Wyler and featured Siobhan McKenna, John Mills, and Anna May Wong (who finally got to play Mrs. Hammond). Lee Remick starred in a 1982 television movie remake; also featured in that version was Sarah Marshall, the daughter of Herbert Marshall.

We'll leave you with a trailer of this remarkable film:

 

Thomas Has a Theory

 

Professor Henry Todhunter (Thomas Mitchell) has been diagnosed by his friend, Dr. Lawrence Stevens (James Stephenson) with severe coronary disease; he has, at most, six months to live. University Dean Somers (Thurston Hall) forces Todhunter’s retirement; with nothing better to do, Professor Todhunter spends his days developing new theories. He hypothetically asks his colleagues what they would do if they had only six months to live. Professor Peterson (John Eldredge) has a disturbing idea - murder someone who the law cannot touch but deserves to die. Our film this week is Flight from Destiny (1941).

This is a nicely paced mystery story that will keep you guessing through the entire film. The cast is led by Thomas Mitchell, who is wonderful as the dying man. Mr. Mitchell keeps the character just teetering on the edge of sanity - when he proposes his theory that, as he is neither living nor dead, he has the authority to judge the right of another being to live, you wonder if he is sincere. Discovering he is indeed deadly serious (no pun intended), one is chilled to the bone.

Without going into too much detail, some of the plot focuses on an art forging racket.  This is worth noting, as Thomas Mitchell was himself and art collector, who it is believed, was the victim of a forger.  He reportedly purchased a forged Rembrandt, that is currently in the Fogg Museum at Harvard. (Hollywood’s Original Rat Pack: The Bards of Bundy Drive by Stephen C. Jordan)

First billing in the film is given to Geraldine Fitzgerald (Betty Farroway), but don't expect to see her very much. Her character is crucial to the film, setting Professor Todhunter on his mission of "justice," but Ms. Fitzgerald has little to do but look pained.  It's a shame really; she's a talented actress and uses what screen time she has well. 

Jeffrey Lynn (Michael Farroway) is also convincing in the part of the erring husband. Mr. Lynn doesn't often get roles that allow him to do much more than be handsome, but this one gives him a part he can sink his teeth in, and we were impressed with is performance.

On the other hand Mona Maris (Ketti Moret) left something to be desired in the part of the thief and seductress.  Ms. Marris is a striking woman, but but doesn't have all that much allure. The character was supposed to use her charms to win over her victims; while we only see her briefly with Michael, we do see her with Professor Todhunter at some length.  She is just too cold to be convincing as a woman whose primary gift is allegedly her sexual appeal. She does get to show off some remarkable dresses by designer Damon Giffard (who worked in Hollywood for only one year).

Mary Gordon as Professor Todhunter's housekeeper,  Martha is worth comment.  Though a small part, it's a good character that is well acted by Ms. Gordon. And, if you are a fan of Alexis Smith, she appears in a small role. That same year, she'd appear in Dive Bomber with Errol Flynn (TCM article).

Based on the 1937 novel Trial and Error by Anthony Berkeley Cox, it had two working titles: that of the book and Invitation to a Murder (AFI Catalog). It garnered a very positive review from Thomas M. Pryor in the New York Times, saying that "it was most fortunate that an actor of Mr. Mitchell's ability was selected to interpret [Professor Todhunter].

All in all, this is a little-viewed film that deserves some attention. Do try to find it. 

Dr. Kay, Part III

Drs. Carol and Niles Nelson are up-and-coming physicians. They have a small private practice together, but are having problems making ends meet - primarily because Niles (John Eldredge) likes to bet on the ponies. But when Niles inadvertently tends to an accomplice of gangster Joe Gurney (Humphrey Bogart), they find themselves in the money. With visions of grandeur dancing in his head, Niles insists on moving their practice uptown. He continues, however, to fritter their earnings away gambling, while secretly working as private physician for Joe and his goons. Niles' death during a raid on Joe's hideout, however, leaves Carol (Kay Francis) in the lurch. Suspected of also being complicit in the gang's activities, Kay has a three months to clear her name with the medical board or lose her license, forcing her to seek out the King of the Underworld (1939).

This is a favorite film for me - it features Ms. Francis as a strong woman physician who uses her skill as a doctor to save the day. This was her third outing as a doctor, and perhaps her best. However, her star had declined at Warner Brothers, and only her co-star, the rising star Humphrey Bogart, was giving above-the-title billing. Regardless, Ms. Francis refused to walk out on her hefty salary from Warner Brothers, and just did her usual excellent work. She and Mr. Bogart got along quite well during the shoot, and his snipe at Jack Warner in a trailer may have been partially a response to Jack Warner's treatment of Ms. Francis (TCM article).

Bogart is impressive as the contradictory Joe Gurney. Joe is no brain trust - he thinks being called moronic is a compliment, but reads biographies of Napoleon. Joe was a poor kid, we learn, who became an expert criminal while in the Reformatory. This is a very a-typical gangster film, with no real "good guy," no moll, and a criminal who is truly stupid. Regardless, Bogart makes him a character who you have to watch - he's mesmerizing. Even lying back on a couch, he's scary.

Because of the strength of Bogart's performance, however, the other male leads - John Eldredge and James Stephenson (Bill Stevens) are almost invisible. Bill really is the "man in distress." When we first meet him, he faints. He's kidnapped by Joe, and has to be rescued (we won't go into detail here. Spoilers would ensue). Mr. Stephenson began his career on the British stage, and was 48 by the time he made his screen debut. He would work as second leads or as the lead in B pictures (like Calling Philo Vance (1940)). He was only 52, when he died of a heart attack in 1941.

We enjoyed the performance of Jessie Busley (Aunt Josephine). She initially comes across as skittish and weak, encouraging Carol to leave medicine and just lead a quiet life that doesn't involve gangsters. But, she is ultimately willing to move with Carol in her pursuit of the bad guys, and supports her throughout the process. She's even up to doing a little matchmaking on the side!

A loose remake of the Paul Muni film,  Dr. Socrates (1935), this film was originally titled Unlawful (AFI Catalog).  A script that is different from the one that you will see on screen is also in existence. And in that script, the ending of the film is far more "traditional" than the one that is one the film you can view today.  

We'll leave you with the film's trailer, with a brief glimpse of Ms. Francis, but no mention of her at all: