Joel Travels

Film director John L. Sullivan (Joel McCrea) wants to create great art. He's tired of making musical comedies like Hey, Hey in the Hayloft and Ants in Your Plants of 1939. He wants to film Oh, Brother Where Art Thou, a searing drama about deprivation and suffering. But the private-school raised Sullivan has never suffered. He decides he must travel America as a hobo to learn about true suffering. The studio heads, however, fear his loss as Sullivan's Travels (1941).

We had the opportunity to view this magnificent film at a Preston Sturges retrospective at AFI Silver. I'm sure I've seen it a dozen times, but never in a theatre, so this was a real thrill.

Joel McCrea is perfect as Sullivan.  He has just the right amount of sincerity to be convincing, yet you can still be amused at his antics. He is so low-key that you never find Sullivan to be silly - you may shake your head at his ideas, but Mr. McCrea gives him gravitas. His Sullivan believes that the trip is imperative for him to direct his new film.  Mr. Sturges wrote the part with Mr. McCrea in mind; they would end up making two more films together (The Great Moment (1944) and The Palm Beach Story (1942).

Veronica Lake (The Girl) was possibly not the first choice - Frances Farmer also tested for the part. (AFI catalog). Unbeknownst to Mr. Sturges, Ms. Lake was pregnant when filming began. Not surprisingly, she was afraid to tell Mr. Sturges - she was already six months along, and beginning to have a bump.  Instead, she told Louise Sturges (herself pregnant) who urged her to tell her husband. Ms. Lake did, and Mr. Sturges broke down laughing (Peekaboo: The Story of Veronica Lake by Jeff Lenburg). Thanks to costume designer Edith Head and a number of stunt people, Ms. Lake's pregnancy is not visible. She's adorable in the role, convincing as the down-on-her-luck actress who befriends and eventually loves Sullivan.

There were some problems during the production. Joel McCrea was not fond of Ms. Sullivan - it seems she was trying to seduce him (there are many stories about Ms. Lake's relationships with her leading men), and he was a happily married man. (Christmas in July: The Life and Art of Preston Sturges by Diane Jacobs) So, when he was offered the lead in I Married a Witch (1942), he turned it down rather than work with her again (AFI Catalog). He did finally relent and worked with her in 1947's Ramrod. During the filming of Sullivan's Travels, he saved her life when, after watching a stunt woman jump into Sullivan's pool (in her stead), Ms. Lake decided to join the fun and jump in herself. Her dress wrapped around her head, pulling her under - Mr. McCrea freed her, and carried her out of the water.

One interesting aspect to the film is the way in which Mr. Sturges handles race. When Sullivan arrives at a chain gang, we find men of many races working and eating together. We see Trusty (Jimmy Conlin) walking to the men with a water cup, and all the men, black and white, drink from the cup. Finally, there is a scene in a local church - an African American church - which welcomes the convicts in to see a movie. Nothing is said about race, but these images speak louder than any words could (See this TCM article for more information about the NAACP's comments on the movie).

The other "message" that the film discusses is that of comedy. Sturges felt that his "fellow comedy directors had 'abandoned the fun in favor of the message'" (ReFocus: The Films of Preston Sturges by Jeff Jaeckle). Thus, two films are shown to the audience - at the beginning of Sullivan's Travels we see Sullivan and his colleagues watching a tragedy, after which the feeling in the room is one of sorrow. But when we are with the convicts watching Playful Pluto (1934), there is joy among these normally sad men - they are finally allowed "release and true community" (Christmas in July: The Life and Art of Preston Sturges by Diane Jacobs).

While the New York Times review by Bosley Crowther was favorable (he called it a "beautifully trenchant satire upon "social significance" in pictures"), other reviews were not (ReFocus: The Films of Preston Sturges by Jeff Jaeckle). Regardless, time has shown them the error of their ways. In 2014, Richard Brody in his New Yorker Movie of the week discussed the way in which the movie is actually two films in one, seamlessly moving from comedy to drama and back again. 

In 2000, the Coen Brothers were inspired by the film to make O Brother Where Art Thou? (The Cinema of Preston Sturges: A Critical Study by Alessandro Pirolini). Sullivan's Travels was added to the National Film Registry in 1990, and since has appeared on several AFI lists: it was  #61 AFI's 100 Years, 100 Films; 10th Anniversary Edition; #25 100 Years, 100 Cheers; and #39 100 Year, 100 Laughs.

Veronica Lake (and Ralph Bellamy appeared on the Lux Radio Theatre version of the film on November 9, 1942. Though that audio program is not available, here's a trailer and a suggestion that you add this remarkable movie to your list:

Dorothy Marries a Steel Boss

When steel magnate Arthur Parker (Robert McWade) brings his steel boss to his home for dinner, his wife, Henrietta (Florence Roberts) is insulted, and his daugher, Dorothea (Dorothy Mackaill) is amused; both expect an unkempt worker who will slurp his soup. But Dot is rapidly converted when she meets Richard Brunton (Joel McCrea); she almost immediately decides to marry him. But there is a problem; Dick is poor and is decidedly opposed to Kept Husbands (1931).

This is not a great movie, but it has some nice moments, thanks to its strong cast. Dorothy Mackaill does a good job of portraying a selfish, greedy brat of a girl, who is more interested in her own satisfaction than in the needs of anyone else, including her husband. There are times that it is hard to believe that Dot truly loves Dick, though Ms. Mackaill makes it quite clear that Dot is definitely in lust for the hunky steel boss. She plays Dot as thoroughly spoiled, and quite used to getting her own way by any means possible. Watching Ms. Mackaill summon up phony tears to play on Mr. McCrea's emotions is a pleasure; her delivery is perfect. Also amusing is the wedding night scene (remember, this is a pre-code film!)

Joel McCrea is excellent as Dick. He's a man with ambitions, who knows that wealth comes from being productive, and he is willing to pay his dues to reach the top. He genuinely loves Dot, but is thrown by the contradictions of this woman who claims to love him, but is unwilling to let him be anything but her lapdog. It's interesting that Dot falls in love with a man much like her father (who states that he is "the only one in this family that works") but then tries to change that husband into a layabout. When the final confrontation happens, you want him to stand his ground. We favorably compared Dick to Gene Raymond's character in The Bride Walks Out - Dot's wealth is not the sticking point. It is her insistence that he abrogate his career and dreams, and become a parasite on her and her father that is the issue. (We would argue with this TCM article that the film is less about taking down the heiress than showing that hard work is important, whether you are wealthy or not).

There are several noteworthy supporting actors in this film. Ned Sparks as Hughie is amusing at times, but after a while becomes an annoyance.  We liked Mary Carr as Dick's mother, Mrs. Brunton. She's sweet (though by the end, she is a bit too oblivious to what is going on with her son and daughter-in-law). Ms. Carr had a lengthy career during the silent era (unfortunately, many of those films are currently lost). She worked from the beginning of sound (1928) through 1956 (when she played a Quaker woman in Friendly Persuasion). Five of her children with silent film director William Carr went on to show business careers (son Thomas was a prolific film and television director). When Ms. Carr found herself nearly destitute after silent films ended, her friends in the film industry found her jobs. She died at the age of 99, in 1973.

Clara Kimball Young  (Mrs. Lucille Post) returned to film after a six-year absence with this, her first talkie (AFI catalog). She had her own company during the silent era (Women Film Pioneers Project), though there was involvement on the part of her husband, James Young, and her lovers Lewis J. Selznick and Harrry A. Garson (her eventual ex-husband would attack Mr. Garson with a knife in 1917). After this film, she primarily appeared in westerns, and in 1956, she was a correspondent for the Johnny Carson's first television show. She died in 1960, at the age of 70.

In the end, we did enjoy this film. It's not the best film that either Joel McCrea or Dorothy Mackaill ever made, but it's interesting - with the caveat that you may want to throttle Dot or her mother at various points in your viewing. At 70 minutes, it's worth a look if you are interested in pre-code films or in seeing silent stars like Clara Kimball Young and Mary Carr. (By the way, it lapsed into the Public Domain and is available for viewing on the Internet Archive).

Barbara and the Cavalry

The Cavalry has been ordered to capture Apache chief Nachez (Rudolfo Acosta). Trooper Hook (1957) leads the successful raid. One of the survivors is Cora Sutliff (Barbara Stanwyck), a white woman captured by the Apache many years before, who has born Nachez a son, Quito (Terry Lawrence). Though her "rescuers" suggest leaving the boy with "his people", Cora refuses to give up her child. Sargeant Hook (Joe McCrea) is ordered to return Cora to her husband, Fred (John Dehner). Their journey will take them into a land where both Cora and Quito are despised.

If you are not a fan of Westerns, you might have missed this excellent film. In fact, you might have missed it even if you DO like Westerns - it isn't always on the list of the best Westerns, and it should be. With a strong cast, led by two outstanding actors, the film tells a tale of bias in a more-or-less traditional Western format.

As always, Barbara Stanwyck is magnificent as a woman whose world has been upturned twice in her lifetime. Her silence as we meet her sets the tone for the film - hearing a language that has become unfamiliar, suspicious of her "rescuers", Cora is first and foremost a mother who wants only to protect her child. We watch fear and suspicion play over her face, we see her tentative movements. She silently bears the verbal abuse of Colonel Adam Weaver (Patrick O'Moore), she hides from his wife, Ann (Jeanne Bates). But when some townspeople assault her son, she is silent no more. Venom spews from her mouth in a torrent, as she attacks them with a shovel. This is no meek victim; this is a survivor. One lovely moment early in the film has a storekeeper, who has witnessed the harassment of Cora and Quito, waving goodbye to her. Ms. Stanwyck's tentative wave and shy smile are a testament to her ability to convey every emotion with the merest flicker of her eyes.

Joel McCrea's prior relationship with Ms. Stanwyck serves them in good stead in the picture (see this TCM article for a brief rundown of some of the earlier work together). Trooper Hook is also a survivor, with a backstory that parallel's Cora's. Mr. McCrea presents a stoic front, but we also quickly realize that he is an unusual man. Though Natchez is his enemy, he admires him for his dedication to his people. He also admires Cora because she survived. He understands the depths to which the survival instinct can bring you. Mr. McCrea's stoicism is not, however, without feeling. Like his co-star, we learn about him from his eyes and from his stance. His affections and integrity radiate from him without discussion.

Earl Holliman (Jeff Bennett) is a delightful surprise in this film. His character is engaging; unlike most of the men Cora meets, he casts no judgement on her and is delighted by little Quito. Mr. Holliman brings a balance to the film - he demonstrates that not everyone is biased against the Native population. It's also intriguing that Jeff falls hard for Consuela Sandoval (Susan Kohner), as a young Mexican woman en route to her arranged marriage. The attraction is mutual, and there is an implication that Consuela may not be adverse to breaking her engagement. Here too, we see that Jeff is not interested in ethnicity. He responds to people as individuals.

The only real pointless character in the film is that of Charlie Travers, as played by Edward Andrews. Mr. Andrews always displays a tendency to play broadly, and he certainly does so in this film. As a result, Travers is a disappointing caricature. Though the character is inconsistent, we felt that, in abler hands, the part might have added something to the story.

Terry Lawrence, who played Quito is very appealing in the part. According to the IMDB, this was his only film role, but on his webpage, Mr. Lawrence mentions that he did some television and commercial work. He is now a musician.

The AFI catalog mentions that Jody McCrea (Joel's son) and director Charles Marquis Warren's mother, wife, and three children all were listed by The Hollywood Reporter as appearing in the film. Jody appears as Trooper Whitaker, but there is no confirmation of the Warren family's work in the final film.

The paring of Ms. Stanwyck with Mr. McCrea is an inspired one, and both do credit to this timely story. There is a lovely symmetry to it, with the bigotry of characters like Colonel Weaver and Fred Sutliff carefully balanced by the acceptance of Ann Weaver and Jeff Bennett. This is a remarkable film, and one worth your viewing.

Joel Fishes

When Boyd Emerson (Joel McCrea) and his friend Frasier (Raymond Hatton) arrive in  Kalvik, Alaska, their entry is greeted by open hostility.  The Silver Horde (1930) concerns their efforts to open a salmon canning business in Kalvik, and the opposition they face from their chief competitor, Fred Marsh (Gavin Gordon).

A remake of a 1920 silent film of the same name (AFI catalog), The Silver Horde is as much about the business of salmon fishing in Alaska as it is a romance. In a fairly detailed sequence, we are shown the details behind the salmon that arrived on the shelf of consumers from the moment the fish are caught until the can is sealed and labeled. And just to be sure that the viewer knows that this is a part of the film, we see both Joel McCrea and Raymond Hatton working on the assembly line. Salmon fishing (in this case, coho salmon) is a major industry in Alaska - school children are taught about the five kinds of salmon, it is that important - and this one episode emphasizes that. More to the point, the industrialization of the salmon fishing would have been an exotic and unique process to the general filmgoer; this segment proves both educational and a quick glimpse of the past of an important food industry. The film, by the way, was actually shot on location in Ketchikan, Alaska (TCM article).

This was the first teaming of Joel McCrea and Jean Arthur (they would do two more films together). However, Ms. Arthur is not the star here.  Evelyn Brent (Cherry Malotte) is. Ms. Brent had long experience as a silent actress - she started in films in 1914.  She's quite good in this film, playing a tough and knowing woman, who has made her money in Alaska working as a prostitute, and is now the owner of a successful copper mine. Ms. Brent worked steadily, well into the 1940s, though she did most of her later work in B films, or at Poverty Row studios. When she retired from acting in 1950, she became an agent (she would make one television appearance in 1960 - on an episode of Wagon Train). Married three times, she died of a heart attack in 1975 at the age of 75. Unfortunately, many of her silent films have been listed as lost. 

This was Joel McCrea's second major role and he was pretty much on an upward trajectory for the rest of his career. He's sincere and attractive as Boyd; he manages to keep your sympathy and interest even after he is verbally cruel to Cherry. Mr. McCrea was always an interesting actor AND an interesting man. While many actors who were not in the military played soldiers in movies, Joel McCrea refused to wear a uniform in any of his films. Unable to serve in the Armed Forces, he felt that for him to appear in uniform was disrespectful to those who were serving (TCM article). He loved westerns, and in his later years would only appear in them. After his retirement, he worked on his ranch, where he lived with his wife, Frances Dee (they had three children, and were ultimately married for 57 years) until his death at 84 in 1990.

Blanche Sweet, who plays Queenie, was a notable silent actress, but her career just didn't take off in sound films.  She's quite sassy as Queenie, serving to tie up some plot loose ends and to give us a tiny glimpse into Cherry's past. This film, was in fact, her last until 1959 when she appeared in an uncredited role in The Five Pennies (she also did a few television appearances around this time). She continued to work in radio, and on stage. She had married Raymond Hackett in 1935; after his death, she moved on to a new part of her life - she worked on film preservation. She served on the Board of Directors of the National Board of Review of Motion Pictures was a consultant to the Department of Film of the Museum of Modern Art. (New York Times obit). She also appeared in Before the Nickelodeon: The Early Cinema of Edwin S. Porter (1982). Ms. Sweet died of a stroke in 1986, at age 90. Her ashes were scattered in the Brooklyn Botanical Garden.

The New York Times review was not particularly complimentary in their evaluation of the film, though they were very enthusiastic about the work of Blanche Sweet. While not a great film, The Silver Horde really has a lot going for it, especially the opportunity to see two future stars before they got their starts.  We'll leave you with this scene of Joel McCrea, looking rather hunky as he fights for his place in the community: 

Barbara Gambles

Gambling Lady (1934) is an engaging film, which stars Barbara Stanwyck as Jennifer "Lady" Lee.  When her father, Mike (Robert Barrat) kills himself in despair over his debts to a gambling syndicate, Lady seeks employment in the one occupation she knows - gambling.  Lady, like her father, is scrupulously honest, and takes a job with the syndicate on the proviso that they will run an honest game.  When she discovers they have lied to her (and have placed someone into the game who is systematically cheating), she resigns and begins working on her own.  While playing at a society party, she meets Garry Madison (Joel McCrea); they fall in love and he proposes marriage, to the concern of his father, Peter Madison (C. Aubrey Smith).  But Peter, a gambler himself who knew and admired Mike Lee, comes to realize that Lady's love for Gerry is true, and consents to the marriage.  However, the course of true love hits road bumps - the return of Garry's former girlfriend Sheila Aiken (Claire Dodd) and Garry's jealousy of Lady's friend Charlie Lang (Pat O'Brien).

This is a good, fast-moving film, with a lot of story packed into 66 minutes.  Stanwyck, as always, is excellent as Lady Lee, and her rapport with Joel McCrea (in their first of 6 films together) is evident. Particularly notable are two scenes: the first one has Lady playing cards with her rival Sheila, to Sheila's misfortune; the second immediately follows, and shows Garry and Lady frolicking in their bed as Garry tries to convince Lady to return Sheila's losses (this is, after all, a precode film). It's obvious in this second scene why Stanwyck and McCrea became a screen couple. When we viewed Banjo on My Knee several months ago (their second film together) we discussed their screen history.  For more information on McCrea himself, please visit our blog post on Rockabye.   The one criticism we have of his character in Gambling Lady is his jealousy towards Charlie - he should know his wife better.  She is the soul of honesty; how could he even THINK that she would cheat on him?

We like Pat O'Brien, but he is somewhat wasted in the film  - his screen time is small, and there are times when one wonders why Lady would pick Garry over Charlie (Garry can be quite petulant at times, while Charlie is always in Lady's corner).  But, O'Brien has the acting chops to stand toe to toe with Stanwyck, and that is important here - we HAVE to understand Lady's loyalty to Charlie, even though he doesn't always play an honest game.  And O'Brien has an inner integrity that makes his character almost admirable.

This is a film that is loaded with excellent character portrayals.  C. Aubrey Smith's Peter is one of them.  A man of honor, who loves his son and grows to love and even admire Lady, Smith gives us a memorable performance. A versatile actor, who could play sweet (as he does here) or vile (see No More Orchids for one of his more repugnant characters.)  Smith began his living as a professional cricketer, playing professionally from 1882-1890, and highly regarded as a bowler.  When he came to Hollywood, he continued to play, forming the Hollywood Cricket Club, with fellow actors David Niven, Laurence Olivier, Nigel Bruce, Leslie Howard, and Boris Karloff.  His acting career began in London - he, in fact, was the lead in The Prisoner of Zenda (returning to the story in the 1937 film version, in which he played the wise Colonel Zapt).  He worked in silent films in England, then ventured to Hollywood, where he became the unofficial head of the "Hollywood Raj," or British film colony.  In 1938 he was appointed a Commander in the Order of the British Empire, and was knighted in 1944.  Married to Isabelle Wood from 1896 until his death in 1948, Smith was an actor of note, appearing in such classics as The Four Feathers (1939), Wee Willie Winkie (1937), and Rebecca (1940).  His final film, Little Women (1949) was released after his death from pneumonia.

Claire Dodd is also quite entertaining as the evil Sheila Aiken; as mentioned above, her gambling scene with Stanwyck is one to see - two pros matching wits (Stanwyck wins, but Dodd gives her a run for her money).  We discussed her career in some detail when we saw her in Lawyer Man (1933).  This New York Times review was quite complementary - and justifiably so - of Ms. Dodd in the film.  Fellow blogger at Immortal Ephemera also singled out Ms. Dodd for praise.

As discussed in this TCM article, Stanwyck had some momentary trouble with director Archie Mayo when he tried to pinch her.  Not surprisingly, she handled the situation quickly and firmly (and he didn't do it to her again).

In 1949. Stanwyck would revisit the theme of gambling in The Lady Gambles, but the two films are in no way similar (the 1949 film is very much a social drama about gambling addiction).   We'll leave you with the trailer from Gambling Lady, and a hearty recommendation to give it a try: 

Barbara Marries Joel

Banjo on My Knee (1936) begins at the wedding of Pearl Elliott (Barbara Stanwyck) to Ernie Hollie (Joel McCrea).  Ernie and his father, Newt (Walter Brennan) live and work on the Mississippi, they are, as the introduction to the story tells us, part of a community of riverboat people who live outside of towns.  Pearl is an outsider (we are not told how she and Ernie met), just that she was a servant in her past life, has little education (she never got past the 4th grade, and can just barely read and write her name), and she loves Ernie dearly.  She is readily embraced by her new community, with the exception of Leota Long (Katherine de Mille), and it looks like all will be well.  But the arrival of Mr. Slade (Victor Kilian), a local businessman, creates a problem - he gets fresh with Pearl, Ernie decks him, and everyone thinks Mr. Slade (who fell over the side of the boat) is dead.  Ernie has to get out of town immediately.  Of course, Mr. Slade is fine, Ernie returns from 6 months at sea with money in his pocket.  And a plan - he is going to leave again (and leave Pearl) to head to Aruba, where he will set up a home for them.  Incensed, Pearl leaves him; first Ernie, then Newt go looking for her.  But Ernie is a man with a temper, who doesn't have the best judgement in the world, so finding Pearl becomes very complicated. 

Stanwyck's Pearl is an appealing character.  Despite her lack of education, she is intelligent and self-sufficient.  She didn't marry Ernie to support her - we quickly see that she is well able to take care of herself.  She is also honest and forthright.  When Warfield Scott (Walter Catlett) takes her to New Orleans to "work" for him, she arranges to pay back his expenses, rather than become his mistress.  Her relationship with her father-in-law also demonstrates the character's virtues.  In the long run, Newt is much more sympathetic to his daughter-in-law than he is to his son.  A little willing suspension of disbelief is needed in the film - though Stanwyck is supposed to be a poor girl, she's got awfully nice clothing (costumes by Gwen Wakeling). We also get the added treat of seeing Stanwyck, the Broadway performer.  She again is allowed to do her own singing, and dances a perky routine with Buddy Ebsen (Buddy).

Joel McCrea, on the other hand, has a fairly thankless role as Ernie.  Ernie is an immature idiot, and is not very good husband material.  In fact, we found Ernie to be very reminiscent of Ed, the character he plays in The Primrose Path.  Given the choice of Pearl ending up with Ernie or Chick Bean (Anthony "Tony" Martin), we were rooting for Chick, a much more attractive character.   

Joel McCrea very much wanted to work with Stanwyck again after they appeared in Gambling Lady (1934), and the feeling was mutual.  Stanwyck requested McCrea as her leading man in  Internes Can't Take Money (noted for being the first Dr. Kildare movie).  And McCrea returned the favor when her requested her as is his lead in Trooper Hook (1957), their final of 6 films together.  For more information on their partnership and friendship, visit these TCM articles.

The opening of the film is a bit slow, but once Pearl relocates to New Orleans, the action picks up.  William Faulkner was hired to do some of the dialogue writing on the film, but none of what he wrote survived; Nunnally Johnson gets the actual screenwriting credit.  The country background is always evident; even when Newt and Pearl go to the city, Newt's contraption is a constant reminder of his rural roots.  His determination to play "St. Louis Blues" to his son and bride on their wedding night calls up the idea of the country shivaree.

The film is full of notable character actors.  Walter Brennan, the man who was never young, plays Ernie's father, Newt.  Brennan, whose career would span from 1925 to 1975, with (according to the IMDB) 243 screen and television credits, is probably best known to some of us as the lead in The Real McCoys.  His film career is notable, winning an Oscar (the same year as this film) for Come and Get It, and appearing in such highly regarded films as Meet John Doe (1941), To Have and Have Not (1944), My Darling Clementine (1946),  and Bad Day at Black Rock (1955), to name a VERY few.  He was married for 54 years to his wife, Ruth (until his death in 1974 at the age of 80).  A noted conservative, he actually campaigned against Richard Nixon in 1972 for being too liberal.

Buddy Ebsen had nearly as long a career as Brennan, though he really made his greatest mark in television, most memorably in The Beverly Hillbillies and Barnaby Jones. His gangly looks and rubbery dancing pretty much typecast him as a country guy, though in his later years, his more distinguished appearance helped him to get more interesting parts.  He started his career in vaudeville, dancing with his sister Vilma.  He continued doing films throughout his career (for example, the role of Doc in Breakfast at Tiffany's), but by1951, he was devoting more and more time to television.  He famousy danced with Shirley Temple in Captain January (1936), his first appearance without Vilma (she appeared with him in one film: Broadway Melody of 1936, then retired).  He's also remembered for being the first choice for the role of the Tin Man in The Wizard of Oz, but the aluminum-based makeup landed him in the hospital and he was replaced by Jack Haley).  Like Brennan, he too was a conservative, and (though it was not in his home state), campaigned against his former colleague Nancy Kulp when she ran for a congressional seat in Pennsylvania in 1984. 

In a very small part is Theresa Harris, an African-American actress who has one scene - she sings St. Louis Blues in the New Orleans club.  If you've seen Baby Face, then you are familiar with her characterization of Chico in that excellent film.  She shares no scenes with anyone in this film (it probable that the number was inserted with the intent of removing it in the South).  But she would appear with Stanwyck one more time in The File on Thelma Jordan. This New York Times article discusses the career of Ms. Harris.

The Breen office was not entranced with the film, and demanded a number of changes, according to this AFI article.  They were especially concerned with what they saw as a preoccupation with Ernie and Pearl's wedding night festivities (or lack thereof).  Darryl Zanuck ultimately agreed to tone down the drinking and to make it more obvious that it is Newt's desire to serenade the couple (rather than his wanting a grandchild) that has him pushing them into bed.

So, while not a great movie, some excellent performances, and worth a look.  We'll end this week with Stanwyck singing "Where The Lazy River Goes By"

Connie is an Artist's Model

As the film The Common Law (1931) opens, we meet Valerie West (Constance Bennett).  She has just informed her lover Dick Cardemon (Lew Cody) that she is leaving.  Dick is angered by her departure, and is sure she will return.  Valerie, however, is determined to make it on her own and applies for a modeling job with artist John Neville (Joel McCrea), who is struggling with a painting for which he needs the right model.  He finds that model in Valerie, and finds too a woman to love.  

Though struggling to make it as an artist on his own income, John is the son of the wealthy John Neville, Sr. (Walter Walker). John, Jr.'s sister Claire Collis (Hedda Hopper), who we know is not thrilled by his career choice, is horrified when she discovers that her brother is in love with such a - to her view - common woman.  So, Claire devises a plan to break up the relationship.

There is a real chemistry between Constance Bennett and Joel McCrea. It was evident in their other movies together (this is the fourth of their four films together that we've viewed and discussed). An article on the TCM website (in a discussion of Born to Love) talks about Bennett telling McCrea that he was to be her co-star in that film, and the fact that many in Hollywood thought there was more to their relationship than just work.

Certainly this film falls nicely into the Pre-code realm.  We watch Valerie shyly drop her clothing as she poses nude for painter John, and we see a number of paintings that make it clear she doesn't wear a whole lot of clothing for the series of pictures he does of her.  And then there is their relationship.  Terrified he will be driven away if they marry, Valerie agrees to a relationship with John ONLY if there is no marriage involved.  As in the film Illicit, it is the woman who opts for the "common law" relationship.  The men in these films are much more desirous of marriage than the women.  

John is clearly more conventional than Valerie - his double-standard is quite pronounced when he learns of her prior affair with Dick.  But it does not bother him in the least that she is willing to pose in the nude.  And, while they are in Paris, John and Valerie live together openly, when they return to New York, John feels compelled to hide their relationship.

This film is also notable for the presence of notorious gossip columnist Hedda Hopper.  Her Claire is annoying from the minute we meet her.  She is dull and conventional, has no understanding of her brother, and is more interested in her position and reputation than his happiness (unlike John's father, who just wants John to be happy).  We don't learn a whole lot about Claire Collis - she seems to be either a widow or a divorcee, as we never meet a husband, nor is he even mentioned.  In the TCM article about this film, Hopper's relationship with Bennett is discussed.  Bennett did not like her one bit; even though at this point in her career, Hopper was still primarily acting.  However, she had started selling stories to the press about her colleagues.  It was after she realized how much more lucrative being a member of the press would be that Hopper changed her career focus (though, even after she was a columnist, she still appeared in films, most notably, as  Dolly DePuyster in The Women.  
 
The film opens with a stock shot of Paris from the 1930s which was quite fun to watch.  The clothing this time was by Gwen Wakeling.  We were not familiary with her, but as always, Bennett's clothing is gorgeous; but quite honestly, Constance looks good in anything.

All in all, this is an enjoyable film.  We heartily recommend it.

Constance is Born to Love

T

Towards the end of World War I, a nurse in England, Doris Kendall (Constance Bennett) meets an American soldier (Joel McCrea as Captain Barry Craig).  They fall in love; he wants to marry her, but if he does, she will be sent back to America, and she desperately wants to stay in Europe to be near him.  They spend the night together, just before he leaves for the front.  And then, the floor falls out from under Doris when she learns that Barry is missing, presumed dead.  Thus begins Born to Love (1931).

Certainly, Born to Love is a melodrama, but a very well-done one, with enough twists and turns to keep you guessing til the end of the film.  Sure, we know that Barry isn't dead fairly early on, but that does not keep the suspense active - will Doris find out that Barry is alive in time? Will she leave her new husband (Paul Cavanagh as Sir Wilfred Drake)? There's more, but that would give too much away. 

We saw some interesting similarities to other films we have watched.  The scene in which we discover that Barry and Doris have been intimate is delicately handled.  The resulting out-of-wedlock baby reminded us of the post-code To Each His Own. Both are set during the First World War; both result in the mother having to make a decision about the child's (and their own) futures. And both are quite subtle in letting us know that more has happened than immediately meets the eye.  Late in the film, there is a tragic occurrence; the film uses a silhouette  convey the tragedy.  Interestingly the same technique was used in the 1937 Adventure in Manhattan, which also starred Joel McCrea. There is even a line of dialog that is remarkably similar.  McCrea appears to be the only common link between two film.  Is it possible he suggested the line? Or did the authors see Born to Love?  I suspect we will never know.  

Constance Bennett is excellent in this film.  We were again taken with her versatility as a screen actress.  She is able to move seamlessly from comedy to intense drama. And certainly the plot of this film demands an intensity of emotion.  Joel McCrea again plays a man who is not entirely likeable.  His Barry is selfish; he shows up after Doris has married, urging her to abandon her husband AND her child for him.  We wondered why he had never tried to communicate with her until then (a period of nearly a year).  He says he was very ill; could he not find a nurse willing to write to his fiance and let her know he was alive?  Those two things made us very distrustful of him; we saw him as quite childish and unreliable.  Which made us more sympathetic to Sir Wilfred.  Except that Sir Wilfred ultimately shows himself to be the biggest cad of all.  This man who originally seems kind, strong, and loving turns out to be cruel, cowardly, and sneaky.   As we said, this is not a simple film.

We have a couple of character actors to mention - Louise Closser Hale as Wilfred's aunt, Lady Agatha Ponsonby is quite good.  Her character is no-nonsense.  At first she doesn't seem to think all that much of Doris, yet when things get tough, she is gone.  As though she doesn't want to be involved in her nephew's calumny.  And Frederick Kerr  as Lord James Ponsonby (or Uncle James, as Doris calls him) is quite good as the only truly good man in the film.  He dislikes his nephew's actions, but has no control over him.  Uncle James' distress is quite evident, as is his affection for Doris.

Next time, we'll be seeing another Constance Bennett film.  We hope to see you then.

Connie Has a Baby (Sort of...)

Today we consider another Constance Bennett precode - Rockabye (1932).  In it, Ms. Bennett is Judy Carroll, an actress who has become embroiled in a scandal. Her former lover, politician Al Howard (Walter Pidgeon) has been accused of  being an embezzler. Judy testifies for him at his trial, but this creates huge problems for her, as she is adopting a child.  As a result of the publicity, her adoption is revoked, and the baby, Lilybet (June Filmer) is taken from her.  To help her recover, her manager Tony de Sola (played by Paul Lukas) sends her to Europe for a rest.  When she returns, she comes back with a new play - and an interest in the playwright (Joel McCrea playing Jacobs Van Riker Pell).
Our conversation went off in a number of directions. First, we again we dazzled by the spectacular costuming. No costumer was listed, but our hats are definitely off him or her.  Ms Bennett never looked better. 

We also had a discussion about several of the characters.  We wondered if we should assume that Lilybet is actually Judy's real daughter?   We compared this to such films as To Each His Own, which we discussed some time ago.  Probably not, the child is too old since this little girl is nearly two, and her affair with Al ended the year before.  We thought that Judy would have been more careful about where she placed the child (so she could more easily adopt it) - probably giving the child directly to friends, rather than to an agency.  The little girl who played Lilybet, June Filmer, was just delightful.  She seems to have had a sister (Joy) who also made a few movies.  Little June only made three movies, in 1932 and 1933.

Of course, we've discussed Joel McCrea before (and not always favorably - we like him as an actor, but some of his characters have been rather unpleasant).  Jake, however, is a good guy.  He is honest about his marriage, and is a responsible and loving man.  He takes his responsibilities seriously, and, as a result, finds that his life will become one of pain.  The commentary by Robert Osborne on the film also enhanced our experience.  Mr. Osborne's mentioned that Constance Bennett was attracted to Joel McCrea, but he didn't want to be Mr. Constance Bennett.  He married Frances Dee the following year, and they remained married until his death in 1990.  He's an impressive actor, with a varied career:  for example, he was the original Dr. Kildare (Internes Can't Take Money from 1937). Interestingly, he would never play a member of the military (see Robert Osborne's fascinating piece on him), because he himself was unable to serve during the war.

We also enjoyed the performance of Paul Lukas, Judy's manager, and perhaps the man in the movie who loves her best.  Without giving away the ending, we wished him his own happy ending.  Here's a clip with Bennett and McCrea:

Connie Gets a Bed

Lorry Evans (Constance Bennett) has just been released from prison. She and her friend Minnie Brown (Pert Kelton) board a steamboat, in hopes of fleecing some of the men on board.  Only, Lorry is discovered, so she jumps overboard.  And is fished out of the water by Dan (Joel McCrea) the captain of a nearby barge. Having lost the money she scammed while on board the steamboat, Lorry takes Dan's money, and heads for New Orleans.  Thus begins Bed of Roses from 1933, the latest in our Constance Bennett series.  

This film is so obviously pre-code!  Lorry and Minnie are being released from prison for soliciting.  They are scam artists, and once Lorry gets to New Orleans, her goal is to sucker a rich man (John Halliday as Stephen Paige) into becoming her sugar daddy.   And yet, it will all end well for our "heroine".  Here is a clip from the opening scene:

 

Of course, we will discover that Lorry has a code, and will return to Dan because he is a good guy.  And she will fall in love with him.  And then her life will become even more complicated, as she has to decide between love and the knowledge of what her past life will do to their relationship.  Bennett is fantastic in the part.  She makes Lorry hard to dislike, yet you are always aware that she really is not quite on the up-and-up.  We also, of course, get some beautiful clothing once Lorry has gotten herself properly set up (no costumer is listed for the film, unfortunately).

The men are interesting characters as well.  Dan is a really good guy.  This is NOT the McCrea of Primrose Path (which we previously discussed).  This Dan takes people as they are; he doesn't make judgements.  Similarly, Stephen Paige actually seems to love Lorry.  Considering how she wormed her way into his life, this is rather surprising, however John Halliday, an excellent character actor who we've discussed before, makes it work.

Finally, there is Pert Kelton.  For those not familiar with her right away, this is Ma from The Music Man!  Minnie is hysterical, and Ms. Kelton plays her for all she is worth.  She reminds one a bit of Mae West.  And watch for the ending.  You will be quite amused.

Pert Kelton with John Halliday

Next time, another Constance Bennett pre-code

Ginger Avoids the Path

A woman whose mother and grandmother are prostitutes tries to avoid the life.  No, it's not a pre-Code. This is the 1940 Ginger Rogers Film Primrose Path. Ginger is Ellie May Adams, whose father (Miles Mander) is a drunk and whose mother (Marjorie Rambeau) is a hooker. Oh, and her grandmother (Queenie Vassar) pretty much functions as a pander. But, Ellie May tries hard to avoid the life of her mother, first by acting as a tom-boy, but then by marrying a man (Joel McCrea) who is unaware of her past.  Her problem, however, is not so much her family, but the fact that she lied to her husband, Ed.  Because when Ed finds out her family history, he is not able to handle it.  And her grandmother is eager to get her back into the house.

Queenie Vassar as Grandma is properly revolting. You really want to find a deep well in which to drop her (though none is handy). And Marjorie Rambeau as mother Mamie is sweet and sympathetic.  She, too, had hoped for a better life when she married, only to learn that her husband is weak.  Yet, she still loves him and does her best to protect him - and to support her family in the only "talent" that she has.

Ginger Rogers, as always, is wonderful; her Ellie May is sweet and sympathetic.  Even when her world falls out from under her, she still manages to convey, realistically, the pain and desperation of this girl who just wants love and a normal life.  Joel McCrea, however is less sympathetic - eyeing his "portagee gals", judging his wife when he certainly is not the purest flower in the garden, and just being plain nasty at times.  One really wants to put him in the well with Granny.

Keep your eyes open for Charles Lane as Mr. Smith. He is rather a nice surprise. It's always great to see him - even in a small part, but also great to see the character. All in all, this is a lovely film that I wish more people had the opportunity to see.  Here is the scene where Ellie May and Ed meet: 

Jean Goes on an Adventure

Tonight, we join the lovely Jean Arthur for the first in a series of films that feature her in the lead.  Adventure in Manhattan (1936) has Jean starring as Claire Peyton, and beyond that, there is little I can tell you, as there are spoilers aplenty if I do.  Joining Jean is Joel McCrea as George Melville, a reporter noted for his unerring ability to predict crimes before they happen.  When a famous gem is stolen, George predicts the next robbery, and surmises that the robberies are the work of Belaire, a thief long believed to be dead.  By everyone, of course, except George.

It is interesting that this film is included on the Jean Arthur Comedy Collection, as it is really hard to class it AS a comedy (unless you view comedy in the more Elizabethan-theatrical vein).  Our first encounter with Claire is far from comedic, and very few of the incidents that occur will make you laugh.  Perhaps the only funny lines are at the end (and even then, for those of us who had been carefully watching, they were much more serious than we believed the authors actually intended.) This is certainly a film that will keep you guessing til the very end, but I would be interested to know if anyone else really believed this to be a "comedy." 

A lot of talent is involved in this under-viewed movie.  First, of course, is Ms. Arthur, who really is the consumate actress.  Joel McCrea, usually the boy-next-door, is rather arrogant as George, and well he should be, because George DOES think a lot of himself.  We also have such excellent character actors as Thomas Mitchell (as George's editor, Phil Bane) and Reginald Owen as Blackton Gregory.  An interesting and gifted cast, in a very different, and at times puzzling movie.