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. 

Gene is in Paris

Jerry Mulligan (Gene Kelly) is An American in Paris (1951). An ex-GI with ambitions to become a painter, Jerry remained in Paris after the war, and now lives hand-to-mouth, but relatively happily, in his adopted homeland. Well-liked by his neighbors, his closest friend is composer Adam Cook (Oscar Levant); otherwise he's a fairly solitary man, focused on creating a body of work. But in a 24 hour period, his world is upended - he meets Milo Roberts (Nina Foch), a wealthy woman who aspires to be his patron (and perhaps more) and Lise Bourvier (Leslie Caron) who Jerry loves on first sight. Of course, there is an additional wrinkle - Lise is engaged to Adam's friend Henri Baurel (Georges Guetary).

The Baltimore Symphony Orchestra provided the music in this screening of the film, and the ballet sequence that is the highlight of the movie was even more spectacular with Gershwin's tone poem for orchestra danced to a live orchestra. While the spoken dialogue was a trifle muddy at times, all of the music (and the songs) were exquisite in this screening (You can hear the Detroit Symphony Orchestra play this magnificent piece here).

Directed by Vincente Minnelli and choreographed by Gene Kelly (with an assist from Carol Haney), An American in Paris (1951) is a daring film. The closing ballet is over 17 minutes long; from the time it starts until the picture ends, there is NO dialogue - spoken or sung. The number was also quite expensive to film - nearly a half a million dollars (TCM article), but Louis B. Mayer was willing to do it (the success of The Red Shoes (1948) helped convince him)

One number that doesn't get talked about often is the "By Strauss" number, featuring Mr. Guetary, Mr. Kelly, Mr. Levant and Mary Young, the flower seller who dances with Mr. Kelly. Ms. Young was 72 when she appeared in the film, and she is lovely as she waltzes with Mr. Kelly. A stage performer (she first appeared on Broadway - in a musical -  in 1899), she started her film career in 1937, primarily playing small roles - often uncredited - as older women. She worked in film and on television until 1968. She died in 1971 at the age of 1971.

This was Leslie Caron's first film. Vera-Ellen, Cyd Charisse, Sally Forrest, Jeanine Charrat, and Odile Versois were all considered for the role, but both Gene Kelly and Vincente Minnelli wanted a "fresh" face for the part. Mr. Kelly had seen Ms. Caron perform with the Roland Petit ballet company (AFI catalog); Mr. Kelly's widow later said that only Ms. Caron and Ms. Versois were tested (Los Angeles Times), but it has often been reported that Ms. Charisse had dropped out of consideration for the part because of her pregnancy (The Spectator). Though I'm not always a fan of Ms. Caron, she is excellent as Lise, giving the part a gravity that it requires.

One thinks of this picture as Gene Kelly's, but Fred Astaire was also considered - regardless, this is Mr. Kelly's part without question. His athleticism gives the character a strength that is essential for this man who has fought a war, remained in a foreign country, and thrown all his resources on a career that may or may not pan out.  Fred Astaire would later dance with Leslie Caron in Daddy Long-Legs (1955), but the chemistry just wasn't there. The pairing of Kelly and Caron is magical.

Maurice Chevalier was at one point in the running for Henri (however, his possible collaboration with the Nazis during World War II finalized that casting). Though Georges Guetary was too young and too good-looking for the character as originally conceived, the film doesn't emphasize the age difference between Lise and Henri as being the obstacle to their happiness - that she has found her perfect match in Jerry is the issue.

A number of familiar faces pop up in unbilled appearances - John Eldredge and Anna Q Nilssen are unbilled as Jack and Kay Jansen, as is Hayden Rorke as Tommy Baldwin (Mr. Rorke would become a television favorite as Dr. Bellows on I Dream of Jeannie). Take a good look at the Third Year Girl who criticizes Jerry's work - that's Noel Neill who would appear as the second Lois Lane in The Adventures of Superman TV series.

An American in Paris was nominated for 8 Oscars - it won six : Picture, Writing, Art/Set Direction, Costume Design, and Scoring (Director Minnelli and Film editor Adrienne Fazan were nominated). It was added to the National Film Registry in 1993, is #9 on the AFI's Greatest Musicals of All Time and #65 in the original 100 Years, 100 Films lists. It is truly a remarkable film. Here's the trailer to introduce you to these splendid dance number:

Kay Wants Revenge

Georgiana Summers (Kay Francis) overhears Bob McNear (George Brent) and Betty Summers (Genevieve Tobin) planning a rendezvous.  It’s not long before Georgiana realizes that Betty is actually the current wife of Georgiana's ex-husband, Ralph Summers (Ralph Forbes). Georgiana devises a plan to get her revenge by trapping Betty in Georgiana’s country home where she is expecting a visit from Ralph. But plans go awry when jewel thieves Lawrence (John Eldridge) and Connie (Claire Dodd) also get trapped with them. Our film this time is The Goose and the Gander (1935).

When we reviewed The Cocoanuts, we discussed Ms. Francis' excellent comic timing. This film substantiates that she is a brilliant comedienne.  She's funny, and handles the quick dialogue and action with panache. This film even has a set of scenes in which jewelry is being carried from room to room (much like the scene with the Marx Brothers). And as before, Ms. Francis is deeply involved and a riot. Much of the humor in the film is devoted to Georgiana observing the shenanigans that are going on around her and reacting to them. It is truly a shame Ms. Francis didn't get to do more comedy.

This is a movie that very much focuses on the ladies - the men are mere window dressing to propel the action. George Brent has a few scenes with Ms. Francis, but he is there to move the story; he's not really a strong character. Quite frankly, he doesn't need to be. The only complaint we had about the movie was the ending - which came from nowhere - but we didn't care. The resolution worked in the sense that it was funny, it gave the film a bit of a twist, and put our various characters where they needed to be.  In The Women of Warner Brothers: The Lives and Careers of 15 Leading Ladies by Daniel Bubbeo, George Brent is heavily criticized as being a non-entity.  Well, we beg to differ. He's a good actor (see him in something like The Great Lie, The Spiral Staircase, or The Purchase Price). Don't use this film as an example of his talents

While the advertising, as seen here, emphasizes the romantic aspects of the plot, it doesn't do justice to the mystery of the stolen jewels and how the thieves will get their comeuppance. The film is funny just dealing with the romances, but add in the jewels, and the arrival of Spencer Charters as Inspector Winkelsteinberger, and film soars. His interactions with Helen Lowell as Georgiana's Aunt Julia are hysterical. The police do get a bit dim, but under the circumstances, it's not hard to imagine that even Columbo would get confused.

We very much enjoyed Claire Dodd as the current Mrs. Summers. That she would want to venture off with another man is not surprising, given what a dolt her husband Ralph is (it's more surprising that Georgiana would want him back, even for revenge). Released in 1935, this film is firmly under the control of The Code. In spite of this, there's a lot innuendo, primarily between Ms. Dodd and Mr. Brent. The plot really goes into action when they are trapped in Georgiana's country home, posing as man and wife. We KNOW they are going off together for an evening of lust, but once in the house, the pair have to figure out a way to get Bob out the locked room (Georgiana's contribution to the confusion). Ms. Dodd protesting her purity is especially funny.

Just because it is a comedy, doesn't mean that Ms. Francis doesn't get some lovely costumes. Orry-Kelly does the dresses, with his usual flair; all of the actresses benefit from his expertise. The screenplay by Charles Kenyon (who had a long history with screenwriting, going back to the silent era) is crisp and entertaining. It's his story, as well as his screenplay; in a brief 65 minutes, this film includes a lot of plot. It's a wild ride - and an enjoyable one. If you blink at the wrong time, you might miss something. (TCM article)

We so often say that the New York Times review didn't like films but this time we get to quote a favorable review: "The narrative is so deviously complex that if you stop to light a cigarette or talk to your neighbor it requires five minutes to reorient yourself in its labyrinthine ways." We agree, and suggest this is a film that deserves multiple viewings.  We'll leave you with the trailer.

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:

Barbara's in Red

In The Woman in Red (1935), Shelby Barrett (Barbara Stanwyck) works as a horse trainer and competitive rider. Currently in the employ of the wealthy Nico Nicholas (Genevieve Tobin), Shelby finds her life becoming complicated when she attracts the attention of Johnny Wyatt (Gene Raymond) and Eugene Fairchild (John Eldredge).  Johnny, the son of an upper class (but cash poor) family, sponges off of rich friends (like Nico) and plays polo.  Gene, on the other hand, is a self-made man who rides his own horses in competition, and gracefully loses to Shelby.  Both men are smitten with her, but ultimately, Shelby chooses the more difficult life, falling in love with Johnny.  The pair have to deal with unemployment, family ridicule, Nico's jealousy, and Gene's continuing interest in Shelby. 
 
Perhaps the most interesting aspect of the film is the portrayal of the lead male characters.  One expects a rivalry between Johnny and Gene, as well as resentment of the very capable Shelby.  But surprisingly, there is little of that.  Both men revel in Shelby's intelligence and independence.  And, because the film does not live up to those negative expectations, the viewer is drawn in.  The film is a constant surprise. 

The poster art (above) is notable for giving a totally wrong view of the character of Shelby.  There is no red dress like the one pictured above.  The title comes from a red COAT that Shelby wears while on a boating trip.  The poster portrays Shelby as a temptress, but that's not the way Stanwyck plays her.  Her Shelby is businesswoman, and is passionate about her chosen career and her friends. Though the film was not really all that well received (see this New York Times review), you cannot find any fault with Ms. Stanwyck's portrayal.  She never phones in her performance and is able to give any part she plays gravitas.  Given that, following a riding accident she was afraid of horses, she looks remarkably comfortable in the riding sequences (A Life of Barbara Stanwyck: Steel-True 1907-1940).

John Eldredge plays a very different character than the one we saw in His Brother's Wife, and he is quite good and likeable.  He's not a wimp here.  He's a strong, intelligent and not easily cowed man.  

Genevieve Tobin also gets a very different role than the one she played in Snowed Under.  Quite frankly, her Nico is a piece of work - wealthy, spoiled, nasty, and vindictive.  A gossip of the first order, she is determined to undermine the relationship of Shelby and Johnny by whatever means available.  Ms. Tobin gives Nico an unattractive edge - a spoiled brat with too much money and too much time on her hands.  Genevieve Tobin made a few films during the silent era (notably as Little Eva in a short of Uncle Tom's Cabin in 1910 - she was 11 years old), but primarily she was working on Broadway, appearing in 12 plays from 1912 to 1930).  With the advent of sound, she found some success, mostly as second leads.  But, in 1938, she retired, having recently married director William Keighley.  They were married until his death in 1984; Ms. Tobin died at the age of 95 in 1995.

Dorothy Tree played the pivotal role of Olga Goodyear; she has one major scene in which she is completely inebriated.  She too got her start on Broadway (she appeared in 6 plays between 1927 and 1936); her introduction in sound films was as one of Dracula's brides in the 1931 Dracula (she appeared in both the English and Spanish versions of the film). She mostly appeared in small roles (for example, Martha Rockne in Knute Rockne, All American).  She married screenwriter Michael Uris, had one child, and continued working in films until 1951, when she and her husband were blacklisted.  Using her married name, she started a new career as a speech, voice, and acting coach.  She also wrote on the topic - her last book was published in 1979.  Her husband died in 1967; Ms Tree lived to the age of 85 (she died in 1992).

The film was based on a novel, North Shore, but Jack Warner didn't like the title.  After several suggestions, The Woman in Red was selected.  It had been purchased as a starring vehicle for Bette Davis, but was turned over to Ms. Stanwyck (see this TCM article).   Both Joel McCray and Robert Young were considered for the part of Johnny, and Ricardo Cortez for the first choice for Gene (AFI Catalog).  With this film, Ms. Stanwyck ended her contract with Warner Brothers.  She would never sign another long-term contract with a studio again (perhaps the reason she never won a competitive Academy Award!).

We'll leave you with this trailer.  Perhaps it is not the best film in the Stanwyck catalog, but it is worth a look. We'll return soon.

Barbara Marries Robert's Brother

In His Brother's Wife (1936), Dr. Chris Claybourne (Robert Taylor) is about to go on a several year research project to the South American jungle, in search of the cause spotted fever.  But Chris, a very undedicated young man, intends to spend his last two weeks in New York drinking and gambling.  While at the gambling hall of the rather shady "Fish-Eye" (Joseph Calleia), Chris loses a $5,000 (which he doesn't have), and meets model Rita Wilson (Barbara Stanwyck).  The meeting is fortuitous - a smitten Chris spends the two weeks with Rita; by the end of it, he has resolved to resign from the research project and marry Rita.  But there is still the $5,000 debt to deal with.  When Chris asks his brother, Dr. Thomas Clabourne, Jr. (John Eldredge) for help, Tom's agrees, but at a price - drop Rita, who Tom sees as a gold-digger, and go on the expedition, or deal with the debt himself.  Chris agrees to the terms, leaving a heartbroken and angry Rita vowing revenge on the Claybourne family.

In some ways, the biggest problem with this film is the script's portrayal of  Chris Claybourne, whose switch from debauched playboy to dedicated researcher seems almost too abrupt.  Sure, the deterioration of his relationship with Rita plays a part in the character's change, as does seeing colleagues die in South America.  But, he also goes from heartsick juvenile to bitter old man with the flip of a switch.  As a result, it's really hard to get a handle on Chris.  The prior year, Taylor had become very much a matinee idol in Magnificent Obsession and one wonders if the writers were trying to capitalize on the popularity of that film, by making Chris similar to Robert Merrick.  In this New York Times review, the popularity of Mr. Taylor (following his success in Magnificent Obsession) figures heavily in the commentary. 

At one point, (according to the AFI Catalog), Jean Harlow and Clark Gable were being considered for the lead roles in this film; later, it was reported that the cast included Harlow and Franchot Tone.  However, it was already public knowledge that Stanwyck and Taylor were dating (see this TCM article for more about the film); assumedly, that contributed greatly to casting Stanwyck rather than Harlow. Harlow in the role of Rita would have been very different, as Stanwyck gives Rita an elegance and strength that makes her attractive and likeable.  Given Rita's actions later in the film, it could be hard to retain sympathy for her, but Stanwyck has the skill to make Rita much more sinned against than sinning.

Another handicap is John Eldredge as Thomas Claybourne, Jr.  Simply put, he's a blackmailer, a liar, and a weakling.  Surely, one doesn't sympathize much with Chris' proclivity for gambling and then writing bad checks.  But Tom's carping about the lack of money available when he is standing in a house that could house 30 people rather than 3 seems just reprehensible.  And, on top of that, to then elope with the woman his brother wanted to marry - a woman he all but called a whore, is just despicable.  One wonders why Chris doesn't deck him when he returns from South America.  

Joh Eldredge never seemed to get beyond second banana status, and given his performance here, it's understandable.  The scenes in which he tells his brother about his passion for Rita are over-the-top and rather insincere.  He had a respectable film career; then moved into television in his later years.  In fact, he worked up until his death of a heart attack in 1961.   Growing up, I remember him clearly as a frequent Superman villain in The Adventures of Superman.

 

The costuming is good - Stanwyck has some nice outfits, but by and large, the actors look like they've been dipped in Clorox in the jungle scenes - everyone in white, and not a stain to be seen. And we, as mentioned, had some problems with the set used as the Claybourne home.  It makes it awfully hard to believe there are any financial constraints within the family.

Jean Hersholt as Professor Pop Fahrenheim, Chris' supervisor and mentor on the expedition, is very good, as usual.  He is able to provide an amount of gravitas to that role, without making him pious.  However, Samuel S. Hinds as Dr. Thomas Claybourne, Sr. is totally wasted. He has, perhaps two scenes, and does little except worry about Tom, Jr. 

Some amount of the film concentrates on the aspect of heroic medicine, which is very reminiscent of Arrowsmith.  Of course, in 1936, vaccines were a relatively new concept, and there is a convention in films of this era that the noble physicians (Pop and Thomas, Sr.  - who is pouring all his money back into his hospital) are willing to sacrifice their very lives to save mankind.  Chris' father wants Chris to become that kind of physician. That Chris is eager to risk himself to prove the efficacy of his vaccine shows the growth of the character, and that he has indeed become ennobled by his work in the tropics.  In this day and age of controlled clinical trials, and IRBs (institutional review boards that verify that studies are both necessary and will minimize harm), this method of medical research seems outlandish.  But take a look at this brief article on Joseph Goldberger - it was the way of the world at that time.

We will leave you with this trailer from the film.  Next time, we'll be looking at an early movie about the medical profession.

Ann's Apples

Eve Knew Her Apples (1945) tells the story of radio singer Eve Porter (Ann Miller).  Eve's managers have been pushing her hard; she's tired and she has finally put her foot down, demanding a three month vacation.  Her radio sponsor is willing; her managers (Steve and George) are not, and her fiance Walter W. Walters II (played by John Eldredge) is a weak jerk who agrees with the managers.  So, when Steve and George  follow her to her vacation spot, and announce she'll need to leave immediately, to star in a new film.  Eve bolts, hides in a car, and next thing you know she is on a road trip with reporter Ward Williams (William Wright) who thinks she is the Singing Murderess (and hopes to get a story and the reward).

As it happens, the film is a musical remake of It Happened One Night.  Two episodes are taken word-for-word from the original: a scene in which a rather obnoxious man wants to turn Eve in for the reward, and Ward convinces him that Ward is a mobster who's kidnapped Eve; and a very late scene in which Ward goes to one of Eve's managers for reimbursement for the trip.  Like most films in which the original is so well known and loved, it is hard to watch it and appreciate it in a vacuum.  You end up comparing it to the original, and of course, the remake suffers by comparison.  But, with an 11 year gap between the two pictures, it is unlikely that the average viewer made that fatal comparison. 

 

It's worth noting that Ann Miller dances not ONE step in the film.  Her lovely singing voice is used to good advantage, but her legs are not (we don't even have the famous hitchhiking scene.  Perhaps it was felt that was TOO familiar).  She's quite good as an actress, and her Eve is endearing.  It's actually rather nice to see Ms. Miller as purely an actress, rather than as a expert dancer (which she was - and gloriously so).  

Though we had seen William Wright before (he played Scott in A Night to Remember), we didn't remember him. He's quite funny as Ward, but it's hard to not compare him to Clark Gable, and frankly, he is no Gable. He began his film career in 1936, and often worked in small roles, with larger roles coming during the war years. He died in 1949, age 38, of cancer.  When he was cast in this film, he had already done three films with Miller; in two of them he was her leading man.  This TCM article provides more detail on Wright and Ann Miller. 

A quick note on John Eldredge.  As children who grew up on The Adventures of Superman, it was enjoyable to see this actor who was an occasional guest star (as a villain).  Another actor with a long supporting career, he was a handsome man who was not quite leading man material.  He easily segued into television, though his career there was not long - he died in 1961 of a heart attack.

Since we can't show you the wonder Ms. Miller dancing, we'll leave you with her singing "I'll Remember April".  She has a lovely voice, and it's a nice way to say goodbye to this little film.