Katharine's Getting Married

It's been two years since Tracy Samantha Lord Haven (Katharine Hepburn) divorced her husband, C.K. Dexter Haven (Cary Grant) and Tracy is about to remarry. Her fiance is George Kittredge (John Howard), an up-and-comer who is completely different from the wealthy Dexter. Tracy, however, is not happy. She seethes with resentment towards Dexter, and towards her father, Seth Lord (John Halliday), who has been cavorting with a dancer in New York City. So, when Dexter shows up the day before her wedding with two reporters from the scandal sheet "Spy Magazine" in tow, Tracy is ready to give Macaulay Connor (James Stewart) and Elizabeth Imbrie (Ruth Hussey) the ride of their lives.

TCM Presents for February was the delightful The Philadelphia Story (1940). Katharine Hepburn is perfection as the intolerant Tracy, a woman of strict principle who finds herself torn among 3 men on the eve of her wedding. She never misses a step as Tracy discovers the true meaning of love as her inhibitions fall away.

Katharine Hepburn came to Hollywood to star in A Bill of Divorcement (1932) with John Barrymore. Two years later, she won her first (of four) Oscars for Morning Glory.  But, by 1938, with her films not doing well, she bought out her contract, and departed from Hollywood (after she was included in a list of actors termed Box Office Poison), Ms. Hepburn returned to New York, where she appeared in the Broadway production of The Philadelphia Story, a play which had been written by Philip Barry with her in mind. The play was a huge hit (it ran for 417 performances in New York, then opened on National Tour). All the major studios wanted it, but there was a catch. With the help of her friend Howard Hughes, Ms. Hepburn had purchased the rights to the play. No film would be made without her in the lead, and without her approval of her leading men. MGM bit the bullet, and bought the film, hired Philip Barry to write the screenplay, and (with Ms. Hepburn's approval) hired Cary Grant to play Dexter (even with his high salary demands and insistence on top billing!) This Philadelphia Magazine article  has more behind-the-scenes information on the production. For more on Ms. Hepburn's fascinating life and career, check out her autobiography Me, and the authorized biography that was published just after her death, Kate Remembered by A Scott Berg.

James Stewart is equally good as the angry young man who disrupts Tracy's life, a part that Ms. Hepburn intended for Spencer Tracy (they had not yet met). Mr. Stewart brings both a swagger and sass to Macauley Connor. He begins by resenting Tracy and all she represents, but ends deeply infatuated with her. Mr. Stewart would win his only Best Actor Oscar for his work in this film. His scenes with all three of his co-stars crackle with energy.

Cary Grant, however, was NOT nominated for his role as Dexter. Why will always be a mystery to me. He is wonderful (as always) in a part that Ms. Hepburn intended for Clark Gable. She asked Mr. Grant to appear when Gable was unavailable, and he agreed - provided he got top billing and a salary of $137,000 (which was given to British War Relief) (TCM article). As with their three prior parings (Sylvia Scarlet (1935), Holiday (1938), and Bringing Up Baby(1938)), their interplay is dynamic. There is an ease in their conversations that make them all the more real. Mr. Grant is equally adept at sparring with Mr. Stewart. And his scenes with Virginia Weidler (as Tracy's younger sister Dinah Lord) are a pleasure to watch.

The other nominated actor in the film is the always excellent Ruth Hussey (best supporting actress). If you have never encountered Ms. Hussey, treat yourself with this film or with The Uninvited (1944). There is a world-weariness to Liz, but it has not eliminated her hope for a future with Mike. Ms. Hussey began her career in Providence, RI as a radio commentator.  She eventually moved to New York where she modeled, and found jobs with theatrical touring companies. That got her an MGM contract, where she appeared films such as The Women (1939), Another Thin Man (1939), and H.M. Pulham, Esq (1941). She also appeared on Broadway in State of the Union (in the role Katharine Hepburn would play on film), and Goodbye, My Fancy (Joan Crawford's movie outing). Ms. Hussey appeared on radio and television as well until her retirement in 1973. She was married for 60 years to talent agent Bob Longenecker until his death in 2002; the couple had three children. She died in 2005, following an appendectomy, at the age of 93.

Donald Ogden Stewart won an Oscar for adapted screenplay, and director George Cukor was nominated. The film is listed as #44 in the100 Years, 100 Movies, 10th Anniversary Edition (interestingly, the rating went up from the original list, where it appeared at #51). It's also #44 on the 100 Years, 100 Passions list. In 1995, it was added to the National Film Registry.

The Lux Radio Theatre adapted the film twice: in July, 1942, with the original cast, and in June, 1943 with Robert Taylor, Robert Young, and Loretta Young. (AFI catalog). It would be remade as the musical High Society in 1956, starring Gracy Kelly, Bing Crosby, Frank Sinatra, and Celeste Holm, with glorious music by Cole Porter.  The New York Times review was glowing when the film opened at Radio City Music Hall, and quite honestly, what's not to love. We'll leave you with the trailer to this outstanding film:

Lawyer Elsie

Scarlet Pages (1930) opens as a baby is being taken in by an adoption agency. The mother, whose name is revealed by the forms she signed, has relinquished all rights to her child. Years later, we meet the mother, Mary Bancroft (Elsie Ferguson), now a successful lawyer with political ambitions. She is romantically involved with district attorney John Remington (John Halliday), who, though Mary loves, she has refused to marry. Their lives are complicated when Mary takes the case of accused murderer Nora Mason (Marion Nixon). Nora has murdered her father, an act she acknowledges, but for which she refuses to give a reason, and John will be prosecuting the case.

Scarlet Pages is a surprisingly enjoyable film. That Nora is Mary's daughter is no surprise; from the moment she appears, the viewer is pretty sure that eventually the two will discover they are related. But the getting there is a real pleasure; the story moves along at a good pace, and the reveal at the end of the film is an amazingly impressive one. Given that this is sound film in its infancy, the movie has an abundance of competent actors and a nicely related story. It's also impressive that it is a film about a professional woman, who worked her way up in her career, probably starting before women could even vote in the U.S.

Elsie Ferguson spent most of her career on the stage, both in New York and London. Considered one of the great beauties of her time (TCM article), she appeared in a total of 29 Broadway plays between 1901 and 1944. One of those plays was Scarlet Pages, which ran for two months 1929. Of the 25 films in which she appeared, only Scarlet Pages and The Witness for the Defense (1919) survive. Our film is the only sound film in which Ms. Ferguson appeared. She appeared in one final Broadway play after Scarlet Pages, 1943's Outrageous Fortune.  After that, she retired with her husband to their farm in Connecticut (with trips to another home in Cap d'Antibes). Ms. Ferguson died at the age of 78. Though she was no youngster at this point in her career, her poise and dignity serve her well in Scarlet Pages; her final scenes in the courtroom are exceptionally done.

John Halliday is also excellent in his role as Mary's closest friend and most vehement opponent in the courtroom. Halliday gives the character both dignity and deep affection. His respect for Mary, both as a person and as someone he loves dearly, is apparent. We were especially impressed that at no time does John suggest Mary quit her profession to become his wife alone - a far cry from Herbert Marshall in The Flame Within!

The other male part (a small but important role) is played by Grant Withers, as Nora's fiance, Bob Lawrence. Mr. Withers had a long career, though he is probably best known as Loretta Young's first husband. The pair eloped, and the marriage was annulled almost immediately. Best remembered as Ike Clanton in My Darling Clementine (1946), Mr. Withers frequently appeared in films with his friend, John Wayne. He segued over to television in the 1950s, appearing in shows such as Lassie and Perry Mason. In intense pain, and in failing health, he died of an overdose of barbiturates in 1959.

In their review, the New York Times proved to be underwhelmed by the film, though they reserved some praise for Ms. Ferguson (a "modern Portia") and for Ms. Nixon.  We think this is a film worth visiting, and recommend it highly.

George and Ann (AND Bette)

William Reynolds (George Brent) is an office worker in a high-power advertising firm.  He has a mundane job that he tolerates.  He also has a wife, Nan (Ann Dvorak) who thinks he deserves a better, more important job.  She suggests that he take an advertising campaign to his boss, an idea that was primarily Nan's.  Thus begins 1934's Housewife, a movie that wants to be precode, but doesn't quite make it.  Released in early August, the film may have originated before strict enforcement of the code; as a result, Housewife is rather a mishmash that doesn't quite ever gel.

One problem is, the film has not aged as well as it might.  Bill Reynolds is a bit of a dolt - he is selfish, and not really all that smart - though he thinks he is an advertising genius.  The brains in the family belong to Nan, and Bill has no clue in his utter self-absorption of how much he owes to her. You never see him come up with a good advertising campaign; Nan does them all. To publicize a product, Bill comes up with the idea of a radio show.  The "comedy" show is tasteless; Nan saves the day by suggesting a format change to a romance (since the company sells skin cream). Quite honestly, we wanted to take Bill by the scruff of the neck and throw him out with the trash. He is very reminiscent of Bill in Women are Like That, though Pat O'Brien's character is at least intelligent.

Why Nan wants him is beyond us. Because he is a big football player in high school?  Bill is openly unfaithful; he in facts flaunts his affair in his wife's face (and in front of her guests.)
John Halliday's Paul Duprey is a much more attractive character and obviously attracted to Nan; if she had any sense Nan would be with him.

We wondered how this particular film was received in 1934 - a quick look at the  New York Times shows that our reaction was about the same as that of the reviewer.  Bette Davis as Patricia never really quite seems comfortable with the character (again, why she would want Bill is a mystery).  We did enjoy the gowns by Orry-Kelly, who, as always, lives up to expectations. And Ruth Donnelly as Dora is a breath of fresh air.

So, while this is not really a pre-code film (this was released in August and the code was enforced beginning July 1, 1934),  there are no real repercussions for all the adultery that is going on. Here's a clip to give you a peek.

The Ones They Love Belong to Somebody Else

Consolation Marriage (1931) is the story of two good, loving people in love with a pair of the most selfish, careless people on the planet.  Steve Porter (Pat O'Brien) is engaged to Elaine Brandon (Myrna Loy).  He has been out of the country, trying to build his career; he returns to find his great love has married a wealthy man.  Mary Brown (Irene Dunne) is in the same situation - musician Aubrey (Lester Vail) has found a patron interested in him in more than a business way, and he has consented to become her husband.  

Steve and Mary find  kinship, not only in their grief, but in their senses of humor.  On a lark, they decide to marry.  Each understands it is not a love-match, and they agree that should either become dissatisfied with the relationship, they will part, with no hard feelings.  But the business relationship quickly become more intimate, with the result being a young daughter, the light of both their eyes.  Only one problem - both Aubrey and Elaine are back, and they want to start over.

 

This is a very adult without being smutty;  it's obvious that Steve and Mary are intimate, and the end of the film, when Mary has to decided between Steve and Aubrey is the stuff of precode films.  But it is delicately handled, with our couple becoming supportive spouses, people that we as the audience genuinely liked.  

Like Mary and Steve's friends, we realize they are in love with each other, and that the image of Elaine and Aubrey they have concocted is an idealized version.  They are not able to see the reality of their lovers. John Halliday as their friend Jeff is just great here; he's a really good man who knows they are in love (he comments that only Mary and Steve don't know it), and does his best to keep them together.  We loved the scene where Jeff and Steve joke about Mary's Shoppé (with the accent on the final e!).  

We enjoyed seeing Myrna Loy again appear as the temptress.  She's even a blonde here.  It's not often one gets to see Ms. Loy doing the platinum thing.  But the golden locks fit her predatory, golddigger image.

The film very much reminded us of Smart Woman Again, we have a woman fighting for her marriage. And both have John Halliday as the supportive friend. We also have a film with a great wardrobe. The picture above will give you a peek at the lovely gowns worn by Dunne and Loy. Max Rée, who was the costumer here, worked as costumer and art director until 1935, then didn't work again until 1947's Carnegie Hall. You'll also get some great views of old New York. We enjoyed this one. We hope you do too. 

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

Mary and the Green-Eyed Monster

Poor Nancy Gibson (Mary Astor)! Just returned to New York from Europe, where she went to look after her ailing mother, she finds her beloved husband Donald (Robert Ames) is head-over-heels in love with a younger woman, and eager for a divorce.  Thus begins Smart Woman (1931), a pre-code film which focuses on Mary's clever plan to recover her husband's affection - make him believe that SHE returned for a divorce, to marry her "lover",  Sir Guy Harrington (John Halliday). 

This is a clever little movie, made all the more pleasurable by the presence of Edward Everett Horton as Nancy's brother-in-law, Bill Ross.  We are so used to Mr. Horton as a buffoon, it was great to see him being smart and even, at times, cagey.  Disgusted with his Donald's behavior, he and his equally smart wife, Sally (played by Ruth Weston) collude with Nancy in her quest to convince Donald that she strayed long before he even thought of it.  We were also intrigued by the performance of John Halliday.  His Sir Guy is genuinely in love with Nancy, but his is an unselfish love - he attempts to break up the affair between Donald and Peggy Preston (Noel Francis) in his own inimitable fashion.  But we won't spoil the end by revealing his plan.

We found the relationship between Peggy and her mother as rather reminiscent of a later film - The Parent Trap.  Think Vicki Robinson (Joanna Barnes) and Mama Edna (Linda Watkins).  Vipers awaiting their wealthy prey. Mary Astor is just delightful as she realizes Peggy's motives, and has to keep up the front that she is all sympathy for their "love".  Watch her as she tells Peggy exactly WHO owns the house!  Here's the scene where Peggy and Nancy meet:



Next week, we invite you to a mystery

Kay's House was a Home?

The House on 56th Street (1933) is a fascinating film.  In it, Kay Francis is showgirl Peggy Martin, who has two men very interested in her: Monte Van Tyle (Gene Raymond), the scion of a wealthy family, and Lindon Fiske (John Halliday), who has been involved with Peggy for some time.  Peggy falls in love with Monte; Since Lindon is quite clear that he is "not the marrying kind", it is an easy choice for Peggy.  So, despite Monte's mother's objections, the couple wed and are quickly blessed with a daughter.  Years go by, with Peggy and Monte living happily - even Mama Van Tyle (Nella Walker) has gotten used to her daughter-in-law.  Then, at a party, Peggy meets Lindon again.  She is concerned at his appearance, as Monte knows nothing about him.  Add to this, Lindon does not look well.  Kay is concerned, and her concern is her downfall in this drama.

Rather than give too much away, we'll stop with the plot there, even though it forbids us doing more than mention two important characters: Bill Blaine (Ricardo Cortez) and Eleanor (Margaret Lindsay).  The two are pivotal to the plot, and are wonderful.  Both show up in the latter half of the film.  To say more would be to ruin this wonderful picture for you.

Kay Francis has to age over 20 years in this film.  The motif that the director, Robert Flory, uses to demonstrate the passage of time is subtle but effective - we see Peggy playing solitare, as newspapers flash up important events of the day.  

The film is also interesting in that it discusses with some seriousness the problems of compulsive gambling.  In  1949 Barbara Stanwyck would powerfully portray a woman with a severe gambling problem.  This precursor to The Lady Gambles is no less impressive, as it discusses an issue few other films were willing to examine.

When you get to the end of this film, you will understand WHY the code began to be an issue.  We suggest you give it a try.