Kay Loves a Thief

The Amateur Cracksman has struck again, and the police are baffled. Despite his success as a thief, A. J. Raffles  (Ronald Colman) is giving up his life of crime for Gwen (Kay Francis), the woman he loves. But that is before he discovers his best friend, Bunny (Bramwell Fletcher) is deeply in debt. To save his friend, Raffles (1930) decides to pull one more job - steal the diamond necklace belonging to Lady Melrose (Alison Skipworth).

This was a fun, enjoyable movie. It's very much like the 1939 remake, if a bit more static in places (this is 1930, after all. Sound is still an infant).  Regardless, the film's creative team tries to insert some movement and action to the proceedings, which does help to make the film seem less talky.

Ronald Colman is the perfect choice for A. J. Raffles. He's charming, debonair, well spoken, and someone you can imagine scaling walls - all the things that are needed to make the audience root for him. His relationship with Bunny is just the icing on the cake - Raffles is a loyal friend.  Bunny may not deserve him - he's in debt because of gambling - but this loyalty makes Raffles even more attractive. There was no question as to who would play Raffles in this version. Mr. Colman had proved so successful with Bulldog Drummond the previous year that Sam Goldwyn rushed this film into production (TCM article).

We wanted more Kay Francis.  Gwen disappears for much of the film (as Raffles cases the premises to steal Lady Melrose's jewels), then returns towards the end.  One thing that her absence accomplishes is to make sure that it takes some time before she realizes that her fiance is actually a robber. Had she been around, we might be shaking our head at how stupid she is for not realizing his hobby (shades of Lois Lane not recognizing Superman when he is wearing glasses!) Once we see her later in the film, Gwen is pretty quick to catch onto Raffles' objective, so it was sadly expedient to not have her around for a bit.

The clever, witty script caused the original director, Harry d'Abbadie D'Arrast, to push for a comedic style. It was deemed to be too fast by producer Goldwyn for Ronald Colman - Mr. Goldwyn saw Mr. Colman as less a comic than a wit, and changed directors; though neither Mr. D'Arrast nor his successor, George Fitzmaurice was listed in the credits (AFI Catalog). By casting actors like Ms. Francis and David Torrence (Inspector McKenzie), both of whom prove to have excellent repartee with Ms. Colman, the film is smart rather than silly.

With excellent reviews, like this New York Times review which said that Mr. Colman "does well  by the part" and Ms. Francis "is also excellent," the film turned a tidy profit (The Women of Warner Brothers: The Lives and Careers of 15 Leading Ladies by Daniel Bubbeo). It isn't surprising that it would be remade in nine years with David Niven in the lead. Both films are enjoyable and well worth a viewing.

White House Kay

Lucy Chase Wayne (Kay Francis), the wife of Secretary of State Stephen Wayne (Preston Foster) is the granddaughter of a U.S. President. She has ambitions for her husband to achieve the same position.  Lucy also wants to circumvent the efforts of Irene Hibbard (Verree Teasdale), the wife of Supreme Court Justice Carter Hibbard (Walter Connolly) to romance Senator Gordon Keane (Victor Jory). So, to tweak Irene's nose, she suggests to woman's club president Lavinia Mae Creevey (Louise Fazenda) that Carter would be an excellent presidential candidate, never dreaming it will interfere with her own desire to be the First Lady (1937).

Kay Francis doesn't often get the chance to do comedy, but she's a excellent comedienne, as we've seen in films like The Goose and the Gander, Jewel Robbery, and Cocoanuts. First Lady is in the category of the first two films - a romp, where Ms. Francis gets to figuratively wink at the goings-on in the political arena, circa 1937.

This is a fictitious Washington - no mention is made of the current political administration, and there is certainly no President Chase in U.S. history. Regardless, the film is gently poking fun at the ways in which candidates for office are selected, and it looks like not much has changed in that regard. Though Lucy knows politics (she writes and/or edits her husband's speeches), she cannot run for office - it is a man's world; women can maneuver from behind the scenes, and be the "power behind the throne."  

Most of the action focuses on the two female adversaries, Lucy and Irene. There has long been bad blood between the two, and Lucy now sees a way to embarrass Irene. The reasons for Lucy's ire are, not surprisingly petty - Irene stole Lucy's cook, and is also making a play for the man Stephen's niece Emmy Page (Anita Louise) loves. But, her plans backfire horribly, and Lucy has to concoct a new means of besting Irene. 

Where Ms. Francis plays her part tongue-in-cheek, Verree Teasdale is downright serious. Ms. Teasdale's Irene is an avaricious woman, who wants power and men (though not necessarily in that order). As a result, the interplay between the two is spot-on, with each getting good lines, but with Ms. Francis coming off as the more sympathetic character. Without such a strong actress to play against, Lucy would seem ridiculous. Opposite Ms. Teasdale, she is delicious. It is worth noting that Irene's prior divorce does not seem to be an impediment to her husband seeking higher office.

The men in the film mainly serve as support to the the two women. Preston Foster does a good job in a part that could resemble a tree in the hands of a lesser actor.  Victor Jory gets the rare opportunity to play the juvenile and romantic interest to both Emmy and Irene. Walter Connolly, however, steals every scene as the somewhat bumbling Supreme Court Justice who would rather listen to the radio than romance his bored wife. 

It's unfortunate that Anita Louise doesn't have more to do than look innocent, she's a good actress, but the part pales in comparison to the lead actresses.  Louise Fazenda, however, as the annoying Mrs. Creevey is hilarious. The script has a lot of fun with her strict abstinence. Her inability to understand that she is drinking strong alcohol when she given a glass of absinthe -  and keeps asking for more - is very funny. 

Unfortunately, the film did not do well at the box office, and helped to begin Ms. Francis' slide from the top at Warner Brothers (TCM article).  It may not be her best film, but we really enjoyed it and suggest you add it to your list.

Kay Cruises

After escaping from San Francisco following a murder conviction, Dan Hardesty (William Powell) is arrested in Hong Kong by Steve Burke (Warren Hymer), a police officer tasked with returning Dan to the U.S. for execution. Dan is determined to escape from the ship during the voyage home, but a complication arises in the form of Joan Ames (Kay Francis), a pleasure cruiser to whom he is immediately attracted. But there is a further complication - Joan is dying, and this cruise is, for her, a One Way Passage (1932)

This is perhaps one of Kay Francis' best dramatic roles. She sympathetic as a woman who has little time to live, and has decided to live a shorter, more interesting life, rather than just sit in bed and wait for the inevitable. Ms. Francis, without any backstory, provides that history to the audience simply with her demeanor. We know that Joan has heretofore lived the life an an invalid; informed that the end is now truly near, she has one last chance to experience the world before she leaves it. It seems the film was a favorite of Ms. Francis' as well - it was one that she would regularly show to her beaus to acquaint them with her work (Kay Francis: I Can't Wait to be Forgotten: Her Life on Film and Stage by Scott O'Brien).  

Equally excellent is William Powell as a decent man about to be executed for murder. Dan Hardesty has killed a man, though according to his friend Skippy (Frank McHugh), the victim "needed killing". We get no more information than that. But, we know that Dan is ethical - while attempting to escape from Steve, he plunges them both into the water. But when he realizes that Steve cannot swim, he puts off his escape attempt to rescue his captor. With that simple gesture, we know all we need to know about the integrity of Dan.

In their sixth film together, Ms. Francis and Mr. Powell are a dynamic team. Their chemistry is palpable, and their camaraderie is apparent.  This film would prove to be their biggest box-office hit, yet it was also their last film together (TCM article). Powell would soon leave Warner Brothers for MGM, and The Thin Man series, while Ms. Francis remained at Warners. If you are interested in some of their other films together, start with Jewel Robbery (1932) - their interplay is remarkable.

One Way Passage also has the advantage of co-starring the remarkable Aline MacMahon (Barrel House Betty aka Countess Berilhaus) in the cast. As a con artist who starts off using her wiles to distract Steve from Dan, but ends up falling in love with Steve, she's terrific. Ms. MacMahon is an actress who makes everyone around her look better. As a result, Warren Hymer (who is usually, to my mind, an uninteresting actor) shines as Steve. He becomes more than just the dumb cop he usually plays.  In his book Mothers, Mammies and Old Maids: Twenty-Five Character Actresses of Golden Age Hollywood, Axel Nissen says that "because she didn't look like anyone [Aline MacMahon] could play everyone" and that is certainly the case here. You believe that she is could be a countess, even though you know almost immediately that she is not. Ms. MacMahon can play anything or anyone.  For a brief bio on this wonderful actress, visit our post on Heroes for Sale (another film in which she basically stole every scene).

The screenplay for One Way Passage won the Oscar for Best Writing - Original Story in 1933 for Walter Lord. Director Tay Garnett allegedly felt he deserved credit for some of the writing, which he did not receive (AFI catalog).  The costuming by Orry-Kelly is lovely; he was also tasked with making Kay Francis look ill, which he succeeds in doing by giving her lovely, flowing gowns that hint at frailty. Mr. Kelly would return to costume the 1940 remake, 'Til We Meet Again, this time starring George Brent and Merle Oberon as the doomed lovers.  Also returning for the remake - Frank McHugh!.

Surprisingly, the New York Times review by Mordaunt Hall actually praised the film, stating that it "offers quite a satisfactory entertainment. It has an original idea and the characters stand out..." We would be much more effusive in our praise, but regardless, this is a film for fans of both Ms. Francis and Mr. Powell.  We'll leave you with a brief scene - the meeting of  Joan and Dan:

Kay's On Broadway

Fay Carter (Kay Francis) was born in a trunk. She's spent her life acting and touring the country; first with her actor/father, later on her own. She is determined to build a career on Broadway, but the only parts she are offered are tours. A chance meeting with Peter Snowden (Ian Hunter) may change all that. Peter yearns to produce a Broadway play, and he may have just found the actress to help him succeed. Our film this week is  Secrets of an Actress (1938).

We really enjoyed this film. It's compact (a mere 70 minutes) with excellent acting, a bit of drama, and a dash of comedy for Ms. Francis (who, as we mentioned in our review of The Cocoanuts is quite a good comedienne). If we had any complaint at all is that we would have liked the film to be a bit longer. A little more backstory, especially for Carla (Gloria Dickson) and Dick Orr (George Brent), as well as for Fay would have been welcome.

Ms. Francis, though, has a choice part. She gets to be the straight woman for Isabel Jeans (as the frequently inebriated Marian Plantagenet), be lovelorn with George Brent, and assertive with Ian Hunter. Fay is one of her richer characters - well drawn by the writers, a strong, talented woman who is interesting and attractive to both the audience and to her leading men. It's quite easy to see why both Peter and Dick are drawn to her. She has pizzazz! (For an excellent overview of Ms. Francis, both in this film, and through her career, see this TCM article).

Gloria Dickson as the villainess is also quite good. When Ms. Dickson is on the screen, you cannot take your eyes off her. Her delivery is sharp, and her demeanor has just the right touch of self-assured nastiness. We were not familiar with Ms. Dickson, who made a total of 23 pictures between 1937 and 1944. We'd seen her before as Dolly in Lady of Burlesque (1943), but she frankly didn't make an impression. Unfortunately, she died at the age of 28 when a fire (caused by a cigarette setting fire to a sofa) engulfed her house.

Isabel Jeans as the hard-drinking Marian became rather wearing after a few scenes.  The character's drinking could have been toned down a bit, which would have made her much more appealing. Her binges don't add a lot to the film; it's hard to understand what the writers were thinking. Regardless, the relationship between Marian and Fay is well done - they come across as really good friends; we did wonder how long Fay will be able to tolerate Marian in her cups.  In the end, we would have preferred less of Marian and more of Ian Hunter and George Brent.

There did seem to be one continuity issue. Early in the film, we see Dick ask Carla for a divorce (before he meets Fay). But later, when questioned why he has never asked for a divorce, he says there  is no point. We wondered if the censors insisted that the earlier scene be included to emphasize that a physical marriage no longer existed between the couple.  It did bother us that Dick didn't tell Fay that  he was married - Mr. Brent plays him as an upstanding guy. By hiding the marriage, the audience loses sympathy for him.

The film had two working titles before release: Lovely Lady and The Woman Habit (AFI catalog). It has gorgeous sets by Anton Grot and exquisite gowns by Orry-Kelly.  While Warner's was already starting to (undeservedly) sour on Ms. Francis, they do provide her with a lovely setting for the film. The Complete Kay Francis Career Record: All Film, Stage, Radio and Television by Lynn Kear, John Rossman call the film "uneven." While this is a fair evaluation, this is still a film worth a viewing.  Here is a trailer to whet your appetite.

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.

Kay Meets a Robber

Welcome to our contribution to the CMBA 2018 Fall Blogathon: Outlaws. As always, we'll begin with a short synopsis of the film.

Baroness Teri (Kay Francis) lives to shop. Her husband, Baron Franz von Hohenfels (Henry Kolker) indulges her with expensive jewels and clothing, but other than that he is completely inattentive. The Baroness' lovers also prove to be bores, so all that is left is looking for ever more expensive gems. When she visits a local store to buy yet another impressive ring, she finds herself in the middle of a Jewel Robbery (1932).

Though the plot is slight, this is a witty and engaging film. From the moment we meet Teri, we are intrigued. Ms. Francis creates a funny, wry character who is sexy and adorable. We first meet her in a bubble bath, where she is playing with the bubbles and the soap. When the soap goes flying from the tub, we experience a moment in which we believe she is really going to pop out of the bath. The film is pre-code with a vengeance! And while it is very dialogue driven, that's not really a bad thing, since the script is so sharp, you want to hear every word.

Sharing the screen with her in their their fifth (of seven) films together (TCM article) is the always-entertaining William Powell. The unnamed Robber is gentile and courteous. Like Teri, he too lives to shop - but he'd rather do it without money. Together, their repartee is engaging and quite suggestive (like I said, this is very much a pre-code film). 

Teri and the Robber participate in a subtle mating dance from the moment they meet. We, the audience, have the pleasure of watching them verbally duel. And with William Powell as the sparring partner, the audience is in store for a battle of wits. The Robber's sophistication and wealth are apparent. The dialogue slips from his mouth like pearls - each line is delivered in such as way as to leave no doubt as to The Robber's attitude towards Teri, as well as his other "victims." One wonders why he is still stealing, as his vault is full of valuable gems, which he seems in no rush to sell. We suspect theft is a game to him - a cat-and-mouse challenge between him and the police, and his quarry.

Initially, Mr. Powell was not interested in the film (TCM article). He'd just married Carole Lombard (his first marriage had ended in divorce) and was eager to spend time with his bride. Unfortunately, the marriage was over by 1933, though the two remained close friends until her death in 1942 (My Man Godfrey was filmed well after their divorce). He was engaged to Jean Harlow when she died in 1937; that same year, he was diagnosed with cancer. He temporarily retired from film, while he underwent radiation therapy. Within two years, his cancer was in remission. His only child had died in 1968 (suicide following a period of prolonged illness and depression; father and son had been quite close, and William's final letter was to his father). In 1940, he remarried Diana Lewis, a marriage which lasted until his death (from heart failure) in 1984 at the age of 91. He'd been retired since 1955 (Mister Roberts was his final film appearance) (William Powell: The Life and Films by Roger Bryant).

Helen Vinson as Teri's best friend, Marianne is also delightful.  The scenes between her and Ms. Francis are amusing.  Their discussion of the Baron, and his lack of skill in the bedroom are more than suggestive, as is Teri's admission that she is merely arm candy for her husband - candy for which he is eager to pay, with expensive clothing and jewelry.  

Also appearing briefly is  Alan Mowbray as Detective Fritz, providing the one real surprise in the movie. Though it should be mentioned that there is another surprise for modern audiences, unused to pre-code films - The Robber's use of a "funny" cigarette, that keeps reappearing in the films at inopportune times is quite enjoyable (and is clearly marijuana, which would, of course, be totally banned from movies when the Code was introduced). (Gestures of Love: Romancing Performance in Classical Hollywood Cinema by Steven Rybin).

Jewel Robbery was based on Ladislaus Fodor's play Ékszerrablás a Váci utcába, which was adapted by Bertram Bloch for Broadway as The Jewel Robbery. The film got mixed reviews (The Complete Kay Francis Career Record: All Film, Stage, Radio and Television Appearances by Lynn Kear and John Rossman and ), some praising Ms. Francis, some criticizing her (we're in the former camp. She's delightful). 

This is a truly entertaining film, and we highly recommend it. We'll leave you with a clip with Mr. Powell and Ms. Francis getting to know one another.

This post is part of the CMBA 2018 Fall Blogathon: Outlaws

Kay Goes Cocoanuts

The four Marx Brothers enter film and the sound era with The Cocoanuts (1929). The plot, such as it is, (based on their Broadway musical, with a book by George F. Kaufman and music & lyrics by Irving Berlin) focuses on the brothers' antics in The Cocoanuts hotel in Florida. As hotel manager Mr. Hammer (Groucho Marx) tries to woo the wealthy Mrs. Potter (Margaret Dumont), Penelope (Kay Francis) has her eyes on Mrs. Potter's necklace.

Let's just admit from the start that there is precious little plot here. There's a jewel robbery, as well as our requisite young lovers (Mary Eaton as Polly Potter and Oscar Shaw as Bob) who are being thwarted by Mrs. Potter. But it's all superfluous to the antics of Harpo, Chico, and Groucho (Zeppo gets to play straight man to Groucho in a couple of scenes). Some of the routines can go on perhaps a bit longer than perhaps they should; regardless, it's still the Marx Brothers, and they are hilarious.

This was the Marx Brothers' first talking film - they had done a silent short (Humor Risk, which has since been lost) in 1921. The Cocoanuts film sticks very closely to the original musical, which was on Broadway from December 1925 to August 1926 (and revived for a week in 1927). So, while you have a lot of Marx Brothers' routines, you also have chorus girls kicking up their heels. While the Brothers were filming The Cocoanuts at the Paramount Studio in Astoria, New York, they were also appearing on Broadway in Animal Crackers. They were literally running from the sound stage to the 44th Street Theatre in time for the evening performance. (TCM article).

Perhaps one of the funniest sequences in the film involves Groucho, Chico, Harpo, Kay Francis and several doors. It's the kind of bedroom farce routine that would inspire plays like Noises Off and The Play That Goes Wrong.  The scene is impeccably timed, and in only her second screen role Kay Francis is a perfect foil for the routine. Unlike Margaret Dumont, she doesn't just let the mayhem happen around her. She reacts and participates. It's an crazily funny routine, and even moves a bit of the sparce plot forward.  If you are only used to Ms. Francis as the suffering lady, take a look at her here and get a whole new view of her range.

The film is, of course, bound to the limitations of the new sound process. Any scenes that involve talking are tied to a location with a microphone. In one scene, in which Hammer is reading a document to Chico, the actors had to use water- soaked paper so it wouldn't crackle. Musical numbers (of which there are many) are performed to an off-stage orchestra.

A highlight of this film (and most of the Brothers' films) is an interlude in which Harpo plays the harp. Watching him play is so enjoyable - you watch his face change as he plays; he becomes one with the beautiful music. Mr. Marx was pretty much a self-taught harpist (see this article from Vanity Fair in 1926 in which Alexander Woollcott discusses Harpo's playing) - his fingering is all wrong for a trained harpist. Regardless, his music is beautiful, and the audience is given a moment of calm to catch one's breath before the next onslaught of mania.

Though the film did not get great reviews (AFI catalog), and the Marx Brothers were highly displeased with it (so much so that they attempted to purchase the negative from Paramount, so they could destroy it), the film made nearly $2 million. This resulted in a total of five films made with Paramount, after which the three Marx Brothers moved on to MGM.  We'll leave you with a trailer from the film:

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:

Kay Sings?

Would-be actress Pamela Drake (Deanna Durbin) is eager to follow in the footsteps of her mother, noted actress and soprano Georgia Drake (Kay Francis). But when Pamela is offered a role in Karl Ober's (S. Z. Sakall) new play of St. Anne, complications ensue. Though the character is Pamela's age, Georgia is eager to play the role; Pamela, however is unaware of her mother's plan. Thus begins It's a Date (1940).

The film is by no means great literature. The plot is fairly simple; you know almost immediately that John Arlen (Walter Pidgeon) is going to fall in love with Georgia. And that Pamela will discover her mother's interest in the part of St. Anne. It doesn't really matter, though. It's a frothy little film that you can enjoy simply to watch some really fine actors and one amazing singer.

As you can see by the artwork accompanying this post, Ms. Francis is relegated to second billing (along with Walter Pidgeon) under the new star Deanna Durbin. Ms. Durbin had gotten her start at MGM; her first film was the short Every Sunday (1936) with another magnificent singer, Judy Garland. You can hear the two of them singing together in this clip:
Ms. Durbin's contract was dropped (according to the Deanna Durbin Devotees website, Louis B. Mayer instructed his people to "fire the fat one", and they let Deanna go). Universal, which was on the verge of bankruptcy, snatched her up. She is credited with single-handedly saving the studio from ruin (TCM article). With a good screen presence and an amazing voice, she became immensely popular, and continued working until age 29, when she retired and completely disappeared from public view. Her son announced her death at age 91 in 2013, providing no details and thanking her fans for "respecting her privacy."

As we've mentioned before, Kay Francis was out of favor with Warner Brothers; they would give her awful scripts or loan her out to other studios, in hopes that she would quit. She didn't (the checks didn't bounce!). Though she is not around for half the movie, she's quite lovely as a good mother who only what is best for her daughter. She also gets some attractive costumes from Vera West.

The film is not short on supporting talent. Besides Ms. Francis and Mr. Pidgeon, we are also treated to such amazing character actors as S.Z. Sakall, Eugene Pallette (in what is basically a walk-on as the Governor of Hawaii), Henry Stephenson (as the ship's Captain Andrew), and Samuel S. Hinds (as agent Sidney Simpson). With such strong performers, the material is elevated beyond the scope of the writing.  All the character parts are small (most of the heavy lifting in the film is Ms. Durbin, with Mr. Pidgeon getting a nice chunk of screen time), but we did think that Mr. Sakall, as always, made the most of what he had, to excellent effect. It is no wonder he was often called "Cuddles". Even here, playing the man who doesn't WANT Georgia in the role, you like him!

The New York Times actually liked the film, with reviewer Frank S. Nugent calling it "a charming, if highly improbable, entertainment" in his review. In some senses, it is a comedic/romantic version of All About Eve, with a bit of singing. The next time you are looking for a film to just sit and enjoy, this is one to consider.  We'll leave you with this scene of Ms. Durbin doing Ave Maria (with a glimpse of Ms. Francis!):

Five Stars to Remember

To celebrate National Classic Movie Day, I'm going to break with our usual post, and contribute to the Five Stars Blogathon!  I'll be sharing with you today some of my favorite actors, and why I think you should give some of their films a look.

It would be easy to go with the well-remembered stars - Cary Grant, Katharine Hepburn, Tyrone Power, Errol Flynn, Bette Davis, Clark Gable, Grace Kelly are all high on my list.  But you've all heard of them, and undoubtedly have seen many of their films. So, I'm going to select some actors whose work you might not have viewed, or who don't come to mind in classic film discussions.  All have films we've reported on in this blog, and I hope you will click over and learn more about these wonderful actors.

Kay Francis

Ms. Francis started her career on the Broadway stage, but by 1929, she had begun a film career that extended over 69 films and 17 years.  Most famous perhaps for a lisp that made the letter r sound a bit like Elmer Fudd, Ms. Francis was an attractive woman who WORE dresses (they never wore her).  During the early part of her career, she was often the lead in "women's pictures" - lots of gorgeous clothing and jewelry, and much suffering on her part.  But these were roles she owned.  She had a strength that shone from her eyes, and when you watched her being menaced, she always seemed to know how to keep control of the situation. One of her best roles was as the woman on trial in Confession (1937).  We see her murder Basil Rathbone, seemingly in cold blood, but WHY? Ms. Francis keeps you wondering throughout the film; her mastery of her art is exceptional.

She was also quite comfortable in comedies. Witness her standout performance in Trouble in Paradise (1932), and her suggestive and fascinating exchanges with Herbert Marshall.  If you've never seen some of her later work, where she got to be a villain, you are missing a real treat.  Try In Name Only (1939) where she plays Cary Grant's manipulative and greedy wife. It's a shame that, by 1939 (as a result of being called Box Office Poison), Warner Brothers was relegating her to supporting roles.  But, even so, she took these roles and ran with them.

When World War II broke out, Ms. Francis devoted herself to entertaining the troops (Four Jills in a Jeep (1944) is a somewhat fictionalized account of that work); after the War, she returned briefly to films and tried her hand at producing at Monograph studios.  Sure, the scripts and production values were low, but Kay dominated her parts - take a look at Divorce (1945) and watch her make mincemeat out of Bruce Cabot. By 1946, she was done with films; she made a couple of TV appearances, and went back to the stage. She retired in the early 1950s, but left us a legacy of delightful film performances.

Claude Rains 

Was there any role Claude Rains could not play? From Shakespeare to Shaw, playing villain or lover, a man of honor or a man to revile, he could do it all.  Let's begin with the start of his film career, The Invisible Man (1933), in which he was literally ALL voice.  We see his character briefly, but for the greater part of the film, he is invisible, conveying his increasing mental illness with his voice alone. Five years later, he played Prince John in The Adventures of Robin Hood (1938), and managed to slide past the censors a subtle performance in which John is decidedly effeminate (Claude Rains: An Actor's Voice by David K. Skal and Jessica Rains).  That same year, he would appear as the loving and supportive father to Four Daughters (1938), in a role with both humor and dignity.

You can't mention Claude Rains without mentioning his performance as Captain Louis Renault Casablanca (1942) ("I'm shocked, shocked to find that gambling is going on in here!"), or his sympathetic portrayal of Dr. Jaquith in Now, Voyager (1944).  But the two performances that, for me, are truly unforgettable are Job Skeffington and Julius Caesar.  In Mr. Skeffington (1944), he again appears with Bette Davis (they had already appeared in Juarez (1939) and Now, Voyager). But this time, he is the sympathetic character - a man passionately in love with a careless and often demeaning wife.  In lesser hands, Job would have appeared merely as doormat; under Rains skillful control, Job is a good man who made an unwise choice.

When he appeared in Caesar and Cleopatra (1945), he made no attempt to disguise the fact that he was over 20 years older than his co-star, Vivien Leigh.  He uses his age to good effect - Caesar is a more a tutor than a lover, and entertained by the young queen's advances. He certainly is not immune to her charms, but Rains maintains an amusement, both with Cleopatra, and with himself.

Thankfully for us, Mr. Rains continued working until a few years before his death at age 77, leaving us a legacy of films, and radio and television performances to relish.

Thelma Ritter 

You just cannot sing the praises of Thelma Ritter too much.  Sure, she's funny, but give her a dramatic role, and she will run with it.  She was in her 40s when she started acting in films, and gave us performances that are truly unforgettable. Just think about Miracle on 34th Street (1947).  She has TWO scenes, and you remember her throughout the film, even though she is uncredited in it (as well as in A Letter to Three Wives (1949)).  When she disappears from All About Eve (1950), you wonder where she is; and you keep wanting her to return in Rear Window (1954).

Two of the performances that are high on my list are as different as noir and day.  In 1953, Ms. Ritter entered the world of Film Noir as Moe Williams in Pickup on South Street.  A peddler of necktimes and information, Moe is a rather seedy individual.  Ms. Ritter gives her a soul; Moe may be down, but she has her own code, and her life is her own.  Compare Moe to Ellen McNulty in The Mating Game (1951).  Again, Ms. Ritter is a poor woman, but a lady with spunk. Her desire to see her son happy, and to get to know his new wife without intimidating her is a pleasure to behold. We like her son Val (John Lund) BECAUSE of Ellen's unquestioning love.

 Ms. Ritter left us 43 television and film performances; she worked until her death of a heart attack at age 66.  I'm greedy, I wish there were more.

Ricardo Cortez

Ricardo Cortez began his career in silents. His parts at the time tended to be Latin lovers in the Valentino mold, but with the advent of talkies, the New York City born Jake Krantz changed directions.  He was often cast as the heavy, but had his share of leading man roles. He excelled in all of them.  

In Ten Cents a Dance (1931), he treads a fine line - we are never sure if he is the hero or the villain until the very end. However, in Mandalay (1934), he is one of the most truly despicable men you could ever meet.  He played Sam Spade in 1931's The Maltese Falcon, Perry Mason in The Case of the Black Cat (1936), and the slightly shady, but best of friends to Kay Francis in The House on 56th Street (1933).  

Mr. Cortez worked steadily throughout the 1920s and 1930s, but his acting career started to peter out in the 1940s.  He had directed a few films, but ultimately opted to leave the film industry for a new career as a stockbroker.  In 1958, he appeared in his last film, The Last Hurrah and two years later he was in an episode of Bonanza (playing a Latino!). Ricardo Cortez is an unknown gem of an actor, and one I recommend you seek out.

Barbara Stanwyck

Yes, I said I was going to concentrate on the underappreciated actors of the Classic Era, but to my mind, Barbara Stanwyck should be better known and admired.  Years ago, when going on my first job interview, I needed a focus for my demeanor. I thought about Katharine Hepburn, but it was wrong. So was Rosalind Russell.  But Barbara Stanwyck was perfect for me - a woman who projected an aura of strength and intelligence, who brooked no nonsense, but could also be kind and understanding. 

She started her career with talkies in 1929, and never really looked back. Her work in pre-code films is something to see - start with Baby Face (1933) and Night Nurse (1931) to see just a sample of her nuanced performances. She could do drama (Stella Dallas (1937)), comedy (my personal favorite, Ball of Fire (1941)), farce (the brilliant The Lady Eve (1941), suspense (Cry Wolf (1947)), romance (Remember the Night (1940)), and westerns (The Moonlighter (1953)).  She could be a convincing victim (Sorry, Wrong Number (1948), and an even more persuasive villain (Double Indemnity(1944)). She even could elevate a B movie to a new level (The Night Walker (1964)). 

Rather than appear in inferior films, Ms. Stanwyck moved over to television to continue her career; The Big Valley showcased her talent and her tremendous beauty.  One of her last television roles was as Mary Carson in The Thorn Birds (1983). Watch her lust after the considerably younger Richard Chamberlain in the scene below:

Missy, as she was called by her friends, was much admired by her co-stars, such as Linda Evans, as well as the crew on her various sets. Her co-star in Golden Boy (1939). William Holden, credited her with his success in the business - she worked with him in his first film role, helping him prepare for scenes. Holden would be instrumental in campaigning for the Honorary Oscar that Ms. Stanwyck finally received in 1982.  It was an honor long overdue, and I think that, if you give some of her movies a viewing, you'll agree she was one of our greatest stars.

So, for National Classic Movie Day, why not put some popcorn in a bowl and settle down with one of these marvelous actors - or pick one of your own. You'll be glad you did!