John Hears a Bell - Twice

Frank Chambers (John Garfield) is awaiting execution on death row. He protests his innocence of the crime, and proceeds to tell his story, which begins when he arrives at the diner of Nick Smith (Cecil Kellaway). Frank accepts a job at Nick's urging, only to have his life become complicated by the presence of Nick's sultry young wife, Cora (Lana Turner). Our film this time is The Postman Always Rings Twice (1946).

This is a film that is regularly discussed as a touchstone for film noir, and with one very good reason. That's the star, John Garfield, who is perfect as Frank Chambers. Mr. Garfield has the laid-back and gritty sexiness that is required to make Frank convincing. Even when he is downright fresh to Cora, there is no doubt in your mind that she is falling for him. Why wouldn't you? Half the audience is falling in lust with him at the same moment.  Yet he was not the first (or even the second) choice for the part. It was originally offered to Joel McCrea (who said no) and Gregory Peck was also considered (TCM The Big Idea). We would have an extremely different film with either of those two remarkable (yet likely very wrong) actors in the leading role. Mr. Garfield almost had to pull out of the film. He was called up for the draft, and Cameron Mitchell was set to step in. However, Mr. Garfield's bad heart (which would cause his death in 1959, at the age of 39 (Los Angeles Times)) released him from active service in the military.

Lana Turner has never been better in any picture that she is here. From the moment her legs appear, garbed in snow white shorts, crop top, and turban (Cora is only seen in black once - when she is planning to kill Nick),  you're as hooked as Frank is. Her appearance justifies his intake of breath. She's a vision, but a tough one, and Ms. Turner plays every emotion that Cora experiences to perfection. It's hard not to compare her to Barbara Stanwyck in Double Indemnity, because of the similarities in plot. The two actresses, however, build different creations, primarily because their motivations are so very different.  Cora is far less calculating, and her emotions are all over the place; her desire to be with Frank versus her need for security are very much in conflict. As the film progresses, we begin to realize just why she married Nick, and the life she was attempting to escape.  James M. Cain was so impressed by her performance that he gave her an inscribed, leather-bound copy of the novel (TCM Behind the Camera). 

Cecil Kellaway is an interesting casting choice for Nick. It's mentioned that he's thrifty to the point of cheapness, but he's a warm, loving man who is good to Cora and kind to Frank. MGM was hoping to mollify the censors by making Frank a likeable fellow. He was in fact, such a nice man, that Lana Turner would later state that "I adored Cecil Kellaway...so much so that I hated having to help kill him on camera." (Movies TV Network article). But the screenwriters do make you sympathize with Cora just a bit when we discover what her fate will be if she stays with Nick; Mr. Kellaway brings a selfish determination to the scene that makes it all the more convincing.

We especially enjoyed the performances of the two lawyers in the action - district attorney Kyle Sackett (Leon Ames) and defense attorney Arthur Keats (Hume Cronyn). Both capable character actors, their interplay - they have a bit of a friendly rivalry going on - is a real asset the film. The viewer is not really sure which of the two is more opportunistic. Both are using the case to their own advantage, rather than in the pursuit of justice. Another interesting performance is that of Alan Reed (Ezra Liam Kennedy) as a private investigator. Mr. Reed is best remembered today as the voice of Fred Flintstone.

This was Audrey Totter's (Madge Gorland) first appearance in a film noir. Her part is small - a great deal of it was cut when the original occupation of the character - a lion tamer - aroused way too much ridicule during the film's preview (James M. Cain actually crawled out of the theatre in embarrassment) ( TCM article). 

The novel was written in 1934 and was thought to be unfilmable because of the sexual content, though Mr. Cain attempted a stage adaptation in 1936, which he hoped would get it filmed. Le Derniere Tournant (1939), a French adaptation, did not do well and was not released in the U.S.  A 1942 Italian film, Ossessione, was also never released in the United States because it violated Mr. Cain's copyright (AFI catalog).

The title of the film (and novel) was a subject of discussion - there are several tales about how it got it's name, but it was important for the film that the title be eventually explained (by Frank, at film's end). This list of trivia outlines those stories). 

The New York Times review by Bosley Crowther was positive: "it is, indeed, a sincere comprehension of an American tragedy." Other reviews are varied (TCM Critics Corner).  The radio show Hollywood Soundstage aired a version in January 1952 with Eleanor Parker and Richard Widmark. The film was remade in 1981 with Jack Nicholson and Jessica Lange.

This is a must-see film (don't bother with the remake - it's a pale copy), and we highly recommend it. In the meantime, we'll leave you with the trailer:

 

Robert is Eager

Johnny Eager (1941) (Robert Taylor), having served his time in prison, has been released on parole. He's working as a cabbie, and regularly visits his parole officer, Mr. Verne (Henry O'Neil), who firmly believes Johnny is on the straight and narrow. But Johnny has no intention of going straight, and uses his cousin Peg Fowler (Connie Gilchrist) and her daughter Matilda (Robin Raymond) as cover against discovery that's he's trying to open a dog track.  The venture is being held up, however, by D.A. John Benson Farrell (Edward Arnold). Johnny sees a way out when he meets Lisbeth Bard (Lana Turner), Farrell's much loved stepdaughter; her growing love for Johnny presents an opportunity to get the D.A. off Johnny's conniving back.

Johnny Eager is an engaging and entertaining film, primarily because of Robert Taylor's excellent portrayal.  He plays Johnny as a man on a journey to humanity.  At the beginning, Johnny is an actor, convincing one side that he is an upright citizen, and convincing the other that he is a heartless villain. The reality is somewhere in the middle, though Johnny himself considers he is the villain. Yet, early on, when he sends Garnet (Patricia Dane) away because he is not interested in her any longer, there is a kindness in his manner. Sure, he's setting her up for a fall, but he is genuinely trying to make it as painless as possible. He believes (and makes the audience believe) that he will return to Garnet once his fling with Lisabeth is over.  Taylor's genuineness makes him persuasive.

Van Heflin as Jeff Hartnett, Johnny's alcoholic best friend, won an Oscar for this portrayal. A decent actor, we still were not convinced that the performance was worthy of an Oscar. Still, in looking at the competition, which included William Bendix in Wake Island, Walter Huston in Yankee Doodle Dandy,  Frank Morgan in Tortilla Flat, and Henry Travers in Mrs. Miniver, we didn't strongly feel that there was a worthier performance among the nominees (though it was a mystery as to why Claude Rains wasn't nominated for Now, Voyager). Regardless, Mr. Heflin does a good job with a character who is hard to make engaging. Jeff is a weakling, and while his affection for Johnny is obvious, his willingness to tolerate Johnny's actions when he clearly believes them wrong, makes Jeff a character who is more despicable than the sociopathic Johnny. Mr. Heflin would later call this his favorite role (AFI catalog).

The film depends very much on the chemistry between Mr. Taylor and Ms. Turner (or TnT as they were called in the ad below). It certainly is there, but the idea of Ms. Turner's Lisabeth as a student social worker is a bit of a stretch.  According to this TCM article, the romance between the two stars was real (though Ms. Turner denied an actual affair). Mr. Taylor allegedly told his wife, Barbara Stanwyck that he was in love with Ms. Turner, but Ms. Turner broke up the relationship before an actual divorce took place.

We especially enjoyed a brief appearance by Glenda Farrell as Johnny's ex-girlfriend Mae Blythe. Now happily married, Mae comes to Johnny to request that Johnny use his influence to get her husband, a beat cop, a better assignment. We know what Mae does not, that it was Johnny who had her husband shipped to the boonies. Ms. Farrell takes the small role, and makes it quite memorable.

The New York Times review was positive; the Lux Radio Theatre would reprise the film in 1946, with Mr. Taylor and Mr. Heflin repeating their films, and Susan Peters subbing for Lana Turner.  We'll leave you with a scene featuring TnT together.

Is Kirk Really Bad?

A few years ago, we discussed The Bad and the Beautiful (1952) (you can see our prior review here.  You'll also find a detailed description of the plot and characters there).  We decided to revisit the film, this time looking at it from a slightly different perspective - our discussion for this viewing focused on the character of Jonathan Shields, as wonderfully portrayed by Kirk Douglas.

So, the question is, is Jonathan Shields really bad?   We have three characters who are furious at him.  We looked at them in some detail.

Fred Amiel (Barry Sullivan) is angered when Jonathan passes him over for an experienced director on the film of Fred's script, The Far Away Mountain.  Is Fred justified in demonizing Jonathan?   When we first meet Fred, he is working as a professional mourner because he cannot sell a script.  Jonathan teams up with Fred and succeeds in getting them both jobs in Harry Pebbel's (Walter Pidgeon) studio.  Though Fred is not aggressive in blowing his own horn, Jonathan is. The final result, Fred becomes an Oscar-winning screenwriter and director, marries the woman of his dreams (to whom Jonathan proposes on Fred's behalf), and has a happy, stable family life. Does Jonathan backtrack on his promise to get Fred the acting gig? Sure.  Would Fred have gotten it, if Jonathan had pursued it further? Probably not.

Georgia Lorrison (Lana Turner) spends most of her time drinking and sleeping with men.  She perpetually mourns for her late father, a great actor, notable bon vivant, and drunkard.  Georgia however is notable for her beauty and for her inability to act.  Jonathan, who was friendly with her father, sees talent where no one else does, and goes out on a limb to hire her to star in his picture.  She inevitably breaks her promise to not drink and disappears on the first day of shooting.  Urged to replace her, Jonathan instead sobers her up, and keeps her in the production.  It's Georgia who envisions a great romance - Jonathan, a man plagued with his own demons, has no such idea.  However, he attempts to protect Georgia from his relationship with Lila (Elaine Stewart); it's Elaine who makes sure Georgia knows.  And Jonathan makes it clear he is furious at her callous revelation. Did he mislead her romantically? Probably.  Is he really out to hurt her? No.

James Lee Bartlow (Dick Powell), tempted to Hollywood by a hefty paycheck and by his wife Rosemary's Gloria Grahame) eagerness to sample the bright lights of the big city, signs a contract to write a screenplay of his book.  But Rosemary is a time suck.  We learn that it took him seven years to write his first book, primarily because of her interruptions.  To get the screenplay written, Jonathan asks his friend Victor "Gaucho" Ribera (Gilbert Roland) to squire Rosemary to the local hotspots to keep her distracted.  Though we hear only one half of a telephone conversation, it's clear Gaucho has more on his mind than squiring. Jonathan, however, is very clear in his response.  "I said 'squire', Gaucho".  He responds.  Is the fact that Rosemary and Gaucho choose to bring the relationship further than was requested Jonathan's fault? Not really, but perhaps he should have picked less of a Lothario as an escort.

The person who should resent Jonathan most is actually his biggest supporter.  Harry Pebbel becomes Jonathan's employee after Jonathan and Fred strike out on their own (assumedly, without his key writer and director, Harry cannot keep his B picture studio going).   Harry could see Jonathan (and Fred) as traitors, yet he is the one who forces our characters to look inward - to realize that their fame, awards, success all stem from what Jonathan did for them.  He does not defend, but points out truths (like the fact that Jonathan let Georgia out of her contract over Harry's protestations).  As such, Harry becomes the bellweather for our opinion of Jonathan, and he is hard to ignore.

It's hard to imagine anyone other than Kirk Douglas doing it.  He makes the character a real person - a combination of both the bad and the good. The nuances of Douglas' performance become more visible with each viewing of the film.  Since it's likely that Jonathan was loosely based on real people (see this AFI Catalog entry for some of possible candidates), it is important that Douglas create a real individual, not a caricature, which he does admirably.

When the film opened at the Radio City Music Hall in New York City, the New York Times review was not particularly enthusiastic.  Regardless of their opinion, the film won five Oscars, including Best Supporting Actress (Gloria Grahame) and Helen Rose for her splendid costume design (b&w film).  If you've not seen The Bad and the Beautiful in awhile, give yourself a treat and watch it again.  Now, we're not saying that Jonathan Shields is a prince among men, just that, on second viewing, you might find yourself rooting a bit for his comeback.

Everyone loathes Kirk

Perhaps the most interesting film to examine Hollywood is The Bad and the Beautiful (1952).  Kirk Douglas plays Jonathan Shields, a would-be studio executive, who is broke and has successfully alienated everyone who might possibly have assisted him in a comeback.  Jonathan is brilliant, he is inspirational, but he is also the biggest creep you could ever have the misfortune to meet.  As Harry Pebbel (Walter Pidgeon) asks former friends  Georgia Lorrison (Lana Turner), Fred Amiel (Barry Sullivan), and James Lee Bartlow (Dick Powell) to consider being part of Jonathan's next production, we are treated to three mini-movies, which reveal their particular relationships with Jonathan. 

Told in flashback, we already know that Jonathan has world has collapsed.  But what we don't know is why these three renowned people - an Oscar winning director, a highly praised leading lady, and a Pulitzer Prize winning author - despise Jonathan.  Slowly, we learn that Jonathan is completely obsessed with his own vision, and he will use his friends' strengths - and weaknesses - to get what he wants.  But we also discover that each of the three became who they are because of Jonathan.

Fred is a would-be director unable to get a job.  He is meek, unassuming, and almost passive.  Jonathan even takes the initiative to propose marriage to Fred's girl FOR Fred.  But once Jonathan steals Fred's pet project,  Fred learns to fight for what he wants.  He becomes a power in Hollywood, and a success in his personal life.

Georgia, the daughter of a famed Shakespearean actor - and noted drunk - is herself a drunk, who thinks nothing of sleeping around to amuse herself.  She is, by her own confession, a lousy actress, and she has no ambitions.  She both hates and idolizes her dead father, and has hidden herself away from even the possibility of success, until Jonathan enters her life.

James Lee is a college professor in Virginia, living quietly with his amorous wife Rosemary (Gloria Grahame).  It has taken him seven years to complete his first book, primarily because Rosemary won't let him work. This story is perhaps the most hard to deal with of the three.  In order to allow James Lee time to work, Jonathan involves Rosemary with film Lothario Victor 'Gaucho' Ribero (Gilbert Rowland), leading to both their deaths.  Left to himself, James Lee becomes a successful writer, but at what cost? Is the death of Rosemary worth the success he achieves?  Or, is love and companionship more important than success?

Director Vincente Minnelli carefully weaves in nods to real Hollywood in this fictional tale.  It's very apparent that the unseen George Lorrison (voiced by Louis Calhern) is modeled on John Barrymore; and that Georgia is loosely based on Diana Barrymore. Also, the filming of a horror film involving cat men is a nod to the 1942 film Cat People.  But also alluded to, according to this article from SUNY Albany are such notable filmmakers as David O. Selznick, Alfred Hitchcock, Josef von Sternberg, Erich von Stroheim, Val Lewton, and William Faulkner. TCM provides a great deal of information on this film, including the fact that Clark Gable was asked to play Jonathan (he turned it down).  Certainly, it would have been a very different role - Gable was much older (perhaps too old to play the younger Jonathan), and was also too likeable.  Is it possible to loathe Clark Gable?

This is a film with an amazing cast, both of leads and of extras.  Kirk Douglas is electrifying as Jonathan.  He conveys the small things as well as the big ones - his dislike, but love for his father; his admiration for Georgia's father; his fear of loving and being loved.  Barry Sullivan, an actor who is usually not high on my list, is excellent as well.  And Gloria Grahame as the modern day Scarlett O'Hara, Rosemary Bartlow, is stunning.  (Her line, "You have a dirty mind, James Lee, I'm happy to say" is priceless.)  Did Rosemary cheat on her husband? We'll never know, because Grahame paints such a beautiful, multidimensional portrait.  And watch for bit parts from people like Barbara Billingsley and Ned Glass.  This "Behind the Camera" from TCM discusses Glass' role in the film; Glass was a victim of the Hollywood Blacklist, and this film began his problems.

Finally, also from TCM, a look at the critical reception of the film in their Critic's Corner.  The film won five Oscars (from six nominations), as well as receiving accolades from the major critics. 

Before we go, a clip from the film in which Ned Glass as the costumer for "Doom of the Cat Men" demonstrates how NOT to dress a monster: