Laraine Wants Jewelry

On his wedding day,  John Willis (Gene Raymond) is approached by Dr. Harry S. Blair (Brian Aherne). Dr. Blair claims to be the ex-husband of John’s fiancée, Nancy Patton (Laraine Day). Her name was then Nancy Monks, and she was responsible for the deaths of three men, all because of The Locket (1946). 

This is by no means a simple movie. It employs the film staple of the flashback, and turns it on its head by taking a single flashback and embedding within it a flashback to a flashback, and another flashback from the second one. Yet, the film is so well written that the audience is always clear as to what is happening - unless, as Eddie Muller noted in his introduction, you arrived after the start of the film (as was so often the case in 1946!). It's a clever device, and keeps the viewer on pins and needles from the beginning to the end of this intriguing film noir.

Laraine Day is excellent in the part of Nancy. You are never really sure how much she knows of her own behavior - does she know about the thefts she committed, or does she forget the kleptomania-induced robberies once they are accomplished. Ms. Day uses her experience as the sweet ingénue to create an intelligent yet enigmatic woman, who is highly attractive to men without be openly seductive. She's a chameleon who adapts herself to the preferences of the men in her life. At one point, Hume Cronyn owned the script, which he intended to feature his wife, Jessica Tandy. When he sold it to RKO, the credited screenwriter (more on that later) wanted Joan Fontaine, but she was not available. Olivia de Havilland campaigned for the part, but producer Bert Granet wanted Ms. Day, and he won the day (TCM article). Interesting, the mother of Joan and Olivia, Lilian Fontaine, appeared as Lady Wyndham.

Robert Mitchum (Norman Clyde) had recently been nominated for an Oscar for his work in The Story of G.I. Joe, and was one year away from what is often cited as his best role - Out of the Past.  His appearance as Norman, a moody artist whose life is upended by his relationship with Nancy, is a strong addition to his film credits. He'd known Ms. Day when they worked with the Long Beach Players; she was looking forward to working with him. He however, had formed an idea that she ignored him at one point in their lives, and refused to speak to her during the production (he naturally never told her WHY he was cutting her).

Ricardo Cortez has a small, but pivotal part as Nancy's employer, Andrew Bonner. He manages to put just the right amount of the rake into his performance, making you did wonder exactly what was going on between him and Nancy.  Ms. Day was a long-time fan of Mr. Cortez, and asked that he be cast in the film (The Magnificent Heel: The Life and Films of Ricardo Cortez by Dan Van Neste). It is always a pleasure to see him, and he provides a memorable performance.

Ms. Day was also a fan of her other leading men - Brian Aherne and Gene Raymond.  Mr. Raymond has the smaller part; as the intended groom of the lethal Nancy, he serves as the audience's conduit to her story. Mr. Aherne is our narrator; it is he who tells Nancy's long, involved history. It is also worth noting that all three stories are told to us by him. The question becomes - should we believe him? Is he the victim of Nancy, or is she innocent of the his charges?

Laraine Day also had some talent as a dress designer.  She helped to create Nancy's wedding dress, and used a spun glass fabric which she discovered. (AFI Catalog) Her discovery is referenced in this lovely Press Kit from the William K Everson Collection at New York University. Before you read it, just know that there are a lot of spoilers included. 

Originally titled What Nancy Wanted, the screenplay was written by Norma Barzman. She heard the story of a woman who was accused of stealing a necklace as a small girl, which resulted in a life-long history of depression and kleptomania. It was that script which was purchased by Hume Cronyn.  When he sold it to RKO, they gave it to Sheridan Gibney, whose major  contribution was to set the middle section in England.  It took until 2014 for Ms. Barzman to finally was credited with writing the script (Los Angles Times, Eddie Muller extro). It probably didn't help that she was blacklisted for being a member of the Communist Party. 

In an interview, the credited screenwriter Sheridan Gibney, called Ms. Day’s performance “weird”. (Film Crazy: Interviews with Hollywood Legends by Patrick McGilligan). Regardless, Ms. Day got good reviews “Laraine Day gives what must be her most fascinating performance” ("Laraine Day Psychopath”. Los Angeles Times, May 27, 1947), and considered this her best role. The ending, which was to have been more oblique, was forced on them by the censors. And the film ended up being under-marketed because of the execution of an innocent man in the story. Some states (Massachusetts in particular) were leery of death-penalty error stories.

This is a remarkable film, that is only recently getting the attention that it deserves.  We'll leave you with an early scene, and the suggestion that you seek this one out: 

Cary Knits

A woman walks on a pier, her eyes fixed on the sea.  The waterfront guard, fearful that she is a potential suicide, is about to confront her when he is stopped by a sailor.  The sailor, Hard Swede (Charles Bickford) proceeds to tell her story. Our film for tonight is Mr. Lucky (1943).

Cary Grant is magnificent as the somewhat shady Joe Adams. He walks a fine line in making Joe (who'll use the name Joe Bascopolous throughout the film) both suspect and likeable. Classified as 1-A by the Draft Board, Joe gambles for, and wins the identity of the dying Bascopolous, as well as the gambling ship Fortuna from his former partner, Zepp (Paul Stewart), an equally devious character who's quite willing to cheat to get what he want. Joe then sets about finding some suckers to rent the ship. He focuses on a War Relief charity, run by Dorothy Bryant (Laraine Day). She's suspicious of his motives, but is eventually won over by his charm and seeming dedication to the war efforts. 

We, the audience, know that Joe is up to no good, but with Cary Grant in charge, it's easy to understand Dorothy's change of heart. And, as he gets to know her, we learn more about his life - Joe has not had it easy, and he's determined that nothing, not even war (it's not his war, he tells us) will alter his path. His growing affection for Dorothy is displayed by a tie she gives him as a gift - watch as he refuses to remove it (she tied it on for him).

 

Laraine Day is a good match for Mr. Grant - she's smart and determines. One doesn't feel that she is an easy mark, which makes her changing relationship with him all the more convincing.  Both Ruth Warwick and Anna Lee tested for the part (and Mr. Grant's new wife Barbara Hutton wanted to play Dorothy as well. Mr. Grant nixed that idea. (TCM article)), Ms. Day, however is ideal casting. The scene in which she uses the Australian (or Cockney) rhyming slang that Joe taught her to warn him away is beautifully done.

There are a number of wonderful actors in supporting parts. Charles Bickford's part is small but pivotal (we wish we'd seen more of him). Gladys Cooper (Mrs. Steadman) finally gets to play a good person - she is lovely as Dorothy's colleague in the charity. She, too, is intrigued by Joe; she's also immensely supportive of Dorothy when the going gets tough. Alan Carney (The Crunk) is amusing as Joe's henchman, and Paul Stewart is properly intimidating as Joe's enemy (when Mr. Stewart plays evil, he is most convincing). 

We had a bit of a problem with Mr. Bryant, as played by Henry Stephenson. Mr. Stephenson is  prim as Dorothy's grandfather, but he also has a loving relationship with his granddaughter. Is is hard to imagine him calling the police when it is sure to get Dorothy arrested.

As a knitter, I'm terrifically intrigued with Cary Grant learning to knit for the cause (you can see him in his early efforts here). And though the film gets chuckles out of men learning to knit, they also show him and The Crunk appreciating the craft after they learn it. Joe's admiration for a hand-knit tea cosy ("nice work") is endearing  Dorothy also points out that many men in England who are unable to serve in the military are learning to knit so they can provide warm clothing for the troops. If you would like to learn more about knitting in World War II, visit Knitting for Victory. Efforts still continue for today's veterans at the National World War II Museum (Knit Your Bit).

Based on Milton Holmes' story "Bundles for Freedom," which appeared in Cosmopolitan, the original ending of the story was far different that the one we see (AFI catalog), and it is for the best. Cary Grant asked RKO to purchase the film rights for him, and they obliged. Mr. Holmes and Adrian Scott were credited with the screenplay (Radical Innocence: A Critical Study of the Hollywood Ten by Bernard F. Dick).

Mr. Lucky opened at Radio City Music Hall and received a positive New York Times review - they called it "is a picture of many moods, and they are all handled expertly by Director H. C. Potter." Ms. Day and Mr. Grant reprised their roles for Lux Radio Theatre in October 1943. In 1959, a television series, loosely based on the film, premiered with John Vivyan (as Mr. Lucky) and Ross Martin.

If you've never seen this film, you are in for a treat. Here is the trailer:

Little Boy and Girl Lost, Circa 1942

The war has just started in America at the end of 1942's Journey for Margaret, but has been a factor in the lives of two small children for three years.  We meet war correspondent John Davis (Robert Young) and his wife Nora (Laraine Day) as the reach England, having just gotten out of France ahead of the Nazis.  They find a nation ravaged by nightime blitzes.  As John wanders the land, in search of stories for his column, he witnesses the bombing of a house, and helps to rescue a small boy, Peter (William Severn) whose mother has died.  Some time later, his wife gone back to America in despair (during a raid, she lost her unborn child, and the ability to have another), John meets Peter and another child, Margaret (Margaret O'Brien) in the orphanage of Trudy Strauss (Fay Bainter), a European refugee who has devoted her life to helping the orphans of her new country.

This is a truly touching movie that pulls no punches.  Witness the first time we meet Margaret - she is being returned to the orphanage by her adoptive "mother", a woman too busy with her social life to pay attention to this needy child who punishes her for crying.  Young Peter is unable to talk; the return of a stuffed lamb that John had inadvertently placed in his pocket turns out to be the key to his return to normalcy.  Another child screams any time she sees a man - it was a man who pulled her from the horror of her bombed home.  The film not only gives us a look at the war's effect on the children, but on adults as well. Our hearts ached for the older couple who long to adopt a child, but cannot seem to make emotional contact with either Peter or Margaret (we all hoped that another child would be offered to this loving people).

Robert Young is just wonderful here, as is Laraine Day (who leaves the action midway through the film). And Fay Bainter is just lovely as a woman who refuses to surrender on any of her young charges.  Finally, there are the children.  It goes without saying that Margaret O'Brien can break your heart (watch her breakdown when Trudi gives her "permission" to cry), but equally good is William Severn as Peter.  A young man with a very short film career, Severn is splendid as the anchor of the film.

This is a jewel of a picture.  Give it a try.  In the interim, take a look at the trailer: