Scarlett Loves WHO?

Gone with the Wind on a big screen - can it get any better than that?  Thanks to TCM and Fantom Events, we got the opportunity to see this magnificent movie where it deserves to be seen, in a theatre, on a huge screen, surrounded by fellow devotees of Ms. O'Hara (Hamilton-Kennedy-Butler) and Captain Rhett Butler.  We've had a prior discussion about the film, in the context of Olivia de Havilland's superb depiction of Melanie Hamilton Wilkes, but it's impossible to talk too much about Gone With the Wind.  Every time you see it, you see something new.  (By the way, my favorite of her many glorious dresses is to the left).

Let's get one thing out of the way.  I love this film (surprise!), but I'm always waiting for the alternate reel wherein Rhett finally figures Scarlett out and doesn't leave.  Sure, we'd lose some great lines, but Rhett frustrates me a lot.  He knows from the get-go that Scarlett is stubborn, that she has a crush on Ashley, and that she doesn't think she loves him.  But at the first sign of moon-face from her, he gets mad.  It also doesn't help that the motivating factor is her weight gain (after all, he was the one that told her "If you don't stop being such a glutton, you'll get as fat as Mammy. Then I'll divorce you.").  In fact, in the novel by Margaret Mitchell, she's already had three children - can one blame her for wanting to stop being a baby-making machine (the poor woman gets pregnant if a man LOOKS at her)?  

The problem is, I like Rhett so much, I just always think he should know better.  It also struck me this time that, by the end of the film, what he wants most is to become Ashley - "I want peace. I want to see if somewhere there isn't something left in life of charm and grace..."  The very thing he always ridiculed about Ashley is the life that he himself desires.  But, Rhett is a continual source of self-contradiction - he loathes the war, but runs off to fight as the cause is lost; he laughs at polite society, but struggles to join it when his daughter is born, and he claims no ability to love, yet loves Scarlett with a depth it is hard to fathom.

There are a lot of people who don't like Ms. O'Hara, but I'm one of the ones who does like and rather admire her.  Scarlett is someone I want on my side.   I know that, if the chips are down, and I'm one of her "folk", I'll be protected.  Think about her relationship with Melanie: Scarlett claims to disdain Melanie, to want her gone, so there will be a clear path to Ashley.  Yet, she puts herself in danger to protect Melanie when she could easily leave Atlanta in advance of the invasion.  With cannon-fire surrounding her, and no one to support her, Scarlett stays to safely deliver Melanie's baby, then transports Melanie and baby Beau (and Prissy, who anyone else would have left behind) to Tara, where Scarlett becomes responsible for their care and feeding - when there is no food for anyone.  And, when they do have some food, and Melanie is handing it out to every soldier that comes by, Scarlett chides Melanie, but there is no animosity in her comment.  She says it for effect.  Scarlett knows very well that Melanie will not stop.  Let's not forget Scarlett is 19 years old when she is forced to assume responsibility for Tara, and she and Melanie are afraid that Ashley is dead. Certainly, Scarlett is a lot harder in the novel; the film does clean her up a bit.  But all in all, she handles her responsibilities pretty well for a teenager.  Visit A Person in the Dark for yet another fan of the magnificent Ms. O'Hara!

I had a rather amusing realization this viewing (the big screen helped a lot).  Olivia de Havilland knows how to crochet!  In the scene where Melanie, India, Mrs. Meade and Scarlett are waiting for the return of their men from a "political meeting" (translation - a raid on Shanty Town that will have very bad results), Scarlett is embroidering, India is knitting, and Mrs. Meade and Melanie crochet.  First off, the distribution is interesting.   Scarlett is the only one performing a purely decorative craft - there's not much practical use for crewel work except to ornament a home.  While the other three ladies work on projects that are practical.  But while it's not clear if Alicia Rhett and Leona Roberts know what they are doing, Ms. de Havilland clearly does.  In fact, her crocheting speeds as she becomes anxious - the true sign of an experienced handcrafter - the craft acts as a stress reliever.

Obviously, there is a lot of information available on this film.  One interesting take is Gavin Lambert's The Atlantic article "The Making of Gone With the Wind."  We learn that Gable was terrified to break down in front of Melanie, and even threatened to walk off the set rather than cry.  But his respect for Victor Fleming won the day, giving us perhaps the most remarkable scene of a wonderful career.  We also learn that, since only 1,500 extras were available to film the railroad station scene, 1,000 dummies were interspersed among the extras to portray the vastness of the war's damage.   My husband was particularly looking forward to this scene.  It is a stirring moment, displaying all that is now lost, and the endless suffering caused by a pointless war.  Done with the special effects capabilities of 1939, it is nonetheless a breathtaking scene

We leave you with two clips this time - first, the railroad station scene...

And since imitation is the sincerest form of flattery, here is Carol Burnett's over-the-top homage to Ms. Scarlett Went with the Wind. 

Next time, back to our regular discussion.

Norma Haunts Leslie

The here meets the hereafter in Smilin' Through  (1932), a lovely film about a man who lost the love of his life on their wedding day.

John Carteret (Leslie Howard) still mourns the loss of Moonyean Clare (Norma Shearer) after 30 years. He spends much of his time in the garden where they were happiest, and where the spirit of Moonyean visits him, assuring him of her continued love. As a result, John has virtually withdrawn from the world, until the day his friend Dr. Owen (O. P. Heggie) brings the news that Moonyean's sister and her husband have died in a boating accident, leaving her 6 year-old daughter orphaned. He also brings the child, in the hopes that she will reopen John's heart.  Though at first reluctant to take the child, John is so captivated by little Kathleen (Cora Sue Collins) that he consents to adopt her.

By 1915, the now adult Kathleen (also played by Norma Shearer) is the apple of her Uncle John's eye, as well as being nearly a twin of Moonyean; John is convinced that Kathleen will shortly marry the somewhat stodgy Willie Ainsley (Ralph Forbes). But when Kathleen meets Kenneth Wayne (Fredric March), a young American who is heir to a local home, and who has come to England to join the war efforts, any hope of that is lost. Kathleen and Kenneth fall desperately in love.  But when John learns of the affair, he is horrified; Kenneth's father was drunken lout who murdered Moonyean.  John forbids Kathleen to see Kenneth.

Based on a play by Jane Cowl and Jane Murfin, this version is the second time the story was told on screen.  The first was a silent version in 1922, with Norma Talmadge as Moonyean/Kathleen.  The third time, in 1941, was a musical version with Jeannette MacDonald as Moonyean, Brian Aherne as John, and Gene Raymond as Kenneth/Jeremy. 

Like any MGM film, especially one starring Norma Shearer this subtle movie is beautifully done.  Exquisite costumes by Adrian, along with convincing makeup for Leslie Howard (who has to age over 40 years during the course of the film), and a sensitive script that really keeps you involved make this a film that wears its age well.

Of course, this is an exceptional acting ensemble.  Leslie Howard is especially convincing as John. You have to believe that he is able to communicate with the spirit of Moonyean, which Howard does beautifully.  His later rage against Kenneth is equally good.  We especially enjoyed his scene with the young Kathleen.  Howard carefully unwraps the hidden man, making John blossom in this brief conversation.  We were also impressed with O.P. Heggie, who plays Dr. Owen.  Owen serves as the link between the past and the present and Heggie does a nice job.  He had a fairly short career in talking films.  He died at age 59, in 1936, having appeared, in a total of 27 silent and talking films.  Included in this list are The Bride of Frankenstein (1935) as the blind hermit and Anne of Green Gables (1934) as Matthew.
 

Certainly, the play suggested the doubling of Kathleen/Moonyean and Kenneth/Jeremy.  It is an especially good decision to continue that casting note.  We felt that, especially for the character of Kenneth, the fact that Kenneth looks so much like Jeremy makes John's dislike more intense, and helps the audience to understand his horror at the younger man's involvement with Kathleen.
  

The film was nominated for Best Picture in 1932, losing to Cavalcade.  This brief TCM article discusses cameraman Lee Garmes and his initial difficulties in filming Norma Shearer (who was sensitive about the appearance of her eyes on film).  Obviously, it was a problem his was able to overcome, because she is just lovely, as always.

To close, here is the aborted marriage of John and his beloved Moonyean.

Nanny in Disguise

Devotion (1931) stars Ann Harding as Shirley Mortimer the maligned and ignored daughter of an intellectual family.  While assisting her family (Shirley runs the house. The rest of the family is “too busy”), she meets David Trent (Leslie Howard), a busy barrister in need of a nanny for his young son. Shirley is smitten with David, and decides to pursue their relationship by apply for the job as nanny. She facilitates this by inventing an older Cockney lady, Mrs. Halifax, and donning a grey wig, old clothing, and glasses. David, of course, is oblivious to the disguise, but it doesn’t take long for his client, Norman Harrington (Robert Williams) to realize that the wig is hiding an attractive, young woman.

It struck us that Shirley was the somewhat less unbalanced mother of Bette Davis’ Charlotte Vale (Now, Voyager). Both are looked down upon by their families, both seem to see themselves as unattractive.< However, Shirley decides NOT to have a nervous breakdown. Instead, she becomes someone else.

Though filmed in the Pre-code era, this isn’t really a Pre-code movie. Or is it? Norman has murdered his wife (and been found innocent, because the wife was a violent lush). And David has his own little secret (which we won’t reveal) that rather smacks of the Pre-code ethos.

Ann Harding is quite endearing as Shirley. Though her family doesn’t think so, she really does have a backbone, is smart, and ultimately quite attractive. Leslie Howard is appropriately befuddled as the overworked barrister. And then there is Robert Williams. Robert Osborne told us about his unfortunate, brief life – a life cut short just as he was receiving attention for his work. His Norman is JUST enough on the edge to make you wonder IF he was really a murderer. One is never quite sure if he is trustworthy or not. And watch for Louise Closser Hale as Shirley's witch of a mother. 

We leave you with a clip from the film. Next time, a real Pre-Code film!

Communist Kay

1934's British Agent is our film this week. The wonderful Leslie Howard is Stephen Locke, an English diplomat serving in Russia as Lenin takes control of the government. The British, after the rise of Lenin, leave Locke as provisional staff, evacuating their more important diplomats (as do the French, Italian, and American governments).  Locke is committed to his country, and does the best he can under adverse circumstances.  He also meets and falls in love with Elena Moura (Kay Francis), a Communist working with Lenin's government.  Though she loves Stephen, she too loves her country and informs her government about Stephen's plan.

This is a fascinating film, with a great cast (and some wonderful supporting players, such as Cesar Romero as Tito Del Val the Italian provisional representative.  The film with keep you wondering just what is going to happen next, and Ms. Francis is wonderful as the conflicted Elena.  She and Howard are quite good together. though I believe this is the only time they appeared together on film (though they did the radio show Screen Guild Theatre together in 1939 (Never Of This World).

It's also interesting to see this somewhat sympathetic view of Lenin in 1939.  This surely is NOT a pro-Communist film, but, as you will see at the end, Lenin is vindicated. So, anti-Communist - perhaps, but with a bit of a balance.  Here's a trailer for this excellent movie:

Screwball Olivia (and Bette and Leslie)

This week, we see Ms.de Havilland at her screwball best in It's Love I'm After.  She plays Marcia West, a young woman who spends her life falling in love with actors; this time, it is stage actor Basil Underwood (played by Leslie Howard), a vain ham who is engaged (off and on) to the equally vain Joyce Arden (Bette Davis), his frequent stage costar.  When Marcia's fiance Henry Grant (played by Patric Knowles) decides that the best way to get Marcia's infatuation quashed is to invite Basil for the weekend, mayhem ensures. Especially when the irritated Joyce arrives at the house party.

This is a truly funny movie, and Olivia is a riot as the avid - and rabid - pursuer of  Basil's affections.  She has some terrific scenes here.  One, when Basil decides that the best way to cool her ardor is to lock her bedroom door (with him inside) and threaten her with "a fate worse than death".  Her reaction is priceless.  Another, when Marcia decides that Basil is perhaps not all he is cracked up to be, and announced that she should have just continued her adoration of Clark Gable.  "Clark who?" poses the baffled Basil.  (Six years earlier, he and Gable had costarred in A Free Soul). 

This was the third, and final, paring of Leslie Howard and Bette Davis (they had earlier appeared together in The Petrified Forest and Of Human Bondage), and their only comedy together.  Neither really made all that many comedies.  However, there is a scene here, in which Davis, attempting to keep Howard out of her room, piles furniture in front of her door. Meanwhile, Howard climbs in the window.  The scene would be copied years later in another Davis comedy (this time with James Cagney) The Bride Came C.O.D. In either movie, it is still funny.

Our discussion of the movie ended with a rather long discussion of Leslie Howard.  His early death in World War II, his sponsorship of Humphrey Bogart, and his film career in general make him an interesting actor.  We've all seen many of his films.  This was was a real breath of fresh air, giving him the chance to do something he almost never gets to do - be funny.  We thought he sort of had that opportunity in The Scarlet Pimpernel (where the comedy serves as a mask for his real identity.), but other than that, this screwball comedy gave us a new vision of a wonderful actor.  Here's a trailer:
Next week, we'll return with a later de Havilland comedy, The Male Animal.