Joan Enters Society

On his return cruise to England, Francis, Lord Kelton (Frank Morgan) finds a woman asleep in his stateroom. Mrs. Fay Cheyney (Joan Crawford) has mistaken his cabin for hers. As she leaves, she meets Arthur, Lord Dilling (Robert Montgomery). Both men are intrigued with the attractive Mrs. Cheyney, and spend the trip vyng for her attentions. We turn our attentions this week to The Last of Mrs. Cheyney (1937)

It's hard to go wrong when you have the stellar cast of lead and character actors present in this movie. Joan Crawford is convincing, though she plays Fay with more seriousness than did Ms. Shearer in the 1929 version. Ms. Shearer very much had her tongue firmly in her cheek, whereas Ms. Crawford makes Fay more conflicted. The addition of a fairly nasty gang (Sara Haden (Anna), Melville Cooper (William), & Leonard Carey (Ames)) makes the stakes in this version a lot higher. Myrna Loy had originally been cast as Fay (TCM article), but Mrs. Crawford was so adamant in her refusal to play the lead in Parnell (she'd sworn off costume parts after The Gorgeous Hussy) that MGM decided to switch the actresses.

William Powell is splendid as Charles. Though his part is relatively small, he makes good use of the screen time provided. We speculated on the benefits of casting him as Lord Dilling - his chemistry with Ms. Crawford is better, and he has the charm and gravitas that we found a bit lacking in Robert Montgomery. Mr. Montgomery is not bad, he just doesn't have the savoir faire of either Mr. Rathbone or Mr. Powell. In comparison to these two gentlemen, Mr. Montgomery comes across as a touch callow.  It's been said that Mr. Montgomery and Ms. Crawford were not particularly fond of one another, (Joan Crawford: The Essential Biography by Lawrence J. Quirk & William Schoell) which might be part of the problem. Truth to tell, had we not seen Mr. Rathbone, we might not have given Mr. Montgomery lower marks.

Frank Morgan is a vast improvement over Herbert Bunston. Now Lord Kelton, he is no where near as boring and pedantic as the original. He's a tad naive (just WHY is Fay in his room, wearing nothing but her undergarments??)  and he is clearly older and less dashing than Lord Dilling. But, he's no buffoon, and one could see Fay agreeing to marry him. He's rather a nice man, he's quite wealthy, and he is clearly head over heels about her. 

Nigel Bruce (Willie) is cast in a role in which he, like his friend Kelton, is somewhat innocent (he really doesn't know that Cousin John (Ralph Forbes) is NOT his wife Joan's (Colleen Clare) blood relation), but he's also a decent and not silly man. He doesn't do the fubsy Englishman that we are used to in his appearances as Dr. Watson; he is a too trusting soul, but a good friend with a sense of humor.

We also enjoyed Jessie Ralph as the Duchess of Ebley. This version gives the Duchess a bit of a past, which makes her even more attractive (and makes Fay's reluctance to rob her even more pointed).  A Broadway actress with experience in silent films, she was 63 when she made her sound film debut in Child of Manhattan (1933). She had 50 sound film credits to her name (including such gems as Enchanted April (1935), David Copperfield (1935), and After the Thin Man (1936). Married once (and together until his death), she was forced to retire in 1941 after diabetes complications resulted in the amputation of her leg. She died three years later, age 73, of a heart attack. 

A few new scenes are added to the film - the opening scene with Lord Kelton, a late scene with Mr. Powell (obviously inserted to satisfy the Hays Office), and fund-raising auction scene, with little dolls of our lead character auctioned for charity. Here's a photo of Mr. Montgomery with the Crawford doll. We thought the dolls were absolutely adorable, and wondered if the actors got to keep them.

The New York Times review by Frank Nugent was not exactly glowing, though he did express admiration for William Powell saying that "Mr. Powell is equally fascinating, either side of the pale."  Following the release of this version, the Lux Radio Theatre aired a version with Miriam Hopkins, Walter Pidgeon, and Adolph Menjou in May of 1942. In 1953, Broadway Television Theatre broadcast an adaptation with Vicki Cummings in the lead (AFI catalog). 

Each film has its own merits, and we liked both of them for different reasons. We always enjoy seeing William Powell; we liked the rapport between Shearer and Rathbone. With the changes in film technology between 1929 and 1937, the movies are different enough that it is entertaining to see them both.

We'll leave you with a scene from the film:

Ms. Hale is Having a Baby

As Jacqueline Walsh (Barbara Hale) is about to take her wedding vows to her second husband, Herbert Fletcher (Robert Hutton), she faints.  Her uncle, Dr. William Parnell (Lloyd Corrigan) believes she is pregnant. The father of the child is her first husband, Vernon Walsh (Robert Young), whom she divorced after he was named as the co-respondent in the divorce of Wanda York (Janis Carter). Though Vernon protested his innocence, Jackie does not believe him, and wants him to surrender any claim on the pending child. Vernon, however, sees the baby as a way to get her back. Our film is And Baby Makes Three (1949)

This is a potentially cute film that would have been considerably better had it been about 15 minutes shorter (it's 84 minutes). The plot, which is entertaining up to a point, goes completely over-the-top by the end. It felt as though the writers had no idea how to end the film, so they just kept throwing elements into a blender to see what they could get. What they got was a mess.

Given that they have little in the way of a script, Robert Young and Barbara Hale work well together. Both were second (and in Mr. Young's case, third) choices for their roles. Columbia initially assigned Evelyn Keyes the part of Jackie, and she refused - she ended up on suspension (AFI catalog). Both Ronald Reagan and Robert Cummings were offered the opportunity to play Vernon. Both said no.

In a sense, Ms. Hale has the more outlandish part. Either we have to believe that she left her marriage, found Herbert, went to Reno, and came back to her wedding in under two months, or we have to believe that in more than three months (it takes 6 weeks to get a divorce in Reno, and it is hard to believe that she agreed to marry Herbert immediately after leaving Vernon), she didn't realize that she was pregnant.  It's somewhat mind boggling.

Barbara Hale started as a model; by 1943, she was off to Hollywood, a contract with RKO, and her first picture - an uncredited role in Gildersleeve's Bad Day. She worked in films, primarily in B pictures, until 1958 (she would make a few more films between 1968 and 1978), when she was offered the role of Della Street in Perry Mason (which ran from 1957-1966). She originally considered declining the role - she had three small children at home, and was spending her time with them (Medium.com article), but her friend Gail Patrick (who was producing the show with her husband Thomas Cornwell Jackson) said that the role was small and was show was only going to last for 18 episodes! Ms. Hale would go on to star in 332 episodes and 31 TV movies with her good friend Raymond Burr (the final 4 movies were filmed with Paul Sorvino and Hal Holbrook subbing for the Perry Mason character. Mr. Burr died in 1993). Ms. Hale was married for 46 years to Bill William. She was intrigued with him from the start - it took him awhile to realize she was the woman for him (Eddie Muller commentary on The Clay Pigeon). The couple had three children, one of who is the actor William Katt (who starred in The Greatest American Hero, and as Paul Drake, Jr. in several of the Perry Mason films). Ms. Hale died in 2017, at the age of 94.

Both Billie Burke (Mrs. Fletcher) and Melville Cooper (Gibson, the Butler) are wasted. Ms. Burke, in particular, is doing a retread of roles she's done before - she's the mother who is afraid of scandal (her son's fiance's pregnancy by another man), and who dithers around echoing her husband (Nicholas Joy as Marvin Fletcher). She doesn't even have a name - she's just "Mrs. Marvin Fletcher".

Though her part is minimal, and rather irrelevant to the main story, Janis Carter takes what she has and runs with it. She's amusing as the predatory Wanda; the character is added at the last minute (like a lot of things in this film) to stretch it out a bit. Sure, she's not really necessary, but she is fun to watch.

This was the second film produced by Santana Productions, Humphrey Bogart's production company. Founded in 1948 and named after his boat, Santana produced 7 films, 5 of which starred Bogart. At the time, the Santana films didn't do well financially, but In a Lonely Place (1950) is now regarded as one of the best of Bogart's films, and highly regarded as a film noir (here is Eddie Muller introducing it on TCM's Noir Alley).

New York Times review called And Baby Makes Three "A thin joke is stretched beyond the point of fun." The review in Variety was positive. Regardless, the film did not do well at the box office, and it's really not surprising. One is bored about an hour in.  There are better Barbara Hale films (try The Clay Pigeon, in which she starred with her husband ). This is not one of her best. 

A small treat - we recently were able to participate in a tour of the Library of Congress Packard Campus. Part of the tour was a visit to the Cold Room, where nitrate copies of films from many studios are housed. In the Columbia vault, I found a can with a nitrate copy of And Baby Makes Three!  You can see it below (thanks to my husband for taking the picture - follow the link to see more of his work):

Back to Sherwood Forest

Some years ago, we discussed The Adventures of Robin Hood, but the opportunity to see it on a big screen (at the AFI Silver Anniversary Celebration) begs for revisiting the film via this blog.  Last time, we looked primarily at Olivia de Havilland; this time, we'll look a bit more closely at the wonderful character actors that grace this fantastic film.

That wonderful trio of villains, Prince John (Claude Rains), Guy of Gisborne (Basil Rathbone) and the Sheriff of Nottingham (Melville Cooper) are first on our agenda.  We were fascinated that Prince John never shows fear.  Even when Richard returns, there is not a line of apprehension on his face - John is much too busy perfecting his "spin" on his actions to worry about a little thing like death.  Rains plays John with the bravura of a man who knows he will ultimately be successful.  And of course, historically John survived his brother by many years, and ruled England after Richard's death.  Perhaps he was not England's most popular monarch - remember the Magna Carta - but his longevity (he ruled for 17 years) show he had nothing but time on his side.

On the other hand, the one character we expect to have a lot of nerve, Guy of Gisborne, does not.  Watch Rathbone's face throughout the movie. Gisborne is afraid.  And when he is captured by Robin Hood, he makes not a move to defend himself or Maid Marian.  He talks a good line, but the only time he really seems confident is when he confronts Lady Marian.  This Gisborne is a bully, pure and simple.  And not even a smart one.  Remember, it is the dim-bulb Sheriff of Nottingham who comes up with the plan to trap Robin, not Gisborne.  Then again, one gets the feeling that Gisborne would just be happier picking on women and unarmed peasants than confronting a talented swordsman.  Rathbone is so beautifully subtle in his portrayal that Gisborne's true character is just a hint rather than outright cringing.  Were he too obviously a coward, John's regard for him would be laughable.  This way, the audience understands Gisborne's nature.  John can only suspect (as he does when Gisborne and the Sheriff return from their forest meal with Robin), but it's not anything John can prove.

On the good guy side of the equation, we have the always wonderful Alan Hale as Little John.  With his hearty laugh and amiable manner, Hale is the perfect John Little.  His best (and most famous scene) is the "duel" with Robin on the tree bridge.  It's a thing of beauty to watch Little John take Robin down a peg.  Robin seems to always have this air of invincibility; Little John lets him know that even for the best fighter, there is always someone a little better.  

Similarly,  Eugene Pallette as Friar Tuck is another no-nonsense character, with nerves of steel. Overweight, years older, and a supposed man of peace, Friar Tuck confronts the Merry Men even when outnumbered, and fights boldly in all battles.  He has brains but is a compassionate man of the cloth.  Pallette, with his impressive voice and physique, make Tuck a memorable character.  

Finally, Una O'Connor as Bess, is another gutsy character.  Watch her in the ambush scene: her eyes fire when she believes her lady is in danger, and she is not afraid to verbally confront her attackers! Unlike Gisborne, she is more than willing to go toe-to-toe with any of Robin's men.  Yet, she is immediately attracted to Much (Herbert Mundin), and flirts with him like a teenager.  Her loyalty and devotion to Marian make her fearless; she risks all to save her lady, even when it is clear she will be killed if caught.  

I'll leave you with a trailer from the film.  Next time, we'll return to our usual discussion.