Tom Loves a Bad Girl

E. V. "Marsh" Marshall (Tom Tryon) and his lover Paulie Nevins (Carol Ohmart) meet clandestinely in a wooded area outside Los Angeles. As they are leaving, they notice three men meeting. The couple sneak over to listen and hear the men discussing the robbery of a local home - the takeway will be $350,000 worth of jewelry. Paulie decides that, if they steal the loot from the thieves, it's not a crime, and they can use the money to run away from her husband - and his boss - Ralph Nevins (James Gregory). Our film is The Scarlet Hour (1956).

Noir City DC aired this rarely seen film. It's an interesting plot, but it suffers from a big problem - the three lead actors (Tom Tryon, Carol Ohmart and Jody Lawrance) can't act. Thankfully, there are other people in the film who can, so one ends up ignoring the leads, and concentrating on James Gregory and Elaine Stritch (Phyllis Rycker). 

 Directed by Michael Curtiz, the film "introduces" Tryon, Ohmart, Lawrance (and Ms. Stritch, though not listed as such). For Mr. Tryon, Ms. Ohmart, and Ms. Stritch, this was their first film. All had appeared on television; Ms. Lawrance however had appeared in several film prior to The Scarlet Hour, including a starring role in Ten Tall Men (1951) with Burt Lancaster.  Nevertheless, Paramount and Mr. Curtiz wanted to emphasize the "new faces" in the film; thus, they were "introduced" (AFI Catalog). 

Tom Tryon is just adequate as a man who can't make up his mind about much of anything. Mr. Tryon expresses everything - concern, fear, love, anguish - by furrowing his brow. It's not really convincing. He'd started on Broadway as a waiter in Wish You Were Here (the play starred Jack Cassidy). He continued worked in films and on TV, most famously on The Cardinal (1963), a film he disliked because of the abuse he suffered at the hands of Otto Preminger (The World and Its Double: The Life and Work of Otto Preminger by Chris Fujiwara). Preminger fired Mr. Tyron in front of his parents (later rehiring him). The abuse continued when Tryon was cast in Preminger's In Harm's Way (1965). It ceased when Kirk Douglas walked off the set in protest. Mr. Tryon eventually left acting and became a successful novelist. He died in 1991 of stomach cancer at the age of 65. 

Both Ms. Ohmart and Ms. Lawrance (Kathy Stevens) are simply okay as the Bad and Good Girls. Ms. Ohmart is rather flat; emotions rarely cross her face. Ms. Lawrance, on the other hand, simply oozes sympathy as she emotes in Mr. Tryon's direction. What's not clear is why she would be in love with this banal man who doesn't look in her direction.

The actor who makes this film worth watching is the always wonderful Elaine Stritch (Phyllis Rycker), playing Paulie's best friend from their days as B girls. While Paulie has married rich - and miserably - Phyllis has married a plumber, Tom (Billy Gray) and they are ecstatically happy. Ms. Stritch bubbles with joy, and does it all without being saccharine.
Elaine Stritch began her Broadway career in 1946; she would eventually be nominated for four Tony Awards (for Bus Stop, Sail Away, Company, and A Delicate Balance), and won Emmy Awards for appearances in Law and Order and for her one-woman show Elaine Stritch: At Liberty (which also won a Tony for Best Special Theatrical Event as well as two Drama Desk Awards). She didn't make many films, but was a frequent guest star on a number of television shows (including a one-year stint as Ruth Sherwood in My Sister Eileen). Much of her life is outlined, along with her stellar Broadway career, in At Liberty and a follow-up Elaine Stritch: Shoot Me. She retired to Michigan in 2013, and died there the following year.  You can see her performing the song "Zip" from Pal Joey in her one-woman show, as well as discussing her adventures getting to the previews.
James Gregory (Ralph Nevins) is back to playing a villain in the piece, and he is a doozy. Yes, his wife is a philanderer, but the film implies that she started fooling around when she discovered he was an abusive brute. It's really hard to have any sympathy for the character; were our lovers nicer people, we might end up rooting for them. 

Watch for E. G. Marshall  and Edward Binns as police officers Lt. Jennings and Sgt. Allen. And we get the pleasure of Nat "King" Cole singing "Never Let Me Go" in a nightclub. And though IMDB lists Billy Gray as Phyllis' husband, it's not the right Billy Gray (the star of Father Knows Best was only 18 years old when the film was released); our Billy was well into his 40s.

You can read more about the film in this article from the Film Noir Foundation, which it says of  "brings that arc of the noir cycle to a close—an arc that wouldn’t be reopened until Body Heat." If you are a noir fan, it's worth a viewing - and if you've never seen Elaine Stritch, watch to see her take control of the action. In the meantime, here is a trailer:

Joan Bakes

There's been a murder. Monte Beragon (Zachary Scott), the second husband of Mildred Pierce (1945) is dead, and the prime suspect is Mildred's (Joan Crawford) ex-husband, Bert (Bruce Bennett). As Mildred relates the story of her life with Bert, Monte, and her children, we realize there are several suspects to the crime, including Bert's former partner Wally Fay (Jack Carson) and the Pierce's oldest daughter, Veda (Ann Blyth).

Our group discussed Mildred Pierce back in 2011;  we decided it was time for a re-watch.  The first reaction to the film this time was remembering how much we all despised Veda Pierce.  Ann Blyth plays her part with such supreme self-obsession that it's hard to find anything good about Veda. Even when she is telling her doting mother how much she loves her, Ms. Blyth has a look in her eyes that displays her manipulative behavior.  It's a remarkable performance, and one which Ms. Blyth does not couch by trying to make the audience like her (Shirley Temple was considered for the part - Director Michael Curtiz was not sympathetic).   Ms. Blyth did an interview at the TCM Film Festival (you can see her discussion of this film begins beginning at 5:14).

Jack Carson  was, at one point, considered for the role of Monte Beragon (AFI catalog). It's hard to imagine him as a loafer - Wally Fay is constantly in motion, always looking for a deal, always on the make for one woman or another. Zachary Scott, on the other hand seems tailor-made for the passive Monte, a man who's never lifted a finger to do anything besides play polo and take other people's money.  The casting of Mr. Scott is an easy choice - it's helpful that he looks rather caddish, and since we know from the start that Monte is the victim, the audience can just wait to find out what he did that resulted in his murder (Zachary Scott: Hollywood's Sophisticated Cad by Ronald L. Davis).

Zachary Scott was born in Austin, TX; he left his home town at age 19 - he dropped out of college and worked on a freighter bound for London, where he worked in repertory theatre for nearly two years. Once back in Texas, he continued to appear on the stage; there, he was noticed by Alfred Lunt. Small parts on Broadway followed (he appeared in 6 Broadway productions throughout his career), which led to a contract from Warner Brothers. He never really evolved much beyond supporting roles in films like Shadow on the Wall (1950) and Flamingo Road (1949); his major starring role was in The Southerner (1945). By the 1950s, he was moving to television like many of his colleagues. Married twice (he had a child with each wife), he died in 1965 at the age of 51 of a brain tumor. 

If there is one person who comes close to stealing the film from Joan Crawford, it's Eve Arden (Ida Corwin). Besides bringing some humor to this melodramatic story, she the voice of truth She has what is perhaps the best line in the film (certainly the best comment on Veda): "Personally, Veda's convinced me that alligators have the right idea. They eat their young."  Ms. Arden received her only Oscar nomination (with Ann Blyth) in the Supporting Actress category (they both lost to Anne Revere in National Velvet).  She would later say that she never expected the part to bring her a nomination (TCM articles). 

Though it was nominated for 6 Oscars, the only winner that night was Joan Crawford, who wasn't even the first choice for the role - Michael Curtiz wanted Barbara Stanwyck. Ms Crawford wasn't at the ceremony, however. Fearing she would not win (see Ann Blyth's TCM tribute to Joan Crawford), Ms. Crawford took to her bed and called in sick. However, when she was notified that she had indeed won the award, she invited the press into her bedroom, where she prettily sat in her sickbed with the Oscar in her hand. 

 

The story was remade as a television miniseries in 2011 starring Kate Winslet.  With more time (five one-hour episodes), and no production code to deal with, the miniseries is closer in plot to James M. Cain's original book.  Carol Burnett did one of her memorable spoofs, "Mildred Fierce" (shoulder pads and all!). The film was added to the National Film Registry in 1996.

If you've never seen this production, treat yourself and find a copy - it's one of Ms. Crawford's finest performances (allegedly, her favorite role), and a film noir par excellence. Here's a trailer to whet your appetite.

Claude, The Genial Host

Secretary Rosalyn White (Barbara Woodall) is alone in the home of her employer, radio personality and "teller of strange tales" Victor Grandison (Claude Rains). She is on the phone with Grandison’s niece Althea Keene (Audrey Totter). Althea hears a scream on the phone, then nothing; Althea then calmly goes back to her party. The next day, Rosalyn’s body is found hanging from the chandelier; the police deem it a suicide. Some months later, Althea hosts a party for Victor’s birthday. A surprise arrival is Steven Francis Howard (Michael North) who claims to be the husband of Grandison’s other niece, the recently deceased Matilda Frazier (Joan Caulfield).  Welcome to the world of The Unsuspected (1947).

As part of the Spring 2019 Femme/Homme Fatales of Film Noir blogathon, we're going to take a look at this interesting film - which is worth watching for the Homme Fatale of the piece - the always intriguing Claude Rains (with a quick nod to one of the queens of noir, Audrey Totter!).

Any opportunity to see Claude Rains in action is one that should not be missed. He does not disappoint as the seemingly sympathetic uncle in this intricate mystery story. It's easy to believe him as a radio host who tells tales of murder and mayhem - likely scaring the hell out of the listening audience (his butler tells Grandison that he doesn't listen to the radio show. It's too scary. Grandison's response - "Do you like your job?"). Mr. Rains gets second billing to Joan Caulfield, however he is almost the whole show. When he is on the screen, I dare you to be able to take your eyes off him. With his imperious presence, one is never quite sure where he stands with regards to his two nieces. We believe he is a loving uncle to Matilda, but there is always that doubt - the true mark of a homme fatal! While Orson Welles was originally sought for Grandison (TCM article), and Robert Alda was announced as the film's lead (AFI catalog), the film is enhanced by Mr. Rains presence.

Audrey Totter is excellent as the malevolent Althea. Ms. Totter makes Althea a mystery - we know she is up to something, but the question is "what?".  She also seems to get most of the best lines. It's always a pleasure to see Ms. Totter; she rarely got star billing in A pictures, but she adds gravitas to any film in which she appears. Like Mr. Rains, she was not the first person considered for the part of Althea - Ava Gardner, Jennifer Jones and Joan Fontaine were all in the running. While we can't agree that Ms. Jones was suitable, Joan Fontaine could have been interesting in the part (take a look at her as Christabel Caine in Born to Be Bad (1950) to see her as a down and dirty noir fatale).

Not without her own great bon mots is Constance Bennett as Jane Moynihan, the director on Grandison's radio program: "After slaving all day over a hot typewriter, there's nothing I like better than a swan dive into a bottle of bourbon." Ms. Bennett is excellent as the one person in Victor's cadre who isn't afraid of him or after something.

This was Fred Clark's (Police Detective Richard Donovan) first film role, and he is good as a policeman with a brain. He was 28 when he joined the Navy in 1942; when he left the services (he had transferred to the Army), he started his acting career. He made a number of excellent films, including Ride a Pink Horse (1947) and White Heat (1949), but he his primary success was on television. He died in 1968, at the age of 54.

Dana Andrews was originally cast as Steve, but he wanted to part to be expanded; when that proved impossible, he withdrew from the production (as did his suggested co-star, Virginia Mayo) (Michael Curtiz: A Life in Film by Alan K. Rode). Actor Michael North was "introduced" in the film, but he'd actually appeared in 21 films and shorts, mostly under the name Ted North. We found him to be somewhat banal, but it does work for the film to keep him more in the background. The Unsuspected may have introduced him, but it was also his goodbye to moviemaking as a performer. He left acting to become an agent, representing clients such as Red Skelton and Amanda Blake.

Hurd Hatfield (Oliver Keane) and Joan Caulfield (Matilda Frazier) are underused in the film. Neither are particularly dynamic actors, and both fade out next to the talents of Mr. Rains, Ms. Totter, and Ms. Bennett.  Quite honestly, you forget they are there after awhile. 

This The New York Times review was not particularly enthusiastic, (though they liked Claude Rains and Michael North). In more recent years, the film has been discussed for the atmospheric camera work achieved by director Michael Curtiz and cinematographer Woody Bredell. (Film Noir Reader 4 by Alain Silver & James Ursini). Whether you watch it for the scenery, the acting, or the story, do consider giving this one a look. We'll leave you with the film's trailer:

   

This posting is part of the Classic Movie Blog Association's Spring 2019 Blogathon on Femme/Homme Fatales of Film Noir.

 

 

Dorothy's Getting Married

Louanne (Dorothy Mackaill) has finally hit the big time, only it's not the Bright Lights (1930) of Broadway. She's landed herself a rich husband - Emerson Fairchild (Philip Strange), the son in a wealthy - and scandalized - family. Louanne is leaving her longtime partner  Wally Dean (Frank Fay) behind, and he is supportive of her move. But things get difficult when Miguel Parada (Noah Beery) arrives. He tried to rape Louanne years before, and he is planning to try again.

Bright Lights is a film that really doesn't know what it wants to be - it has romance, mystery, nudity (in silhouette), rape, violence, murder, AND music! Interspersed throughout the film are musical number, most of them repetitive. There is, however, a unique musical interlude - a VERY strange song celebrating cannibalism. In spite of all of this, it's a short film - only 69 minutes (thank heaven!).

Dorothy Mackaill is wasted in this movie. She is so much better than the film. While she was part of the original casting, she was eventually elevated to star billing, with Frank Fay downgraded to co-star billing (AFI catalog). She does get to sing (she has a pleasant, throaty voice) and dance (in that rather all-legs style of the early 30s), but her plot-line is slim. She's trying to keep her fiance from running off, while still hinting to the audience that she has feelings for her co-star. She more or less succeeds, but I think the viewer would have wondered why she was wasting her time with either of them. (The film is briefly touched on in this New York Times article on Dorothy Mackaill's films).

Much of our discussion focused on Frank Fay. A highly-paid personality on the New York stage, Fay was lured to Hollywood with a tidy contract. It quickly became apparent that whatever talent he had did not translate to the screen. It also didn't help that he was a fairly despicable man - a racist who made his antisemitism well known. An oft-repeated story involves an altercation with Milton Berle. Fay was on stage at the Palace, and Mr. Berle was watching from the wings. When Fay shouted an ethnic slur in Berle's direction, Mr. Berle hit him with a stage brace. Sympathy was on Mr. Berle's side (The Comedians: Drunks, Thieves, Scoundrels, and the History of American Comedy by Kliph Nesteroff). But Mr. Fay had one ace - he was married to the up-and-coming Barbara Stanwyck, who was highly regarded and loved by all who worked with her. As Ms. Stanwyck's star rose, however, Fay's plummeted (It's been suggested that their marriage was the basis for A Star is Born (A Life of Barbara Stanwyck: Steel True 1907-1940 by Victoria Wilson)). Mr. Fay drank more heavily, became abusive to his wife, who finally left him when he threatened their child. He made a few movies in the 1940s, but his film career was essentially over. He would return to Broadway in 1944, when he starred as Elwood P. Dowd in the Broadway premiere of Harvey. (The film role would, of course, go to James Stewart. This January 8, 1945 issue of Life magazine featured an article about Fay's life.) But Harvey was pretty much the end for him. He died in 1961.

One reason to watch this film is to see a sound film featuring Noah Beery, Sr. The father of Noah Beery, Jr. (of The Rockford Files fame) and brother of Wallace Beery, Noah, Sr. had an extensive silent film career. He began his career in vaudeville. By 1915, when he ventured out to Hollywood, he had already appeared in one short; he proceeded to appear in over 200 films primarily in character parts. He was the original Sgt. Gonzalez in the 1920 The Mark of Zorro and Tabywana in Cecil B. DeMille's The Squaw Man (1918). When his son began a film career, Mr. Beery billed himself as Noah Beery, Sr. He was visiting his brother (for Wallace's birthday) in 1946 when he suffered a fatal heart attack - the brothers were planning a Lux Radio Theater broadcast of "Barnacle Bill" in which they would have appeared together.  You can hear a rehearsal tape here. 

Frank McHugh also appears as the newspaper reporter, Fish. The character is, for the most part, annoying, but his part is pivotal to the action. Also appearing in a bit part (as a photographer) is John Carradine. He's unbilled, so you have to look hard to see him.

A later of the release of the film would re-title it Adventure in Africa (probably because of the short incident with Parada. The new title makes absolutely no sense). It's a pretty awful movie (as was noted by my colleague at Pre-code.com in his review). There are just too many musical numbers and not enough a story. However, for a look at Noah Beery, Sr. and Frank Fay, this might be worth an hour of your time (you can always fast forward through the numbers).  We'll leave you with this clip from the film.

Olivia's a Farmer

The Civil War is over.  John Chandler (Alan Ladd) and his young son David (David Ladd) arrive at the small Illinois town of Aberdeen.  Once a soldier of the South, the widowed father needs help - his son is mute, the result of witnessing his mother's death in a fire.  John is trying to find a doctor - any doctor - who can help his boy regain his ability to speak.   Doctor Enos Davis (Cecil Kellaway) recommends a colleague at the Mayo Clinic, an expert in dealing with traumatic speech loss.  But before the Chandlers can head out, John is arrested after he crosses paths with the local town bully, Jeb Burleigh (Harry Dean Stanton) and his father Harry (Dean Jagger).  Thus begins The Proud Rebel (1958).

Some films don't seem to have become recognizable classics, and The Proud Rebel is one of them.  Our question is "WHY NOT??"  This is an excellent film that carefully treads a thin line between sympathy and mawkishness - a line it never crosses.  In many ways reminiscent of Shane and The Big Country, this is an outstanding film, which emphasizes the need for family.  The talent of the three leads: Olivia de Havilland (as Linnett Moore), Mr. Ladd, Sr. and Mr. Ladd, Jr.  are important reasons, though the excellent script is a prime factor.

Linnett Moore, as portrayed by Ms. de Havilland is a wonderful woman - she is strong, brave, and stubborn, but also kind, sympathetic and loving.  The film is a love story, but it concentrates on the love that blooms between Linnett and young David more than that of John and Linnett.  Certainly, there is a love story for the adults, but it comes from the desire for family and home more than one of passion.  It is a love story of deep commitment and common beliefs.  Nevertheless, it is a love that will withstand the ravages of time.

Alan Ladd plays John as a man still scarred by the death of his wife.  In Linnett he begins to find the cure for his pain, though his almost obsessive quest for a cure for his equally damaged child is a major barrier.  His obsession initially makes him emotionally unavailable; the image he carries of his wife (a photo he immediately unpacks when he moved into Linnett's ranch) seems to act as an emotional spur, reminding him of the need to find a doctor for David.

The film is full of counterpoints. There are the two family units - the caring relationship of Linnette, David and John, set in contrast to the cruelty of three Burleighs.  The Moore farm, with its simple, cozy atmosphere, can be compared to slovenly home of the Burleigh's. The photo of John and his wife that sits at his bedside will later echo a scene of  John posing with Linnett for a similar photo. 

The performance that really stands out in the film is that of David Ladd, who, at the age of 11 gives a genuine portrayal of this child in crisis.  The chemistry between him and his father is impressive, as is that between him and Ms. de Havilland.  After a notable acting career, David became a producer (like his older brother, Alan Jr).  He and Olivia de Havilland have remained friends since the movie; according to an introduction by Robert Osborne, they regularly speak on the phone. This New York Times review is especially complementary (and deservedly so) of David's work in the film.

Alan Ladd is perfect as the tormented father.  Ladd started in film, in a number of uncredited roles, in 1932, and continued being a face in the crowd and in small roles (including a role as a reporter in Citizen Kane), until his breakthrough performance in This Gun for Hire (1942).  Though he had a wonderful speaking voice (he was much more successful in radio during his early career), his height (he was either 5'6" or 5'7", depending upon the source) was a barrier to leading man roles.  His frequent co-star Veronica Lake was tiny (she was 5'1"), and his costar here, Ms. de Havilland was also not very tall (5'3"), but stories exist of Ladd being perched on a box, so he was taller than costars like Sophia Loren (5'9" Boy on a Dolphin).  But limiting discussion of Ladd's height is to ignore his talent.  In films like Shane, The Glass Key, and The Blue Dahlia he is magnificent - with his subdued demeanor and rumbling voice, he seems made for film noir and westerns.  He was married for 22 years to Sue Carol, who also acted as his agent; the marriage produced three children - David, Alan Jr, and Alana.  Ladd battled depression (his mother, herself a victim of depression, ended her own life), attempted suicide in 1962, and died of an accidental overdose (sleeping pills and alcohol.  Ladd suffered from chronic insomnia) in 1964.  Following his death, his final performance in The Carpetbaggers (he played Nevada Smith, a character later revisited by Steve McQueen) was released, to excellent box office.

Filmed in Utah, the scenery (and cinematography by Ted D. McCord) is fantastic (it should be noted that Utah looks nothing like Illinois!).  According to the AFI catalog, Adolph Menjou was to be in the film (probably in the role of  Harry Burleigh, the role ably enacted by Dean Jagger), but a torn ligament forced Menjou to withdraw from the production.  There was one star of the film who got special treatment - that was King, the border collie that portrayed David's pet, Lance.  According to this  TCM article, "King and his two canine stand-ins were deemed so important by the production team that they were given their own hotel room in one of Utah's finest motels right next to Ladd's and de Havilland's quarters." 

We'll end with the introduction of Linnett Moore. Ms. de Havilland is dynamite in the scene.  And let's take this opportunity to wish this amazing actress a happy 100th birthday (with a link to a recent write-up in Vanity Fair of her 1962 autobiography Every Frenchman Has One):

Bing and Danny Trim the Tree

We attended another Fantom Event - this time a screening of White Christmas (1954), starring Bing Crosby  and Danny Kaye, a film which certainly deserves a big screen viewing.  It's Christmas, 1944.  Captain Bob Wallis (Crosby) is saved from a falling building by Private Phil Davis (Kaye), a budding performer.  Reluctantly, Wallis consents to talk to Davis about a partnership after the war (Davis saved his life after all).  The partnership is a rousing success, with Wallis and Davis becoming major performers; Wallis even takes them into the producing arena - again, they strike gold.

Davis, however, would like a break.  Bob works 24/7 and expects Phil to do the same thing.  So, Phil decides it is time for Bob to marry - then maybe Phil will get a 45 minute break after the wedding.  So, when the pair meet the Haynes sisters, Betty (Rosemary Clooney) and Julie (Vera-Ellen), Phil and Julie begin a conspiracy to unite Bob and Betty, so they can both get some time off.  At Phil's urging, Wallis and Davis follow the girls to a small ski-lodge in Vermont, only to discover it is run by their old commander Major-General Thomas F. Waverly (Dean Jagger).  Of course, the General has a problem - it hasn't snowed at all, and General Waverly is going broke.  So, the boys concoct a plan to bring their entire theatrical troupe to New England, and use the show to publicize the inn.

By 1954, the motion picture industry was seeing television as a huge threat, in a way that radio had never been.  This film is interesting in that it shows us a television broadcast (and our heroes using TV to spread the word about General Waverly's difficulties).  But what is also intriguing is that we (sitting in the dark, in a theatre, seeing the film on a huge screen) watch others watching a television.  So, on this large, gloriously colorful VistaVision screen, we watch folks crowded around a small, black and white television.  It makes for a fascinating - and pointed - contrast.

 

My husband was interested in some of the military details from the prologue to the film.  We're told that the army is waiting for a battle to begin in Monte Cassino at Christmas of 1944.  However, the battle of Monte Cassino took place was over by May of 1944, and Allied troops safely installed in Rome.  It is more likely that the big battle would have been The Battle of the Bulge (which was December 1944 through January 1945), but since that would have conjured up more of a sense of loss among the viewers, it seems likely the writers brought up the name of a more successful campaign.

The dance numbers are also something worth noting, and this TCM article gives a hint as to why.  Originally, Fred Astaire was to reprise his partnership with Bing Crosby.  However, Astaire was not thrilled with the script, so he bowed out of the production.  Donald O'Connor was quickly substituted, but he became very ill and had to leave the production.  Paramount turned to Danny Kaye (who requested a huge paycheck - and got it).  As a result, some of the dance numbers feature neither of the stars.  Crosby never was a dancer, and while Kaye could dance (his ballroom number with Vera-Ellen is quite good), he would not have been able to keep up with Vera-Ellen in a tap number, so dancer John Brascia (as Joe) filled in.  Also, we have George Chakiris in two numbers (a little bit of a goof here - we see him as part of the Wallis and Davis troupe, then we see him in New York dancing with Rosemary Clooney).  Take a look at the photo above.  Many a young lady saw that pose, and hearts went aflutter.  Chakiris noted (in the interview that accompanied the film) that he became quite marketable as a result of that quick glimpse.

Also on hand are Mary Wickes as housekeeper (and resident troublemaker) Emma Allen, and a brief look at Carl "Alfalfa" Switzer.  He's the brother of the Haynes sisters, and served in the military with Wallis and Davis, who refer to him as Bennie, the Dog-Faced Boy.  The photo, of course, is not very flattering!  But the film is really all about the stars, and while the script is merely an excuse for musical numbers, they are such good numbers - with such excellent performers - one really doesn't care.

Let's end with some musical numbers.  Above, are Ms. Clooney and Ms. Ellen performing the "Sisters" number, with Ms. Clooney singing both roles (Trudy Stevens sang the rest of Vera-Ellen's songs).  The men did a reprise of the number (below).  Mr. Crosby, it seems, was somewhat uncomfortable with the performance, so Mr. Kaye began hitting him with his fan.  Crosby broke up and director Michael Curtiz kept in the impromptu performance.  It's great!  In fact, they both are, so treat yourself by taking a look.

Olivia Finds Gold

This week, we return to one of our favorites, the lovely Olivia de Havilland in the 1938 technicolor epic Gold is Where You Find It.  Olivia plays Serena Farris, the daughter of Colonel Ferris (Claude Rains). She is at odds with her wastrel brother, Lance (Tim Holt), who has no regard for the land, while she endeavors to build a fruit orchard on the farm. 

Enter Jared Whitney (George Brent), the new mining foreman at the Golden Moon Mining Company.  He shares Serena's love for the land, but at the same time, he is the person now responsible for its destruction.  He befriends Lance, loves Serena, and earns the enmity of the Colonel.

Set in California's Sacramento Valley, the story is both a romance between Serena and Jared as well as the more serious story of the effects of hydraulic mining on the environment.  The film vividly portrays the damage caused by high-pressure mining, and on the farmers who are trying to live and work in the midst of this destruction.  The opening is done in an almost documentary style, making its statements about mining even more powerful.  That much of the back-story - the mining itself, its consequences, and the lawsuits initiated by the farmers (specifically Edwards Woodruff v. North Bloomfield Mining and Gravel Company) increase the impact of the film. This chapter from the Public Policy Institute of California may be of interest to those of you who would like more information about this period of history.

Filmed in Technicolor, Gold is Where You Find It was likely the first western to use the process.  (It was also a test balloon for The Adventures of Robin Hood, an attempt to see the results of the process.  Interestingly, Michael Curtiz directed both films).  The special effects are tremendous - though today, we can spot the miniature work for what it is, in 1938 (and on a big screen), it must have been amazing. And if you want to see a really beautiful scene, watch the very last shot.  The technicolor vistas will take your breath away.

We've got some amazing performances here as well.  Let's start with the lovely Olivia.  Serena is only 17 years old when the film begins.  The character is well named.  Though she has a temper, there is a serenity about her when she works in her orchard.  She rather reminded us a bit of Candide, looking to create the best of all possible worlds in her small piece of land.

George Brent's Jared is a good man, in the best sense of the word.  He wants to do his job, and do it well, but he also understands and appreciates that his work is creating damage.  He wants to change it, but he is hamstrung by the greedy, careless men for whom he works.  He loves the land, and falls in love with Serena because she is so much a part of the land.

Margaret Lindsay (Rosanne Ferris), who is married to Colonel Ferris' dull and avaricious brother Ralph (John Litel) is literally a piece of work.  Flirtatious in the worst sense of the word, she has no love for anyone.  She has no interest in her niece and nephew. Then again, she apparently has no children herself; she's selfish and vain enough that children of any age are a burden.  We loved her line to Serena to "not call her Aunt, just Rosanne".  Heaven forbid anyone suspect she has an adult niece!!  The costuming of Serena and Rosanne give us more information.  Look at the lovely, simple country clothing, contrasted with Rosanne's citified, overdone gowns.  We learn a lot about the women from the way they are dressed.

Claude Rains as Colonel Ferris is, as always, amazing.  He is in the midst of a firestorm, with tensions between him and his brother and between him and his son.  Rains' attitude towards Brent is understandable; he sees him as stealing his daughter, corrupting his son, and destroying his farm.  Ultimately, Ferris is shows as a fair man; Rains lets us see the goodness in the man, even when we most dislike his actions.

Tim Holt gets very low billing in the film, but he treads a fine line in his portrayal of Lance.  And he succeeds admirably. He manages to show a young man who clearly has depth, but chooses not to always plumb it.

Finally, one of our favorite moments happened about midway through the film, when we meet Senator Hearst, whose son "Willie wants to be a journalist".  The senator is horrified - running a paper will never make a profit!

For an interesting analysis of the film, visit the article on the TCM website about the film.  Here is a trailer:

Peeping Kay

We return to visit our friend, Kay Francis in this wonderful little pre-code from 1933, The Keyhole.  Kay is a former dancer, Anne Brooks.  Now married to Schuyler Brooks (Henry Kolker), Anne is being blackmailed by her former dancing partner – and husband, Maurice (Monroe Owsley).  Maurice led Anne to believe they were divorced. Now that she is married to a wealthy, older man, he’s decided that she can be his meal ticket and provide him with a lifetime annuity.  Anne, of course, is having none of it.  She discusses the situation with her sister-in-law, who suggests heading to Havana, where Portia Brooks (Helen Ware) feels that she can use her pull to prevent Maurice (who is not American) from reentering the country. In the meantime, Schuyler has decided to have his wife followed by a private detective Neil Davis (George Brent), in the hopes of catching her at some indiscretion.

Monroe Owsley

This is a titillating little piece of pre-code fluff.  It’s wonderful to see George Brent in a somewhat questionable role – he is rather a gigolo; paid by his employers to sleep with their wives, in an attempt to get evidence against them. He still manages to make you like him.  And Kay is adorable as Anne.  She really is a good person; she is determined to be true to her husband, even though he doesn’t deserve it (even Portia is disgusted with him!). But she can't resist flirting with Neil. He's much to attractive to ignore.   We also get a shipboard romance, entwined with Anne attempting to outwit the slimy Maurice (Monroe Owsley is good at slimy). And Neil, totally confused by Anne's resistance to his charms.  

Here's the scene in which Maurice connives his way back into Anne's life:

What makes this a tad racy, of course, is knowing that Anne is not married to Schuyler, and watching her and her sister-in-law connive to keep the “marriage” together by getting rid of the legal husband.  There is also a little something at the ending which makes this a more dubious film for the post-code era, but we won't go into that here.

Next time, more Kay Francis. 

Olivia Goes to Sherwood Forest

This week, our discussion looks at the ever wonderful The Adventures of Robin Hood.  I have to admit that it is hard to add anything worthwhile to a discussion of this movie.  Oh, I'm willing to admit to some flaws - perhaps Errol's tights are a little to green and shiny; perhaps Sherwood Forest is a TAD too perfect, but still - has ANYONE ever approached a role with a more appropriate swagger than Flynn.  His introduction to our Ms. de Havilland is perfect: "Welcome to Sherwood, my Lady", issued with aplomb from a tree limb! And then there is Olivia - so beautiful, radiant even, as Maid Marian.  She is spunky, in all the best senses of the word, brave, and daring.  Here, she is put on trial for helping Robin's cause:



And then, there is the perfect character castings - the ever wonderful Claude Rains as Prince John. He is unctuous, supercilious, and all-together bad to the bone.  His perfect match in evil is provided by Basil Rathbone as Sir Guy of Gisbourne. His fencing scene with Flynn is magical - and it so delightful to remember that Rathbone was himself an excellent fencer; easily the match of anyone to whom he (almost always) lost to.  

Eugene Pallette as Friar Tuck is delightful (though I always seem to see him in The Mark of Zorro, bopping the enemy on the head as he mutters, in his gravel voice, "God forgive me"). And of course, let us not forget Alan Hale as Little John, and Una O'Connor as Marian's maid Bess.  This is an exceptional cast - a representation of the brilliant character casts available at Warner Brothers.

Tune in next time for another Olivia de Havilland movie. 

Olivia Rides the Wagon Train

This week, we're discussing Errol Flynn's first western, 1939's Dodge City. In it, Olivia plays Abbie Irving, a young woman who is forced to move to the godless Dodge City after the death of her father.  Unfortunately, she has to get there with her drunken brat of a brother (William Lundigan), who starts a cattle stampede with his gun-play, and ends up getting himself killed.  Of course, Abbie blames wagon master Wade Hatton (Flynn).  Wade meanwhile, enters Dodge City to find it being run by former adversary Jeff Surrett (Bruce Cabot), and after a horrible incident decides he is the one to bring law and order to Dodge.

This movie is full to the brim with wonderful character performances. We have the usual Flynn sidekick, Alan Hale as well as Guinn "Big Boy" Williams.  We have a rare character visit from the gorgeous Ann Sheridan (one wonders if Jack Warner was angry at her that week to give her such a small part), as well as the ever-wonderful Frank McHugh as newspaper publisher Joe Clemens. And the adorable Bobs Watson as Harry Cole, the reason that law comes to Dodge.  With a cast like this, (and these names are just the tip of the iceberg) can you really lose?

I have major problems with seeing Bruce Cabot in pretty much anything since I heard about his horrible actions to Errol Flynn later in their careers.  But one must admit he is truly loathsome here. Olivia is spunky, in all the best senses of the word, especially in the later portions of the movie (it is as though we get to watch Abbie grow up).  Here is one of their love scenes:

It is truly funny to see the screenwriters making an excuse for Flynn's presence in a Western (Wade is from Ireland, and has traveled the world).  Finally, we all adored Frank McHugh - he is funny and touching in this small, but important role. His performance in the film is well worth emphasizing.

Join us next week for another Olivia epic.