Clark Rides the Night Bus

When Ellie Andrews (Claudette Colbert) literally jumps ship to join her new husband King Westley (Jameson Thomas) - over her father's vehement objections - hell breaks loose. Alexander Andrews (Walter Connolly) hires every detective he can find to search for Ellie, but she has other ideas. She boards the night bus to New York City to reach Westley. Unfortunately, Ellie has no idea of how to be on the lam; she is befriended by reporter Peter Warne (Clark Gable) who plans on using her story to get back in good graces with his editor. Our film is It Happened One Night (1936).

Victoria Riskin provided an introduction to this film, which was part of the Fay Wray/Robert Riskin Retrospective at the AFI Silver Theatre.  Mr. Riskin collaborated with Frank Capra on the film -  Mr. Capra read the story Night Bus by Samuel Hopkins Adams, which was published in Cosmopolitan, and approached Mr. Riskin about adapting it for the screen (Fay Wray and Robert Riskin: A Hollywood Memoir by Victoria Riskin); they pitched it to Harry Cohn at Columbia.

Myrna Loy, Miriam Hopkins, Constance Bennett and Margaret Sullavan were all approached to play Ellie. Finally, Claudette Colbert (who was not enthusiastic) consented to do the part, contingent upon a hefty salary. Similarly, Robert Montgomery was requested for the part of Peter, but Louis B. Mayer decided to send Clark Gable instead; Mayer resented Gable's increased salary demands and decided four weeks at a Poverty Row studio was fit punishment (AFI Catalog).  By the film's conclusion, no one was particularly thrilled with the result - except the audiences!

Claudette Colbert is excellent as Ellie. It's a difficult part - Ellie needs to be snooty enough to be believable as a spoiled brat, but warm enough to attract Peter's attentions from the start. Ms. Colbert had not wanted to work with Frank Capra again (there had been some animosity on the 1927 film For the Love of Mike) and she was unwilling to show her legs for the now-famous hitchhiking scene. However, when Mr. Capra brought in a model to be "the leg," Ms. Colbert said, "get her out of here, I'll do it -- that's not my leg!" and did the scene that has become synonymous with the film (TCM article). She left the film convince it was "the worst picture in the world," but by 1982, when Frank Capra received the AFI Lifetime Achievement award, she was much more enthusiastic. (You can see her speech here).

While Mr. Gable had worn a mustache in other films, the reaction to his appearance in It Happened One Night convinced him that he should keep it permanently (Clark Gable: A Biography by Warren G. Harris). He also began wearing a trenchcoat as a lucky charm. Mr. Gable gives Peter Warne just enough arrogance to stand up to Ellie, but he's also warm and gentle. There's a scene in which a woman faints on the bus - Peter's ambivalence in wanting to help her, but knowing that he hasn't very much money, makes you warm to the character. Gable also has the unique ability to play comedy without being silly. Watch him undress in a scene that could have been ridiculous - with him doing it, it's a masterpiece.

The film is replete with some very impressive character performances. Roscoe Karns is decidedly slimy as Oscar Shapeley, the lecherous traveling salesman.  Alan Hale seems friendly and innocuous as Danker, the driver who picks up our hitchhikers (but he's not). And finally, there is Walter Connolly as Ellie's beleaguered father, a man who only wants the best for his only child, but isn't always very good at letting her know that.

It Happened One Night became the first comedy to win an Oscar, and the first film to win Oscars in the five major categories: Picture, Actor, Actress, Director and Writing (Robert Osborne commentary).  It became the model for a subset of the screwball comedy genre (See: The Runaway Bride: Hollywood Romantic Comedy of the 1930's by Elizabeth Kendall). It spawned two remakes (both musicals): Eve Knew Her Apples (1945) with Ann Miller, and You Can't Run Away from It (1956) with June Allyson. It appears on multiple AFI lists: #46 on 100 Years, 100 Movies (Anniversary Edition) and #36 on the original list; #8 on 100 Years, 100 Laughs; and #38 on 100 Years, 100 Passions. In 1993, it was added to the National Film Registry.

If you've never seen this excellent film, treat yourself and find a copy. In the meantime, we'll leave you with the scene that nearly bankrupted the men's undershirt industry:

Kay Cruises

After escaping from San Francisco following a murder conviction, Dan Hardesty (William Powell) is arrested in Hong Kong by Steve Burke (Warren Hymer), a police officer tasked with returning Dan to the U.S. for execution. Dan is determined to escape from the ship during the voyage home, but a complication arises in the form of Joan Ames (Kay Francis), a pleasure cruiser to whom he is immediately attracted. But there is a further complication - Joan is dying, and this cruise is, for her, a One Way Passage (1932)

This is perhaps one of Kay Francis' best dramatic roles. She sympathetic as a woman who has little time to live, and has decided to live a shorter, more interesting life, rather than just sit in bed and wait for the inevitable. Ms. Francis, without any backstory, provides that history to the audience simply with her demeanor. We know that Joan has heretofore lived the life an an invalid; informed that the end is now truly near, she has one last chance to experience the world before she leaves it. It seems the film was a favorite of Ms. Francis' as well - it was one that she would regularly show to her beaus to acquaint them with her work (Kay Francis: I Can't Wait to be Forgotten: Her Life on Film and Stage by Scott O'Brien).  

Equally excellent is William Powell as a decent man about to be executed for murder. Dan Hardesty has killed a man, though according to his friend Skippy (Frank McHugh), the victim "needed killing". We get no more information than that. But, we know that Dan is ethical - while attempting to escape from Steve, he plunges them both into the water. But when he realizes that Steve cannot swim, he puts off his escape attempt to rescue his captor. With that simple gesture, we know all we need to know about the integrity of Dan.

In their sixth film together, Ms. Francis and Mr. Powell are a dynamic team. Their chemistry is palpable, and their camaraderie is apparent.  This film would prove to be their biggest box-office hit, yet it was also their last film together (TCM article). Powell would soon leave Warner Brothers for MGM, and The Thin Man series, while Ms. Francis remained at Warners. If you are interested in some of their other films together, start with Jewel Robbery (1932) - their interplay is remarkable.

One Way Passage also has the advantage of co-starring the remarkable Aline MacMahon (Barrel House Betty aka Countess Berilhaus) in the cast. As a con artist who starts off using her wiles to distract Steve from Dan, but ends up falling in love with Steve, she's terrific. Ms. MacMahon is an actress who makes everyone around her look better. As a result, Warren Hymer (who is usually, to my mind, an uninteresting actor) shines as Steve. He becomes more than just the dumb cop he usually plays.  In his book Mothers, Mammies and Old Maids: Twenty-Five Character Actresses of Golden Age Hollywood, Axel Nissen says that "because she didn't look like anyone [Aline MacMahon] could play everyone" and that is certainly the case here. You believe that she is could be a countess, even though you know almost immediately that she is not. Ms. MacMahon can play anything or anyone.  For a brief bio on this wonderful actress, visit our post on Heroes for Sale (another film in which she basically stole every scene).

The screenplay for One Way Passage won the Oscar for Best Writing - Original Story in 1933 for Walter Lord. Director Tay Garnett allegedly felt he deserved credit for some of the writing, which he did not receive (AFI catalog).  The costuming by Orry-Kelly is lovely; he was also tasked with making Kay Francis look ill, which he succeeds in doing by giving her lovely, flowing gowns that hint at frailty. Mr. Kelly would return to costume the 1940 remake, 'Til We Meet Again, this time starring George Brent and Merle Oberon as the doomed lovers.  Also returning for the remake - Frank McHugh!.

Surprisingly, the New York Times review by Mordaunt Hall actually praised the film, stating that it "offers quite a satisfactory entertainment. It has an original idea and the characters stand out..." We would be much more effusive in our praise, but regardless, this is a film for fans of both Ms. Francis and Mr. Powell.  We'll leave you with a brief scene - the meeting of  Joan and Dan:

Carole Takes the Train

Some time ago, we did a Carole Lombard film festival. There were a few movies we didn't get to see because we couldn't lay hands on them, but we finally got a copy of 1934's Twentieth Century, a delightful comedy in which Carole trades tirades with John Barrymore. Would be actress Mildred Plotka (Carole Lombard) comes under the spell of producer/director Oscar Jaffe (John Barrymore).  Their professional partnership results in a name change (to Lily Garland) for Mildred, as well as fame and fortune to them both UNTIL yet another fight results in a rift that drives Oscar into near bankruptcy. His solution - woo Lily back into his latest play, featuring her as Mary Magdalene.  As they say, high-jinx ensue.

This is a very funny movie, but it is LOUD.  Neither Oscar nor Lily believe in talking - they scream, screech, yell, bellow, cry, but they NEVER just talk. Much of this movie resembles an old fashioned farce, with lots of noise, slamming doors and just generally weird characters. Some good character actors here - including Walter Connolly as the much put-upon Oliver Webb (Oscar's favorite hobby is firing poor Oliver), as well as Oscar's other aide Owen O'Malley played with gusto by Roscoe Karns,  Of course, one really does want to see Barrymore and Lombard together, as they duel endlessly.  And then, there is Oscar's oft repeated line "I close the iron door..."  Here's a little montage of the action:

Our thanks to Carole and Co. blog for mentioning our efforts here. It was just a coincidence that we had another Carole movie in the pipeline.  We hope to find a few more.  In the meantime, we also hope for some other fine performances down the road.