Tyrone's on Trial

Ruta Lee, who appeared in the small role of Diana in Witness for the Prosecution (1957) spoke about her appearance in the film during the TCM Cruise.  Ms. Lee got the part when Arthur Hornblow, Jr. saw her at a Frank Sinatra night club appearance.  Hornblow approached her, and asked her to do a screen test; after which Marlene Dietrich (Christine Vole) insisted that her hair color be changed (so Ms. Lee became a brunette for the film).

Sir Wilfrid Robarts (Charles Laughton) has just returned home from hospital, with his nurse Miss Plimsoll (Elsa Lanchester) in tow, when he is approached by solicitor Mayhew (Henry Daniell) to possibly take on the defense of Leonard Vole (Tyrone Power) who is about to be arrested for the murder of Emily Jane French (Norma Varden), a wealthy widow who Vole had befriended.  Sir Wilfred finally agrees to take on the case (over the objections of Miss Plimsoll), as he is convinced of Vole's innocence, and the barrister he intended to recommend is not (John Williams as Brogan-Moore).  Complications ensue in the form of Vole's wife, Christine.  Is she really trying to help her husband, or is she using the murder as a means of getting rid of him for good?

I've seen this film dozens of times on television; I always appreciated the humor that floats through this very serious story.  But, seeing it with an audience really impressed upon me how FUNNY it really is - especially the interplay between Charles Laughton and (his wife in real life) Elsa Lanchester, who acts as straight woman for his bon mots.  For example, when Miss Plimsoll checks Sir Wilfred's thermos (to verify no brandy is present), he counters her with "If you were a woman, Miss Plimsoll, I would strike you."  And when she informs him that she was engaged to a lawyer but he died, he responds, "He certainly was a lucky lawyer." But the humor would not work if the audience didn't sense the affection between Laughton and Lanchester, and they easily give you the sense (even before the ending of the film) that these two are now a team.

Based on a short story by Agatha Christie, Witness for the Prosecution was adapted by Ms. Christie as a play which opened on the West End (London) in 1953. David Horne starred as Sir Wilfred and Derek Blomfield appeared as Leonard Vole.  When the play moved to Broadway, Francis L. Sullivan took on the role of Sir Wilfred, with Gene Lyons as Vole.  The character of Miss Plimsoll does not exist in the stage version.

Only one member of the Broadway cast reprised her role in the film - Una O'Connor as Janet McKenzie, housekeeper to the murder victim.  Born in Ireland in 1880, Ms. O'Connor started her career on the stage, in both Ireland and England.  In 1911, she appeared in her first Broadway play (The Playboy of the Western World), and by 1929, she was appearing in films, first in the UK and then in Hollywood.  She's perhaps best remembered as Maid Marian's lady-in-waiting, Bess in The Adventures of Robin Hood, and as Reginald Gardiner's housekeeper in Christmas in Connecticut.    But, even while doing films, she still managed to squeeze in the theatre - she appeared in 11 Broadway plays and 64 films, and ventured into television in the 1950s.  She was 77 when she appeared in this film, and when it wrapped, she retired.  She died two years later.

This was also Tyrone Power's final film appearance. According to these TCM articles, Power was not the first choice for Leonard Vole - William Holden was.  Also considered were Gene Kelly, Kirk Douglas, Glenn Ford, Jack Lemmon, and Roger Moore.  Power, who had at first turned down the role, finally accepted; with this role came the part of Solomon in Solomon and Sheba, which Power started shooting on September 15th, 1958.  But on November 15th, after shooting a dueling sequence, Power complained of arm and chest pain.  Despite being rushed to the hospital, he died of a massive heart attack.

Ava Gardner and Rita Hayworth were also considered for the role of Christine, and while Gardner very much wanted to do it, Billy Wilder wanted his friend Marlene Dietrich in the lead.  Without giving anything away (in case you've not seen it), it has often been said that Dietrich lost out on an Oscar nomination because of the secrecy about the film's ending. 

Finally, there is Charles Laughton.  Laughton was nominated for an Oscar for this role, but lost to Alec Guinness in The Bridge on the River Kwai.  Certainly, a notable performance, but my vote goes to Laughton.  A consummate actor, an impressive director (he directed once - the magnificent Night of the Hunter, and Robert Mitchum once claimed Laughton was his favorite director), Laughton won the Oscar once - for his role in The Private Life of Henry VIII (1934), and was nominated twice more - for this and for The Mutiny on the Bounty.  His performance here is layered and substantial.  He's funny, he's businesslike, he's subtle, he's passionate. All in all, his performance is special. 

These  notes from the AFI catalog go into some detail about the changes to the script, including, interestingly, the film's end.  The film got excellent reviews, as is evidenced by this New York Times review, and the AFI named it #6 in its list of Top 10 Courtroom Dramas.  All in all, this is an excellent film, only enhanced by being able to learn some of its history firsthand.

We'll close with this scene, in which Christine Vole is interviewed by Sir Wilfred: two actors at the top of their game.  Unlike her husband in an earlier scene, Christine takes no nonsense in her examination:


This posting is part of the Oscar Snubs Blogathon.

Robert Meets a Ghost

When the ancestral home of the de Canterville's is sequestered for use by the U.S. Army, the heiress, Lady Jessica de Canterville (Margaret O'Brien) meets an American decendent of the family Cuffy Williams (Robert Young). They also meet the resident ghost, Sir Simon de Canterville (Charles Laughton) who was condemned to walk the halls of the house until a descendant performs an act of bravery. Could Cuffy be the one to free The Canterville Ghost (1944)?

As part of the 10th Anniversary celebration for the Classic Movie Blog Association, we're featuring film-related anniversaries. Now 75 years old, The Canterville Ghost is also part of the memorials for the Second World War and D-Day (it was released in August, just two months after the invasion).

Let's begin by mentioning that the screenplay, adapted from an Oscar Wilde short story of the same name, has only marginal similarity to its inspiration. This is very much a World War II tale - there is no need for a descendant to perform an act of bravery for Sir Simon in Wilde's version. For one thing, Sir Simon's crime in Wilde's story is far more deserving of his horrible fate - in an unjustified fit of jealousy, he murders his innocent wife. In the film version, Sir Simon runs away from an opponent in a duel - even Sir Simon's adversary thinks his punishment horrific. Because the victim of his crime in the Wilde novella was a woman, Sir Simon must be saved by a woman: "you must weep for me for my sins, because I have no tears, and pray with me for my soul, because I have no faith, and then, if you have always been sweet, and good, and gentle, the Angel of Death will have mercy on me." (The Canterville Ghost by Oscar Wilde). The idea of courage under fire was deemed more meaningful in the midst of the war.

As we saw in Journey for Margaret (1942), the chemistry between Margaret O'Brien and Robert Young is outstanding. He's also faced with the unenviable task of playing a coward as his country (and the viewers of the film) face an horrific war. It cannot have been easy to play a man who begins the film running from danger, but Mr. Young takes on the task. He makes Cuffy even more the hero, because the audience is aware that he is truly afraid. (Mr. Young remained in Hollywood during World War II. He participated in war bond rallies and worked with the local civil defense.)

Equally enjoyable are the scenes between Charles Laughton and Ms. O'Brien. He was "enchanted" by Ms. O'Brien (TCM article) and their affection shows. It's been said that Mr. Laughton wanted children, however his wife, Elsa Lanchester, was either not willing or unable to have children (she admitted to at least two abortions). Mr. Laughton was allegedly quite receptive to interactions with youngsters - in fact, his only work as a director, The Night of the Hunter (1955), focused on two children. 

We were especially takien with the dancing sequence in which a young soldier asks Lady Jessica to dance. As the child is unfamiliar with swing dancing,  the soldier does all the steps for her. Ms. O'Brien really gets into the routine - even when she is unable to do something, she turns control over to her partner. It's a lot of fun to watch.

The film also demonstrates the skills of a number of excellent character performers: Una O'Connor (Mrs. Umney) is good as Lady Jessica's nanny. William Gargan (Sargent Benson) has just the right amount of military demeanor for a man who has literally just seen a ghost. Peter Lawford (Anthony de Canterville) dons a blonde wig that we suspect he stole from June Allyson to play Sir Simon's brother. Reginald Owen (Lord Canterville) is autocratic as a man who values courage over the life of his son.

The film was originally to be directed by Norman McLeod, but Charles Laughton was concerned with Mr. McLeod prior experiences with broad comedy (he was the director on two Marx Brothers and one W.C. Fields films), and requested that he be replaced. Jules Dassin stepped in, and he and Mr. Laughton got on swimmingly. As this was one of Mr. Dassin's earliest feature films, Mr. Laughton provided advice in private, which the director found helpful.

There have been numerous adaptions of  The Canterville Ghost. An early television broadcast (September 1949) starred Wendy Barrie and Edward Ashley. The following year, Robert Montgomery Presents Your Lucky Strike Theatre (November 1950) had a version with Cecil Parker and Margaret O'Brien. In April of 1951, the Du Mont network aired a show with Lois Hall and Reginald Sheffield. May 1953 saw  Ziv TV show the story with John Qualen and Connie Marshall. It was made into a musical in November of 1966 - again on television - with  Michael Redgrave, Douglas Fairbanks, Jr. and Peter Noone (of Herman's Hermits fame), John Gielgud and Andrea Marcovicci were in a 1986 television film, and Patrick Steward and Neve Campbell tackled the parts in 1996. (AFI catalog). A Film Comment article from 2018 calls this version "the strangest one of all," but we agree with them that it is "definitely charming." Here's a trailer:


This post is part of The Anniversary Blogathon hosted by The Classic Movie Blog Association - celebrating it's 10th Year. Happy anniversary, fellow members! Please visit the website to read the other posts that are part of this celebration.

George Finds a Body

Actress Mona Harrison (Adele Jergens) is expecting a package from costume designer Hector Rose. The package that arrives, C.O.D., which should have contained her Oscar ceremony dress, instead contains the body of Mr. Rose. Panicked, Mona calls reporter Joe Medford (George Brent), to make the body go away. But Joe has other ideas - after calling a photographer - and the police, Joe begins to investigate the murder, in hopes of a big scoop. But he has a slight problem in the form of Rosemary Durant (Joan Blondell), his competition on a rival newspaper. Our film this week is The Corpse Came C.O.D. (1947)

We have here yet another film that wants to be The Thin Man, but isn't.  George Brent and Joan Blondell just don't have the chemistry required to make that happen. Excellent actors both, they just don't gel the way Myrna Loy and William Powell do; their's is a unique chemistry that just is not found in this film. Ms. Blondell and Mr. Brent were better matched in Miss Pinkerton, though that was more her film (this is centered on Joe). Ms. Blondell was not the first choice for Rosemary - Veronica Lake was considered for the role. (AFI Catalog)

That being said, The Corpse Came C.O.D. is not a bad movie. It could stand some editing (it is 87 minutes long. It wouldn't have hurt had it lost about 7-10 minutes). A running gag in which Ms. Blondell ends up locked in a closet goes on for way too long, and much of the slapstick is really unnecessary. There are also a number of missing transitions; for example, early in the film, Joe confesses to a colleague his deep love for Mona, yet by the middle of the film, he's discussing marriage to Rosemary. There's almost a whiplash effect when he says it. He's like Romeo - in love with Fair Rosamund, and two seconds later, passionate about Juliet. But Romeo has an excuse - he's only 16!

All that aside, you have a pretty good mystery story. The  motives are well designed, and the murderer is a surprise, without being completely from left-field. The story is based on a novel by Jimmy Starr, who wrote three Joe Medford novels in total (Hardboiled in Hollywood By David E. Wilt). We wondered if the studio was looking for another series, and it just didn't pan out. If you can ignore some of the silliness, and just concentrate on the mystery, you've got a pretty good whodunit.

Jim Bannon, who plays Detective Mark Wilson was best known as a Western actor, particularly in the role of Red Ryder.  By the 1950s, he had transitioned to television, but didn't really find a good venue. So, in the 1960s, he moved to Arizona, where he worked as a radio announcer (his career prior to moving into acting) and as host of an afternoon TV show.  He was married for 12 years to Bea Benaderet (they divorced in 1950); the couple had two children, including Jack Bannon, who you may remember from Lou Grant. Mr. Bannon, senior died in 1984 of emphysema, at the age of 73.

The opening sequences of the film, with stock footage of Hollywood and images of the various gossip columnists of the day was very entertaining, as were the nightclub scenes. While this isn't a great film, it has some moments, and if you happen to run into it, it might be worth a bit of your time.

Ronald Has Amnesia

The first World War is ending, but for John Smith (Ronald Colman), it finished prematurely. Wounded in battle, he was discovered by the enemy, and eventually sent back to his country in an exchange. John will never return to the war - he has lost his memory, doesn't know who he is or where he came from, and is virtually unable to speak. But he desperately wants to leave the hospital and resume some kind of normal life. So, when an opportunity presents itself, he walks out of the hospital, and is befriended by Music Hall performer Paula Ridgeway (Greer Garson). We'll be discussing Random Harvest (1942) this week.

While we endeavor to keep spoilers to a minimum, Random Harvest has so many twists and turns that it is next to impossible to not reveal something in any discussion of the film. So, if you've never seen it before, you might want to watch it before reading our discussion. Or at least be aware that a number of important plot points occur and characters are introduced because of surprise changes in the storyline.

The movie is based on the novel of the same name by James Hilton, the author of Lost Horizon (that highly successful 1937 film featured Ronald Colman) and Goodbye, Mr. Chips (the film that in 1939 introduced Greer Garson to American audiences). The book is significantly longer than the film, and has a narrative voice that does not appear in the film. And one of the surprises that appears early in the film is saved for the final page of the book. Otherwise, the screenplay is faithful to the book.

Ronald Colman (while a bit old for the character) is absolutely amazing. He really has to play three characters in the film: the shell-shocked John Smith, the loving Smithy, and the aristocratic Charles Rainier. While I'm not fond of the scene in which Dr. Jonathan Benet (Philip Dorn) bring Mr. and Mrs. Lloyd (Charles Waldron and Elisabeth Risdon), the parents of a missing soldier, in to see if John might be their son, Colman gives it just the right level of hopefulness. It also establishes John's desperate need to leave the asylum - without a family to go to, it seems likely that he will molder in the hospital until his will to fight is gone. Mr. Colman was nominated for an Oscar for his performance - he lost to James Cagney in Yankee Doodle Dandy - as well as by the New York Film Critics. As two recent pictures had not done well - Lucky Partners (1940) and My Life with Caroline (1941) - this film (along with Talk of the Town (1942) put Mr. Colman back on top of the box office. (TCM article)

Greer Garson is radiant as Paula; like Mr. Colman, she too has to go through several "personalities," though not as drastic as his. With her warm smile and easy grace, it's no wonder that Smithy trusts her instantly. That he could ever forget about her is perhaps the only puzzle of the movie (though we are not at all stunned that even Dr. Benet is in love with her). Ms Garson gets an opportunity to sing in this film (wearing a the shortest kilt on record!). She does an impressive job, and imitates Sir Harry Lauder to boot in the "She's My Daisy" number.  Ms. Garson was not nominated for an Oscar for this role, but it's not all that surprising given that she WON that year for her impressive work in Mrs. Miniver.

Susan Peters, as Rainier's step-niece Kitty, does an excellent job in a role for which Donna Reed was initially considered (AFI catalog). She has to age from approximately 15 to 25, and also make us understand that her attraction to Charles is more than a schoolgirl crush. She achieves this ultimately when she decides they are not destined for each other. Her sympathy for Charles, combined with her understanding of her own needs as a woman endear her to the viewer. Ms. Peters was nominated for the Supporting Actress Oscar (she lost to Teresa Wright in Mrs. Miniver), and she won the Supporting Actress award from the National Board of Review.

Ms. Peters had a sadly short career, appearing in only 24 films and television shows (much of her early work is uncredited). Three years after the release of Random Harvest, Ms. Peters was out hunting with her husband, Richard Quine and some of their friends. She reached down to pick up a rifle; it discharged into her stomach, the bullet logging in her spine. Though MGM supported her through her hospitalization, the realization that she was wheelchair-bound impelled them to pay out her contract. She did work after that, but rarely. Her most notable roles were in The Sign of the Ram (1948), in which she was the villain, and a television series Martinsville, U.S.A. as a lawyer (years before Raymond Burr was a hit as a wheelchair-bound detective in Ironside). She was also able to get some stage work - Tennessee Williams notably altered The Glass Menagerie to accommodate her injury. However, with her marriage ended (it has been said that she divorced her husband because she didn't want to hinder him), she became more and more depressed. She died at age 31, from starvation and dehydration.

The supporting cast, all in very brief roles is impressive: Una O'Connor as the Tobacconist, Henry Travers as Dr. Sims, Rhys Williams as Sam, Reginald Owen as "Biffer", Margaret Wycherly as Mrs. Deventer, Alan Napier as Julian, and Arthur Shields as the Chemist. Having such impressive talent as support for the leads adds immeasurably to the viewing experience.

Though it was not nominated for its cinematography, it should have been. The film makes you believe that it is in color. Some of it is dialogue - discussions of Paula's hair being the "color of a copper penny" and blue beads being the color of her eyes help, but the pink/white tree in front of their house, the warm browns of Biffer's pub, and the lush greenery of the Smith's little town make you forget you are watching a black and white film. It's exquisite work.

Pauline Kael's antipathy towards the film in later years (she said she preferred Carol Burnett's 1973 spoof "Rancid Harvest" because "it was shorter.") nonwithstanding, Random Harvest was a huge hit, earning $4.5 million and breaking attendance records at New York's Radio City Music Hall. It is today #36 on AFI's 100 Years, 100 Passions, and in his tribute to Greer Garson, was cited by Keith Carradine as being his favorite of her films. It was nominated for seven Oscars (including Picture, Director, Screenplay, Black and White Set Direction, and Score).  Mr. Colman and Mr. Garson would reprise their roles twice for the Lux Radio Theatre, in January, 1944 and April 1948.

Random Harvest is a real treat, and one that you will revisit over and over again. Yes, it is a melodrama, but WHAT a melodrama, with performances par excellence. We'll leave you with the film's trailer:

Norma is Bedridden

Based on the 1930 play by Rudolf Besier (which premiered on Broadway in 1931 with Katherine Cornell and Brian Aherne in the lead roles), Barretts of Wimpole Street (1934) tells the story behind the courtship and marriage of Elizabeth Barrett and Robert Browning.  The Barrett family live in a large house in London with their father, Edward Moulton-Barrett (Charles Laughton).  The six brothers and three sisters have been forbidden to marry by their father, who rules the home with an iron hand.  Elizabeth, the eldest child (Norma Shearer) and a highly regarded poet, is his darling; that she is bedridden, and therefore quietly dependent upon him is no small part of his affection. The arrival of poet Robert Browning (Fredric March) at Wimpole Street, who comes to discuss her poetry, but leaves totally enamored of her, changes the dynamic between father and daughter, as Elizabeth begins to get well, and to envision a life outside the environs of Wimpole Street.

History according to Hollywood is a fascinating thing, and this film is ripe for comparison to the actual facts.  For the most part, the story is a quite accurate portrayal of the courtship between Elizabeth Barrett and Robert Browning.  The large Barrett family did all live together in Wimpole Street, and were forbidden marriage by their domineering father.  Elizabeth was the first to wed (and her elopement actually put some stress on her relationship with her brothers); she was immediately disowned by her father. Henrietta (Maureen O'Sullivan) was romantically involved with Captain Surtees Cook (Ralph Forbes); they ultimately married and had three children.  Elizabeth's brother Alfred also married before his father's death; both he and Henrietta were disinherited. (See The Brownings' Correspondence)   Elizabeth did seem to recover some of her health after meeting Robert Browning, and Mr. Barrett did forbid Elizabeth to go to Italy for her health. In 1846, Elizabeth and Robert eloped to St. Marylebone Church with Elizabeth's maid, Wilson (Una O'Connor) in attendance; within the week, they left for Italy, where they remained for the rest of Elizabeth's life. In 1849, Elizabeth gave birth to her only son, Robert "Pen" Browning (she suffered four miscarriages). Elizabeth died at age 55 in 1861.  After her death, Robert returned to England with Pen; they moved to a residence close to Anabel Barrett (Katharine Alexander), who acted as a surrogate mother to Pen and a confidant to Robert.  Robert would live until 1889, age 77. (The Poetry Foundation)

Charles Laughton, as the Barrett patriarch is impressive.  Though only three years older than Ms. Shearer, he sears the screen with his overbearing and frightening presence.  Laughton is not afraid to make Mr. Barrett a monster. In fact, when he was told by producer Irving Thalberg that, thanks to the censors, the film would need to play down the incest angle of Barrett's affection for his eldest daughter, Laughton objected, telling Thalberg that "...they can't censor the gleam in my eye."  (TCM article).

Allegedly, Fredric March was disappointed with his performance, feeling that director Sidney Franklin was more interested in the character of Elizabeth, and that his performance suffered by comparison. March felt his performance was too over-the-top, and while he is quite passionate and exuberant, we really felt it worked. Browning was 6 years younger than Elizabeth; March's performance emphasizes that age gap, and also transmits the idea of someone who really could transfer his strength into the body of a sick woman.  We found him to be delightful and even the New York Times in their review was rather complimentary.

It's only thanks to Mr. Thalberg that Ms. Shearer agreed to play Elizabeth - she was unsure of taking on a role so closely linked to Katherine Cornell (though Ms. Cornell was not interested in appearing in films - she would eventually do ONE - she appeared in Stage Door Canteen during the second World War.) But she is lovely in the role; she was nominated for an Oscar for the performance (she lost to Claudette Colbert in It Happened One Night). The film was also nominated for a Best Picture Oscar (also losing to It Happened One Night). Marion Davies was originally set to star (William Randolph Hearst yearned for his lady to play more serious parts). However, Ms. Davies bowed out (after a conversation with Ms. Shearer).  Ms. Davies was much happier in her comedies and was not comfortable with appearing in such a serious part (AFI Catalog). 

Una O'Connor  as Wilson is wonderful. Ms. O'Connor plays the part more as a surrogate mother to the ailing Elizabeth, and less as her servant.  With a walk that makes her almost appear to glide across the screen, and her stubborn determination to protect her charge, Ms. O'Connor is a delight.

We were somewhat less enthralled with Marion Clayton as Barrett cousin Bella Hedley and Ian Wolfe as her fiance Harry Bevan.  Their odd speech patterns (she with a little girl lisp and he with an affected upper class tone) just seemed pointless. We kept wanting them to just shut up and go away. (Bella does serve a purpose to the overall story; Harry, not so much).

The costumes, as designed by Adrian, are magnificent, especially Elizabeth's fur ensemble at the end of the film.  The play was primarily set in Elizabeth's sitting room, and the film really does very little to extend it from that location (we do outside once with Henrietta, and to Browning's home with Wilson. The rest of the film is set in the Barrett house, and is Elizabeth's perspective) .  Despite that, the film is entertaining and not in the least claustrophobic. 

The success of the play and this film led to it being remade at least 10 times for radio, film and television.  In 1946, Lux Radio Theatre broadcast a version starring Loretta Young and Brian Aherne - Mr. Aherne reprising his stage performance as Robert Browning.  In 1950, Helen Hayes starred as Elizabeth on television's Prudential Family Playhouse.  Another television production followed in 1955 as part of the Front Row Center series, this time starring Geraldine Fitzgerald as Ba. The Producers' Showcase series in 1956 scored a coup, convincing Katherine Cornell to reprise her Broadway role.  There were also two film versions: one in 1957, with Jennifer Jones; and a second in 1982, with Jane Lapotaire and Jeremy Brett.  

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

Kay's Daughter Wants to Sing

Kay Francis returned to Warner Brothers in 1942 for Always in My Heart.  Kay plays Marjorie Scott, the mother of Victoria (Gloria Warren) and Martin (Frankie Thomas).  They live in a small coastal town of Santa Rita, California with their housekeeper Angie (Una O'Connor) and her little granddaughter Booley (Diana (Patti) Hale).  Marjorie (or Mudge, as her children call her) also has a suitor, Philip Ames (Sidney Blackmer), who is not above bribing Victoria and Marty to help him convince Marjorie to marry him.  But, unbeknownst to the children and Philip, Marjorie's heart lies elsewhere - with her husband, MacKenzie Scott (Walter Huston), who's been in prison for over ten years.

We really wanted to like this film, but in the long run, it was pretty hard to do so.  It's a waste of the wonderful Kay and Walter Huston (who we previously saw together in Storm at Daybreak).  The film doesn't really know what it wants to be: comedy? drama? musical?  It does know that it wants to find the next Deanna Durbin in Gloria Warren.  As you can see from the ad below, even though Ms. Francis and Mr. Huston are the stars, it is Ms. Warren on whom the ad focuses.  This was the first of her five films (between 1942 and 1947), and she is, quite frankly, not well served.  To be sure, she has a magnificent operatic voice, but this film gives her nothing with which to shine.  Even the title song (more on that later) is done in a way that just makes it a bore.  Add a peripatetic plot, and you have a bit of a mess.

This New York Times review comments that "Miss Warren is . . .a bit mature for her reported fifteen years" and she does appear much older than 15.  But she was actually 16 when the film was released.  Obviously, her mature singing voice doesn't help one believe that she is only 15, but a mature voice never hurt Deanna Durbin.  What Ms. Warren lacked, it seems, were scripts.   The films she made are not remembered, and while she is pleasant enough, the public just didn't didn't take to her.  The director also places emphasis on the operatic quality of her voice, during a period of time when The Big Bands were soaring in popularity.  The one popular song she is given, Always in My Heart, is arranged with a very operatic style and probably didn't help much.  The song was nominated for an Oscar (it lost to White Christmas.  What wouldn't lose to White Christmas?)  Later, it was covered by, among others, Dean Martin.

According to this  TCM article, Kay Francis appeared in the film at Walter Huston's suggestion.  This was their fourth film together.  They do work well (especially considering they aren't given a whole lot of screen time, nor much to work with when they are on screen).  The film minimizes so many issues surrounding the adults - they are reluctant to tell us why Mac is in jail (we don't find out til the last 1/2 hour).  And why are there no pictures of him around the home? Sure, the children think he is dead, but no photographs to remember him by? And the kids never ask? It's an odd piece of writing.  Mr. Huston, however, does get to sing. He had previously appeared in the musical Knickerbocher Holiday (1938-1939) on Broadway, and had a pleasant singing voice and style (see this AFI Catalog article for more information). 

This was also the screen debut of Diana (Patti) Hale, who had almost as brief a career as Ms. Warren.  She was in five films, her last being Thunderhead - Son of Flicka (she had also appeared in the same part in 1943's My Friend Flicka) in 1945.  She returned to television in 1954 in an episode of Meet Corliss Archer, and then left the business.

Sidney Blackmer gets the thankless job of playing Philip, a bore and a stereotype.  Philip is a jerk, who uses his money to get around his beau's children.  He's a bit of a bully, and you spend most of the movie waiting for him to twirl a non-existent mustache as he ships the children far away from their beloved Mudge.  An excellent actor, with a remarkable speaking voice, Mr. Blackmer began his career in the silent era (in 1914) and continued acting in film and television until 1971.   See him as Seth Lord in High Society (1956) or This is My Affair (1937) as Teddy Roosevelt.

We'll leave you with this scene of Gloria Warren singing. Sorry we can't be more enthusiastic about the film, but do enjoy her lovely voice.

Dr. Kay

 As I've mentioned before in this blog, I have a personal fondness for films about women doctors, so I was very pleased that the film my group selected for this week is Mary Stevens, M.D. (1933).  Kay Francis is Mary Stevens.  We meet her as she and her best friend, Don Andrews (Lyle Talbot) conclude their internships and open an office together, with Mary's devoted friend - and nurse Glenda (Glenda Farrell) in tow.  It's rough going at first - Mary, as a woman, finds it hard to recruit patients.  But, just as things start to improve, Don decides that he'll be better off married to Lois Rising (Thelma Todd), the daughter of a powerful politician.  And, while Mary now has a thriving practice, she loves Don and he is now, seemingly, out of reach.

The pre-code elements in this film are fairly simple: Don and Mary have an adulterous relationship,  and Mary has a baby out of wedlock.  There's even a brief hint at abortion (Mary refuses to "do something" about her pregnancy, since she'd recently advised a patient to "go through with the thing" and now she is "going to live up to [her] own advice!"  My fellow blogger at Pre-code.com also provides a nice overview of the film (though be warned - there are spoilers).  But Mary's integrity as a physician and as a human being are never in question.  She is a good, dedicated doctor, who just happens to fall in love with a very wrong man.

We loved Kay Francis as Mary Stevens.  Sure, she's got nicer clothing than any struggling physician should have.  Regardless, she presents a picture of a woman who is competent and who KNOWS she is competent.  Despite her love for Don, she won't brook medical sloppiness, and when she realizes that his drinking is destroying his ability as a doctor, she breaks all ties with him.

Lyle Talbot also does a good job in portraying someone with real ethical issues.  Talbot has the ability to switch from likeable to reprehensible with very little effort, a real asset with Don.  And he needs to do it in such a way that the audience will root for him when Mary and he meet years later.  We talked about Mr. Talbot at length in our review of A Lost Lady.  He is equally good here, but in a very different part.

Poor Glenda Farrell gets very little to do here, except be supportive to Kay.  She is seldom out of her nurse's uniform, and doesn't even have a last name.  But she makes the most with what she is given, making Nurse Glenda memorable. With 116 film and television credits, Glenda Farrell's career extended from an uncredited role in 1928 to 1970.  She excelled at comedy, and could do zany and/or dumb characters with her eyes closed.  Frequently paired with Joan Blondell (they would do 9 films together), Ms. Farrell really broke out when she first appeared as intrepid reporter Torchy Blane in Smart Blonde (1937).  She would play the part 6 more times   Lola Lane played Torchy once in 1938's Torchy Blane in Panama when Warner Brothers decided they wanted a new Torchy - it didn't work out, and Ms. Farrell appeared again in the role.  Jane Wyman would conclude the film series with Torchy Blane...Playing with Dynamite (1939) when Ms. Farrell left Warners to head back to New York and Broadway.  Between 1929 and 1970, Ms. Farrell appeared in 12 Broadway plays, including Forty Carats (her part went to Binnie Barnes in the film version), as well as appearances in many television shows.  While appearing in the Broadway play Separate Rooms (1941), Ms. Farrell met Dr. Henry Ross (he was treating her sprained ankle at the time).  They married, and were together until her death of lung cancer in 1971.

Another actress with a minuscule part is Thelma Todd, who only has a few scenes as Don Andrews' wife Lois.  We see her briefly prior to their marriage, then again when Lois' father forbids her from divorcing him.  Todd had started her career in silent films, but talkies gave her the opportunity to show off her comedic talents, often teamed with ZaSu Pitts in a series of short films about two hapless women (patterned after Laurel and Hardy) named Thelma and ZaSu (surprise!).  But Todd is perhaps known because of her mysterious death at age 29; she was found in her car, dead, in what the coroner called a suicide from carbon monoxide poisoning.  The truth behind her death has been debated for decades.  Did she die at her own hand, or was she the victim of a murder? In 2012, William Donati published The Life and Death of Thelma Todd, which revisited the investigation.

Two major incidents happen towards the end of the film that bear some mention.  Dr. Stevens is called in to treat a child with infantile paralysis.  She needs a serum.  Really?  Infantile paralysis - or polio - was not treatable in the 1930s, and the only "serum" currently available are the polio vaccines, discovered by Jonas Salk and by Albert Sabin in the 1950s.   The other incident revolves around Mary's depression at the end of the film.  As Don tries to bring her back to herself, it is her career that he uses as a motivator, not their pending marriage.  That, combined with a final scene that is described in this TCM article are, for me, the most interesting aspects of this film on the role of women in medicine.

This New York Times review points out the excellent work of Una O'Connor in her small part as the mother of two sick children.  All in all, it's a positive review, and we agree and highly recommend it.  We leave you with a trailer.

Next week, we'll look at another Kay Francis film in which she portrays a doctor.

Barbara Cooks

I haven't been to a double feature in a lot of year, and I miss it.  So, it was a pleasure to attend the Fathom Event which featured two Christmas films.  I've already discussed the first feature in an earlier post.  Christmas in Connecticut (1945) was feature two.  Barbara Stanwyck stars as Elizabeth Lane, the popular author of a cooking column in a national magazine.  She's an imaginative writer, who shares wonderful recipes and household hints, speaking at length about her life in Connecticut with her loving husband and baby.  There's only one little problem.  She isn't married, has no children, lives in a small New York City apartment, and she can't cook.  At all.  Her recipes come from her adored Uncle Felix Bassenak (S. Z. Sakall), the owner of a popular restaurant which Elizabeth helped to fund at start-up.  Her editor Dudley Beecham (Robert Shayne) is well aware of her deception, but the magazine owner Alexander Yardley (Sydney Greenstreet) is not.  And he's a stickler for the truth.

The action starts just before Christmas, and a young sailor, Jefferson Jones (Dennis Morgan) is hospitalized, after spending 18 days on a raft, with little food and water.  His nurse, Mary Lee (Joyce Compton), is eager to get a husband, and Jeff (or "Jeffy-boy" as she calls him) seems like a prime candidate.  To encourage a yearning for family in Jeff (who claims to have no family roots), she contacts Mr. Yardley (she once nursed his granddaughter), and asks if Jeff can spend the holiday with his favorite author, Elizabeth Lane.  To save her and Beecham's jobs, Elizabeth consents to marry John Sloan (Reginald Gardiner), who has a home in Connecticut where she can host Jeff - and Mr. Yardley, who's decided to tag along.  Hijinks, as they say, ensue.

In the various Barbara Stanwyck films we've discussed thus far, we've not had a chance to look at her comedies.  She was a brilliant comedienne, but didn't always get the chance to demonstrate her remarkable timing. Interestingly, this film is only one year after the role that she is probably most remembered for - Phyllis Dietrichson in Double Indemnity (1944); definitely NOT a comic part.  Ben Mankiewicz, in the introduction to Christmas in Connecticut, informed us that Ms. Stanwyck was not the first choice for the role of Elizabeth Lane - Bette Davis was (this is, after all, a Warner Brothers film, and Davis was under contract). But Ms. Davis declined, and Ms. Stanwyck, who had already shown her comedic abilities in The Lady Eve and Ball of Fire, was hired.

The film was released two days after the Japanese surrender, but (since it was filmed while the war was in progress), the military and the war are very much in the forefront of the story.  Jeff is at a military hospital when Mary Lee contacts Mr. Yardley; Yardley sees hosting a war hero as a civic duty (and good publicity for his magazines) and there is an implication at the end of the movie that Jeff will be returning to active service in the Pacific (where he was when his ship was destroyed).  War efforts abound in the film - even the dance which Elizabeth and Jeff attend is more a war bond function than a Christmas party.  This doesn't detract from the humor, but it is a note in the background of the film.  This TCM article briefly discusses the film's positive reception (though the New York Times did NOT like it very much).  As a side note, I discovered that, when it was released in New York City (at the Rialto) it was on a double bill with a Lon Chaney, Jr. horror film: The Frozen Ghost!

Wonderful character actors abound in the film. Una O'Connor as Sloane's housekeeper, Norah is very funny.  Sidney Greenstreet as Yardley is also amusing, in his always gruff way.  But the film is really stolen by S.Z. "Cuddles" Sakall, primarily because of the way he reacts with both Greenstreet and O'Connor.  His love for and loyalty to Elizabeth is ever-present. His tacit dislike of Sloane is always evident.   He methodically finds ways to prevent the wedding of Elizabeth and Sloane, making him all the more endearing. He is the film's Cupid, trying to make sure his beloved Elizabeth finds the right man.

I'll close with a clip.  It's probably the most famous scene in the film, in which Elizabeth Lane tries to flip a flapjack.  Stanwyck, as always, is priceless.

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.

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.