Barbra is Funny

As Ziegfeld Follies star Fanny Brice (Barbra Streisand) awaits the return of her husband Nick Arnstein (Omar Sharif) from an 18-month prison stay, she recalls her career as a Funny Girl (1968) and her introduction to the gambler who would become her husband.

When Funny Girl opened on Broadway in 1964, the star, Barbra Streisand had appeared in only one other play - the musical I Can Get It for You Wholesale.  She had, however, become well known to the public due to television appearances - including The Tonight Show and The Ed Sullivan Show. Funny Girl ran from 1964 to 1967 (Ms. Streisand was in the lead for the first year, after which she appeared in the West End production). Regardless, Hollywood did not want her - Anne Bancroft, Carol Burnett (TCM Trivia), and Shirley MacLaine (Tribeca News) were all considered for Fanny. It was the film's producer Ray Stark who wanted Streisand, despite Columbia Pictures fear that Ms. Streisand was not pretty enough. The result - an Academy Award win for Ms. Streisand, in the only tie for the Best Actress category in Oscar history (Ms. Streisand shared the award with Katharine Hepburn for The Lion in Winter). It's not a surprise - Ms. Streisand is amazing Fanny Brice, bringing just the right amount of humor and passion to this story of a career and a marriage. And while most of the songs in the film were done in the conventional way, William Wyler decided film the song "My Man" live, as Ms. Streisand was having some issues with the emotion required for the scene (TCM Behind the Camera). 

The story of Ms. Brice - a comedienne and singer from the early days of Broadway, was put together by her son-in-law, Ray Stark (Mr. Stark was married to Frances Arnstein). Not surprisingly, he took some liberties with his mother-in-law's life. For one thing, her rise to fame was not as meteoric as stated in the film - it took her years, starting at Keeney's (Frank Faylen) Theater on Fulton Street, then on tour in the chorus, to Burlesque, and then to the Ziegeld Follies. Her marriage to Nick Arnstein was fraught - both had been married before, Arnstein had already been in jail and would end up there again, and he was perfectly happy to live off his famous wife's money. Ms. Brice finally divorced him when she discovered his record of infidelities. The couple had two children, however son William Arnstein did not wish to be mentioned in the film. (Encyclopedia of Jewish Women)

 

Omar Sharif is appealing as Nicky - he's very sexy and the relationship between the couple in the first half of the film is delightful. But this is also the story of the end of a romance, and Mr. Sharif makes Nicky understandable as a man who loves his wife, but wants to stand on his own. He almost lost the part, however. There was much anger against him because he was an Egyptian national, add to that his romancing of a Jewish woman. However, William Wyler insisted that he be kept on. A romance flamed between Mr. Sharif and Ms. Streisand that surely added to their onscreen relationship, but probably ended her marriage to Elliot Gould. Before Mr. Sharif came into the production, David Janssen (fresh off The Fugitive) was being considered for Nicky.

Kay Medford  (Rose Brice) was nominated for an Oscar as Best Supporting Actress as Fanny's mother. It's a relatively small part, but an important one, as Rose is the one person to whom Fanny will listen, and as her marriage becomes strained, it is Rose to whom she turns. At some point, Rosalind Russell was being considered for the role ( AFI catalog). 

Anne Francis (Georgia James) appears briefly as a showgirl in the Ziegfeld Follies. By the second half of the movie, Georgia has disappeared (sadly). Ms. Francis was frustrated by her diminishing role in the film - she would blame it on Ms. Streisand, however as much as we enjoy seeing Ms. Francis, it must be pointed out this is the Fanny Brice story. Ms Francis sued to have her name removed from the credits (TCM article).

Walter Pidgeon has a more visible role as impresario Florenz Ziegfeld. As always, Mr. Pidgeon brings just the right amount of veritas to the part. His interplay with Ms. Streisand is spot on - especially the scenes when she is auditioning for a place in the Follies. 

 

Though her part is small, Mae Questel (Mrs. Strakosh) is adorable as Rose Brice's friend. The mother of Sadie (the married lady), Ms. Questel is the original yenta, busily trying to get a husband for Fanny. Ms. Questel is probably best remembered today as the voice of Betty Boop and Olive Oyl.

Many of the train sequences on the film were shot at the and Jersey City and Hoboken Train Stations, both beautiful old stations. Hoboken has seen its share of issues in recent years, including flooding from Superstorm Sandy and a train which crashed through a bumper block into the concourse (Wikipedia).   

While the New York Times review by Renata Adler was extremely negative, many other reviewers were more enthusiastic about the film (TCM Critics Corner). It would eventually wind up with 6 Oscar nominations (including Picture, Cinematography, Sound Mixing, Film Editing, Original Musical) and the win for Ms. Streisand. It was added to the Library of Congress National Film Registry in 2016 and is #16 on the AFI's 100 Years, 100 Musicals.

It was a treat to see this film again, and we heartily recommend it.  Here is the re-release trailer:

Walter Plays Prospero

The crew of an Earth starship arrives at Alair IV, to investigate a team of scientists who went there 20 years earlier to set up a colony. They've not been heard from since. Upon their arrive, the ship receives a message warning them away from the planet. They ignore the alarm, and land. They are greeted (if you can call it that) by Dr. Edward Morbius (Walter Pidgeon), the only survivor of the original colony - the others in the mission were wiped out by a mysterious force. Terrified that the carnage will begin again, Morbius advises Commander John Adams to leave the Forbidden Planet (1956). 

If you have never seen this film, you are missing one of the great science fiction films of all time. While MGM claimed there was no attempt on their part to use the plot of The Tempest  (Shakespeare Films: A Re-Evaluation of 100 Year of Adaptations by Peter E.S. Babiak) as the background to the movie, it is clearly Shakepeare's plot - the magician/scientist living on a deserted planet with his lovely and innocent only child; the helpful spirit - here a robot - who can make his own kind of magic; the interlopers who intrude on the magician's paradise; and finally, the evil presence that threatens the very existence of paradise. This was MGM's first venture into science-fiction; the film was so well-received on previews that the studio decided to release it as-is, rather than allow director and editor to iron out areas they felt were still rough (TCM article).

It's redundant to say that Walter Pidgeon is excellent as Dr. Morbius - when is he NOT excellent? Without his strong performance, this film could have deteriorated into one of the many mad scientist movies that dominated the 1950s. Walter Pidgeon gives the role gravitas.  He is genuinely concerned for the safety of the visiting space crew, but Dr. Morbius is also determined to keep this planet to himself - it has become his haven and the source of everything he needs for his work and his pleasure. On a side note, in a visit to St. Johns, Newfoundland last year, we found this tribute to the Canadian-born Mr. Pidgeon:

Anne Francis (Altaira Morbius) has long been one of my favorite actresses, primarily for her portrayal of the ace detective Honey West (a show that was canceled after one year - perhaps because it featured an independent woman who was perfectly capable of rescuing herself AND her colleague, Sam). Altaira is a very different character, but still is quite able. She designs her own clothing, runs her father's home, and has the ability to interact with the many animals on the planet. Altaira, however is naive - she is truly puzzled when Captain Adams harangues her about her clothing (it would have been nice if Adams instead berated his men for ogling the woman. Some things don't change). Ms. Francis walks a fine line in making Altaira innocent, but intelligent; she brings strength and determination to the role - as she would continue to do throughout her career.

For the many who grew up on Leslie Nielsen as a comic actor, this film provides the opportunity to see him as a leading man - with his tall good looks, he seemed destined to play the heart-throb. This was his film debut (AFI Catalog), and he is good as Adams, though the character comes off as a bit officious at times. One does think Altaira can do better for herself (once she gets to Earth).  

The character that steals the film is not, in fact, human. It's Robbie the Robot, voiced by Marvin Miller (the star of television's The Millionaire, and who also appeared in the film we recently reviewed, Deadline at Dawn (1946)), and acted by Frankie Darro. Robbie would end up having a long career - the following year, he appeared in The Invisible Boy. He moved to television, appearing in shows such as The Twilight Zone, The Man from U.N.C.L.E. (though only his head), and Lost in Space. Robbie was eventually sold at auction for over $5 million. 

Several actors who made their mark on television appear to good effect in the film. Earl Holliman (Cook) provides comic relief as he convinces Robbie to make whiskey for him. This was by no means his first film, and he would appear in a number of films in the 1950s and 1960s (he is quite wonderful in Trooper Hook the year after this film). He's probably best remembered today as Angie Dickinson's partner in Police Woman. Jack Kelly (Lt. Jerry Farman) had been appearing in films since 1939, mostly in small parts. He came to the public's attention as brother Bart in Maverick. Richard Anderson (Chief Quinn) started his movie career in 1947; he worked as a reliable character actor in film and television until he achieved fame as Oscar Goldman in The Six Million Dollar Man. Finally, Warren Stevens ( Lt. "Doc" Ostrow) is probably best known for Bracken's World, but he had a long career as a guest star (often the villain!) in many television shows.

While emphasizing its appeal to children, the New York Times review by Bosley Crowther was quite enthusiastic, encouraging the children to "extend an invitation to Mom and Dad to go along". The film was nominated for an Oscar for Best Visual Effects, and was added to the Library of Congress' National Film Registry in 2013. 

This is an essential film, especially if you are a fan of science fiction (or Shakespeare!), and we whole-hardheartedly recommend it. We'll leave you with a trailer:

Greer's Home for Children

After a whirlwind romance, Edna Kahly (Greer Garson) becomes engaged to Sam Gladney (Walter Pidgeon); Edna and her adopted sister Charlotte (Marsha Hunt) are planning a double wedding. But Charlotte's discovery that she is a foundling - and therefore illegitimate - changes everything. Her fiance's family rejects her, and while Alan (William Henry) reaffirms his love for her, Charlotte leaves the room and commits suicide. The horror of this will haunt Edna Gladney, as does the death of her only son.  Blossoms in the Dust (1941) is the story of the Edna Gladney's work in Texas to help foundlings such as her sister find loving and secure families.

Though we uniformly enjoyed this film, we have some issues with the script. First off, the opening implies that the film is going to be a romance, but the story takes a rapid about face within about 10 minutes.  And while we welcome stories with pep, at times Blossoms in the Dust moves almost too quickly. There are no real transitions as the action moves through the events of Edna's life. One minute we are in her Wisconsin home, seeing her reaction to a pistol shot, the next we are in Texas and it is Edna's first anniversary. We rather missed the depth that we felt some scenes really deserved. We place the blame on director Mervyn LeRoy; in the book, A Rose for Mrs. Miniver: The Life of Greer Garson by Michael Troyan, Marsha Hunt describes pleading for a few minutes of screen time prior to Charlotte's suicide: "Please shoot it my way, with the camera observing my emotions as I mount the stairs. It will make the episode clearer to the audience..." LeRoy refused, and shot only a brief view of Ms. Hunt's legs running up the stairs.  Too bad; Ms. Hunt is an actress who could have conveyed much in that momentary scene.

Likewise, the scenes following the death of Edna's son seem equally abrupt.  Partially, the quick transition demonstrates the futility of Edna's life to that point, but it does have an almost whiplash feel to it. Without Greer Garson's masterful handling of the role, Edna could have come across as trivial and unfeeling, but Ms. Garson is able to convey the depth of Edna's feelings in a short time. Even a brief nod of the head in a courtroom scene towards the end of the film tell us volumes about the character. Ms. Garson was not particularly enthusiastic about doing the film; she had reservations about working with so many scene stealing children (TCM article). Despite that, she was nominated for an Oscar for her performance (she lost to Joan Fontaine in Suspicion. It was another one of those tough years. Also nominated were Bette Davis in The Little Foxes; Olivia de Havilland in Hold Back the Dawn; and Barbara Stanwyck in Ball of Fire!)

The screenplay, written by Anita Loos, is a highly fictionalized account of the life of Edna Gladney. Ms. Gladney had no foundling sister; in fact, Ms. Gladney was illegitimate (her mother later married Mr. Kahly, and Edna was given his name). Nor did she have a small son who died (See this Wikipedia article on Edna Gladney). However, Ms. Gladney worked long and hard for many years to find homes for orphaned and illegitimate children, and lobbied for legislation that would remove information from Texas documents that labeled children as illegitimate.  She would also (after this movie) work to get adopted children the same rights as natural children. Ms. Gladney attended a special preview of the film, as well as its opening in Fort Worth. She was complimentary about the film (especially enjoying the Walter Pidgeon's portrayal of her late husband), and stating that the film "would stimulate interest in children and child placement agencies".  The Edna Gladney Center for Adoption was named in her honor.

We would have liked to have seen more of Walter Pidgeon, here in his first of nine pictures with Ms. Garson (AFI catalog) - as a result, she was called the "daytime Mrs. Pidgeon" on the MGM lot. Mr. Pidgeon portrays a good, kind, and understanding man, who loves his wife with all his heart.  The affection that the two had for each other in real life is apparent in their on screen relationship. According to Ms. Garson's biography, Mr. Pidgeon lightened the grind of work with his humor - he would try to make her laugh in serious scenes, and would joke about her perfume (she was, it seems, a great lover of scents).  It's possible she got her revenge by teasing him about his dancing - they had to build a platform on roller skates so that the dancers could whirl about them, as Mr. Pidgeon kept forgetting the choreography!

The film itself opened at Radio City Music Hall to a positive review in the New York Times positive review. Along with Ms. Garson, the film would be nominated for a total of 3 Oscars. It was also nominated for best film, and won the Oscar for best Art Direction (Cedric Gibbons and Urie McCleary, set decoration by Edwin B. Willis). It was broadcast on the Lux Radio Theatre in February of 1942 with Ms. Garson, Mr. Pidgeon and Felix Bressart (Dr. Max Bressler) reprising their roles.  

Blossoms in the Dust is well worth your viewing - we'll leave you with the trailer to the film.

Greer's Bad Marriage

Told in flashback after the death of Philip Bosinney (Robert Young), That Forsyte Woman (1949) introduces us to Irene Herenford Forsyte (Greer Garson).  Irene's husband, Soames Forsyte (Errol Flynn) decided he wanted Irene as a wife - she was beautiful and dignified, and Soames is a man who gets what he wants. So, despite the fact that she is honest and tells him she does not love him, Soames cajoles her that love will come and she consents. But love does not come, primarily because Irene feels controlled by Soames: he picks her clothing, tells her where to go and when, and who to meet. For this Man of Property, Irene is one of his treasured possessions - she is a fine piece of art that he has purchased and now displays with pride.  Irene's one joy is her relationship with her niece June (Janet Leigh), who is madly in love with architect Philip Bosinney. The problem - Irene is falling in love with Bosinney as well.

This is an excellent film with a great deal of nuance. The script, which is taken carefully from John Galsworthy's first novel in The Forsyte Saga, The Man of Property, deals only with the marriage of Soames and Irene (whereas the 1967 and 2001 BBC series covered The Man of Property (1906), Indian Summer of a Forsyte (1918), In Chancery (1920), Awakening (1920) and To Let (1921), and A Modern Comedy (1928)). The story of Irene and Soames' marriage is fraught with problems in the novel - Irene has an affair with Philip, and Soames rapes Irene - issues the film could only suggest (or raise the ire of the censors!). But the hints are there; it only takes a little imagination to understand exactly what is going on.

Errol Flynn was borrowed from Warner Brothers to play Young Jolyon Forsyte (the role that ultimately went to Walter Pidgeon). (In exchange, Jack Warner got William Powell for Life with Father (AFI catalog). Once at MGM, Flynn refused to play young Jolyon. He was then offered the role of Bosinney; again he refused. Flynn wanted to play Soames - a drastic change from his usual swashbuckling roles (TCM article).  MGM finally agreed, and Flynn gave an impressive performance as a man who is involved only with the financial value of everyone and everything in his life. Once finished with this film, he was back to Warners, again making westerns and swashbucklers. It's amusing that he ends up in the video of the MGM 25th Anniversary Lunch, chatting happily with Greer Garson. Jack Warner must have been furious!

Greer Garson is intriging as a woman who is torn between an unhappy marriage and financial security. Irene is down to her last cent - she can only survive teaching piano, and her only client is her landlady. Soames' campaign to win her (he enlists the help of the landlady) catches her at a low point in her life and she succumbs. Likewise, Philip catches her as she begins to doubt her decision to marry Soames; it seems that her love for Philip really is a remembrance of the love she lost many years before. She comments that Philip is much like that idealist and untidy young man. Irene is a woman who wants to be strong, but often lets herself be led, against her better judgement.

Philip, however, comes off as thoughtless, at the least, and insincere at most. He pursues June when he first meets her; likewise, he is hot on the heels of Irene after their first encounter. We felt that, once Irene accedes to his advances, he will fall in love with someone else. We found it difficult to believe Philip, much less sympathize with him, he is so flighty.

Janet Leigh is lovely as June. She plays a genuinely nice girl, who is blasted into anger by betrayal. The character certainly deserves better than Philip! Ms. Leigh literally burst into stardom after Norma Shearer saw her photo on her father's desk at the ski resort where he worked. Her first film, The Romance of Rosy Ridge (1947) starred her opposite MGM heartthrob Van Johnson, and she starred in a succession of films afterwards, including Little Women (1949), Holiday Affair (1949), Angels in the Outfield (1951), and Scaramouche (1952). But it was Psycho (1960) that most people remember today. Among my personal favorites is her performance in The Manchurian Candidate (1962). (In a recent discussion of the film, William Friedkin posited that Rosie is a double agent. I'm never going to watch that movie again in the same way!) Ms. Leigh was married 4 times, most famously to the father of her daughters Kelly and Jamie Lee, Tony Curtis (the marriage lasted 11 years). She wrote four books (two novels, a memoir, and a book about Psycho). By the 1960s, she was making frequent television appearances (including another of my favorite, the sadistic Miss Diketon in The Man from U.N.C.L.E. episode, The Concrete Overcoat Affair). She died in 2004, aged 77, three years after the death of her fourth husband, Robert Brandt - they had been married for 38 years.

This was the last filmed performance of Harry Davenport (Old Jolyon Forsyte), a remarkable character actor who is probably most remembered as Grandpa in Meet Me in St. Louis (1944) and Dr. Meade in Gone with the Wind (1939) [Two films would be released after this: Tell it to the Judge (1949) and Riding High (1950)]. The descendant of a long line of actors, Mr. Davenport began his career at the age of five (he was born in 1866). By 1894, he was appearing on Broadway. By 1934, he had appeared in 37 Broadway plays.  His film career began in 1913; he transitioned from silents to talkies, and spent much of his sound film career playing kindly grandfathers and professional men. In 1913, he co-founded (with Eddie Foy) the Actors' Equity Association. When his marriage to his first wife ended after three years, he married actress Phyllis Rankin - they were together for 33 years, until her death in 1934. They had three children together (Harry also had a daughter with his first wife, and Phyllis had a son - who would become the father of Arthur Rankin, Jr.). Mr. Davenport died of a heart attack in 1949, at the age of 83 - he was in the process of securing a new screen role when he died.

With exquisite costumes by Walter Plunkett (for the women) and Valles (for the men), lush technicolor photography by Joseph Ruttenberg, and art direction by Cedric Gibbons and Daniel Cathcart, this is a truly beautiful film. While the New York Times review was not kind to anyone but Ms. Garson, we enjoyed the film immensely. (It opened at Radio City Music Hall - definitely a prestige venue!). We'll leave you with the trailer, for a quick look at this lovely film.

Kay Sings?

Would-be actress Pamela Drake (Deanna Durbin) is eager to follow in the footsteps of her mother, noted actress and soprano Georgia Drake (Kay Francis). But when Pamela is offered a role in Karl Ober's (S. Z. Sakall) new play of St. Anne, complications ensue. Though the character is Pamela's age, Georgia is eager to play the role; Pamela, however is unaware of her mother's plan. Thus begins It's a Date (1940).

The film is by no means great literature. The plot is fairly simple; you know almost immediately that John Arlen (Walter Pidgeon) is going to fall in love with Georgia. And that Pamela will discover her mother's interest in the part of St. Anne. It doesn't really matter, though. It's a frothy little film that you can enjoy simply to watch some really fine actors and one amazing singer.

As you can see by the artwork accompanying this post, Ms. Francis is relegated to second billing (along with Walter Pidgeon) under the new star Deanna Durbin. Ms. Durbin had gotten her start at MGM; her first film was the short Every Sunday (1936) with another magnificent singer, Judy Garland. You can hear the two of them singing together in this clip:
Ms. Durbin's contract was dropped (according to the Deanna Durbin Devotees website, Louis B. Mayer instructed his people to "fire the fat one", and they let Deanna go). Universal, which was on the verge of bankruptcy, snatched her up. She is credited with single-handedly saving the studio from ruin (TCM article). With a good screen presence and an amazing voice, she became immensely popular, and continued working until age 29, when she retired and completely disappeared from public view. Her son announced her death at age 91 in 2013, providing no details and thanking her fans for "respecting her privacy."

As we've mentioned before, Kay Francis was out of favor with Warner Brothers; they would give her awful scripts or loan her out to other studios, in hopes that she would quit. She didn't (the checks didn't bounce!). Though she is not around for half the movie, she's quite lovely as a good mother who only what is best for her daughter. She also gets some attractive costumes from Vera West.

The film is not short on supporting talent. Besides Ms. Francis and Mr. Pidgeon, we are also treated to such amazing character actors as S.Z. Sakall, Eugene Pallette (in what is basically a walk-on as the Governor of Hawaii), Henry Stephenson (as the ship's Captain Andrew), and Samuel S. Hinds (as agent Sidney Simpson). With such strong performers, the material is elevated beyond the scope of the writing.  All the character parts are small (most of the heavy lifting in the film is Ms. Durbin, with Mr. Pidgeon getting a nice chunk of screen time), but we did think that Mr. Sakall, as always, made the most of what he had, to excellent effect. It is no wonder he was often called "Cuddles". Even here, playing the man who doesn't WANT Georgia in the role, you like him!

The New York Times actually liked the film, with reviewer Frank S. Nugent calling it "a charming, if highly improbable, entertainment" in his review. In some senses, it is a comedic/romantic version of All About Eve, with a bit of singing. The next time you are looking for a film to just sit and enjoy, this is one to consider.  We'll leave you with this scene of Ms. Durbin doing Ave Maria (with a glimpse of Ms. Francis!):

Barbara Runs an Orphanage

Steve Bradford (James Cagney) owns a steel company. He worked his way up from the bottom, and is now wealthy and powerful. But, he longs for something he threw away years before. As a young man, he impregnated his girlfriend, but refused to acknowledge her or his child. Unmarried and childless, Steve wants to find the son he abandoned 20 years before. He arrives at The Haven, the orphanage where his child was placed, to ask the supervisor, Ann Dempster (Barbara Stanwyck) for information on the boy's whereabouts - information Ann cannot give him. While there, Steve befriends unwed mother Suzie Keller (Betty Lou Keim), who awaits the birth - and adoption - of her own child. Reminded of the family he rejected, Steve finds himself becoming closer to Suzie, as he tries to open the records that will lead to his son.

These Wilder Years (1956) is a film trying to make a point, and it does a good job of it. In 1956, once a child was given up for adoption, the natural parents had no rights - after all, most adoptions were results of unwed relationships, and the mother was considered morally suspect (see The Adoption History Project for more information on the topic). Children of adoption were discouraged from seeking out their natural parents; records were closed, ostensibly to protect the child. It wasn't until the 1970s that a movement began to open adoption records, and allow birth parents and their offspring to connect.  (Not that this was the first film about adoption - Our Very Own in 1950 had already tread the ground, though the marital status of Gail's parents is underplayed. And Blossoms in the Dust (1941) had looked at adoption through the lens of the illegitimate child.). Thus, the idea of a parent - an illegitimate parent - wanting to contact his child was fairly new and perhaps dicey.

Let's get it on the table that there isn't ANYTHING that James Cagney cannot do. Naturally, he is excellent in this film - he is able to make you both like and loathe Steve Bradford simultaneously. As the facts about Steve's past actions are revealed, a lesser actor would lose his audience. Cagney, however, keeps the viewer engaged - his eyes reveal the disgust that he feels for himself; thus, you root for him to find some semblance of peace. 

That Stanwyck and Cagney only appeared in the same film this one time is a shame, as they are wonderful together.  Stanwyck has the capacity to go toe-to-toe with this tough guy and not blink, yet at the same time retain her dignity and femininity. Ann's integrity shines from Stanwyck; at the same time, she portrays a sympathy for him that is genuine. However, you never worry that she will pull the routine of sacrificing her integrity for the man she loves. If Ann does start to love Steve (though the real "romance" here is Steve and Suzie),  it is not something that gets in the way of her ability to perform her job. Stanwyck, however, was not the first choice for the role - both Myrna Loy and Helen Hayes were considered. In fact, it appeared Ms. Hayes would do the part until she abruptly withdrew due to "scheduling conflicts." (AFI catalog)

This is a film that is very much about counterpoints. We have Steve and his unseen lover, compared to Suzie and her unseen lover. We have the two lawyers, the scrupulous James Rayburn (Walter Pidgeon) and the slimy Leland G. Spottsford (Edward Andrews). Finally, we have the two sons that are the results of the affairs - one an adult, the other just born, whose lives are impacted by the actions of their parents. But (without spoilers), the ending for all are satisfactory, if not necessarily the ending each person wanted.

According to the AFI catalog, Debbie Reynolds was offered the role of Suzie, but turned it down because she was uncomfortable with playing an unwed mother (perhaps she was afraid of being typecast. That same year, she played an unwed mother of sorts in Bundle of Joy - a musical remake of Bachelor Mother). Susan Strasberg was also considered, but ultimately the part went to the relative unknown Betty Lou Keim. Ms. Keim had already done some television, but this was her first feature film, and the trailer to the film (below) advertised a new star in the making. But that stardom never came. After a few more films and television performances, Ms. Keim married actor Warren Berlinger and retired from acting in 1960. The marriage produced four children and lasted until her death in 2010, at the age of 71.
Two other young actors got a boost to their careers in this film. Don Dubbins (Mark Nelson) had done some uncredited parts in feature films, and had been appearing on television. But, as a result of this part, Mr. Dubbins was cast in Tribute to a Bad Man (1956) with James Cagney (this TCM article states that Mr. Cagney requested him for the film). Mr. Dubbins would work steadily in television (primarily) until his retirement around 1988; he died from cancer in 1991; he was 63.  Mr. Dubbins appeared in episodes of three television series: Bonanza, Little House on the Prairie, and Highway to Heaven. The star of those shows also appeared for a nanosecond in this film - Michael Landon made his film debut as Boy in Poolhall (if you blink, you miss him. We did!)

The New York Times' Bosley Crowther gave the film a negative review calling it "hackneyed and slushy," but we disagree wholeheartedly. We suggest you give it a try, and leave you with a scene featuring Ms. Stanwyck and Mr. Cagney:

Is Kirk Really Bad?

A few years ago, we discussed The Bad and the Beautiful (1952) (you can see our prior review here.  You'll also find a detailed description of the plot and characters there).  We decided to revisit the film, this time looking at it from a slightly different perspective - our discussion for this viewing focused on the character of Jonathan Shields, as wonderfully portrayed by Kirk Douglas.

So, the question is, is Jonathan Shields really bad?   We have three characters who are furious at him.  We looked at them in some detail.

Fred Amiel (Barry Sullivan) is angered when Jonathan passes him over for an experienced director on the film of Fred's script, The Far Away Mountain.  Is Fred justified in demonizing Jonathan?   When we first meet Fred, he is working as a professional mourner because he cannot sell a script.  Jonathan teams up with Fred and succeeds in getting them both jobs in Harry Pebbel's (Walter Pidgeon) studio.  Though Fred is not aggressive in blowing his own horn, Jonathan is. The final result, Fred becomes an Oscar-winning screenwriter and director, marries the woman of his dreams (to whom Jonathan proposes on Fred's behalf), and has a happy, stable family life. Does Jonathan backtrack on his promise to get Fred the acting gig? Sure.  Would Fred have gotten it, if Jonathan had pursued it further? Probably not.

Georgia Lorrison (Lana Turner) spends most of her time drinking and sleeping with men.  She perpetually mourns for her late father, a great actor, notable bon vivant, and drunkard.  Georgia however is notable for her beauty and for her inability to act.  Jonathan, who was friendly with her father, sees talent where no one else does, and goes out on a limb to hire her to star in his picture.  She inevitably breaks her promise to not drink and disappears on the first day of shooting.  Urged to replace her, Jonathan instead sobers her up, and keeps her in the production.  It's Georgia who envisions a great romance - Jonathan, a man plagued with his own demons, has no such idea.  However, he attempts to protect Georgia from his relationship with Lila (Elaine Stewart); it's Elaine who makes sure Georgia knows.  And Jonathan makes it clear he is furious at her callous revelation. Did he mislead her romantically? Probably.  Is he really out to hurt her? No.

James Lee Bartlow (Dick Powell), tempted to Hollywood by a hefty paycheck and by his wife Rosemary's Gloria Grahame) eagerness to sample the bright lights of the big city, signs a contract to write a screenplay of his book.  But Rosemary is a time suck.  We learn that it took him seven years to write his first book, primarily because of her interruptions.  To get the screenplay written, Jonathan asks his friend Victor "Gaucho" Ribera (Gilbert Roland) to squire Rosemary to the local hotspots to keep her distracted.  Though we hear only one half of a telephone conversation, it's clear Gaucho has more on his mind than squiring. Jonathan, however, is very clear in his response.  "I said 'squire', Gaucho".  He responds.  Is the fact that Rosemary and Gaucho choose to bring the relationship further than was requested Jonathan's fault? Not really, but perhaps he should have picked less of a Lothario as an escort.

The person who should resent Jonathan most is actually his biggest supporter.  Harry Pebbel becomes Jonathan's employee after Jonathan and Fred strike out on their own (assumedly, without his key writer and director, Harry cannot keep his B picture studio going).   Harry could see Jonathan (and Fred) as traitors, yet he is the one who forces our characters to look inward - to realize that their fame, awards, success all stem from what Jonathan did for them.  He does not defend, but points out truths (like the fact that Jonathan let Georgia out of her contract over Harry's protestations).  As such, Harry becomes the bellweather for our opinion of Jonathan, and he is hard to ignore.

It's hard to imagine anyone other than Kirk Douglas doing it.  He makes the character a real person - a combination of both the bad and the good. The nuances of Douglas' performance become more visible with each viewing of the film.  Since it's likely that Jonathan was loosely based on real people (see this AFI Catalog entry for some of possible candidates), it is important that Douglas create a real individual, not a caricature, which he does admirably.

When the film opened at the Radio City Music Hall in New York City, the New York Times review was not particularly enthusiastic.  Regardless of their opinion, the film won five Oscars, including Best Supporting Actress (Gloria Grahame) and Helen Rose for her splendid costume design (b&w film).  If you've not seen The Bad and the Beautiful in awhile, give yourself a treat and watch it again.  Now, we're not saying that Jonathan Shields is a prince among men, just that, on second viewing, you might find yourself rooting a bit for his comeback.

Ona's Hot

One of the more unusual things about The Hot Heiress (1931) is the opening - a sweet little ditty sung by a bunch of construction workers entitled "Nobody Loves a Riveter But His Mother."  The opening makes you think that the movie is a musical; though it has a few songs, it really isn't.  It's a sweet albeit rather tame pre-code movie about our titular heiress' love for an ordinary working guy, who happens to be a riveter.  The film stars Ben Lyon as Hap Harrigan, our working stiff and Ona Munson as  Juliette "Julie" Hunter, the heiress.  It also features Walter Pidgeon as Clay, the man Julie's parents (Homes Herbert and Nella Walker) actually want her to marry. And in a very small part, Thelma Todd as Lola, one of Julie's friends.

The plot is rather simple - Hap sees Julie sleeping in the morning while he is working (he's up high, and can see into the open window.  A little pre-code deshabille in the scene!).  Distracted, he misses a rivet as it is tossed to him; it lands on the floor of Julie's bedroom, starting a fire.  Hap and pal Tom Dugan (Bill Dugan) climb in to put out the fire, and Julie immediately falls for her hero.  The only problem? Her family, who wants her to marry longtime friend, Clay.

Much is made in the film of the class differences between Julie and Hap.  Even their vocabulary is different, with Hap, Tom and Margie very oriented to slang, whereas Julie and Clay speak far more precisely.  This speech difference is emphasized in the scenes in which Hap, Tom and Margie visit Julie's family home for a weekend outing.  It can be a bit disconcerting to the modern ear, but it clearly establishes the differences in the societies, and points out the snobbishness of the "upper" classes.  This is not a film that is sympathetic towards the rich.  Julie is the exception because she treats everyone equally.  In fact, it often seems that she is trying to escape the burdens of her family's wealth - she is not interested in the life they have mapped out for her.

The songs in the film were written by Richard Rogers and Lorenz Hart. As the film didn't do particularly well, the duo was not eager to continue in the film industry, negotiated an end to their contract, and headed back to Broadway, where they would write such notable musicals as Pal Joey, Jumbo, and Babes in Arms (all of which would eventually be made into films). This TCM article goes into more detail on their departure from Hollywood.  And while this is perhaps not their best work, we enjoyed the song "Nobody but You" in particular.  The YouTube video below features the first scene with the song.  You also get nice views of our two couples: Juliette and Hap, and Tom and Margie:
It was quite enjoyable to see Walter Pidgeon in a supporting role, as well as a role in which he is rather a heel.  Though never stated, it sometimes seemed that Clay might only be interested in Julie for her money.  He associates with the right circles, and nothing is ever said, but could his family have lost their fortune in the Depression?  Regardless, Clay doesn't seem to love her; the marriage is one that he just assumes will happen.  Her rejection seems more of an inconvenience to him than anything else.

At first glance, we did not recognize Ona Munson as the actress who would go on to play Belle Watling in Gone With the Wind.  She's lovely here - cute and pert, with a sweet singing voice.  Munson had a respectable career, appearing in 20 films and three television episodes between 1928 and 1953, and 8 Broadway plays, beginning in 1919.  Her life, however, was a complicated one.  She married three times, but was also rumored to have had affairs with Dorothy Arzner, Marlene Dietrich. and Alla Nazimova.  This brief article from Film Comment provides more detail.  She committed suicide at age 51, after a long illness. 

Inez Courtney who played Margie, was perhaps our favorite character.  Margie is someone who, despite her lower class upbringing, fits in anywhere.  Julie's affection for her is transparent, and, when she is a guest at the Hunter home, it is Margie who has all the male guest crowded around her, and they all obviously are enjoying her visit. Courtney also started our on Broadway - she played Babe in the original staging of Good News, among other things. Between 1930 and 1940, she made 58 film appearances.  At the end of her contract, however, she decided to retire and move to Rome with her husband, an Italian nobleman.  (She opted to not use her title of Marchessa)  She died in 1975, aged 67, in Neptune, New Jersey.

Nella Walker, who plays Julie's mother, seemed to have been playing mothers and society matrons from the time she was young. From 1929 to 1954, she appeared in 117 films, primarily in supporting parts.  Included in her list of excellent films is Stella Dallas, in which she was the future mother-in-law of Laurel Dallas; and In Name Only, as Cary Grant's mother.  Her final film would have her playing the mother to Humphrey Bogart and William Holden in Sabrina (she was 13 older than her senior "son", Bogart).  At the end of the filming of Sabrina, she decided to retire She died in 1971

We'll leave you with a trailer from the film.  As you can see, the noise created by construction has not changed very much in 85 years.  And for New York City people like us, the vision of a construction site right next to our bedroom window is nothing new either:

Barbara Pines

Barbara Stanwyck has a relatively small part in Executive Suite (1954).  She plays Julia O. Tredway, the daughter of the late head of the Tredway Corporation, a respected furniture manufacturer, now headed by Avery Bullard (voiced, but unseen, by Raoul Freeman).  However, Julia and her love for Bullard are not the focus of the film; Executive Suite is the story of a critical moment in the history of the Tredway Corporation, as the company's various executives battle for control of the firm after the death of Bullard.

The film marks a reunion for Stanwyck and William Holden (McDonald "Don" Walling).  Stanwyck was the star of Golden Boy (1939), and Holden was a newbie when he appeared in the title role.  As the film rushes came in, Harry Cohn made it clear that was not satisfied with Holden's performance, and was going to replace him.  Stanwyck defended him, and worked with him to improve his performance (Check out this TCM article for that story and others).  Golden Boy became Holden's breakthrough role.  Stanwyck and Holden remained friends, and he tried for years to convince the Academy to present her with an Honorary Oscar for her body of work.  Ultimately, he did succeed, but by the time she received the award, he had died.  In this video, you can will see Holden's praise of Stanwyck at the 1977 Oscars, and her moving acceptance speech in 1983 as she expresses her affection for her "Golden Boy".
The film actually belongs to Holden's Don Walling, the head of Tredway's research and development arm, and on his evolution into becoming a leader.  Disillusioned by his mentor, Bullard, but nevertheless grieved by his death, Don becomes convinced that only he among the corporate vice presidents can keep Tredway afloat.  His passion for a quality product and for the continued stability of the company put him at odds with other members of the board of directors.  Holden gives Don the necessary sincerity and gravitas needed to lead a major corporation.  He also demonstrates a devotion to his wife Mary Blemond Walling (June Allyson) and son Mike (Tim Considine). While some of his colleagues consider him too young to lead a company, the film focuses on his growth into the new position.

Also remarkable is Fredric March as Loren Phineas Shaw, the chief financial officer for the company.  Shaw's economies have put him at odds with Don, having advocated for and won approval of a cheap brand of furniture that, while enhancing the company's coffers, proves an embarrassment to the firm's employees and to many members of the board. March gives Shaw a number of small tics that quickly define his character for the viewer - watch how he constantly wipes his hands.  His Shaw is a character you cannot like, and March is not afraid to make him, while not quite a villain, at the very least an unattractive individual.

A greater portion of the film's $1.25 million budget went to actors' salaries, and to good effect, because each actor gives a distinct three-dimensionality to the characters.  Though only in about 3 scenes, Shelley Winters is excellent as Eva Bardeman, the secretary and mistress of Josiah Walter Dudley (Paul Douglas). Walter Pidgeon's Frederick Y. Alderson gives us a man at the end of his career, who must face the fact that he will never rise to the heights of power that he always hoped was his future. But especially worth noting is the performance of Nina Foch as Bullard's executive secretary, Erica Martin.  Foch was nominated for an Oscar for her brief, but powerful performance as a woman who is privy to her late employer's secrets, but who is the soul of discretion.  In the clip below, Foch describes her conversations with the film's producer John Houseman and director, Robert Wise, as they took a tiny, weak part and made it into the small gem that you see today. To make Erica a real person, Foch and Wise created a backstory for her:
The film opens with point-of-view camera work.  Since we are seeing the world through the eyes of Avery Bullard, his sudden death is quite shocking.  As a result, we never actually see Bullard, not even a photo of him.  This allows the audience to create their own picture of him, based on the various portraits that his colleagues paint.

Also very interesting is the credit role.  We are all used to credits which show brief names of the characters' next to that of the actors, but Executive Suite gives us the characters full names - names that were not used within the film.  We learn that Don Walling's name is actually MacDonald, and that his wife's maiden name is Blemond.   Again, the character's begin to have a life outside the frame of the story - they have a past.  They will have a future.

We were unfamiliar with Lucille Knoch, who the end credits inform us was Mrs. George Nyle Caswell (the wife of Louis Calhern's manipulative George Caswell - another masterful character creation), not his mistress, as we all had assumed.  Ms. Knoch quite good in this part.   She had a relatively short career - this was possibly the largest role she ever had.  She seems to have stopped acting after 1957; she died in 1990.

Interestingly, the film did have a future, of sorts.   It was made into a TV show from September 1976 through February 1977.  It lasted for only 18 episodes, which is not surprising, considering the new show's competition was Monday Night Football, The Rockford Files, and the NBC Movie of the Week.   Given that competition, it's shocking that it made it past the first month.   Only the Don and Helen Walling characters continued in the TV show - they were played by Mitchell Ryan and Sharon Acker.  Even the name of the company was changed in the prime-time soap opera.  It was now the Cardway Corporation.  You can see a advertisement for the show on YouTube.

We'll leave you with a trailer from the film - an introduction to all the characters, including Stanwyck's Julia Tredway:

Everyone loathes Kirk

Perhaps the most interesting film to examine Hollywood is The Bad and the Beautiful (1952).  Kirk Douglas plays Jonathan Shields, a would-be studio executive, who is broke and has successfully alienated everyone who might possibly have assisted him in a comeback.  Jonathan is brilliant, he is inspirational, but he is also the biggest creep you could ever have the misfortune to meet.  As Harry Pebbel (Walter Pidgeon) asks former friends  Georgia Lorrison (Lana Turner), Fred Amiel (Barry Sullivan), and James Lee Bartlow (Dick Powell) to consider being part of Jonathan's next production, we are treated to three mini-movies, which reveal their particular relationships with Jonathan. 

Told in flashback, we already know that Jonathan has world has collapsed.  But what we don't know is why these three renowned people - an Oscar winning director, a highly praised leading lady, and a Pulitzer Prize winning author - despise Jonathan.  Slowly, we learn that Jonathan is completely obsessed with his own vision, and he will use his friends' strengths - and weaknesses - to get what he wants.  But we also discover that each of the three became who they are because of Jonathan.

Fred is a would-be director unable to get a job.  He is meek, unassuming, and almost passive.  Jonathan even takes the initiative to propose marriage to Fred's girl FOR Fred.  But once Jonathan steals Fred's pet project,  Fred learns to fight for what he wants.  He becomes a power in Hollywood, and a success in his personal life.

Georgia, the daughter of a famed Shakespearean actor - and noted drunk - is herself a drunk, who thinks nothing of sleeping around to amuse herself.  She is, by her own confession, a lousy actress, and she has no ambitions.  She both hates and idolizes her dead father, and has hidden herself away from even the possibility of success, until Jonathan enters her life.

James Lee is a college professor in Virginia, living quietly with his amorous wife Rosemary (Gloria Grahame).  It has taken him seven years to complete his first book, primarily because Rosemary won't let him work. This story is perhaps the most hard to deal with of the three.  In order to allow James Lee time to work, Jonathan involves Rosemary with film Lothario Victor 'Gaucho' Ribero (Gilbert Rowland), leading to both their deaths.  Left to himself, James Lee becomes a successful writer, but at what cost? Is the death of Rosemary worth the success he achieves?  Or, is love and companionship more important than success?

Director Vincente Minnelli carefully weaves in nods to real Hollywood in this fictional tale.  It's very apparent that the unseen George Lorrison (voiced by Louis Calhern) is modeled on John Barrymore; and that Georgia is loosely based on Diana Barrymore. Also, the filming of a horror film involving cat men is a nod to the 1942 film Cat People.  But also alluded to, according to this article from SUNY Albany are such notable filmmakers as David O. Selznick, Alfred Hitchcock, Josef von Sternberg, Erich von Stroheim, Val Lewton, and William Faulkner. TCM provides a great deal of information on this film, including the fact that Clark Gable was asked to play Jonathan (he turned it down).  Certainly, it would have been a very different role - Gable was much older (perhaps too old to play the younger Jonathan), and was also too likeable.  Is it possible to loathe Clark Gable?

This is a film with an amazing cast, both of leads and of extras.  Kirk Douglas is electrifying as Jonathan.  He conveys the small things as well as the big ones - his dislike, but love for his father; his admiration for Georgia's father; his fear of loving and being loved.  Barry Sullivan, an actor who is usually not high on my list, is excellent as well.  And Gloria Grahame as the modern day Scarlett O'Hara, Rosemary Bartlow, is stunning.  (Her line, "You have a dirty mind, James Lee, I'm happy to say" is priceless.)  Did Rosemary cheat on her husband? We'll never know, because Grahame paints such a beautiful, multidimensional portrait.  And watch for bit parts from people like Barbara Billingsley and Ned Glass.  This "Behind the Camera" from TCM discusses Glass' role in the film; Glass was a victim of the Hollywood Blacklist, and this film began his problems.

Finally, also from TCM, a look at the critical reception of the film in their Critic's Corner.  The film won five Oscars (from six nominations), as well as receiving accolades from the major critics. 

Before we go, a clip from the film in which Ned Glass as the costumer for "Doom of the Cat Men" demonstrates how NOT to dress a monster: