This time, our group decided to jump across the pond for what is perhaps the perfect tearjerker: Brief Encounter (1945). Two of us had recently seen the Broadway retelling of the story, and
being fans of the film, were not pleased with the results. We found the
levity in the play too distracting in this story of beautiful sorrow.
The film, directed by David Lean, is a magnificent rendering of a very
simple story line - two married strangers meet casually on the train
platform of a small English town. The following week, they run into one
another again; a friendship is formed, followed quickly by love. Of
course, their love is doomed - both have spouses and children. Neither
can bear to hurt their families. Thus, they must separate, never to see
one another again.
Drawn out as just a few lines of plot, this
film sounds trite. It is not. Aided by the subtle direction of David
Lean, a score that deftly uses Sergei Rachmaninoff's Piano Concerto No. 2
as subtext, and superb acting by Celia Johnson as Laura Jesson and
Trevor Howard as Dr. Alec Harvey, this is a movie (to quote TCM) that is
an Essential. The story is told from Laura's point of view - she is
our narrator - and so we see her reactions to the whirlpool into which
has life has fallen. The original story (a play called Still Life)
only has 4 characters - Laura and Alec, and the "comic" relief of the
train station couple, Albert Godby (Stanley Holloway) and Myrtle Bagot
(Joyce Carey). In fact, the whole play takes place in the refreshment
room of the train station. Lean opens up the action, and allows us to
meet Laura's husband and children, making even more poignant the
decision facing Laura.
The DVD version of Brief Encounter
has some interesting commentary on it. I have to admit that one scene
(in which we see Alec and his friend Stephen argue over Alec's failed
attempt to consummate his affair with Laura), which the commentator said
did not work - since it was not something that Laura could have seen
(she has already run from the room), did, in fact, work for me. I saw
this conversation as LAURA'S imagining of what actually occurred. It
seems unlikely, to this observer, that men would have this discussion.
More, it was the final realization, by Laura, that her relationship with
Alex has become tawdry, and must end.
If you've never seen Brief Encounter, give yourself the pleasure of a visit to post World War II England, and visit with Laura and Alec. Here is the trailer; you can hear some of the music, as well as get a taste of the film itself:
In 1940's Vigil in the Night, Carole Lombard stars as
Anne Lee, a dedicated nurse in a small English town. Anne loves her
work, and has convinced her younger sister Lucy (Anne Shirley) to follow
in her footsteps. Though almost through with nursing school, Lucy
doesn't have Anne's dedication; as a result of her neglect, she allows a
young child to die. Rather than let Lucy be ousted from nursing
school, Anne assumes responsibility for the child's death; she is fired
from her job, and forced to leave town. She ventures to Hepperton,
where she joins the staff of a local hospital, and gradually assumes
positions of greater responsibility. She also finds herself working
with the similarly dedicated Dr. Prescott (Brian Aherne). However, the
appearance of a nurse from her old job, Lucy's involvement with a local
man, and an epidemic in Hepperton all work to create problems for Anne.
Sure,
this is melodrama, but it is melodrama at its best. Ms. Lombard shines
here as a woman whose career is the most important thing in her life.
In the hands of a lesser actress, Anne could have come across as preachy
or shrill. But Lombard's Anne shines when she talks about nursing. Her
Anne is what a nurse SHOULD be - an idealized portrait of a woman who
values human life and the ability to bring comfort to the sick. She is
ably assisted by Anne Shirley (who's Lucy is the poster child for the
person who should NOT enter nursing school, and whose selfishness makes
you want to smack her in the film's early scenes.), and Brian Aherne (an
equally idealized doctor, Aherne also carefully avoids the maudlin).
Vigil in the Night
really is a neglected Lombard masterpiece; a film that is rarely seen
or discussed when talking about her (painfully short) career, but one
that should be looked at more often. We really enjoyed it, and suspect
you will as well. Take a look at this clip, to get an idea of what is in store:
Today, we again visit the pre-code world for Carole Lombard's 1932 film Virtue.
In it, she plays Mae, a young woman with a "career" on the streets,
who is literally run out of New York City on a rail (on what is today
Metro North, to be exact). She has no intention of leaving the City, so
she bails off the train at 125th Street, where she meets Jimmy Doyle
(Pat O' Brien), a smart-mouth cabbie who disdains marriage and women.
Mae runs away without paying her cab fair, much to Jimmy's disgust;
however Mae decides to go straight. Once she has the money, she seeks
Jimmy out to return the fare. After some difficulties, they fall in
love, and decide to marry. Of course, once they marry, Jimmy finds out
about Mae's past. He decides to forgive her, but of course, with
forgiveness does not automatically come trust.
Ms. Lombard is just
wonderful here as Mae. She is sympathetic, but tough. You never
forget her past, but you (as the audience) are far more aware of how far
she has come than the rather dense Jimmy. Pat O'Brien is quite good as
well playing a tough guy. You do want to smack him occasionally for
his stupidity, but I think we ultimately want him with Mae. Perhaps she
deserves better than him, but she loves him, and he is really not a bad
guy. Here, our couple have a conversation:
It is also nice to see Ward Bond (as Jimmy's pal Fran), who
is, as always, wonderful. He makes a small part something to look
forward to. Another treat is seeing Mayo Methot (the one time Mrs.
Humphrey Bogart) as Mae's best friend Lil Blair. Ms. Methot never
actually looked young! And certainly her somewhat hard features
complement the part of a hooker who has tied herself to a rather
disagreeable - and dishonest - lover (said boyfriend is played with a
good deal of slime by Jack LaRue).
Another Lombard movie that
doesn't get enough play, we think. Plus, as a precode film, you get the
extra bonus of something a tiny bit (by later standards) racy.
Lady by Choice from 1934 is an absolute delight. In it,
Carole Lombard plays fan dancer Alabam (Georgia) Lee, who finds herself
in court as the same time as Patsy Patterson (May Robson), a former
entertainer turned homeless drunkard. Patsy has friends, however -
Judge Daly (Walter Connolly) and Johnny Mills (Roger Pryor), a
wealthy young man whose father requested he always look after Patsy.
Patsy, Like Alabam, is a gutsy lady, who speaks her mind. As a result,
when Alabam's agent convinces her to adopt a mother (for the publicity),
it is Patsy she selects. And Patsy, who immediately adores Alabam,
tries to change her new daughter's life for the better, but not always
with the best of results.
May Robson is just
adorable. She gets most of the good lines, and you want to take her
home with you. Lombard's role is also quite rich. Alabam is a
kind, gentle soul; she loves deeply, and is a caring person. Badly used by her agent, she finds herself almost penniless, but still tries to
support Patsy's goals, to make her a legitimate performer, despite her
lack of self-confidence. We have, of course, some romantic
complications. Alabam falls in love with Johnny Mills, but Patsy thinks
that Alabam is after him for his money. It causes some strife, but all
comes right in the end!
This is one that I think most people have not seen. Give it a try. I think you will find it is worth your time. We'll leave you with a scene with Ms. Lombard and Ms. Robson.
If you've seen Singin' in the Rain, then you are familiar with the comic take on the beginning of sound films. The Racketeer,
from 1929, is an actual example of this phenomenon. The film features Carole Lombard as a
former society lady named Rhoda Philbrook, who left her husband for a
violinist Tony (played by Roland Drew). The only problem is, Tony is a drunk
and now Rhoda is reduced to cheating at cards in order to get enough
money to live. While working the tables, she meets the racketeer of the
title, Mahlon Keene (Robert Armstrong). He is smitten with her, and
eventually offers her marriage. Thinking her life with Tony is over,
she assents. But then, her life gets complicated. By today's
standards, this is not a good film. It is static and somewhat boring at
times; resembling in some ways a filmed play (with a lot less
movement). BUT it is an excellent sample of how the survivors of
silents were coping with the advent of sound. Of course, the actors
don't move very much. The film is very talky, but you can see the
beginning of something great. Lombard is lovely in the lead, and seems comfortable in the new mode (though some vestiges of silent film acting
remain). Armstrong (who never has been a favorite of mine), is fine as
Mahlon. He is stiff, but much of that is probably the camera restrictions. While there is not a lot to in this film to make it appealing, do give
it a look. It is a window back into the past - a baby step in the growth
of a new industry. TCM had a very nice article about the film during a Lombard festival.
In 1933's Brief Moment, Carole Lombard plays Abby Fane, a
nightclub singer who is loved by - and loves - wealthy Rod Deane (Gene
Raymond). Despite the objections of his family, Rod and Abby marry, and
have an extensive honeymoon in Europe. When they return to their home
in New York, they find that the home that Abby has hoped to design has
been completely done over by Rod's dilettante friend, Sigrift (Monroe Owsley), who
spends most of his time encouraging Rod to overspend and over-drink.
Abby is heartbroken at her husband's lifestyle, finally telling him that
he has one choice - to find gainful employ, or to lose her.
One thing that is rather odd about this film is the relationship between Rod Deane, his brother Franklin, and their
father. Mr. Deane runs a huge business, yet he has totally cut his
sons out of the running of the enterprise. Son Franklin is a
vice-president, but does nothing all day but play the horses. Why?
Because his father will not share the responsibility of the firm. One
wonders what will happen when Mr. Deane is no longer able to work. Then again, Mr. Deane isn't working all that much - he is MUCH more interested in his stable of horses. Given that the action is contemporary to 1933, one wonders how the family survived the Depression with their wealth intact. One interesting scene involves the writing of a check - we see the monthly allowance that is going to Rod - $4,000. In 1933, that would have been more than the yearly salary for most people. One can only imagine the shock of seeing that number being given out to a young man who is doing absolutely nothing with his life.
While
this is a slight little movie, the costuming is wonderful (Carole has
some lovely dresses), and our Ms. Lombard is just lovely as the noble
Abby. Abby is reserved and gracious - she has much more "class" than her upper-class husband and his obnoxious family. Gene Raymond is fine as Rod (though Raymond is not one of our
favorite actors). It is interesting to see Donald Cook again (just two
years after he appeared in Public Enemy). The actor that stands out, though, is Monroe Owsley, who is (again) playing a cad. He does it so well, and when he is on screen, he is fascinating to watch.
Certainly not one of Ms. Lombard's best films, but certainly worth a quick look.
Carole Lombard's 1932 film No More Orchids is a delight
from start to finish. Wealthy Anne Holt (Carole Lombard) is used to
getting what she wants, until she meets Tony Gage (Lyle Talbot). He has
no money, and she is engaged to royalty, but love blooms, and Anne is
quite willing to give up her wealth and position to be with the man she
loves. But, there is a fly in the ointment - her grandfather (C. Aubrey
Smith), a rather malevolent individual who will use anything in his
power to manipulate Anne into wedding his choice - Prince Carlos.
The
cast here is just magnificent, especially Louise Closser Hale as Anne's
outspoken grandmother. Hale is an absolute riot, and makes the
picture. From the second we see her, Ms. Hale steals the movie, and you
look forward to her every appearance. Also wonderful is C. Aubrey
Smith as Anne's nasty grandfather. The cameraman (Joseph August), has a
field day, filming Smith at angles, and with lighting that make him
appear as the devil. And Smith seems to relish the cruelty that Mr.
Cedric delights in imposing on those around him. Finally, there is
Lombard, who is just lovely as Anne. She is funny and sweet; running
the gamut from spoiled brat to loving daughter, without being maudlin.
One
interesting detail about the film is that it is a pre-code. That
becomes apparent when Lombard spends the night with Tony, and he later
makes a comment that casts aspersions on her "honor". (She has been
forced to break up with him; he doesn't know why and believes she has
been toying with his affections.) It's quite suggestive!
We strongly recommend this neglected classic. Here's a scene from the film:
As several members of our group were missing, we held off on our next Carole Lombard movie and instead watched Lydia, a little gem from 1941. Told in flashback, the movie is the story of Lydia Macmillan
(Merle Oberon), who was a much sought after belle in her youth, who
became an unmarried philanthropist. At a party celebrating her good
works, she meets one of her youthful romances, Dr. Michael Fitzpatrick
(Joseph Cotton). The son of her grandmother's butler, Michael had once
had hopes of marrying Lydia, but, alas, it was not to be, because Lydia
lost her heart to Richard Mason (Alan Marshal), a cad who
seduced our heroine and then abandoned her. Michael throws a party for
Lydia, and invites her three romances: Mason, Frank Audry (Hans Yarah), a blind composer, and Bob
Willard (George Reeves), a college football hero. All are present,
except for Mason, and the party of four begin to reminisce about the
past.
Ms. Oberon is lovely as the youthful Lydia, but
her makeup in the old-age scenes is rather odd (the men look SO much
better; so much more realistic). We all enjoyed seeing George Reeves as
the egotistical Bob (his drunk scene is quite funny), and of course,
Joseph Cotton is always a pleasure to watch. We really could not
understand WHY Lydia would prefer Richard to Michael. Michael is much
more appealing; Alan Marshal is rather a non-entity compared to the much
more dynamic Cotton. Also fun to watch (always) was Edna May Oliver as
Granny. From the minute she shows up, Ms. Oliver is a delight.
Released in 1941, in many ways this film is shocking, in that it
discusses a woman who has a two-week affair with a man who is probably
married, yet her only punishment is to be single. Then again, one
assumes in 1941, that was a fate worse than death for most women. But
one can't help but thinking that Lydia made a huge mistake in abandoning
Michael, no matter how profound her life was as a philanthropist (heck,
Michael would have let her do both, even in 1941).
Next time, we promise another Carole Lombard movie!!
This week, we look at a very pre-code (though it was released in
December of 1934, after the code was being enforced) Lombard film The Gay Bride.
Released in 1934, Lombard plays Mary, a woman determined to land
herself a wealthy husband, even if his "job" is not exactly legal. Her
"mark" is Shoots Magiz (played by Nat Pendleton), a rather dopey,
but deadly bootlegger, who is feeling the results of the repeal of
Prohibition. Shoots' assistant, Office Boy (also known as Jimmy, and
played by Chester Morris), takes an immediate dislike to the
gold-digging Mary, but still tries to warn her that a marriage to Shoots
has no prospects, either financially or health-wise. Mary, however, is
convinced that she can amass enough money in the marriage to set
herself up for life (and if Shoots' life span is shortened, all the
better).
Let's just start by saying that, wonderful
as Lombard always is, her Mary is hard to like. She is involved with
the mob for the money, and does not care how Shoots, or his inevitable
successor GETS that money. She is constantly warned of the dangers, by
Office Boy and by her best friend Mirabelle (ZaSu Pitts), but ignores
them until she is in so deep that it seems there is no way out. And
while Shoots is a blithering idiot who is easily manipulated by the much
smarter Mary, her relations with Dan Dingle (Sam Hardy) and Mickey the Greek (Leo Carillo) demonstrate that she is going from bad to worse to HORRIBLE.
Much
of the comedy comes from ZaSu Pitts' rather mournful countenance, as she
watches Mary get deeper into trouble. But, Lombard holds her own
comedy-wise, as she flits from man to man, in search of her fortune. Of
particular note is a scene in which Mary decides to get rid of her
ill-gotten gains. Clearly, this is a film that
must have squeaked by the censors, for certainly Mary is a prostitute,
living with criminals, yet is not punished for it. Take a look at the
costuming in the movie - it has some marvelous dresses designed for
Lombard by Dolly Tree. Of particular note was a "mourning dress" that
she wears in the middle of the film. Take a look at this clip for a glimpse into the film:
After a bit of a pause, thanks to the holiday season, we return to
our blog posts. We are revisiting Carole Lombard, beginning with her
1938's Fools for Scandal. In it, Ms. Lombard is Kay Winters, a movie star trying to tour Paris incognito. She runs into Rene
(Fernand Gravet), a man so broke he has to keep pawning his only two
suits of clothing. He is fascinated with her, and begins to pursue her
romantically. She finds him attractive, but is in France with her
boyfriend Phillip Chester (Ralph Bellamy), and has all but promised to marry him. Of course, hijinks ensue.
This
is a VERY odd movie. For one thing, it cannot decide if it is a comedy,
romance or musical. We have Ms. Lombard and Mr. Gravet speaking the
lyrics (a la Rex Harrison) of a Rogers and Hart song Fool for Scandal. According to The Richard Rogers Reader (available on GoogleBooks) and Lorenz Hart.org,
several other songs were dropped from the film. And while the film has
this song and two others, it isn't REALLY a musical (and it probably
doesn't help that the leads can't sing!!)
That being
said, this film is goofy and fun. We particularly enjoyed a scene in
which a newly awakened Kay is visited by all the women she knows, eager
to discover if she spent the night with Rene. Lombard's sarcastic digs
at the women (in particular her "friend" Lady Paula Malverton,
played with some degree of bitchiness by Isabel Jeans) Also hysterical
was a scene in Ralph Bellamy does a little dance of joy.
Lombard
is, as always a joy. Gravet, who did not have a huge career, is fine
as Rene. Ralph Bellamy is his usual (in this era) nebishy self, but
still funny. While not one of her best, this is a film that is worth a
viewing, if only to see Carole attempt a song.
