Crane Stewart (Charles D. Brown), the Night Editor (1946) of the New York Star, attempts to educate one of his reporters by relating the story of Police Lt. Tony Cochrane (William Gargan), an allegedly happily married man who is having an affair with socialite Jill Merrill (Janis Carter). Wracked with guilt, Tony meets Jill for a rendezvous, and tells her he is ending their relationship. As she woos him back to her, they witness a murder. Tony is now in a quandary of indecision - if he tells his superiors, his affair will become public; keep it quiet and the murderer gets away.
As in Framed (1947), the audience is aware that Jill Merrill is trouble from the minute they see her. Ms. Carter has a way of making her face hard as a rock, which instantly displays the character's distasteful nature - in his Noir Alley intro, Eddie Muller called her "feral". The problem is that one wonders what on earth Tony would see in this horrible woman? Within minutes of her introduction, we find out what a heartless, callous excuse for a human being this creature is. She hasn't got any redeeming qualities, and while she is pretty enough, she could chew nails.
As a result William Gargan seems almost passive as the hapless police detective. He keeps attempting to break up with his mistress, and then immediately is back pawing her. Tony is horrified by Jill's behavior, but expects her suddenly develop morals. She doesn't, of course (if anything, she becomes worse), and he is faced with letting an innocent man die, or confessing his own complicity in the murder.
There are a number of interesting minor characters in the film, the best of which is Paul E. Burns as Police Lt. Ole Strom. Mr. Burns gives a very subtle performance as a fellow police officer who senses what is going on, but decides to waits for Tony to see the error of his ways. He knows Tony well enough to realize he will
come to his senses, and is the conscience of the film. Between 1930 and his death in 1967 (at the age of 86), Mr. Burns amassed 259 film and television credits (as well as seven Broadway plays). His final role was that of the bum who gets Robert Redford's coat in Washington Square Park in Barefoot in the Park.
Jeff Donnell is good as Tony's wife, Martha. It's pretty clear from the start that she is aware that her husband is straying, but is patiently waiting for him to see the error of his ways. In later years, she, Janis Carter, and Ann Savage would live close to one another in New York City, becoming best friends (Eddie Muller's outro on Noir Alley). The Cochrane's film son, Doc is played by Michael Chapin, the brother of Lauren Chapin (of Father Knows Best fame).
Though the film had the working title Inside Story (AFI Catalog), it was intended to be the first of a series of Night Editor movies, reminiscent of the radio series that inspired the film (Columbia Pictures Movie Series, 1926-1955: The Harry Cohn Years by Gene Blottner). The box office was not good enough for the series idea to continue.
In the end, we enjoyed the film; as Mr. Muller points out, it is able to get away with a lot of weirdness that A films would never be permitted. We'll leave you with a clip from the film:
George Steele (Pat O'Brien) assaults a police officer trying to get into the Manhattan Museum, where George works. George is confused, and says he was in a train accident. But Lieutenant Cochrane (Wallace Ford) from the police detective unit assures him there have been no train accidents in over seven months. Is George about to Crack-Up (1946)?
Pat O'Brien gives a good performance as a war veteran who genuinely believes he was involved in a train wreck, but can't prove it. If there is one problem with his portrayal it is that Mr. O’Brien is obviously too old (he was 47 when the picture was released) for the part he is playing. That aside, you do believe him both as a man being driven to the edges of sanity, as well as an intellectual with a deep interest and knowledge of art history. Mr. O'Brien's did only one other film noir, but he makes the most of it in this outing (TCM article).
He's well matched with Claire Trevor (Terry Cordell), herself a veteran of films noir. She'd already done one notable noir - Murder, My Sweet (1944), and would win an Oscar for her performance in Key Largo (1948) two years after our film. It's a shame she doesn't have more screen time, but when she does appear, either working with Mr. O'Brien as his love interest, or with Herbert Marshall (Traybin), she takes command of the screen.
Though Herbert Marshall's part is small, he is used to good effect. You are never quite sure of the reliability of the character. Ray Collins (Dr. Lowell) is also in the same position. By keeping the characters ambiguous, the audience is kept engaged in the action.
One small oddity in the film comes at the beginning. During an art lecture given by George Steele to a group of museum donors, Steele compares an old Master to a modern painting (which bears a passing resemblance to Dali), and trashes the modern painting. He is interrupted by an angry man in the audience; the man speaks with a distinct foreign accent and is nearly hysterical in his passion for the modern piece. It's an odd insert into the movie. As Derek Sculthorpe points out in his book on Claire Trevor (Claire Trevor:The Life and Films of the Queen of Noir), the screenplay seems to be linking modern art to radicalism - an acknowledgement to the increasing Red scare?
Based on the story Madman's Holiday by Fredric Brown, the film was not well received; Bosley Crowther's New York Timesreview found him "overwhelmed by [the film's] inadequacies." Regardless, in December 1946 Lux Radio Theatre did a production with Pat O'Brien and Lynn Bari. (AFI catalog).
While this is by no means a perfect movie, it certainly is worth a viewing, if only to see this very good cast work together. We'll leave you with a trailer:
Reporter Claire Cummings (Leslie Brooks) has ambitions. To get what she wants, she marries wealthy Carl Hanneman (John Holland) and dumps fellow reporter Les Burns (Robert Paige). Marriage is no barrier to getting everything she wants for Claire - she continues to write love letters to Les. It doesn't take long for the jealous Carl to discover he was married for his money; he informs his wife he'll be divorcing her immediately, and using the love letters to get out of any financial obligation. Claire, however, is not going to let a little thing like divorce get in the way of her plans. Our film this week is Blonde Ice (1948).
To say this is a Poverty Row film is an understatement. A transparent script, actors who rarely appear in anything but very minor roles, and a budget that was apparently in the single digits make this a really cheap production. Our group had a mixed reaction to it - I personally found it painful after awhile, but several members of the group enjoyed it - they found it amusing (though that was probably not the intent of the director and screenwriter).
The film is anchored on the leading lady, Leslie Brooks, who plays the avaricious Claire. From the minute she appears on screen, you know Claire is up to no good. She's gotten through life on her good looks. One would think that, as ambitious as she is, she'd have a brain in her head, but sadly, she doesn't. She has no sooner said "I do" than she is trying to make time with her ex-boyfriend. While on her honeymoon, she's sending him love letters, which she carelessly drops and allows her new husband to read. His immediate reaction - divorce - gives Claire a new task. She'll kill him before he can file any papers. However, she's not awfully good at staging a suicide.
One major problem with the plot is the ostensible suicide of Carl Hanneman. There are no powder burns on the late Mr. Hanneman's hands or clothes, and no fingerprints on the gun, but the police dither around as they try to decide if Mr. Hanneman was murdered or not. And of course, there is the fact that Claire is stupid enough to believe that she can just toss a gun on the floor and have it ruled suicide.
There is one more female character - Mildred Coles (June Taylor). She seems smart when we first meet her, but the script doesn't capitalize on it. She's the only one who appears to have Claire's number, and she also seems to have feelings for Les, but the script just drops her quickly from view.
Russ Vincent who plays the blackmailing pilot Blackie Talon married Leslie Brooks two years after this picture was released. They had three daughters (and one daughter from Ms. Brooks first marriage), and were married for 51 years, until his death in 2001.
When the film was restored and released on DVD, one critic suggested it might be an "undiscovered gem". (TCM article). I'm not sure I agree, but it does have an amusement factor. We'll leave you with a clip from the opening of the film:
Nighttime at a rubber plantation in Singapore; most of the workers are sleeping peacefully when shots ring out. A man stumbles from the main house, pursued by a woman with a gun. She fires into the man over and over again. She then calmly sends one of the workers for the district officer, saying it was an accident. We are discussing The Letter (1940).
This film features one of the more dramatic openings in movie history - a peaceful night interrupted by gunfire, as a woman pursues a fleeing man. The report of the gun, the sounds of the previously quiet jungle screaming with panic - director William Wyler did 33 takes of the scene, though producer Hall Wallis told Wyler that it was the first take that he used in the final film (TCM Behind the Scenes).
Bette Davis is the dominant force in the film. She is powerful even in scenes of quiet. While you are suspicious of Leslie Crosbie from the start (we did after all watch her gun down a man), Ms. Davis gently feeds the information to us strand by strand, much like the crochet lacework that is constantly in her hands. Ms. Davis was eager to work with Mr. Wyler - they'd previously worked together on the Jezebel, a performance which had won Ms. Davis an Oscar. (TCM The Big Idea). Nonwithstanding of their mutual affection and regard for one another, they still had disagreements - in a late scene, Mr. Wyler insisted that Ms. Davis look into Herbert Marshall's (Robert Crosbie) eyes to tell him she loved another. Ms. Davis was horrified - it was too cruel, she said, but Mr. Wyler insisted. When she won the AFI Lifetime Achievement Award, Mr. Wyler was in attendance. "Even today 37 years later," he said, "we still disagree on it. Well,
Bette read it the way I asked her to, but I'm sure she would like
nothing better right now than to drive over to Warner Bros. and re-shoot
the scene her way." The camera caught Ms. Davis nodding her head vigorously in agreement (TCM Trivia)
James Stephenson brings nuance to the character of lawyer Howard Joyce, the man who first grasps the levels of Leslie's duplicity. He'd appeared in a variety of parts since he began in films in 1937 but this film was the first to use him to good effect. He had his issues with Mr. Wyler, but Ms. Davis would convince him to try Wyler's way. Ultimately, he was nominated for an Oscar for Best Supporting Actor (he lost to Walter Brennan in The Westerner). Sadly, Mr. Stephenson would only appear in five more films - he died in 1941 of a heart attack.
The first actress considered for Mrs. Hammond was Anna May Wong, but William Wyler felt she was too young and too attractive to portray the sinister widow. Instead, Gale Sondergaard was given the part, and she is excellent in a part that relies on facial expression and body language for her communication with the audience (Mrs. Hammond does not speak English). Ms. Sondergaard would eventually be forced to leave Hollywood for the New York stage when her husband Herbert Biberman was accused of being a communist. She eventually returned to Hollywood, where she worked in film and television until her retirement in 1982.
Herbert Marshall is very good in what is basically a thankless role as the cuckolded husband. He'd appeared in the 1929 version of the film (as the murder victim) (TCM Pop Culture). He has several heartbreaking scenes at the end of the film that reveal much about this misused man.
It's worth noting the presence of Frieda Inescort (Dorothy Joyce) in a very small role as defense lawyer Joyce's wife. Victor Sen Yung (here billed as Sen Yung) is quite convincing as Ong Chi Seng, the somewhat shady lawyer in training, who is the first to reveal the existence of the Letter.
There is one other character in the film, and that is Leslie's lace crochet. We see it immediately after Geoff's death, and slowly the project grows as Leslie's lies become more and more intricate. The dropped lace project at the end signals the film's ultimate conclusion, much like the three fates weaving out the lives of mortals.
The New York Times review by Bosley Crowther was glowing, and the film was ultimately nominated for Academy Awards in the categories of Picture; Supporting Actor, Actress, Editing, Direction, Original Score, and Black and White Cinematography (it didn't win in any category) (AFI catalog).
Jeanne Eagles starred as Leslie in the 1929 film version (which had a very different ending, the Production Code not being an issue at that point). There were three Lux Radio Theatre productions - May 1938 with Merle Oberon and Walter Huston; April 1941 with Bette Davis, Herbert Marshall, and James Stephenson; and March 1944 with Bette Davis, Herbert Marshall and Vincent Price. The October 1956 Producer's Showcase television version was directed by William Wyler and featured Siobhan McKenna, John Mills, and Anna May Wong (who finally got to play Mrs. Hammond). Lee Remick starred in a 1982 television movie remake; also featured in that version was Sarah Marshall, the daughter of Herbert Marshall.
We'll leave you with a trailer of this remarkable film:
Christine Hunter (Ann Sheridan) returns home after a late party and is accosted on her front porch. She's forced into the house; we hear a scream and fighting. The next morning, her husband returns from a business trip to discover homicide detectives, a dead body, and his distraught wife. Our film this week is The Unfaithful (1947).
An exceptional cast and a tight script make this film thoroughly enjoyable. Led by the always excellent Ann Sheridan, the cast portray characters that feel like real people. Ms. Sheridan plays Christine with an underlying insecurity that makes you believe she could be swayed by loneliness and grief. But her clear love for her husband, Bob (Zachary Scott) also makes us sympathize with her as her world begins to fall apart. The film reflects the aftermath of the war - an increasing divorce rate as couples who married quickly find that they are incompatible. Chris and Bob are not, but the misery brought about by wartime separation is really the crux of this movie.
Ms. Sheridan is ably supported by Lew Ayres (Larry Hannaford), an attorney who spends much of his time in the divorce court. Larry sees Chris and Bob as a model of marital happiness, so when the truth about Christine is revealed, he is as offended by her "crime" as her husband. However, Mr. Ayres makes his character pull back mentally and apply some objectivity to the case, which also helps the audience to side with Chris.
This was Mr. Ayres second film after returning from service during World War II. He was derided before the war for declaring himself a conscientious objector. Though he refused to kill, he was was quite to serve as a non-combatant; he won three battle stars as a medic and chaplain's aide in the Pacific. He returned to his film career, which must have seemed an impossibility at the start of the War - his studio (MGM) and the public were horrified at his unwillingness to kill the enemy - he continued working in films and television until two years before his death at age 88 (Washington Post obituary).
Zachary Scott is frequently the villain in films, but not here. He's a loving husband who watches his life fall apart when his wife is assaulted. Once he discovers Chris' indiscretion, Bob does come across as petulant. He is redeemed by his interactions with Eve Arden.
Eve Arden (Paula) steals the movie in her big scene with Zachary Scott. Paula, Bob's cousin, appears on the surface to be a completely thoughtless person - a gossip who rather dislikes her cousin-by-marriage and takes a certain amount of joy in putting Chris in her place. But when the chips are down, it is Paula who sees the truth in Chris' story, and is not going to let Bob get away with his judgemental attitude. It's a magnificent scene.
Normally, we enjoy Jerome Cowan (the Prosecuting Attorney), but he ends up being distracting more than convincing. We found that we sought out Larry Hannaford during the courtroom scenes. His quiet dignity made the courtroom scenes more believable.
The Unfaithful is loosely based on The Letter (1940); though much of script was unfinished when production started (TCM article). In his New York Timesreview, Thomas M. Prior (T.M.P.) was not impressed with the script, though he was full of praise for the three leads.
This is very much a film about forgiveness, and as Jeanine Basinger points out, the topic is unique in this post-war film (I Do and I Don't: A History of Marriage in the Movies). Clearly, the MPAA thought so as well, as they allowed a film about adultery to be shot, though with one proviso: "the MPAA agreed to allow this if the film clearly conveyed the message that divorce is undesirable" (AFI catalog).
We really enjoyed this film and heartily recommend it. We'll leave you with the trailer:
Christine Radcliffe (Bette Davis) races to a concert at a local college. A solo cellist, Karel Novak (Paul Henreid), new to the United States, performs to great acclaim. Before the war, he and Christine were lovers in Germany, but Christine has long believed him to be dead. Their reunion is joyful, until the jealous Karel demands an explanation for Christine's luxurious life style. The Deception (1946) begins when Christine lies about her life since the war, and her relationship with the brilliant, but ego-maniacal composer Alexander Hollenius (Claude Rains).
Just who is the villain is one of the questions in this film. On the surface, one's instinct is to place Hollenius, a self-absorbed egoist if ever there was one, in that position. But, it's clear from the start that Christine has long ago learned how to deal with Hollenius' moods and demands, so why is she so spooked by him? The answer may be that Karel's jealousy is deranged. He almost strangles Christine when they meet again. His mania and her fears start the string of lies that lead to Christine's downfall. What certainly is clear is that Christine has lousy taste in men.
Beyond a doubt, this is Claude Rains movie. As domineering as Hollenius is, it's hard to actually dislike him. He glories in his power and in his talent. He enjoys his life, and while he isn't actually mean, he doesn't appreciate anything that thwarts what he wants. The problem for Christine is that Karel thwarts Hollenius, and while she is immune to his head games, the troubled Karel is not. To see Mr. Rains at his absolute best, watch him manipulate Christine and Karel when they dine out. It is a masterwork of acting (TCM article). In his commentary on the DVD, Foster Hirsch mentioned that some people claimed Mr. Rains stole the scene from Bette Davis - clearly (as Mr. Hirsch pointed out) no one steals a scene from Ms. Davis. If you watch her during the scene, she's reveling in Mr. Rains performance.
Paul Henreid has the unenviable job of playing a man who is just short of being insane. His fits of anger are positively scary; he's worse then Hollenius in many respects because he has no clue that his self-absorption is so complete. Mr. Henried does a good job playing an abusive individual and does make you feel that some of his behavior stems from his experiences during the war (though not all of it).
While Bette Davis could play the piano (and practiced hard to do the one scene in which she played), Jack Warner asked her to not worry about it - they would get a pro to do the actual music (but you can tell by her hands that she knows what she is doing). Paul Henried, however, did not know how to play the cello, and had to have two actual cellists use their arms to make it appear that he was actually playing.
This was the first Warner Brothers film in which Ms. Davis appeared that did not make money (partly due to the production running overtime, due to Ms. Davis' illness). She would only make three more films for Warners.
Based on the play Obsession, which was on Broadway in revival when the film opened, the original was a two-character presentation - just Karel and Christine. It was at one point intended as a vehicle for Barbara Stanwyck and Paul Henreid (AFI Catalog).
The New York Timesreview by Bosley Crowther was not particularly complimentary - but Mr. Crowther didn't like the play much either. He was, however, very taken with Claude Rains who "fills out a fascinating portrait of a titanic egoist".
This is not Ms. Davis' best film, but it is a tour de force for Mr. Rains, and as such worth your time. We'll leave you with the trailer:
Primary schoolteacher Jane Richards (Dorothy Dandridge) starts her first job at a rural school and becomes interested in C.T. Young (Philip Hepburn), a youngster with a history of underachievement in the school - now in 4th grade, C.T. has been left back in every grade. Determined to find something that will interest this child, Jane begins to find ways to draw him out. Our film this week is Bright Road (1953).
A gentle story that tells the story of the growing relationship between a young boy and his teacher, this is an effective film that features many outstanding performances. First and foremost is Dorothy Dandridge in her first major role as the schoolteacher who won't give up on this neglected child. So many films about teachers and students portray adversarial relationship. This one does not. Ms. Dandridge plays a teacher who wants to understand her students' needs, not just teach at them. Ms. Dandridge had worked for years with her sister, Vivian as part of The Dandridge Sisters, a singing trio (the other member was Etta Jones). She worked again with Vivian here - Vivian worked as a hairdresser for the cast, then filled in as Miss Nelson, one of the other teachers (AFI catalog).
Also remarkable is Philip Hepburn as the youngster who seems unable to learn. C.T. is never rude, but he does feel that the classroom is a distraction from the world, and that adults don't really help him all that much - he is more interested in his bees (a source of income for him and his family), in caterpillars, and in his younger siblings. It's a sad commentary that none of his prior teachers realized that the child was hungry - it's clear that the teachers know that C.T.'s father is a part-time laborer, but only Miss Richards puts this together. What does make this film different from other films about educators is that C.T. comes from a loving family. They may be poor, but his parents and siblings are caring people, who all love one another. This was Mr. Hepburn's only film - he made two more appearances on television, then left the business.
Barbara Ann Sanders (later Barbara Randolph) also had a short film. She's lovely as Tanya Hamilton, C.T.'s best friend. She would later go on to a successful career as a singer, working with a number of singing groups. She'd later appear in Guess Who's Coming to Dinner (1967), her final film appearance. She died in 2002 at the age of 60.
Harry Belafonte (Mr. Williams) in his first film role, has a relatively small part in the film - he's excellent in his few scenes. He brings authority to the principal, a caring man who is intrigued by the intensity of his new teacher. Mr. Belafonte even gets to sing a bit in the film. Later in his career, he would become a film producer - his HarBel Productions did Odds Against Tomorrow (1959), in which he also starred.
Other performances worth mentioning are Maidie Norman as Tanya's mother. She has only one scene (with Ms. Dandridge); it's a touching and sad moment that is beautifully done by Ms. Norman. Robert Horton (Dr. Mitchell) plays a dedicated doctor who is called to aid a sick child. He's very good in the part. It's also interesting that he is the only white actor in the film, nor is it called out that his practice is dedicated to a Black community.
The director of the film, Gerald Mayer, was the nephew of Louis B. Mayer, and spent most of his career in B films. He would eventually work successfully in television (TCM article).
The New York Timesreview by Bosley Crowther was lukewarm - he enjoyed the story, such as it was, but had expected more social commentary. We found this a warm and enjoyable film, that tells the story of a struggling community well. We'll leave you with a trailer:
Having lost his gas station, Joe Norton (Farley Granger) and his wife Ellen (Cathy O’Donnell) are forced to move in with her parents. The only work he can find is as a temporary mail carrier. With a baby on the way, Joe steals what he thinks is $200 from a man on his delivery route, only to find the file contains $30,000. When he tries to return the money, he discovers it has disappeared, and the criminals from whom he stole it are now after him. Today, we’re looking at Side Street (1950).
Our initial reaction to Farley Granger's Joe was that the character is a complete idiot. He starts out as almost listless and passive, then endangers himself, his wife, and his child by stealing from an office to which he's been delivering mail. Finally, to add insult to injury, he gives the money (wrapped in some brown paper) to a bartender to hold for him. These early scenes have the viewer constantly head shaking because Joe is SO stupid. Happily, the character begins to grow and Mr. Granger is ultimately able to make us care for him - first because of his family, but finally because he cares about his wife so much, and really does repent his actions.
The film starts with voice-over narration by Paul Kelly (Captain Walter Anderson); while some of it is interesting (especially the information about New York City, circa 1950), much is superfluous. Mr. Kelly is very good in what is really a very small part (removed from the narration), and perhaps his reassurances at the end of the film might be welcome to some members of the audience. Mostly though, it felt as though the filmmakers really wanted to be compared to The Naked City (1948).
Whether you agree with everything director Anthony Mann did, it is apparent that he hired actors who gave some amazing performances. The first that comes to mind is James Craig as Georgie Garsell. If your mind immediately goes to images of Editor Halverson in Our Vines Have Tender Grapes (1945) or reporter Mike Regan in Lost Angel (1944), think again. Georgie is a psychotic individual whose eyes gleam when he knows he is a going to kill someone. Mr. Craig plays him with some degree of relish, but never goes over-the-top. He makes Georgie both scary and human.
The always impressive Jean Hagen (Harriet Sinton) is wonderful in a part that is almost a cameo. This is only her third movie, and she is convincing as an alcoholic singer with the hots for Georgie. She has a brief scene with Mr. Granger (making an interesting foil to his real love interest), and then a scene with Mr. Craig. You will, however, remember her at the end.
Cathy O'Donnell's part is also relatively small, but she makes an impact in all of her scenes. A loving wife who is completely thrown by her husband's sudden secretiveness, she's the person that makes you initially understand that Joe has something worth liking. As with their appearance together the previous year, They Live by Night, they are an appealing couple, much of it thanks to Ms. O'Donnell's delicate performance.
Several other actors should be acknowledged, many in uncredited roles. Charles McGraw has a brief appearance as Detective Stanley Simon. Richard Basehart appears briefly - and uncredited - as a bank teller; likewise, King Donovan as Detective Gottschalk and Ben Cooper, in his first film role as Young Man at Cleaners are not listed in the credits.
Shot on location in New York City (AFI catalog), the cinematography by Joseph Ruttenberg is impressive. He uses aerial shots to increase the claustrophobic atmosphere of the city, making the skyscraper streets appear as mazes. In her book on Anthony Mann, author Jeanine Basinger comments that "[Joe's] world is one he can neither control nor see fully, trapped as he is in the small canyons below." There is also an impressive car chase scene in the narrow confines of New York's Wall Street area (TCM article).
If you are at all interested in New York City locations, I suggest visiting the NYC in Film blog and take a look at some of the amazing photos the author has compiled showing the City then and now.
While not well received by Bosley Crowther in his New York Timesreview, the reviews at the time were mixed, and the film has been more fairly judged in recent years. This is an enjoyable film that will keep you interested throughout. We'll leave you with a trailer:
Patrice Harkess (Barbara Stanwyck) sits holding her baby, Bill Harkess (John Lund) nearby. They are waiting for something, and Patrice believes that, when it comes, Bill will leave her. The phone rings - it's the police, and they are on their way over. Our film tonight is No Man of Her Own (1950), part of the Hidden Classics Blogathon, hosted by the Classic Movie Blog Association.
This has long been one of my personal favorite Barbara Stanwyck films, and it was one she was eager to do (Barbara Stanwyck: The Miracle Woman by Dan Callahan). She is perfection as a woman thrown into a morass, and comes back to look it square in the eye. For Patrice Harkness is a name forced on unwed mother Helen Ferguson. Abandoned by her lover, Stephen Morley (Lyle Bettger), with only a train ticket to New York to her name, she finds herself on the train, unable to find a seat, and with no money for food. She's "adopted" by Patrice (Phyllis Thaxter) and Hugh Harkness (Richard Denning), a young couple pregnant with their first child, en route to meet his family for the first time. In less capable hands, it would be hard to understand just why the Harknesses take on this needy young woman, but Ms. Stanwyck makes you understand from the start the inner goodness of Helen Ferguson, who only wants to be able to make a decent life for her and for her coming child. That Helen was originally to be a prostitute (AFI catalog) seems outlandish having seen the film. The audience must care for her, and Ms. Stanwyck wraps her audience around her lovely finger. She also has the inner determination to handle the problem that is Stephen Morley (TCM article).
While it is true that John Lund is not an actor in Ms. Stanwyck's league (then again, who is?), he does a good job in keeping their relationship on an even keel. A particularly telling scene is one in which his father (Henry O'Neill) adjusts his will. The audience is starting to realize that Bill is suspicious of Patrice; but when she reacts with horror at the news about the will, Bill's reaction sets us up for the rest of their relationship - it doesn't matter to him any longer who she is. He knows the kind of person she is and that is all the information he requires.
Jane Cowl (Mrs. Harkness) is superb as the loving mother who looks to Patrice and her baby as the final link to her deceased son. She's warm, friendly, and protective. But she is also smart;
she knows very quickly that Patrice is in some kind of trouble and she begins immediately to find a way to safeguard her family - including Patrice - from any danger. Ms. Cowl only made a total of seven pictures (in Stage Door Canteen, she played herself). However, between 1903 and 1947, she was in 33 Broadway plays, many of which she wrote and/or directed, including Smilin' Through (which was made into a film with Norma Shearer). She died in 1950, at the age of 65.
Lyle Bettger (Stephen Morley) is deliciously evil as a horrible man who keeps the audience on tenderhooks. We never really believe him, but at the same time, it's hard to think that anyone could be as bad as he is. In his first scene, we watch him ENJOY Helen's heartbreak. This is his lover, pregnant with his child, but he's done with her. He's like a peacock preening at her misery, which of course he sees as her need for HIM. A little hint of the future is given when we meet his new inamorata, Irma (Carole Matthews) who is disgusted at his treatment of Helen.
Using Phyllis
Thaxter (Patrice Harkness) and Richard Denning (Hugh Harkness) as the young married couple is an interesting conceit. Both are well enough known to the audiences that one is lulled into thinking they will be with you
for the whole movie. Sadly, that is not to be, but both are lovely in their brief scenes with Ms. Stanwyck. Their warmth echos what Helen will find when she inadvertently adopts Patrice's identity.
The film was based on a story by Cornell Woolrich, I Married a Dead Man (Senses of Cinema). The New York Timesreview by Bosley Crowther is unimpressive, but in a 2012 New York Timescommentary upon the DVD release, Dave Kehr discusses the intricacies of director Mitchell Leisen's work.
The Screen Director's Playhouse aired a version on television in September 1951 with Ms. Stanwyck in the lead. The film was remade in 1996 as Mrs. Winterbourne with Ricki Lake in the title role. Nothing, however, can beat Ms. Stanwyck, and we heartily recommend this wonderful film. We'll leave you with a trailer
Before you go, I suggest you visit the Classic Movie Blog Association page for this blogathon, and look at some of the other films being discussed for this celebration.
Welcome to our celebration of National Classic Movie Day for May 16, 2021. As part of a blogathon hosted by the Classic Film and TV Cafe, we're going to discuss six films - one from each decade beginning in 1920. We hope you've seen these films. If not, perhaps you'll consider giving them a viewing. All are worth your time.
We'll start our discussion right at the beginning of our first decade with Way Down East (1920). Lillian Gish stars as Anna, an unwed mother who is thrown out of her home after becoming pregnant. Following the death of her infant, she finds work as a servant girl and falls in love with David Bartlett (Richard Barthelmess), the son of her employer. But gossip reaches the Bartlett farm about her past, causing her to flee out into the storm. What follows is a spectacular scene in which Ms. Gish gets trapped on an ice floe, while Mr. Barthelmess attempts to save her. The scene was actually filmed in the midst of a blizzard and Ms. Gish suffered hand pain for the rest of her life (TCM article). You can see that scene below. In the meantime, you get to see some fine acting and an engaging script. It's a powerful film, primarily because of Ms. Gish's abilities. If you've never seen her in a silent film, this may be the one with which to start.
We'll go to the end of the 1930's for our next film. The Christmas rush over, Polly Parrish (Ginger Rogers) uses her lunch hour to begin job hunting; by Christmas Eve, she'll be unemployed again. She sees a woman abandoning a baby on the steps of an orphanage, and rushes over to make sure the baby doesn't fall - and is mistaken by the orphanage personnel for the mother. Bachelor Mother (1939) changes Polly's world as she becomes tthe mother of a strange child, and is wooed by the scion of the department store for which she works. Ginger Rogers is delightful as the reluctant unwed mother.
The beauty of this remarkable film is the way in which all around her treat Polly after discovering she has a child. David Merlin (David Niven) wants to give her a permanent job; Polly's landlady, Mrs. Weiss (Ferike Boros) volunteers to take on baby-sitting duty, and David's father John Merlin (Charles Coburn) decides the baby is his grandchild. The film circumvents the code by showing sympathy to a mother on her own, by making that mother an adoptive one. It's a remarkable and genuinely sweet film, and definitely worth viewing. The trailer will give you a good idea of this lovely movie:
The 1940s was an especially difficult decade to nail down just one film, so I opted to go to the directing master Alfred Hitchcock, and discuss Notorious (1946), which for me is one of his often ignored masterpieces. Alicia Huberman (Ingrid Bergman), the daughter of a convicted German spy, is recruited by T. R. Devlin (Cary Grant) to spy on another suspected spy, Alexander Sebastian (Claude Rains). Part of the beauty of this film is that Alicia is no innocent - she's been running with a fast crowd since her father's conviction, and knows exactly what comes with her mission, consenting to wed Sebastian to get the needed information.
The combination of Grant and Bergman is intoxicating. Their's is not so much a love story as a lust story that grows despite the reluctance of the leading man. Mr. Grant makes Devlin a dark and angry man, who finds himself loving a woman he thinks is unworthy of him, only to find that she is a far better person than he. Claude Rains turns the tables on the viewer by making the audience actually sympathize with him, despite the fact that he is a Nazi spy and murderer. It's a world turned upside down, and the viewer is given a wild ride to a tense ending. The trailer will give you a look at this absorbing tale.
The role of women had changed as the 1940s ended, and the 1950s began. Women who had left the home to work were now been forced back into the home. In response, Emily Dunning Barringer, a physician in New York, wrote an autobiography about her years as an ambulance surgeon in 1902 (she was the first woman to hold this position). The film that was made of her book is The Girl in White (1952). It's possibly the only biography of a female physician, and gives a clear picture of the kinds of abuse that women who were entering the field had to face.
June Allyson brings both innocence and strength to the young woman who is bucking the system. Arthur Kennedy is good as her suitor, who originally wants her to give up her career and become the supportive wife and mother. Without going into detail, the ending of the film is an eye-opener, and not the traditional Hollywood fare. If you've never seen this before, I strongly recommend it. This trailer will serve as an introduction.
I had to think long and hard in selecting a representative film of the 1960s. In keeping with my theme of strong women, I selected The Lion in Winter (1968). Katharine Hepburn is dynamic as the power-seeking Eleanor of Aquitaine; she won her third Oscar (tying with Barbra Streisand - the only time thus far the Actress category has resulted in a tie).
The interplay between Ms. Hepburn and Peter O'Toole is dynamic. Sure, the dialog is not period but they film crackles with superb lines. My favorite has got to be Ms. Hepburn musing on her marriage annulment from Louis VII of France: "Good, good Louis. If I'd managed sons for him instead of all those
little girls, I'd still be stuck with being Queen of France and we
should not have known each other. Such my angels is the role of sex in
history." You can see that scene in this discussion of Ms. Hepburn's career by Anthony Hopkins
Peter O'Toole had a discussion about Ms. Hepburn with Robert Osborne which is available here. He had approval rights for the film, and he wanted Ms. Hepburn. While there was a remake of the story in 2003, with Patrick Stewart and Glenn Close - both marvelous actors and favorites of mine - nothing can top the electricity between all the actors in the 1968 film.
If you've not seen it - please get hold of a copy. I hope this trailer will serve as an encouragement.
As the 1960s gave rise to more violent films, I admit to not seeing many of the "greats" of the 1970s, so making a selection took some thought. I decided on The Way We Were (1973). Again, a strong woman attempts to take on the world - or at least her part of it.
Katie Morosky (Barbra Streisand) is a college radical who falls in love - initially over her better judgement - with jock Hubbell Gardiner (Robert Redford). When they meet again during World War II, their love for each other flames and they decide to marry. But Hubbell's career takes them to Hollywood, where Katie's radical past becomes a threat to their future.
If there is one thing I regret about this film, it is the fact that a decision was made to cut a scene that explained the real reason for Hubbell and Katie's eventual divorce. You can see that scene and a few others in this excerpt from a documentary about the film. In my humble opinion, the inclusion of the one scene would have made an already great picture perfect.
I had my own personal connection to the movie - they filmed the scenes outside Katie's apartment a few blocks from where I lived in New York, and I got there just in time to see the trucks leave. Sigh. But it was exciting to see the finished scenes in the film. You can actually see that location in this trailer from the film.
In conclusion, Happy National Classic Movie Day. Please be sure to visit the other blogs that are posting for the day, and find out about some additional great films.
