Interlude: WWII Erupts

On December 6, 1941, a group of B-17 Flying Fortress bombers leave San Francisco on a routine run to Hawaii.  As they arrive, they discover that Pearl Harbor and Hickam Field have been virtually destroyed by the Japanese attack of December 7th.  In that instant, the lives of the crew of the Mary Ann change as they attempt to get their plane first to Wake Island, then to the Philippines, to fight in the newly declared war in the Pacific.  This is Air Force, a Howard Hawks film from 1943. 

We had the opportunity to see this interesting film on a big screen at the AFI Silver Theatre, as part of a Howard Hawks retrospective.  Hawks, a member of the U.S. Army Air Service during the first World War, had already demonstrated his interest in aviation with his prior films, Ceiling Zero (1935) and Only Angels Have Wings (1939). Here, as the war rages on in Europe and Asia, with no end in sight, Hawks looks at an event that would have been very much in the memory of his audience.  The film is careful in sticking to the facts, with only a few liberties taken.  In fact, a group of Fortresses was en route to Hawaii just prior to the Pearl Harbor attack, and one of the ships was, in fact, the Mary Ann. 

My companion, who is quite familiar with the history of World War II, pointed out to me some of the liberties taken in the film.  For example, were a ship like the Mary Ann to be sent from Hawaii to the Philippines, it would have flown via Midway, not Wake Island. It's apparent that Hawks wants to reference the events that occurred on Wake Island, as it was attacked and captured by the Japanese (and perhaps tip his hat to the film Wake Island, that had been released the previous year). Towards the end of the film, we see the Mary Ann's crew involved in a battle - it appears to be the Battle of the Coral Sea, but that didn't happen until 5 months AFTER Pearl Harbor (not a few days as portrayed here).  And there is no way a B-17 could hover over a convoy of battleships to mark the way for oncoming planes. It just would not work!

You'll be treated to some fine performances here: a young John Garfield as tail gunner Joe Winocki; George Tobias as New Yorker and gunner Weinberg, Harry Carey - always wonderful - as crew chief Robbie White, Arthur Kennedy as Bombardier Tommy McMartin. and Gig Young as co-pilot Bill Williams.  We even have a cameo by Ann Doran as pilot Irish Quincannon (John Ridgely)'s wife.

Though I'm not usually a fan of war movies, this one was certainly worth seeing, and I hope to view it again. It had a sympathy for the men and an understanding of what they were facing that is not always apparent in World War II propaganda films.  Is it propaganda? Of course, but propaganda of the best kind.

For your enjoyment, the trailer from the film is below:

Our next Constance Bennett movie will be up in a few days.

Connie Goes to Court

Two Against the World (1932), on the service, appears to be your typical, 1930's romantic comedy - wealthy Adelle Hamilton (Constance Bennett) is on her way to a meeting.  She is late, and rude to the man (David Norton, played by Neil Hamilton) she believes to be an elevator operator.  Of course, he is not.  He is a lawyer, on the way to the same meeting.  He is the lawyer for the widow of a woman killed while working for Adell's family.  Adell and her brother Bob (Allen Vincent) cannot be bothered participating in the family discussion - they play tic-tac-toe.  The family seems not worth our time - there is also a philandering sister (Helen Vinson).  All-in-all, not exactly an admirable group.

Only this film is not a simple rom-com.  Things turn dark when the members of the family are involved in a murder, and Adell takes responsibility for the events.  We won't go into too much detail, here, but the film turns quite dark about mid-point.  The film asks us to sympathize with the murderer rather than the victim (Pre-Code, of course);   the murder is even staged in such a way as to minimize your interest in the victim. In the clip below, we see a scene as the intensity increases:


Let's spend a moment discussing the costuming by Orry-Kelly.  It is fantastic.  At one point, Ms. Bennett is wearing a raincoat that any one of us would have worn in a minute.  Also, a black dress that was to-die-for.  And Ms. Bennett, always lovely, wears them well.  You can get an idea from the clip, but better is to come in the film.

The film is a tad disjointed, but it is worth a look.  Certainly, it is never a hardship to watch Ms. Bennett.  She takes even the most mediocre script and makes it shiny.

Interlude: Loretta is BAD

The Movie Group began in New York City, with weekly meetings to watch a variety of films.  Since then, we have continued our meetings virtually.  However, occasionally, a member might get to see something that fits into nicely into our discussions, and so it will be added to the blog.  

This week, I got to see Born to be Bad (1934) at the AFI Silver Theatre in Maryland, where they are doing a tribute to Loretta Young's 100th birthday.  In this film, Ms. Young is Letty Strong, a woman of 22 with a 7 year-old son (Mickey, played by Jackie Kelk).  Abandoned by the boy's father before he was born, she was taken in by Fuzzy (Henry Travers).  However, she now supports herself as a dress-model and paid escort.  She allows her son to skip school, and informs Fuzzy that Mickey will not live life as naive as she - he knows the realities of life.  Here's our first glimpse of Letty:


Enter Malcolm Trevor (Cary Grant), the wealthy owner of a dairy, who Letty tries to bilk. Fascinated by her child, he and his wife adopt the boy, in hopes of giving him a better life. But Letty intends to get the boy back, and enough money to support them - preferably at Mal's expense.

That the film is pre-code is readily apparent.  We get some glimpses of Young in her lingerie (with her legs as bare as they can be!).  And Letty is never condemned for her actions, neither her present day lifestyle, nor the fact that she is an unmarried mother.  Fuzzy, our bell-weather for  Letty's actions, is angry with her for her  actions as a mother - the fact that she does not teach her son proper values.  Though it is apparent he does not approve of her occupation, he does not censure her for it; he remains her friend, and hopes that he can convince her to be a better mother.   He regrets she is compelled to do this, primarily because of the example it sets for Mickey.   An article on the TCM website offers some insight into the reception that the film received (it wasn't good).  The production code was right around the corner.  We see here the last vestiges of the pre-code film.

We'll resume our weekly review in a few days.

Connie Marries the Elite

This week, we again join Constance Bennett in a precode film.  This one is Our Betters from 1933.  Connie is Lady Pearl Saunders Grayston.  We meet her as she has just married Lord Grayston (Alan Mowbray).  She is determined to be a good wife to him, though she is aware that their marriage was one of convenience - he needs her money to  support his lifestyle.  But Pearl finds almost immediately that her dreams of a life as a happy wife are naive.  Her husband has no intention of giving up his mistress.  

The film, taken from a play by W. Somerset Maugham,  produced by David O. Selznick, directed by George Cukor, and with music by Max Steiner is not a great one, but it is interesting.  Besides having some of the best behind-the-scenes talent in Hollywood, we have a fantastic performance by Bennett.  Her Pearl becomes a society hostess, but one who is jaded and cold. We also want to pay homage to the fantastic costuming of Hattie Carnegie - take a look at the stunning (and scandalous) black dress Ms. Bennett wears to a party - it's a knockout!

At one of her parties, we discover that she is planning to bring her sister, Bessie (Anita Louise) into the same lifestyle, by arranging her marriage to Lord Harry Bleane (Hugh Sinclair).  Though Bessie seems willing, it soon becomes clear that she really loves Fleming Harvey (Charles Starrett).  But everything begins to implode at a weekend outing to the Grayston estate, as we learn more about Pearl's rather seedy existence.  
 

Among the party guest are GIlbert Roland.  We enjoy him as an actor, but felt he was wasted here as the gigolo who pursues Pearl, but is involved with the wealthy Duchess Minnie.   We also discover that Pearl is essentially destitute, thanks to her husband's bad handling of her finances, so she is using her wiles to "borrow" money from Arthur Fenwick (Minor Watson).  

Much of our conversation focused on the bartering of American heiresses for English titles.  It is surprising that, in 1933 (this is a contemporary story), this was still going on.  We especially discussed the life of Consuelo Vanderbilt, who was literally imprisoned by her mother until she consented the Duke of Marlborough

Here is a clip from the film:

Connie Gets a Bed

Lorry Evans (Constance Bennett) has just been released from prison. She and her friend Minnie Brown (Pert Kelton) board a steamboat, in hopes of fleecing some of the men on board.  Only, Lorry is discovered, so she jumps overboard.  And is fished out of the water by Dan (Joel McCrea) the captain of a nearby barge. Having lost the money she scammed while on board the steamboat, Lorry takes Dan's money, and heads for New Orleans.  Thus begins Bed of Roses from 1933, the latest in our Constance Bennett series.  

This film is so obviously pre-code!  Lorry and Minnie are being released from prison for soliciting.  They are scam artists, and once Lorry gets to New Orleans, her goal is to sucker a rich man (John Halliday as Stephen Paige) into becoming her sugar daddy.   And yet, it will all end well for our "heroine".  Here is a clip from the opening scene:

 

Of course, we will discover that Lorry has a code, and will return to Dan because he is a good guy.  And she will fall in love with him.  And then her life will become even more complicated, as she has to decide between love and the knowledge of what her past life will do to their relationship.  Bennett is fantastic in the part.  She makes Lorry hard to dislike, yet you are always aware that she really is not quite on the up-and-up.  We also, of course, get some beautiful clothing once Lorry has gotten herself properly set up (no costumer is listed for the film, unfortunately).

The men are interesting characters as well.  Dan is a really good guy.  This is NOT the McCrea of Primrose Path (which we previously discussed).  This Dan takes people as they are; he doesn't make judgements.  Similarly, Stephen Paige actually seems to love Lorry.  Considering how she wormed her way into his life, this is rather surprising, however John Halliday, an excellent character actor who we've discussed before, makes it work.

Finally, there is Pert Kelton.  For those not familiar with her right away, this is Ma from The Music Man!  Minnie is hysterical, and Ms. Kelton plays her for all she is worth.  She reminds one a bit of Mae West.  And watch for the ending.  You will be quite amused.

Pert Kelton with John Halliday

Next time, another Constance Bennett pre-code

Double-0 Connie

Carla Vanirska (Constance Bennett) is trying to get a train ticket to Vienna.  The lines are so terrible, she cannot get near the ticket office.  Enter Captain Rudolph Ritter (Gilbert Roland), who offers his assistance.  He is hoping to accompany her on the train, but at a stop, she disappears into the night.  The problem? She's an enemy agent, spying on his military forces during the First World War.  After Tonight (1933) looks at the life of an espionage agent, and the problems faced when she gets much too close to the enemy.

Constance Bennett makes an excellent spy.  She is beautiful and clever.  No one suspects that the lovely nurse could possibly be the agent K-14 that everyone is seeking.  She is also daring.  Even when she suspects a trap, she goes to a rendezvous, on the off chance that this might be a real meeting.  Gilbert Roland is also excellent as the army officer who loves Carla.  You do sympathize with both of these people, wanting Carla to escape, yet wanting her to remain with Rudolph.

We were also intrigued with all the spy paraphernalia that gets used: invisible ink, the messages hidden in books and jewelry, creaky steps that signal the possible intrusion of the enemy.  A good use of all the spy games made the film even more enjoyable.

The movie has an especially well-done ending.  We can't tell you what it is; we don't want to spoil it for you.  But, we think you will like it.

Connie Becomes a Star

We'll be starting a number of Constance Bennett movies over the next few weeks.  The first is What Price Hollywood? (1932) in which Ms. Bennett plays would-be actress Mary Evans.  The film opens with an unseen woman looking through a magazine.  The ads show us just what the stars use to make themselves beautiful.  The woman who is looking at the magazine is using the stockings, and makeup that the ads recommend.  The camera pulls back to show a our heroine, who is living in a tiny apartment, with a Murphy bed.  No star she, just a simple waitress waiting for her big break.  

That night at work, she befriends director Max Carey (Lowell Sherman), a good man, but one with too large an affection for alcohol.  He reluctantly agrees to help Mary, but her stiffness and inexperience is evident; he decides to recast the role with someone else.  The next day, Mary convinces him to give her one more chance. And thus, America's Pal is born - Mary Evans becomes a star.

Certainly, this is so close to A Star is Born as to be the original source material for the 1937 Janet Gaynor film.  But, we understand from the TCM commentary, no credit was given by either this film, nor the Judy Garland film in 1954, to this lovely movie (the former was produced by David O. Selznick, and the latter was directed by George Cukor, the producer and director of this film).  For those of you familiar with the later films, take a look at this clip, which is very reminiscent of something that occurs in both of the later versions:

 

And a wonderful film it is!  Several scenes are especially worth mentioning.  The opening scene we described above is one.  Here is a clip from that, which contains a small tribute to the man who would become the King of Hollywood, Clark Gable:

 

Another, is the scene in which Mary, having been fired from her first acting job by Max, goes home and spends the night practicing her lines.  Ms. Bennett is just fabulous as she stubbornly attempts to master her craft. 

We should also tip our hat to the male lead for this film - Neil Hamilton, best known to a generation as Commissioner Gordon in the 1960's television show, Batman.  As children of the Batman generation, it was fun to see Mr. Hamilton in a totally different (and much younger) role.

Next week, another Connie Bennett film.

Joan Joins the Fourth Estate

A murder in a small New York state town creates a firestorm for the locals, including the widow of the victim (Vivienne Osborne as Marcia Ferguson). a neighbor (Leon Ames, here listed as Leon Waycoff, as Judd Brooks) and a local reporter (Tom Brown as Bruce Foster).  In 1932's The Famous Ferguson Case, Joan Blondell is featured as one of the reporters that invades the town in search of sensation. 

On occasion, films from the thirties can feel a bit dated.  However, The Famous Ferguson Case is as timely as the paparazzi that stalk unwary celebrities.  The reporters that descent Cornwall like a plague of locusts are of the yellow variety - creating sensation when they don't find enough to feed their daily news reports; destroying lives in the name of "reporting the facts." Only one talks of the dangers of bad reporting, however no one listens (and quite frankly, he's not the strongest character you've ever met).

Blondell is interesting as the reporter who has seen the seamier side of her profession for all too long.  We are well aware that she has had an affair with Bob Parks (Kenneth Thompson), and she is just short of being appalled at his behavior in Cornwall, mostly because she is all too familiar with his modus apparendi.  Leon Ames is excellent as a man in the wrong place at the wrong time.  Watch for the scene where he finally gets to have HIS "say" in the proceedings.

We heartily recommend this one: an excellent film, with an enjoyable ending. Here's a trailer that might be of some interest.

Loretta Goes to Work

1931's Big Business Girl features Loretta Young as  Claire McIntyre, a woman just out of secretarial school.  She is in love with musician Johnny Saunders (Frank Albertson), but her debts from school force her to let him journey off alone to a lucrative gig, while she looks for work in New York City. After landing a job as a stenographer, she is able to get into see advertising executive Robert J. Clayton (Ricardo Cortez), who, impressed with her ad copy (and her looks) promotes her to copywriter.  Claire inadvertently overhears Clayton's assessment of her skills and appearance, and decides to use her wiles to further advance her career.  Re-enter Johnny, and sparks begin to fly, as Johnny is furious at Claire's dedication to her job, as well as Clayton's obvious interest in her sexually.

Looking back from the vantage of 2013, one could see Claire eventually suing Clayton for sexual harassment, but this is 1931, and neither his actions (nor her's) is at all bothersome.  We won't go into too much detail as to Johnny's reactions, because that would give away a big surprise that is revealed in the middle of the film.  But there is a lot of petulance on the side of Johnny (Frank Albertson is rather good at petulance.  Witness his Freddie Miller in Bachelor Mother) and sliminess on the part of Cortez (which we all know from many movies he too is very good at portraying).  And Loretta skirting the edge of being the slightest bit racy.  The fact that Claire is quite talented at her job (and is very careful to not lead Clayton on too far) makes her just barely moral.  But this is a pre-code film, so that titillation value is there.

There is also a nice surprise towards the end of the movie - an appearance by Joan Blondell.  Telling more than that would give away too much of the plot, but the she is a riot.  Here is a clip that will give you a taste of the movie (and of Ms. Blondell): 



While not a great movie, this is an interesting film that is worth seeing.  Just for Young and Cortez alone, it worth the just little over an hour of your time.

Gumshoe Joan, Take Two

Bill Reardon (Melvyn Douglas) is an unsuccessful PI.  With no clients, and loads of debts, he decides to go back to his job as an investigator for the District Attorney's office.  His wife, Sally (Joan Blondell) protests, so he jokingly gifts her with his office.  Next thing you know, a client, in the form of Lola Fraser (Mary Astor) appears. She hires Sally to find out if her husband is a cheat.  Only, within hours, Walter Fraser is dead.  Who dun it?

Thus begins the screwball There's Always a Woman (1938).  Our group had rather mixed reactions to it.  Developed as a response to The Thin Man, the big reaction was that Bill and Sally are no Nick and Nora.  The jokes tended to go on and on (sometimes way too long for some tastes).  And the over-the-top humor made the movie far less enjoyable.  

On the other hand, the film had great sets and costumes.  And some scenes were really funny.  Like a bit, late in the film, when Sally is being interrogated by the police, and is not in the least phased by the rhetoric.  Blondell could be very cute at times; other times, you wanted to give her a good spanking.  Here, we can share a little bit of the slapstick action (and it might give you a clue of why Sally is such a brat):

Finally, a couple of things to look out for: a young Rita Hayworth as the Bill's secretary (she's there for about one minute),l and Mary Astor appearing in a role very reminiscent of something a few years away - The Maltese Falcon.

Next time - another pre-code.