Fred Dons His Top Hat

Jerry Travers (Fred Astaire) is about to open in a new London musical when it happens - he meets the girl of his dreams, Dale Tremont (Ginger Rogers). All it takes is one dance for the two to fall head-over-heals in love.  But Dale is told that the man who is romancing her is Jerry's best friend Horace Hardwick (Edward Everett Horton), the husband of Dale’s friend, Madge Harwick (Helen Brodrick). Our film this week is Top Hat (1935).

If there is a truth to be found in any Astaire-Rogers movie, it is that the written plot is unimportant - all the information you need to know about the story is there in the dancing. We see the carefree bachelor ("No Strings"), who falls in love with the downstairs neighbor ("No Strings - Sandman"). He woos her ("Isn't it a Lovely Day to be Caught in the Rain"), seduces her ("Cheek to Cheek"), and wins her ("The Piccolino).  Who needs words more than those penned by the great Irving Berlin?

It is because Astaire and Rogers are great actors that the film works so well. They act the words of the script, of course. But they act the dance. Watch their faces, their movements - they are telling us the story even when we think we are just watching them dance. It's not surprising that their partnership is legendary. They fit beautifully together.

The film is also remembered for the "Cheek to Cheek" dance - notable for the grace of the choreography, as well as for the ostrich feather dress that Ms. Rogers helped to design it with Costumer Bernard Newman. It too is the story of legend.  Ms. Rogers loved the dress - and she is correct in her belief that its flow contributed to the dance itself. The problem, however, was that the dress shed. Badly. It left feathers all over the floor and Mr. Astaire's tuxedo. Mr. Astaire rebelled - he wanted a different dress for the number, and Ms. Rogers dug her heels in and refused to get a new dress (Actually, an old dress - they wanted her to use a dress she'd worn in The Gay Divorcee).  So, the wardrobe staff came to the rescue - they spent the night reinforcing the feathers. The result is on the film - an occasional feather wafts by, but no flurries. And Ms. Rogers gained a gold charm in the form of a feather (and a note which read "Dear Feathers, I love ya!, Fred"), a song, and the nickname "Feathers" from Mr. Astaire.  (Ostrich Feather Dress  TCM Behind the Scenes). 

Edward Everett Horton and Helen Broderick as the older married friends of Jerry and Dale are very amusing. Ms. Broderick, especially, with her deep voice and saucy manner is perfect as the attempted matchmaker. Watching her encourage Dale to get closer to Jerry is really funny (especially considering that Dale thinks Jerry is actually Madge's husband, Horace). Ms. Broderick, who spent her film career playing best friends, is also remembered as the mother of actor Broderick Crawford.

While the characters played by Erik Rhodes (Alberto Beddini) and Eric Blore (Bates) are required for the plot, they are pretty silly. Especially nonsensical is the scene with Bates (masquerading as a gondolier) and an Italian Policeman. It is reported that several scenes at the end of the film were excised to speed things up - one wonders why this particular bit remained. The character wasn't much loved either - Italy banned this film because of Mr. Rhodes portrayal (TCM Trivia & Fun Facts). It's also worth noting that Lucille Ball makes an appearance as a Flower Shop Girl in the film.

The New York Times review by Andre Sennwald was very positive: "Top Hat is worth standing in line for. From the appearance of the lobby yesterday afternoon, you probably will have to." (The film, in fact, did sell out Radio City Music Hall.) Other reviews were also complimentary. 

Top Hat was nominated for 4 Academy Awards - Picture, Art Direction, Dance Direction (Hermes Pan), and Song (Irving Berlin's "Cheek to Cheek"). Three songs from the picture - "Cheek to Cheek," "Top Hat" and "Isn't This a Lovely Day"--were ranked first, second and fourth on the Your Hit Parade radio program (AFI Catalog). It's also been featured as an Essential on TCM, and is featured in Jeremy Arnold's second book, The Essentials, Volume 2: 52 More Must-See Movies and Why They Matter.

 

This truly is a must-see movie. Just ignore some of the plot, and watch the dancing. You'll want to dance yourself. We'll leave you with a trailer:

Fred Dances in the Dark

After years as a major film star, Tony Hunter (Fred Astaire) has sold his California home and memorabilia, and returned to New York City. He's met by his dear friends, Lester (Oscar Levant) and Lily Marton (Nanette Fabray), who have plans - a new play they've written just for him. They plan to enlist Jeffrey Cordova (Jack Buchanan), a major theatre director and actor, to head the production. But Jeffrey's concept of The Band Wagon (1953) is far different than the musical that the Martons had envisioned.

Our group had all seen this delightful film before, and were enthusiastic about seeing it again. One of the Freed Unit musicals, this story is biographical in nature, taking inspiration from the lives its star, its writers, and from other Broadway notables.  

Fred Astaire is perfection as the movie star who decides to retire rather than face a declining public. Many aspects of Tony Hunter are taken directly from Mr. Astaire's own life. He had starred on Broadway in 1931 musical The Band Wagon (then dancing with his sister, Adele), in which he'd sung "I Love Louisa" (The musical revue also featured the song "Dancing in the Dark"). In 1946, Mr. Astaire decided to retire, thinking that his career was starting to peter out (Starring Fred Astaire by Stanley Green & Burt Goldblatt). And he did express concern that his potential dancing partner Cyd Charisse (Gabrielle Gerard) was too tall for him (TCM The Big Idea). All these little nuances gel to create a character with some depth.

By 1953, Cyd Charisse, had been at MGM since 1944. She'd lost Easter Parade (1948) to Ann Miller after Ms. Charisse broke her leg (interestingly, Mr. Astaire returned from retirement to take on Gene Kelly's part when Mr. Kelly broke his ankle). And she was too pregnant to star in An American in Paris (1951). Her big break came in 1952, when she danced in the "Broadway Rhythm Ballet" in Singin' in the Rain. She's poetry in motion in this film. Just watch her do "Dancing in the Dark" with Mr. Astaire; the simple beauty of the dance - and the dancers - is perfection. She wasn't the first choice for the part - Vera-Ellen was initially considered. 

Ms. Charisse's singing voice was supplied by India Adams; sadly, one of her numbers was cut - "Two-Faced Woman." MGM didn't give up on the song though - they later used it in Joan Crawford's film Torch Song (they should have left it in The Band Wagon!). For more information on Ms. Charisse, take a look at this brief video from TCM on her career. And to quote Mr. Astaire (from this bio) "When you've danced with Cyd, you stay danced with."

Jeffrey Cordoba was originally intended for Clifton Webb, but as he'd become rather a big star by 1953, he wasn't interested in a secondary part. He suggested Jack Buchanan instead (TCM The Essentials).  MGM also considered non-dancers Vincent Price and Edward G. Robinson (AFI Catalog) before deciding on Mr. Buchanan.  He's very funny and an able song-and-dance man in a character that was inspired by both Orson Welles and José Ferrer; between 1950 and 1954 Mr. Ferrer staged and/or starred in TEN Broadway plays.

We were especially impressed by the costumes of Mary Ann Nyberg - they are beautiful, and in many cases, quite simple. The white flair dress that Ms. Charisse wears in "Dancing in the Dark" is perfect for a night scene - the simple lines of the dress flow with her dancing; the light color spotlights her and Mr. Astaire as they dance. In the documentary that accompanied the DVD of the film, Ms. Charisse commented on the red dress she wore in the "Girl Hunt Ballet" - it was one of her favorites.  Liza Minnelli (interviewed in that documentary) recalled that Ms. Nyberg made dresses that mirrored those of the stars for 6-year old Liza.  She loved them!

Musicals, of course, entail a lot of work. The "Triplets" number was especially difficult for the principles, involving multiple takes and painful leg binding - they were dancing on their knees and no one could stand the discomfort for more than 20 minutes. But that was not the only problem for those involved. Fred Astaire's wife was in the last stages of terminal lung cancer. Oscar Levant, always a curmudgeon, was even more belligerent, having just recuperated from a heart attack. When he yelled at Nanette Fabray just once too often, she told him off, and the entire crew applauded. Jack Buchanan decided to use his time in America to have some much needed dental surgery. Vincente Minnelli was distracted by his ex-wife, Judy Garland's problems while filming A Star is Born (TCM Behind the Camera).

The film received three Oscar nominations - for Costume, Score, and Original Screenplay. It was added to the Library of Congress National Film Registry in 1995. It's #17 on the AFI's 100 Years, 100 Musicals.  

When it opened at Radio City Music Hall in New York, Bosley Crowther's New York Times review was glowing:"Joined with the equally nimble talents of Fred Astaire. Jack Buchanan and Cyd Charisse and some tunes from the sterling repertory of Arthur Schwartz and Howard Dietz, this literate and witty combination herein delivers a show that respectfully bids for recognition as one of the best musical films ever made." Other reviews were equally enthusiastic. We heartily concur. 

If you've never seen this film, give yourself a treat and find a copy.  Here's a trailer from the film. Enjoy the music:

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:

Brian Loses Control

College friends Al Mercer (Guy Madison), Brick (Brian Keith), Roy (Brian Keith), and Ronnie (Kerwin Mathews) take a vacation trip to Harold's Casino in Reno, Nevada. Upon returning to school, Ronnie comes up with a supposedly foolproof method of robbing the casino. Ronnie and Roy see it as a game - they won't keep the money, so there is no crime. But unknown to them, Brick, a Korean War vet who has had mental issues since returning stateside, is finding it hard to cope with civilian life. This week, we'll discuss 5 Against the House (1955).

At first look, this appears to be a film in the vein of Oceans 11 - it was, in fact, an inspiration for Martin Scorsese's Casino (TCM article). There is one small problem - it's not a very good movie, and it's badly miscast. 

Two of our actors are supposed to be college students in their early 20s. Alvy Moore was 34 and looks it; Kerwin Matthews was 29 and looks older. It's therefore rather hard to find them believable as naive youths. Also, Matthew's character is supposed to be extremely intelligent. But he thinks he can commit grand theft and not be charged because he's going to give back the money. Really?? He's also really unpleasant - he's constantly hazing a younger student (which is supposed to be the comic relief), and he's vain enough to decide to trap Al into his illegal scheme. All in all, he is a self-important, spoiled brat.

Guy Madison is saddled with a character who's given little opportunity to develop. We know he is a Korean War veteran, and that Brick saved his life. We know that he is in love with Kay Greylek (Kim Novak). We're also told that he is intending to study law. Other than that, he is a blank slate, and the script does not allow us to really care about him at all.

The actor who is given the most to work with (and that still is not a whole lot) is Brian Keith. He gets the chance to play a man teetering on the verge of madness. But he's given precious little of a back story, and that does not help our understanding of the man. When one thinks of other post-war films, like The Best Years of Our Lives (1946) and Captain Newman, M.D. (1963), both of which have characters that have suffered emotional trauma because of their experiences, the audience is given a chance to taste some of the horrors that plague the men. Not here - like Al, Brick is written in shorthand. It's only thanks to the skill of Brian Keith that we have any sympathy for him.

This was only Kim Novak's fifth film, and while she too is saddled with a superficial character, we do warm to her, mainly because we see that she is a strong and intelligent woman.  If any character is a savior, it is she, and the audience likes her audacity by the end.  The same year as this film was released, Ms. Novak would appear as Madge in Picnic, and her stardom was assured.  

William Conrad (Eric Berg) has a brief appearance as a casino employee - strangely, he gets billing OVER Kerwin Matthews. Well, maybe not so strange - he's a far better actor.

The story was taken from a Good Housekeeping series (AFI Catalog) - an odd tale for such a magazine.  One nice feature is that it offers a glimpse of Reno (and Las Vegas) in the mid 1950s - not the cities that we think of today.

Unless you are a Kim Novak completist, or a fan of Brian Keith, we can't really recommend this one. Here is a trailer from the film:

 

Bette is Poison

George Bates (Gary Merrill) is on the run. He pulled a bank job with another man - Preston - and a guard was shot. George arrives at the home of Preston's estranged wife, Janet Frobisher (Bette Davis) to find that Preston is dead - Janet killed him when Preston started beating her. But George needs to use Janet's estate to hide out. Tonight we'll discuss Another Man's Poison (1952).

Not unexpectedly, Bette Davis dominates this film as a strong, selfish, and malevolent woman who likes her horse far better than she likes men. It's obvious that men serve one purpose in her life (since this is a PG-rated blog, I won't go into detail). Her taste in men is also decidedly bad. Her husband was a bank robber and abuser; her current lover, Larry Stevens (Anthony Steel) is a bore; and George Bates is treacherous piece of work. You'd think a woman with her brains could pick someone more agreeable. Were it not for the way she accomplished it, you could almost sympathize with the killing of her husband. It's quite clear that he beat her severely before George's arrival.

Emlyn Williams (Dr. Henderson) is also quite good as the veterinarian who suspects George is not exactly he appears. The audience gradually realizes that Henderson is quite smart, and is not letting on all he knows. Viewers today would be reminded of Columbo, as Henderson tries to worm his way into George's trust.  Mr. Williams is best known as a playwright - the author of The Corn is Green. His presence in this film was one of the reasons that Ms. Davis was interested in appearing in it.  Mr. Williams thrilled her when he introduced her to the woman who was the model for Miss Moffat. (TCM article).

The rest of the cast is, at best, adequate. We're none of us particularly fans of Gary Merrill. His best role was in All About Eve, and quite honestly, he was never all that impressive in other parts. George is a nasty, petty opportunist, and we found nothing to like about him. Mr. Merrill is very over-the-top in his performance, and it would have helped if he'd been toned down a bit. The only plus was that we looked forward to seeing Janet best him; he's just no match for her on any level, which was obvious from the start. 

Ms. Davis married Mr. Merrill in 1950 (after a passionate affair during All About Eve) - both needed to resolve other marriages first. When the couple headed to England to make this film, the marriage was new and relatively happy. The Merrills considered it a honeymoon, though they made the trip accompanied by their two children, two nannies, and a maid. Their union lasted for 10 years and most of it was unhappy. Sam Staggs, in his book All About "All About Eve": The Complete Behind the Scenes Story of the Bitchiest Film Ever Made,  called the association "a parade of depressing floats: drunkenness, strife, abuse."

Which brings us to the Larry Stevens (Anthony Steel) / Chris Dal (Barbara Murray) subplot, which we found to be a total waste of time. As we mentioned before, Larry is totally uninteresting, and the only benefit to Chris is that she is a good match for him - equally dull. There is a scene midway through the film when Chris admits to knowing of Larry's relationship with Janet. It is so banal, we found we could mouth the dialog with her.

The film was based on a play (Deadlock) that was inspired by Emile Zola's Thérèse Raquin (AFI Catalog).  The New York Times review by A.H.Weiler (A.W.) was lukewarm, calling it "a static affair that rarely escapes from its sets or the scenarist's verbosity." What praise he gave to the film was saved for Ms. Davis. Sadly, we concur. If you are a Bette Davis completest, then give it one viewing (it doesn't deserve more than that). Otherwise, this might be one to pass on (and just watch All About Eve again). 

We'll leave you with a trailer:

John Hears a Bell - Twice

Frank Chambers (John Garfield) is awaiting execution on death row. He protests his innocence of the crime, and proceeds to tell his story, which begins when he arrives at the diner of Nick Smith (Cecil Kellaway). Frank accepts a job at Nick's urging, only to have his life become complicated by the presence of Nick's sultry young wife, Cora (Lana Turner). Our film this time is The Postman Always Rings Twice (1946).

This is a film that is regularly discussed as a touchstone for film noir, and with one very good reason. That's the star, John Garfield, who is perfect as Frank Chambers. Mr. Garfield has the laid-back and gritty sexiness that is required to make Frank convincing. Even when he is downright fresh to Cora, there is no doubt in your mind that she is falling for him. Why wouldn't you? Half the audience is falling in lust with him at the same moment.  Yet he was not the first (or even the second) choice for the part. It was originally offered to Joel McCrea (who said no) and Gregory Peck was also considered (TCM The Big Idea). We would have an extremely different film with either of those two remarkable (yet likely very wrong) actors in the leading role. Mr. Garfield almost had to pull out of the film. He was called up for the draft, and Cameron Mitchell was set to step in. However, Mr. Garfield's bad heart (which would cause his death in 1959, at the age of 39 (Los Angeles Times)) released him from active service in the military.

Lana Turner has never been better in any picture that she is here. From the moment her legs appear, garbed in snow white shorts, crop top, and turban (Cora is only seen in black once - when she is planning to kill Nick),  you're as hooked as Frank is. Her appearance justifies his intake of breath. She's a vision, but a tough one, and Ms. Turner plays every emotion that Cora experiences to perfection. It's hard not to compare her to Barbara Stanwyck in Double Indemnity, because of the similarities in plot. The two actresses, however, build different creations, primarily because their motivations are so very different.  Cora is far less calculating, and her emotions are all over the place; her desire to be with Frank versus her need for security are very much in conflict. As the film progresses, we begin to realize just why she married Nick, and the life she was attempting to escape.  James M. Cain was so impressed by her performance that he gave her an inscribed, leather-bound copy of the novel (TCM Behind the Camera). 

Cecil Kellaway is an interesting casting choice for Nick. It's mentioned that he's thrifty to the point of cheapness, but he's a warm, loving man who is good to Cora and kind to Frank. MGM was hoping to mollify the censors by making Frank a likeable fellow. He was in fact, such a nice man, that Lana Turner would later state that "I adored Cecil Kellaway...so much so that I hated having to help kill him on camera." (Movies TV Network article). But the screenwriters do make you sympathize with Cora just a bit when we discover what her fate will be if she stays with Nick; Mr. Kellaway brings a selfish determination to the scene that makes it all the more convincing.

We especially enjoyed the performances of the two lawyers in the action - district attorney Kyle Sackett (Leon Ames) and defense attorney Arthur Keats (Hume Cronyn). Both capable character actors, their interplay - they have a bit of a friendly rivalry going on - is a real asset the film. The viewer is not really sure which of the two is more opportunistic. Both are using the case to their own advantage, rather than in the pursuit of justice. Another interesting performance is that of Alan Reed (Ezra Liam Kennedy) as a private investigator. Mr. Reed is best remembered today as the voice of Fred Flintstone.

This was Audrey Totter's (Madge Gorland) first appearance in a film noir. Her part is small - a great deal of it was cut when the original occupation of the character - a lion tamer - aroused way too much ridicule during the film's preview (James M. Cain actually crawled out of the theatre in embarrassment) ( TCM article). 

The novel was written in 1934 and was thought to be unfilmable because of the sexual content, though Mr. Cain attempted a stage adaptation in 1936, which he hoped would get it filmed. Le Derniere Tournant (1939), a French adaptation, did not do well and was not released in the U.S.  A 1942 Italian film, Ossessione, was also never released in the United States because it violated Mr. Cain's copyright (AFI catalog).

The title of the film (and novel) was a subject of discussion - there are several tales about how it got it's name, but it was important for the film that the title be eventually explained (by Frank, at film's end). This list of trivia outlines those stories). 

The New York Times review by Bosley Crowther was positive: "it is, indeed, a sincere comprehension of an American tragedy." Other reviews are varied (TCM Critics Corner).  The radio show Hollywood Soundstage aired a version in January 1952 with Eleanor Parker and Richard Widmark. The film was remade in 1981 with Jack Nicholson and Jessica Lange.

This is a must-see film (don't bother with the remake - it's a pale copy), and we highly recommend it. In the meantime, we'll leave you with the 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:

Robert Meets a Shady Lady

Jeff Bailey (Robert Mitchum) owns a gas station in a small Connecticut town. He's in love with Ann Miller (Virginia Huston) and the two are discussing marriage.  But the arrival of Joe Stefanos (Paul Valentine) spells trouble for Jeff - he's been hiding out from Joe's boss, racketeer Whit Sterling (Kirk Douglas). Jeff - then named Jeff Markham - worked as a private investigator for Whit, and didn't finish up the operation to Whit's satisfaction. This week, we'll be discussing Out of the Past (1947).

Often cited as the penultimate film noir, Out of the Past is an excellent, albeit dense story, but with characters that completely hold your interest throughout. Frankly, it's a film that deserves several viewings, if only to puzzle out the sometimes confusing plot. Then again, Out of the Past is not really about the plot - it's about the multiple character relationships.  

Robert Mitchum has become so linked to this part, it's mind-boggling that he was not among the first considered for the role. Both Dick Powell and Humphrey Bogart were offered the lead part (Jacques Tourner: The Cinema of Nightfall by Chris Fujiwara) and Pat O'Brien and John Garfield were also in the running. Mitchum had been nominated for a Best Supporting Actor Oscar for his work in The Story of G.I. Joe two years previously, but he was still being relegated to supporting roles (like The Locket) when he was cast as Jeff. He works well with all of his co-stars, though it has been said that he and Kirk Douglas did not immediately hit it off, and there was a bit of jockeying for position (TCM Behind the Camera). Ultimately, the two found common ground; their different styles of acting compliment one another. This intro and outro to the film, featuring Eddie Muller and Chris Mitchum (Robert's son) is worth a viewing for more insights into the production.The part of Kathie Moffat was originally intended for Lizabeth Scott; after she dropped out, Jane Greer (Kathie Moffat) took on the devilish dame. Ms. Greer is remarkable as a woman who goes from good girl to bad girl in the wink of an eye.  In a TCM interview, Ms. Greer discussed director Jacques Tourneur's instructions to her on getting to the heart of the character - "impassive." Though only 23 when she filmed the picture, she is marvelous - seemingly sweet an innocent, her portrayal is more a praying mantis waiting to consume her mate. She would later say that she had an excellent relationship with Robert Mitchum, who took brotherly care of her, even adjusting her dress when he realized it wasn't filming properly (TCM articles).

 

Kirk Douglas, in his third film, is an excellent choice for Whit. Though Lex Barker was in the running for the part (AFI Catalog), Douglas brings both an apparently congenial, but ultimately menacing vibe to the role.  His obvious differences from Robert Mitchum just enhance the danger in his performance - when you first meet the character, the screen hums with the tension between the two men.

Rhonda Fleming (Meta Carson) has a small but memorable part as a secretary with ulterior motives. She's quite good in a relatively small part. This was, in fact, only her fifth credited role. Sadly, the lovely Ms. Fleming died at age 97 shortly after we viewed the film. You can see the TCM tribute video to her film work here.

 

Dickie Moore (The Kid), Jeff's deaf-mute assistant in the garage also gives a convincing performance. By the end of the film, we almost feel that The Kid has, in fact, been our narrator. It is he who gives the picture its ending, and he is instrumental in aiding Jeff as his life spins out of control. 

Based on the novel Build My Gallows High by Geoffrey Homes, the New York Times review by Bosley Crowther focused on the complexities of the plot.  And there are many, but as Mr. Crowther pointed out even then, the "challenge was worth a try." Since then, it has become very highly regarded - it was added to the Library of Congress National Film Registry in 1991, and is also on Eddie Muller's list of Top 25 Noir Films 

A 1975 remake using the novel's title fell through, but the film was remade in 1983 as Against All Odds, with Jane Greer and Paul Valentine in small roles. Robert Mitchum and Ms. Greer also guested on Saturday Night Live in a 1987 skit called "Out of Gas."  

If you are a fan of film noir, this is a picture that you must see. And, for film fans in general it is still "an essential". We'll leave you with the film's trailer:

Van Investigates

The murder of police officer Ed Monigan bring his colleague Mike Conovan (Van Johnson) to the Scene of the Crime (1949). Though the papers are accusing Monigan of being on the take, Mike does not believe Monigan was murdered because he was taking bribes. The investigation, however, is disturbing Mike's wife, Gloria (Arlene Dahl) - she's terrified her husband will end up like Monigan, and is doing everything in her power to convince Mike that there are other career options than the police force.

This was Van Johnson's first appearance in a noir-ish role, and he's good as the dedicated police officer. Conovan is the main focus of the film - it's all about his relationships with his wife, his fellow officers, the son of his deceased friend, and finally the criminals he has to deal with on a daily basis. If Mr. Johnson doesn't quite give us a tortured man, he does convey the conflicts that are plaguing Mike.

The more interesting character is Lili, played by Gloria DeHaven. We found ourselves comparing her (favorably) to Jane Greer in Out of the Past. Like Kathy, Lili is a character who is not all that she appears to be on the surface. She is seemingly an innocent, tossed by circumstances into a world of danger but as the film progresses, we learn much more about her apparent innocence. Ms. DeHaven does an excellent job in making you believe in the roller coaster that is Lili. 

Arlene Dahl has a much less appealing role. Gloria spends most of the film looking upset. She does have some very good scenes (especially one at the film's end), but the focus of the part is to make Conovan doubt his ability to perform his job. Ms. Dahl was not the first choice for Gloria - Donna Reed was originally cast in the part (AFI catalog).  In what could have been a thankless role, Ms. Dahl does make the audience like and sympathize with Gloria, which is important, otherwise Mike's dilemma is pointless.

Given that this is an MGM film (an unusual venture for them to take on a noir (TCM article)), the film is gifted with a number of excellent supporting players. Tom Drake, as the straight arrow cop - nicknamed C.C., is fine as the neophyte studying under Mike. Leon Ames (surprisingly, without a mustache!) is also good in the small part of Captain A. C. Forster, Mike's understanding chief. Donald Woods makes Bob Herkimer into a quite unlikable character -  a reporter who is after the story at all costs, and doesn't let a little thing like friendship get in his way. 

Two actors, however, dominate the supporting ranks. The first is John McIntire (Fred Piper), who is excellent as the veteran who is nearing the end of his career as an officer. He brings a sturdiness to the role that demonstrate why he has been one of Mike's mentors.  

The actor who steals the show is Norman Lloyd (Sleeper). A stoolie who works for Mike, Sleeper is extremely creepy. Mr. Lloyd makes no attempts to make Sleeper in any way attractive, yet as repulsive as he is, there is a sort of sick humor that makes you keep watching. A theatre actor, who worked on Broadway, with the Civic Repertory Theatre, with the Federal Theatre Project, and with the Mercury Theatre, he came to film-going public's attention as the title character in Alfred Hitchcock's Saboteur (1941). Throughout the 1940s and early 1950s, he had steady work as a character actor in films such as Spellbound (1945 - also for Mr. Hitchcock), The Green Years (1946), and Limelight (1952). But work disappeared when he was greylisted. Alfred Hitchcock came to the rescue with the offer of work as a director and assistant producer for Alfred Hitchcock Presents, over the objections of studio executives who felt that hiring Mr. Lloyd could be dangerous (The Hollywood Reporter).  He spoke about those years at the TCM Film Festival in 214. Mr. Lloyd really came back to the public's attention as an actor when he was cast as Dr. Daniel Auschlander in the show St. Elsewhere. Mr. Lloyd is retired now - he is 106 at the writing of this post, and speaks regularly with his friend, Ben Mankiewicz.

The New York Times review  by Bosley Crowther was lukewarm, though he enjoyed the performances of Mr. Lloyd, Ms. Dahl and Ms. DeHaven. We had one complaint about the film - it really could use a better title - one that actually conveys what the story is about. Other than that, we found this an enjoyable film and one worth seeing.  In the meantime, we'll end with the film's trailer:

 

Ginger is in a Tight Spot

Sherry Conley (Ginger Rogers) has served four years in prison, when she is taken from the jail to a swanky New York City hotel by police officer Vince Striker (Brian Keith) and prison guard Willoughby (Katherine Anderson). Both are tight lipped as to the reason. However, it is clear that Sherry is in a Tight Spot (1955) when Lloyd Hallett (Edward G. Robinson) informs Sherry of the murder of her friend, Pete Tonelli (Alfred Linder). Tonelli was about to testify against gang leader Benjamin Costain (Lorne Greene), and Hallett wants Sherry to finish the job.

This is a tidy film, with a nice twist in the end that you really don't see coming. It's well cast and well-acted, with an engaging performance from a character actor - more on that later.

With a short, blonde hairstyle and severe clothing, Ginger Rogers looks much older than her 45 years. She looks hard, as her character should be, though at times she uses that baby voice that she sometimes exhibits when she wants the character to be naive or innocent.  Ms. Rogers is much too old for the role - Sherry should be hardened by prison life, but she also was supposed to have been a young girl who got caught up with a gangster. As the film opens, Sherry is by no means an innocent and while Ms. Rogers gives a decent portrayal, but this is no where near her best role.

Brian Keith is convincing as the police detective assigned to transport and protect Sherry. Mr. Keith does a good job making Vince hard-boiled, but he is equally adept at making him melt as he develops feelings for his charge.  

Brian Keith, the son of noted character actor Robert Keith, started his career in a few silent films as a small child (one featured his father), and in a bit part in Knute Rockne All American (1940). He then began a new job - four years in the Marine Corps as an air gunner. His return saw him in bit parts in a few more films, then on to Broadway, where, as Bob Keith, Jr. he appeared as part of the ensemble in the play Mister Roberts (which featured Henry Fonda in the lead - and his dad as Doc). He got roles in television episodes at this point, finally getting fourth billing in the film Arrowhead (1953). More television and several more films - including The Violent Men (1955), Nightfall (1957), and Storm Center (1957). But it was, perhaps, his role as Mitch in The Parent Trap (1961) that endeared him to a generation. It was this part that may have helped him to get the television series for which he is most remembered - Family Affair (1966). He continued to work in films and television until his death from suicide (his daughter had recently died, and he was suffering from emphysema) in 1997.

Edward G. Robinson is also good as the District Attorney who has pinned his hopes of deporting Costain on Sherry, though there is a hole in his plot line. Why, we wondered, would he approach this woman to testify against Costain, with no offer in hand? One would think that he would arrive with a promise of some reward for her danger, rather than just some lame appeal to her nobility. Mr. Robinson was at a low point in his career at this juncture. He'd been caught up in the McCarthy blacklist, and as he put it,  he "entered the 'B' picture phase of my career." (TCM article) Regardless, there is not an actor one looks forward to seeing more in a film than Mr. Robinson.

Lorne Greene is decidedly despicable as the gangland thug out to get Sherry before she can get him. Mr. Greene was two years from playing the ultimate good guy - Ben Cartwright in Bonanza. Also worthy of note is the performance of Katherine Anderson as the prison guard, Willoughby. Her's is a different kind of prison matron - she's kind and caring. Her affection for Sherry is evident from the minute we see her, and Ms. Anderson makes the character both memorable and engaging.

There is a theme that runs through the film - Sherry (who has been out of the world for four years) wants to watch television. But, every time she puts it on, all she can find is a telethon, hosted by a cowboy singer.  This was, of course, a dig at television, which had become the rival of the movie industry, and at television's penchant for telethons in the 1950s (AFI catalog). We should note that the film was set in New York City, which, in 1955 had six television stations (not two)!

The original Broadway play on which this film is based, Dead Pigeon (which featured Lloyd Bridges, Joan Lorring, and James Gregory), was inspired by Virginia Hill's testimony to the Kefauver Committee ("Gang Busters: The Kefauver Crime Committee and the Syndicate Films of the 1950s" by Ronald W. Wilson in Mob Culture: Hidden Histories of the American Gangster Film) [For more on Virginia Hill, see this bio].

New York Times review by H.H.T. (Henry Howard Thompson) called this "a pretty good little melodrama, the kind you keep rooting for..." and the book Dreams and Dead Ends: The American Gangster Film, 2nd ed. (by Jack Shadoian) says it is "a B gem that bears repeated viewings." We agree, and suggest you keep your eyes open for a it to appear on a TV set near you. In the meantime, here's a scene where Ginger Rogers talks to Brian Keith: