Robert Avoids Heaven

Joe Pendleton (Robert Montgomery) is a boxer with dreams of becoming the champion. He's trained long and hard, and is ready for the bout that will propel him to stardom. He's in his private plane, heading for New York when his aircraft is damaged. Plummeting earthbound, his spirit is plucked from his body by overeager heavenly messenger 7013 (Edward Everett Horton).  When Joe protests to Mr. Jordan (Claude Rains) that he doesn't feel dead, Mr. Jordan discovers that Joe is destined to live another 50 years! Since Joe's body is gone (cremated by Joe's manager Max Corkle (James Gleason)), Mr. Jordan and Joe go out to find Joe a new body. Here Comes Mr. Jordan (1941) tells the story of that quest.

I'm truly of the opinion that Robert Montgomery is one of our most underrated film actors. He's good in everything he does, and can play the villain, the anti-hero, and the hero with equal aplomb. He's delightful as Joe Pendleton, a man of deep feelings and simple tastes. He loves his plane, his saxophone, his dear friend Max, and ultimately, Bette Logan (Evelyn Keyes). His quest for a new body is governed by the purity of his nature - he wants simply what he is entitled to, and wants the body he is given to match the one that he had. After all, he kept it "in the pink!"

Robert Montgomery was born into a privileged family, but that all ended with his father's suicide when Robert was 18. He decided to try his hand at acting and writing; by 1924, he was appearing on Broadway, where he was in 7 plays (through 1928). He signed a contract with MGM in 1929, where his stage training was essential in the booming sound era; he was often the juvenile in this period (as in Untamed (1929)).  In 1937, he showed a new side of his talent in Night Must Fall,  as an insane killer. World War II disrupted his career - he volunteered to serve in the Navy, rising to the rank of Lieutenant Commander. Upon his return, John Ford cast him in They Were Expendable (1945); when Ford was injured, Mr. Montgomery finished directing the film. His characterizations became even more nuanced, as he appeared in films like the film noir Lady in the Lake (1946). He turned to television, to produce his own anthology show, Robert Montgomery Presents.  Married twice, he had three children by his first wife, Elizabeth Allen. His daughter, Elizabeth, went on to perform in film and television (and is best remembered for her role in the TV series,  Bewitched). He died of cancer in 1981.

We were a bit less enthralled with Evelyn Keyes. There are times, especially at the beginning when she is pleading for her father, that she seems over-melodramatic. She improves greatly in the love scenes with Mr. Montgomery, and they have a warm relationship that is easy to appreciate. Rita Johnson, as the other woman in Joe's life - the almost widow Julia Farnsworth - is quite good as the would-be murderer. She's properly bitchy, and you eagerly await her - and her paramour Tony Abbott (John Emery) - getting their comeuppance.

The film's strength really comes from two magnificent supporting roles - Mr. Jordan and Max Corkle. James Gleason is excellent as the frequently bemused Max. His fatherly affection for Joe is apparent from the minute we first meet him, and his pain from the repeated loss of Joe is palpable. But Mr. Gleason also brings humor to the part - his inability to see Mr. Jordan, while he tries to have conversations with him make for amusing scenes, yet maintain the integrity of the character. In their review, the New York Times says that Mr. Gleason "steals the film's most comic scene as the manager with cosmic premonitions," but he never lets Max become a fool, and we are grateful for it.

What can we add about Claude Rains that hasn't already been said? He's delightful as Mr. Jordan - warm and understanding. He cares about Joe, and about his predicament, but he has a heavenly duty to perform, and Joe isn't always willing to acknowledge that. Mr. Rains brings a sincerity to the role that perfects the movie. We believe he is an angel, and we know that Mr. Jordan will keep an eye on his charge until he meets him again in 1991. This article from the Criterion Collection talks about "the hint of steel" Mr. Rains brings to the part. It is the making of the character.

The story upon which the film was based was initially purchased as a vehicle for Cary Grant (AFI Catalog)  Years later, Warren Beatty would ask him to play Mr. Jordan in his remake.  (Evenings with Cary Grant by Nancy Nelson). When Mr. Grant said no, Mr. Beatty cast James Mason in his 1978  Heaven Can Wait - which was, in fact, the title of the original play by Harry Segall (TCM article). 

Lux Radio Theatre in January 1942 aired a version of the story with Cary Grant, Evelyn Keyes, Claude Rains, and James Gleason. It was remade again as Down to Earth (2001) with Chris Rock as a comedian who is untimely snatched from his body.

We'll leave you with this trailer, and the suggestion that you give this delightful film a first (or a second) viewing:

Ronald Breaks the Bank

Paul Gallard (Ronald Colman) arrives at the Sports Club in Monte Carlo with an empty suitcase, and proceeds to win 5 million francs at the baccarat table. He departs with his winnings, telling the newspapers that gambling is a fool's game to which he will never return.  Miffed, the casino administration begin to move heaven and earth to get The Man Who Broke the Bank at Monte Carlo (1935) to tempt him back to the tables, and hopefully, lose.

Most of the action in the 71 minute film is at the very beginning and the end. In between, there is the feeling that the screenwriters were killing time until we could get to those final scenes. It's not that the film was dull - it really wasn't. But it was hard to know exactly where the movie wanted to go and what tone it wanted to strike.

While this is not one of Ronald Colman's best roles, he is delightful as Paul (this was released the same year as Clive of India and A Tale of Two Cities - two powerhouse parts for him). He also has a very good rapport with Joan Bennett (Helen Berkeley) in their second film together - they had previously appeared together in Bulldog Drummond (1929). As in that film, it is clear that Mr. Colman is the star; unfortunately for Ms. Bennett, the part of Helen is not really well defined. As Ms. Bennett and Mr. Colman didn't work together after this, one wonders what would have happened had Ms. Bennett been given better written roles and a character able to go toe-to-toe with Mr. Colman.

Joan Bennett was born into an acting family. Her maternal grandparents were actors, as were her mother and father (her mother would eventually become a literary agent). Her sisters also were actors: Barbara and Constance Bennett. Joan appeared in two films (in 1916 and 1923), then was on Broadway (to which she would return in 1950, in Love Me Little) in Jarnegan (1928).  After two  uncredited film roles, she appeared as the ingenue in Bulldog Drummond.  With her blonde hair (her natural color) and youthful face, she was perfect for roles like Amy in Little Women (1933). Her career path would change, however, when future husband Walter Wanger and director Tay Garnett convinced her to go brunette for the film Trade Winds (1938). After that, she was a natural for roles like Kitty in Scarlet Street (1945). Married four times, her career all but ended when her third husband, Walter Wanger, shot Joan's agent in a fit of jealousy. She'd continue her career with regional stage performances (including the national tour of Bell, Book and Candle as Gillian). (In contrast, Wanger's career was not affected after he served his four-month jail sentence.) Television would prove a reentry for Ms. Bennett - she won an Emmy nomination for her role as Elizabeth Collins Stoddard in Dark Shadows (1966-1971). In 1970, she published her autobiography The Bennett Playbill (written with Lois Kibbee), and continued to appear in TV movies. She died of a heart attack in 1990, at the age of 80. For more on Joan and sister Constance, see this article from the Bill Douglas Cinema Museum at the University of Exeter.

Two excellent, but sadly brief performances are turned in by Colin Clive (as Helen's nefarious brother Bertrand) and by Nigel Bruce (as Paul's valet, Ivan). Mr. Clive is deliciously nasty; it's a shame he has so few scenes. And Mr. Bruce gets most of the really good lines. He's really funny, and not at all the buffoon that he would play in his later career.

Sylvia Sidney was originally considered for the role of Helen, and John Ford was to direct - an accident on his boat gave the director's chair to Stephen Roberts (AFI catalog). The film's title is taken from an 1890's music hall song, resulting in the studio being sued by the heirs of  songwriter Fred Gilbert, for violation of their copyright; they eventually lost the suit.  You can hear the song sung by music hall comedian Charles Coborn in the video below - you'll notice the song has nothing at all to do with the plot of the movie. The song would actually be sung in several films, including The Magnificent Ambersons (1942), Lawrence of Arabia (1962) and Alien: Covenant (2017). (TCM article).

The New York Times reviewer was not impressed with the film; they somewhat liked Ronald Colman, but were quite hard on Joan Bennett (really, she doesn't have a strong script. We thought they were being unfair).  It wasn't until May, 1946 that a radio version aired on Hollywood Star Time, with Rex Harrison and Lurlene Tuttle as the leads.  Perhaps the film is justifiably forgotten today, but it's worth seeing for Colman alone. He's always a treat.

As promised, we'll leave you with the song on which the title was based.

Katharine's Getting Married

It's been two years since Tracy Samantha Lord Haven (Katharine Hepburn) divorced her husband, C.K. Dexter Haven (Cary Grant) and Tracy is about to remarry. Her fiance is George Kittredge (John Howard), an up-and-comer who is completely different from the wealthy Dexter. Tracy, however, is not happy. She seethes with resentment towards Dexter, and towards her father, Seth Lord (John Halliday), who has been cavorting with a dancer in New York City. So, when Dexter shows up the day before her wedding with two reporters from the scandal sheet "Spy Magazine" in tow, Tracy is ready to give Macaulay Connor (James Stewart) and Elizabeth Imbrie (Ruth Hussey) the ride of their lives.

TCM Presents for February was the delightful The Philadelphia Story (1940). Katharine Hepburn is perfection as the intolerant Tracy, a woman of strict principle who finds herself torn among 3 men on the eve of her wedding. She never misses a step as Tracy discovers the true meaning of love as her inhibitions fall away.

Katharine Hepburn came to Hollywood to star in A Bill of Divorcement (1932) with John Barrymore. Two years later, she won her first (of four) Oscars for Morning Glory.  But, by 1938, with her films not doing well, she bought out her contract, and departed from Hollywood (after she was included in a list of actors termed Box Office Poison), Ms. Hepburn returned to New York, where she appeared in the Broadway production of The Philadelphia Story, a play which had been written by Philip Barry with her in mind. The play was a huge hit (it ran for 417 performances in New York, then opened on National Tour). All the major studios wanted it, but there was a catch. With the help of her friend Howard Hughes, Ms. Hepburn had purchased the rights to the play. No film would be made without her in the lead, and without her approval of her leading men. MGM bit the bullet, and bought the film, hired Philip Barry to write the screenplay, and (with Ms. Hepburn's approval) hired Cary Grant to play Dexter (even with his high salary demands and insistence on top billing!) This Philadelphia Magazine article  has more behind-the-scenes information on the production. For more on Ms. Hepburn's fascinating life and career, check out her autobiography Me, and the authorized biography that was published just after her death, Kate Remembered by A Scott Berg.

James Stewart is equally good as the angry young man who disrupts Tracy's life, a part that Ms. Hepburn intended for Spencer Tracy (they had not yet met). Mr. Stewart brings both a swagger and sass to Macauley Connor. He begins by resenting Tracy and all she represents, but ends deeply infatuated with her. Mr. Stewart would win his only Best Actor Oscar for his work in this film. His scenes with all three of his co-stars crackle with energy.

Cary Grant, however, was NOT nominated for his role as Dexter. Why will always be a mystery to me. He is wonderful (as always) in a part that Ms. Hepburn intended for Clark Gable. She asked Mr. Grant to appear when Gable was unavailable, and he agreed - provided he got top billing and a salary of $137,000 (which was given to British War Relief) (TCM article). As with their three prior parings (Sylvia Scarlet (1935), Holiday (1938), and Bringing Up Baby(1938)), their interplay is dynamic. There is an ease in their conversations that make them all the more real. Mr. Grant is equally adept at sparring with Mr. Stewart. And his scenes with Virginia Weidler (as Tracy's younger sister Dinah Lord) are a pleasure to watch.

The other nominated actor in the film is the always excellent Ruth Hussey (best supporting actress). If you have never encountered Ms. Hussey, treat yourself with this film or with The Uninvited (1944). There is a world-weariness to Liz, but it has not eliminated her hope for a future with Mike. Ms. Hussey began her career in Providence, RI as a radio commentator.  She eventually moved to New York where she modeled, and found jobs with theatrical touring companies. That got her an MGM contract, where she appeared films such as The Women (1939), Another Thin Man (1939), and H.M. Pulham, Esq (1941). She also appeared on Broadway in State of the Union (in the role Katharine Hepburn would play on film), and Goodbye, My Fancy (Joan Crawford's movie outing). Ms. Hussey appeared on radio and television as well until her retirement in 1973. She was married for 60 years to talent agent Bob Longenecker until his death in 2002; the couple had three children. She died in 2005, following an appendectomy, at the age of 93.

Donald Ogden Stewart won an Oscar for adapted screenplay, and director George Cukor was nominated. The film is listed as #44 in the100 Years, 100 Movies, 10th Anniversary Edition (interestingly, the rating went up from the original list, where it appeared at #51). It's also #44 on the 100 Years, 100 Passions list. In 1995, it was added to the National Film Registry.

The Lux Radio Theatre adapted the film twice: in July, 1942, with the original cast, and in June, 1943 with Robert Taylor, Robert Young, and Loretta Young. (AFI catalog). It would be remade as the musical High Society in 1956, starring Gracy Kelly, Bing Crosby, Frank Sinatra, and Celeste Holm, with glorious music by Cole Porter.  The New York Times review was glowing when the film opened at Radio City Music Hall, and quite honestly, what's not to love. We'll leave you with the trailer to this outstanding film:

Clifton in Suburbia

Henry (Robert Young) and Tacy King (Maureen O'Hara) live in the small town of Hummingbird Hills. Henry is a young lawyer trying to get ahead in his firm, which requires the Kings to socialize with his boss, Horatio Hammond (Ed Begley) and his wife Martha (Josephine Whittell) on command. The Kings have a another problem that complicates these command performances - their three rambunctious boys make it impossible for them to keep a maid, or hire a local babysitter. So, Tacy puts an ad in the Saturday Review for a live-in babysitter, and gets an immediate response. But there is a complication - the applicant, Lynn Belvedere is a man (Clifton Webb). Our film this time is Sitting Pretty (1948).

Set in counterpoint to our last film, All That Heaven Allows, we have the same suburban mentality looked at from both the dramatic and the decidedly comic points of view. The role of the vindictive neighbor here is taken on by Richard Haydn as Mr. Clarence Appleton, an effete botanist who lives with his deaf (and equally nosy) mother. Mr. Appleton takes great pleasure in snooping around the community, looking in his neighbors' garbarge and opening up their mail. He's quite as malicious as Mona Plash, but it's all in the attitude. Where Sara and Cary fear Mona, Mr. Belevedere and Tacy view Mr. Appleton with disdain.

As in the last film, the gossip affects the family dynamic, with Henry constantly fearful of the appearance of their living circumstances, while Tacy turns up her nose at such nonsense. But with a family of five to support, and a job in which he is at the mercy of a stuffy and judgemental boss, Henry perhaps has a right to be nervous.

As played by Mr. Young, the one thing that makes Henry problematic is his lack of presence in his boys' lives. He frequently seems removed from them - too busy to pay attention. As a result, these are youngsters who need a firm hand, and neither Henry (nor Tacy) seem capable of supplying that discipline.

Which is where Mr. Belvedere comes in; as an expert in children (he is, he declares, a genius, with experience in a wide variety of areas) who claims to not particularly like them, it is apparent that he is willing to spend time with the boys. Within a day of his arrival, he has cured the youngest son of pelting everyone at the kitchen table with his food (check out this TCM article for Clifton Webb's account of the filming of the scene) and taught the youngest two boys some yoga poses. As portrayed by Clifton Webb, Mr. Belvedere is a man with definite beliefs, who practices what he preaches. The boys need attention, therefore, he gives it to them, and makes them nicer children.

In one scene late in the film, Tacy encounters Mr. Belvedere at a ritzy restaurant lounge. After her comment that Henry is a lousy dancer, Mr. Belvedere invites her to dance, and she compliments him on his terpsichorean skills (you can see that scene below). In fact, Clifton Webb began his career as a professional ballroom dancer, eventually becoming a Broadway star in both comedies and musicals. His 23 Broadway credits include The Importance of Being Earnest, Blythe Spirit, and Present Laughter. In fact, if you go to the outer lobby of the Music Box Theatre today (where he performed in As Thousands Cheer), you'll find a poster discussing the history of the theatre - and on it is a picture of Clifton Webb. In 1945 Mr. Webb (who had had a few small roles in silents and one early talkie) starred in Laura (1945). He made the role of Waldo Lydecker his own, and appeared on the big screen from that point on. Primarily out of touch with his father (who had left his mother shortly after his birth) he was extremely close to his mother, Mabelle. They lived together, hosted parties together, and were, to all intents and purposes, a couple. She died at age 91, in 1960. Mr. Webb only survived her by six years, dying of a heart attack at the age of 76.  He did begin an autobiography, but was never able to complete it. It was published, in 2016 by Robert Wagner (not the actor) as Sitting Pretty: The Life and Times of Clifton Webb. 

John Payne was considered for the role of Henry, and Celeste Holm was also proposed for a part in the film (probably that of Edna Philby, which was ably filled by Louise Albritton in the final version). (AFI Catalog).  Larry Olsen, who played Larry King, the King's eldest son, is the brother of Susan Olsen of Brady Bunch fame. He stopped acting at the age of 16; he died in 2015, aged 77. Betty Ann Lynn, who appeared as Ginger the babysitter would later appear as Thelma Lou on The Andy Griffith Show (by then, her name was Betty Lynn). She'll be 92 this year. John Russell (Bill Philby) is probably best remembered today for his role on TV's Lawman. He died in 1991 at the age of 70.

 

The New York Times was quite pleased in their review of the film. And the film was successful enough to result in two other movies - Mr. Belvedere Goes to College (1949) and Mr. Belvedere Rings the Bell (1951). Three more films were originally planned, but Mr. Webb's reluctance to continue in the role cancelled them. Mr. Webb did, however, reprise his role in this film on the February 1949 Lux Radio Theatre broadcast. When the 20th Century-Fox Hour performed a television version, Reginald Gardner took over the part of Mr. Belvedere; in 1965, it is believed Victor Buono took on the part for a pilot that never saw the light of day. Finally, in 1985, a successful television series, starring Christopher Hewitt as Mr. Belvedere ran for five years.

We'll leave you with Ms. O'Hara and Mr. Webb cutting a rug.

Jane in Suburbia

All That Heaven Allows (1955) introduces us to Cary Scott (Jane Wyman), a widow with two grown children, Kay (Gloria Talbott) and Ned (William Reynolds). Cary essentially lives alone now - both children are away at school - and Cary is finding herself at loose ends. Unlike her best friend, Sara Warren (Agnes Moorehead), Cary is not a "club woman" and her days seem endless. So, when Sara has to renege on a luncheon date, Cary invites her gardener, Ron Kirby (Rock Hudson) in for a cup of coffee. Cary becomes fascinated with Ron's life goals - a life within nature, growing trees. Ron's invitation to visit his nursery leads to a relationship between the two, one that is ridiculed by Cary's supposed friends (represented by the vindictive Mona Plash (played with relish by Jacqueline de Wit)) and rejected by her appalled children.

Let's just get it out of the way -  All That Heaven Allows is a melodrama - but WHAT a melodrama! With excellent performances from the two leads, reunited after their successful teaming in Magnificent Obsession (1954) along with Agnes Moorehead and most of the production cast (AFI catalog), and with support from the likes of Virginia Grey (Alida Anderson), and Hayden Rorke (Dr. Dan Hennessy), the film goes beyond its melodramatic roots to something much grander. But what really elevates the film is the cinematography by Russell Metty and costume design by Rose Brandi. The film glows with color and texture - you can see every leaf on the trees and the colors are sumptuous. It is very much like watching an exquisite painting, but one with a story and acting that keeps you involved with the characters. The script is tight, providing just enough information about the characters to keep you involved, but avoids having backstory that overwhelms the movie.

Douglas Sirk, the film's director, is the architect. Sirk built on a novel by Edna and Harry Lee (see this TCM article for more on Sirk and the film's creation); it's a wonder that this film got past the censors, since it is really about sexuality. Oh, sure, there is only a hint that Cary and Ron are intimate, but the attitude of the Peyton Place-ish town and of the Scott children is all about the fact that Cary, an "older woman." She's actually only just 40 - we are told she married at 17, and her son is about 22 (Criterion Collection discussion of the film and Jane Wyman) and Ron is about 30. 

The film makes it clear that Cary is both attractive and interested in being sexually active. All of the reactions from family and supposed friends revolve around that point. Ned, for example, is offended by Cary's attractive evening gown (you can see it below) but is fine with the idea that she marry Harvey (Conrad Nagel), who has is interested only in a companionable marriage (translation - no sex). Kay is horrified at the thought of her mother marrying someone young and attractive, until she herself marries Freddie North (David Janssen), at which point she understand her mother's desires and acknowledges that her mother should follow her heart (and libido). The townspeople wink at Howard Hoffer's (Donald Curtis) womanizing, but start rumors that Cary and Ron were having an affair while Cary's husband was still living. It's a misogynistic, small-minded mess of an environment.

The middle-aged, upper middle-class, Anglo-Saxon Protestant gathering given by Sara (who really is the only person open to Cary's relationship with Ron) is juxtaposed against the party given by Mick (Charles Drake) and Alida Anderson. A mix of people of different ages and socioeconomic status, the Anderson party is the only place where Cary and Ron are totally welcomed and completely comfortable together. These are the people who abjure riches, and live with nature. Mick and Alida were from the social strata of the town, but Thoreau's Walden has become Mick's bible, and he now lives apart from society and the economic pressures of that life. It is a life that ultimately attracts Cary to Ron and the Andersons.

The chemistry between Rock Hudson and Jane Wyman, which was so apparent in Magnificent Obsession continues in this film. Though we are told there is an age gap (Ms. Wyman was actually about 8 years older than Mr. Hudson), it's really not all that noticeable - their relationship is so solid that they seem made for each other. It's a shame they never made any other films together.

Virginia Grey also stood out as Alida; we found her quite engaging as the woman who gives up the rat race for her husband.  Ms. Grey had a lengthy career - she started as a child in silent films (she played Little Eva in the 1927 Uncle Tom's Cabin). As an adult, she was a supporting player (as in this film) in A movies, and the lead in many B pictures. In the 1940s, after Carole Lombard's death, she began dating Clark Gable, but his sudden marriage to Lady Sylvia Ashley ended their relationship. After Robert Taylor's separation from Barbara Stanwyck, she also dated Mr. Taylor for a time (you can see a 1952 letter which he wrote to her here.  Ms. Grey would later relate that Ms. Stanwyck despised her because of the relationship). Ms. Grey never married (it's been surmised she never got over Clark Gable); she would work in films and television until 1976. She died in 2004 at the age of 87.

A note of interest - Gloria Talbott was not the first choice for the role of Kay. Producer Ross Hunter initially wanted to cast Jane Wyman's daughter, Maureen Reagan in the role, but finally decided she was too young (she was about 13 at the time).

The New York Times review was rather ho-hum (though reviewer Bosley Crowther really liked Jane Wyman).  For a more recent observation, take a look at this brief analysis (including many scenes from the film) by Richard Brody that appeared in The New Yorker. Another tribute came by way of the filmmaker Todd Haynes in Far From Heaven (2002), which he modeled, both in plot and cinematic style, after All That Heaven Allows. We'll leave you with the trailer from the film, and a recommendation that you give it a viewing.

Humphrey Burns

The kickoff film for this year's TCM Presents was  The Treasure of the Sierra Madre (1948), which celebrates its 70th Anniversary this year. Humphrey Bogart stars as Fred C. Dobbs, a down-on-his-luck American stuck in Tampico, Mexico. He's broke, it's next to impossible to get a job, so he spends his day hitting up an American tourist (John Huston) for food money ("Can you spot a fellow American to a meal?"). When he finally is able to get a job, it's from a cheat named Pat McCormick (Barton MacLane), who disappears without paying Dobbs and his friend, Curtin (Tim Holt). Curtin and Dobbs are eventually able to locate McCormick, and "persuade" him to give them their pay. Using that money, and $200 that Dobbs wins from the lottery, the pair and prospector Howard (Walter Huston) head out to the Mexican hills to find gold. But gold can change people, Howard cautions, and Dobbs will become a victim of that change.

Director John Huston cast his father, Walter Huston as the knowing prospector. It's an amazing performance which won Walter the Academy Award for best supporting actor.  But it almost didn't happen.  A highly regarded leading man on both stage and screen (the little jig he does in the film was taught to him by Eugene O'Neill when Mr. Huston appeared on Broadway in Desire Under the Elms (Lincoln Center Film Society)), Huston Sr didn't object to playing an older man - he'd already played James Cagney's father in Yankee Doodle Dandy. But son John's insistence that he remove his dentures was just too much even for a father trying to support his son's career. John and Mr. Bogart would eventually resort to holding Mr. Huston down and forcibly removing the teeth, much to Walter Huston's chagrin. But the difference in his speaking voice was so noticeable that he finally agreed to appear without his teeth. (TCM articles). It's interesting to note that, on some of the poster art, the drawing of Walter Huston looks like him in most of his films, not as he appears in this film (see the poster below).

Born in Canada in 1883, Walter Huston began his career on the stage, primarily in touring companies. His first marriage postponed his acting career: he worked in an electric power plant to support his wife and son. When the marriage ended, he returned to the stage - this time vaudeville - working with his second wife, until he began getting roles on Broadway. Between 1924 and 1946, he would appear in 14 plays - musicals and dramas - including Dodsworth, which he would also bring to the screen. He was nominated 4 times for Oscars (Dodsworth (1936), The Devil and Daniel Webster (1941), Yankee Doodle Dandy (1942)), finally winning for this film. He worked with his son on other films, including The Maltese Falcon (1941) where he played the dying Captain Jacoby, and providing narration for John's wartime documentaries (i.e. Let Their Be Light (1946)). His third marriage in 1931 endured until his death of an aortic aneurym at age 67 in 1950. For more on Walter Huston, see this Los Angeles Times obituary.

Humphrey Bogart was not the studio's first choice for Dobbs - Edward G. Robinson was initially suggested, though John Huston badly wanted to Bogart for the part. Ronald Reagan and John Garfield were considered for Curtin, and Zachary Scott was in the running for the part of James Cody (which would go to Bruce Bennett). It's been said that Ann Sheridan did a walk-on as a prostitute, but the woman in question does not look a bit like her, so it's probably urban myth. (AFI catalog)

Bogart, of course, is amazingly good in a characterization that morphs so dramatically during the course of the film. He's not a bad man in the beginning - even when he forcibly takes his salary from Pat McCormick, he only takes the money due to him and Curtin. He even pays the bartender for the damage to the saloon from his own money. But as the gold starts to mount, so does his greed and paranoia. At one point, he most closely resembles Gollum in The Lord of the Rings, crouching and giggling over his wealth.

There are some uncredited performances to look out for. The Mexican Boy Selling Lottery Tickets is portrayed by Robert Blake, who would later star in the TV show Baretta.  Jack Holt, a silent and sound actor, perhaps remembered today for his appearance in San Francisco (1936) is one of the residents of the flophouse where Dobbs and Curtin meet Howard.  And the Lone Ranger's colleague Tonto, Jay Silverheels appears as the Indian Guide at Pier.

John Huston filmed much of the action for the film in Mexico; finally he was dragged back to Warner Brothers to complete filming when the costs became too high. He worked with an advisor, who Mr. Huston believed was actually the author of the novel, B. Traven. The advisor denied this, but the BBC later confirmed John Huston's theory.  Check out this New York Times article on the author, as well as the BBC broadcast.

Besides Walter Huston's Academy Award, the film also won for Best Direction and Adapted Screenplay to John Huston - the first time a father and son won Oscars (and the only time thusfar for the same film). It was also nominated for Best Picture, but lost to Hamlet). In April of 1948, Humphrey Bogart and Walter Huston reprised their roles for the Lux Radio Theatre; in February 1955 Edmund O'Brien and Walter Brennan performed the radio play for Lux.  The Treasure of the Sierra Madre was #38 on AFI's 100 Years, 100 Movies, 10th Anniversary Edition (it was #30 on the original list), as well as being listed at #36 in their 100 Greatest Movie Quotes (for the oft midquoted: "Badges? We ain't got no badges! We don't need no badges! I don't have to show you any stinking badges!"), and #67 in the 100 Most Thrilling American Films. In 1990, it was added to the  National Film Registry (the second year of the registry).  

We'll leave you with the trailer for this excellent film. If you've not seen it before, you are in for a treat.

Dorothy's Brooklyn Family

The Nolan family is poor.  Father Johnny (James Dunn) is a singing waiter with a drinking problem, and more imagination than is practical. Mother Katie (Dorothy McGuire) works hard as their building's super to get a few pennies to support the family; while she loves her husband, she has become disillusioned by his dreaming. Son Neely (Ted Donaldson) is a good boy, who can't wait to finish school, while daughter Francie (Peggy Ann Garner) lives for learning - she yearns to be a writer, but is troubled by the increasing animosity between her mother and her adored father. Our film for this week is A Tree Grows in Brooklyn (1945)

Based on the novel by Betty Smith (which celebrated its 75th Anniversary in October of this year) the film is actually one "book" of the five that makes up the 1943 volume. The movie is also the directorial debut of Elia Kazan, and Mr. Kazan pulls no punches in showing the effects of poverty on this simple family. It would have been easy to gloss over the pain of their lives, but we're given an honest portrayal, thanks in no small part to the magnificent cast.

Let's start with James Dunn, who received an Oscar as Best Supporting Actor for his work in here. According to the TCM article, one of the reasons Dunn was cast was that he had a drinking problem. Kazan felt that having an actor " who probably had some experience with drink" made for a better performance. Dunn brings both dignity and pathos to the role - watch his face in the scene below as he suffers over the consequences of his inability to support his family. Then, compare that to his scene with Francie, as they imagine moving to a neighborhood where she can attend a better school. His love for his child shines from his eyes and you never doubt for a moment that you are seeing Johnny Nolan, not the actor. In the 1930s, Mr. Dunn had been used quite often - he was support to Shirley Temple in four of her films, but by the time he was cast in this film, he had difficulty getting roles, primarily because of his alcohol abuse. After winning the Oscar, he made a few more films, eventually transitioning to television. He died from complications of stomach surgery in 1967, at the age of 65.

It's hard to believe that Dorothy McGuire was not the first choice for Katie - the story was purchased with Alice Faye in mind for the role (and Gene Tierney auditioned for it as well) (AFI catalog). As a poor, uneducated woman who loves her children and husband, but has become stern and introverted as she tries to make ends meet, Ms. McGuire is magnificent. She has no trouble letting us become angry at Katie; at the same time, she allows us to see the young woman who fell in love with Johnny Nolan and his dreaming ways.

Aunt Sissy is arguably one of Joan Blondell's best roles. A brash and affectionate woman, Sissy has been married at least three times, but is not the slightest bit embarrassed by her life choices. Like her sister, Sissy is poor and illiterate (though it's never stated, we don't see Katie read, and she asks her children to read to her. Sissy and her mother also comment that they cannot read, so it seems likely that neither Katie nor Sissy received any education). Her marriages seem to have ended in part due to several miscarriages. But Ms. Blondell brings to Sissy the zest for life that Katie has lost. In his review of the 2016 TCM Film Festival, Scott Halloran reported on Ted Donaldson's appearance. Mr. Donaldson discussed his crush on Ms. Blondell, and the signed photo she gave to him at the film's conclusion - "From Joan 'I'm waiting for you' Blondell." Likely this was a rough shoot for Ms. Blondell, as she was in the middle of her divorce from Dick Powell. She was also upset that a scene, which showed Sissy working in a condom factory was cut from the film. Nevertheless, her performance is spot on, and you like Sissy - both in spite of and because of her cavalier attitude towards life.

As a librarian, I particularly love the scene in which Francie goes to the library. Attempting to read her way through the library, Francie is up to Robert Burton's The Anatomy of Melancholy. The librarian is horrified that this child is going to attempt such a difficult book. When she realizes that Francie will not be swayed, the librarian asks her to take, as well, When Knighthood Was in Flower (lest she get a headache thinking of the child "wrestling" her way through the book). You can view the scene here. Equally lovely is Francie's relationship with her teacher, Miss  McDonough (Ruth Nelson) who encourages Francie to consider writing as a career, but who also subtlety cautions her against pipe-dreaming (like her father!)

A trio of remarkable character performances also compliment the film. First, we have Lloyd Nolan as Officer McShane. He's excellent as a lonely police officer who envies the closeness of the Nolan family. James Gleason as McGarrity, the pub owner who cares deeply for Johnny Nolan and who endeavors to assist the family, is exceptional in a very small part. John Alexander as Sissy's exasperated husband, Steve Edwards is also notable. And watch for silent screen star Mae Marsh as one of the Tynmore sisters, and a young Nicholas Ray as a Bakery Clerk.

The heart of the movie is Peggy Ann Garner. As a child with an eager mind, and a heart torn by her parents' troubles, Ms. Garner imbues Francie with a spirit of hope. Her efforts in the film resulted in resulted in her receiving a Oscar in 1946 as outstanding child actor of the year.  Ms. Garner started her film career as Carole Lombard's daughter in In Name Only (1939). She was the young Jane Eyre (1943) and the child Nora in The Keys of the Kingdom (1944). As with so many child stars, she had trouble getting film roles as she aged, but worked in real estate to make ends meet between her television roles. She married three times, all ending in divorce, and had one child (Catherine Ann Salmi). Ms. Garner died of pancreatic cancer at the age of 52 in 1984.

A radio version of the play aired on Hollywood Star Time (with Mr. Dunn and Ms. Garner) in January of 1947, on Studio One in October 1947 (with Rosemary Rice and Frank Reddig), and again by Hallmark Playhouse in April of 1949 (with Mr. Dunn and Connie Marshall). In 1951, a musical version of the story opened on Broadway, with Shirley Booth as Aunt Sissy (Joan Blondell would take over the role for the National Tour). Finally, in 1974, the film was presented on television with Cliff Robertson, Diane Baker and James Olson.

Besides the awards to Mr. Dunn and Ms. Garner, A Tree Grows in Brooklyn was nominated for the Best Screenplay Oscar (it lost to The Lost Weekend) and was selected by the National Board of Review in 1945 as one of their 10 best films of the year.  The New York Times review was glowing. In 2010, the film was entered into the National Film Registry. It is a magnificent film, and one that you should visit at your earliest convenience.  We'll leave you with the Nolan family moving into their top floor apartment.

Katharine's Family Dinner

December marked the fiftieth anniversary of the release of Guess Who's Coming to Dinner (1967), and the film was part of the 2017 TCM Presents series. Very much a tale of the 1960s (but still relevant today), the film introduces us to Joanna "Joey" Drayton (Katharine Houghton), a 23 year old woman raised by liberal parents. Joey has returned from her vacation prematurely to her San Francisco home, accompanied by Dr. John Wade Prentice (Sidney Poitier), a highly-regarded physician, who happens to be African-American. The two met in Hawaii and fell in love. As John is about to leave for a three month work assignment with the World Health Organization in Geneva, the pair have arrived to tell Joey's parents, Christina (Katharine Hepburn) and Matt Drayton (Spencer Tracy) of their plans to marry in two weeks in Geneva. What Joey doesn't know is that John feels it is crucial to their future as a couple that Matt and Christina bless the marriage. If they will not, he will remove himself from Joey's life.

As pointed out by TCM host Tiffany Vasquez in her introduction, the film was a bit dated even upon release. John's father (Roy Glenn) states that "in several states" John and Joanna would be breaking the law - however the U.S. Supreme Court had just recently handed down a decision regarding interracial marriage in Loving v. Virginia (brought to the screen in 2016's Loving). Regardless of that momentous decision, Mr. Prentiss was correct about the difficulties that the couple would face - and still (unfortunately) face today. So, while some of the film is a tad old-fashioned, it still can speak to us in the 21st Century. (This Los Angeles Times article on 50th Anniversary of the film is an interesting examination of the film in the our times).

Spencer Tracy was ill when he filmed Guess Who's Coming to Dinner. In fact, both Katharine Hepburn and director Stanley Kramer placed their salaries for the film into escrow in the event Mr. Tracy was not able to complete shooting. Mr. Kramer arranged that Mr. Tracy would only film in the morning, while his energy levels were up to the task (TCM Article). Spencer Tracy died only 10 days after his work was completed. Regardless, his performance gives no hint that he was unwell; he is wonderful as a father facing his own liberal principles against the future happiness of his daughter. Mr. Tracy was posthumously nominated for his 10th Best Actor Oscar. (He lost to Rod Steiger in In the Heat of the Night). 

Another nominated performance was that of Beah Richards, as John's mother (Ms. Richards also lost, to Estelle Parsons in Bonnie and Clyde). Her performance is just wonderful; her love for her son, as well as her fear that her husband will destroy the relationship between himself and his son is evident in every scene. She was a lovely scene with Spencer Tracy that leads to the films penultimate speech from Mr. Tracy. She started working in New York theatre, first off-Broadway (in 1955), then on Broadway (she was nominated for a Tony Award for her performance in The Amen Corner). She only made 15 films, most of them playing someone's mother. But it was in television that she made her mark, winning two Emmy awards, and appearing in shows such as I Spy (playing Alexander Scott's mother),  ER (as Peter Benton's mother), and Beauty and the Beast (as Narcissa). Ms. Richards died of emphysema in 2000 at the age of 80. 

Katharine Hepburn suggested that her niece, Katharine Houghton read for the role of Joanna (the studio had Samantha Eggar in mind (AFI catalog)). She's quite good in a part that really is somewhat minor - Joey is the catalyst for the action of the film. She is in the middle of the dialogue between her parents and John, not really part of the conversation. If I have one complaint about the film, it is that Joey is written as almost passive. We know she has some of her mother's fire (her comment about her mother's employee Hilary shows that), but all Joanna can say of herself is that she will be important because her husband is important. I suspect it was not the picture that we were supposed to have of Joanna, but it is very much a sign of the times that Joanna is not all that important. She's not even going to get a say in the decision regarding her future.

Besides the nominations for Mr. Tracy and Ms. Richards, there were other Oscar nominations: Actor in a Supporting Role (Cecil Kellaway), Art Direction, Film Editing, Music (Scoring of Music—adaptation or treatment), Directing, and Best Picture. It won awards for Katharine Hepburn as Best Actress, and for William Rose's Writing (Story and Screenplay—written directly for the screen). This was Ms. Hepburn's second Oscar win - the next year, she would win again for her role in The Lion in Winter and would share the honor with Barbra Streisand, who ALSO won for Funny Girl. The film has also been featured in three AFI lists: It stands as #35 in 100 Years, 100 Cheers, #58 in 100 Years, 100 Passions, and #99 100 Year, 100 Movies, 1998 edition.

I'll close with one of my favorite scenes in the Christina's conversation with the very nosy Hilary (Virginia Christine):

Barbara Desires

Naomi Murdoch (Barbara Stanwyck) had dreams of being a great actress. It's 10 years since she left her husband Henry (Richard Carlson) and three children to pursue her career, and all she has to show for it is a job as a small-time player in vaudeville. When a letter arrives from her younger daughter, Lily (Lori Nelson) inviting Naomi to Lily's graduation and senior play, Naomi spends every cent she has to return to Wisconsin as a great actress. While she knows that Lily wants her, the question remains as to her welcome from the rest of her family. Thus begins All I Desire (1953).

Based on Carol Brink's novel, Stopover, this is not one of Ms. Stanwyck's best films, the primary reason being her leading men. It's hard to understand why an attractive and intelligent woman like Naomi would want to be with either Henry or Dutch Heinemann (Lyle Bettger).  Henry is an oblivious cypher, who neglects his children, ignored his wife, and is totally unaware that his colleague, teacher Sara Harper (Maureen O'Sullivan) is madly in love with him. Dutch, on the other hand, is a bully and just short of a stalker. They make quite a pair. On some levels, you want Naomi to go back to vaudeville.

Ms. Stanwyck (who is, as always, magnificent) was not the only person considered for the role of Naomi. Both Joan Crawford and  Bette Davis were discussed as possible candidates for the part (AFI catalog). Either would have been fine, but Ms. Stanwyck brings a vulnerability to Naomi that is important for the audience's relationship with her. This New Yorker discussion focuses on Ms. Stanwyck's invaluable contribution to the film.

The children, however, are another matter. We really enjoyed Marcia Henderson as the oldest daughter, Joyce.  The combination of her mother's abandonment and her father's neglect have taken a toll on her. Yet, she is still capable of love, and ultimately has much of her mother's spunk.  The relationship between her and Russ Underwood (Richard Long) is quite sweet, especially after Naomi pushes Joyce to loosen up a bit.

One of the more interesting friendships in the film is that of young Ted Murdoch (Billy Gray) and Dutch.  Ted appears to be the only person in the town for whom Dutch has any affection; he's kind to the boy, and has taught him to fish and shoot a rifle. It's apparent Ted has no real tie to his father - it made us wonder if Dutch (and perhaps Henry) suspected that Ted was the result of Naomi's affair with Dutch. The film never states it, but given the information we have, it seems a logical premise.

Douglas Sirk, who had wanted to shoot the film in color, brings a beauty to the film's setting.
The lovely period costumes by Rosemary Odell and an amazing set by art directors Bernard Herzbrun and Alexander Golitzen create a convincing reality to the turn of the century backdrop. Sirk had also wanted a different ending to the film. We wondered if he might have been right in his original concept.

We were intrigued to see both Stuart Whitman and Guy Williams appearing in uncredited parts in the film. And it was quite enjoyable to see Richard Long working with Ms. Stanwyck twelve years before they would appear as mother and son in The Big Valley (and in a horseback riding scene, no less!).  Mr. Long was a terrific actor - he started his career with a substantial role - as Claudette Colbert's son in Tomorrow Is Forever (1946). After several years in film (mostly as the juvenile), he went over to television in shows such as Bourbon Street Beat and Nanny and the Professor.  He was married twice - his first wife died of cancer about a year after their marriage. His second marriage (to actress Mara Corday) produced three children and lasted until his death at the age of 47 from a heart condition. 

This New York Times review of the film was not favorable, blaming director Sirk for many of its failings. And while All I Desire is not a perfect film, we enjoyed it.  We'll leave you with a trailer from the film.