Classic movies are not just antiquated films from a bygone era...rather, they are beautiful, well-acted, well-written gems that ought not to fade into obscurity. Truly, Hollywood just doesn't make 'em like they used to!!! I hope you'll discover some must-sees by your visit here.
Seems like Pat O'Brien spent his career playing cops or priests, and in The Great O'Malley nothing is anything different for him. From 1937, this touching, 71-minute, William Dieterle drama features Humphrey Bogart, Ann Sheridan, and child star Sybil Jason in supporting roles.
James O'Malley (O'Brien) is a New York City police officer with a penchant for handing out tickets. For Officer O'Malley there are absolutely no gray areas---black is always black. With his overzealous, no-room-for-discussion ways, he hands out tickets left and right. Continually citing people for old-fashioned ordinances that no one even remembers anymore, such as too many bells on a wagon or a storefront awning being the wrong length, Officer O'Malley has become a pain in the neck to the people on his beat. His superior warns him that justice needs to be tempered with mercy, but O'Malley just doesn't get it.
One day, he pulls John Phillips (Humphrey Bogart) over for having a loud muffler on his car. Although Mr. Phillips asks O'Malley to quickly write the ticket because he is on his way to the first job he's had in years, the officer takes his time about things. By the time Phillips arrives at his job, he's late, and the job has been given to someone else. With a wife and lame daughter at home, Phillips is desperate and tries to pawn his gun; however, when the pawnshop owner won't pay the amount of money Phillips wants, Phillips clobbers the man on the head and then robs the store, a crime for which he ends up being sentenced 2-10 years.
Officer O'Malley's superior believes that O'Malley's focusing on minor infractions drove John Phillips to crime...had O'Malley not stopped Phillips for something as petty as a noisy muffler, he wouldn't have missed out on the job and wouldn't have been driven to the breaking point. The police chief believes that O'Malley needs to get a heart and stop harassing people, and in an effort to either make or break the officer, the police captain demotes O'Malley to the position of school-crossing guard. And it just happens to be the school which John Phillips' daughter, Barbara (Sybil Jason), attends.
Barbara, who walks with a limp, is a kind and loving child, and she soon has stolen the heart of the gruff crossing guard. She tells him her father is working in Canada, but when Officer O'Malley escorts Barbara home one day, he sees a photo of her father and realizes that he is none other than John Phillips. At this point, Officer O'Malley is a changed man, and he seeks to undo the damage he caused the little girl's family. How everything works out is the balance of the film.
Though not spectacular, this really is a gem of a film. It's tender and touching and even gets me mildly misty-eyed. It affords the opportunity to catch Humphrey Bogart before he became the huge star that he did (this film came just after ThePetrified Forest); plus, the little girl, Sybil Jason, is adorable. Also, the message of tempering justice with mercy is a good one. I actually came close to giving this 4 stars, but in the end, I went with 3, simply because in films this short, I don't feel the characters or the story are developed enough. So, this really is a "could have been 4 stars if it was a bit longer" kind of movie.
TCM will be airing The Great O'Malley on Tuesday, July 15th, at 1:30 p.m. (ET). Plus, the film is out on DVD as part of the Humphrey Bogart Essential Collection. I do hope you get a chance to see this, as I think it's worth it.
In honor of Mother's Day, I wanted to give a brief shout-out about a touching little pre-code tearjerker I caught recently. The Sin of Madelon Claudet, from 1931, is what I call a "mommy" movie---you know, a movie in which a mother's sacrificial love for her children shines through. The film, which is adapted from Edward Knoblock's play The Lullaby, stars Helen Hayes, with Lewis Stone, Neil Hamilton, and Robert Young taking on supporting roles. Miss Hayes' husband, Charles MacArthur, was the co-writer of the screenplay.
After her lover (Neil Hamilton) returns to America and is railroaded by his family into marrying a more suitable woman, French farm girl Madelon Claudet (Helen Hayes) gives birth to their illegitimate son. By becoming the mistress of the wealthy Carlo Boretti (Lewis Stone)--who unknown to Madelon is a jewel thief--- she is able to send money to the friends who are caring for the little boy.
A few years later, just as Carlo---who has known about Madelon's child's existence all along---is about to marry her and bring the youngster to live with them, his real identity as a jewel thief is discovered. Rather than go to jail, Carlo shoots himself, leaving Madelon unable to prove that she was not his accomplice. Convicted, she is sent to prison for ten years.
Upon her release from prison, Madelon wants to spare her son the shame of having a "jailbird" mother, so she allows him to be told that she has died. Wanting to do all she can to give the boy a good future, Madelon falls into prostitution, providing her earnings to a friend who sees to it that the young man goes to medical school. Years later, when Madelon is very old and sick and her son (now played by Robert Young) is a successful doctor, their paths cross again.
The Sin of Madelon Claudet is definitely worth seeing. While the subject matter (illegitimate children) is, of course, dated, the story of a mother's sacrificial love is timeless. Helen Hayes---in what is essentially her film debut---is brilliant in her portrayal of Madelon, and that is not just my opinion. The Academy thought so too, for Miss Hayes' performance graced her with a Leading Actress Academy Award win. Also worthy of mention is Lewis Stone's performance, as well as the work of the makeup artist. The job of aging Miss Hayes, who was 30-years old at the time of filming, was spectacularly done. I highly recommend this film and am going with 4 stars on it.
Out on DVD, this film ought to be fairly easty to track down. I do hope you get a chance to see it.
Working my way through the titles highlighted in Majestic Hollywood, The Greatest Films of 1939, I recently enjoyed a re-watch of The Old Maid, a period drama starring Bette Davis and Miriam Hopkins. George Brent gets third billing, although he is only around for the first fifteen minutes or so. Based on Zoe Akin's Pulitzer Prize-winning play of the same name, The Old Maid features Donald Crisp and Jane Bryan in supporting roles.
Misses Davis and Hopkins portray cousins, Charlotte and Delia Lovell. As the film begins in the early 1860's, Delia (Hopkins) is about to be married, and on her wedding day, her former love, Clem Spender (George Brent), arrives back in town and stops by for a visit. Clem had left town a few years before---off to make his fortune---and when he didn't return, Delia assumed he no longer loved her and, thus, made plans to marry another man---one who was wealthy and socially prominent. When Clem, who is still in love with Delia, declares his intent to make a scene at the wedding, cousin Charlotte (Bette Davis), in love with Clem herself, sets off to reason with him. Wanting to comfort him, she ends up spending the night with him; the next day, however, Clem, now part of the Union Army, sets off for war...and he never returns, having been killed in battle.
Fast forward a few years...Charlotte, now engaged to Delia's husband's brother, is running a home for war orphans. It is expected that when she marries, she will give up the home; however, there is one particular child---a girl named Tina---whom Charlotte has no intention of giving up.
On Charlotte's wedding day, Delia discovers that Tina's full name is Clementina and that she is Charlotte's own child, from a man who died in the war; putting two and two together, Delia realizes that Tina is Clem's child...a fact that enrages her. To think that Charlotte had been with Clem---her love---is more than she can stand; determined to make Charlotte pay, she lies to her brother-in-law and he calls off the wedding.
After Delia's husband dies several months later, Charlotte and Tina are invited to come live with her. Since Charlotte was never married and cannot publicly call Tina her child, Tina calls her "Aunt Charlotte." Delia becomes rather a mother to the little girl, and once, to Charlotte's incredible heartbreak, she even calls Delia "mommy."
Fast forwarding several more years, Tina has become a young woman (played by Jane Bryan), and Delia, not Charlotte, receives her love, praise, and affection. Aunt Charlotte, who has sacrificed for years, is despised and mocked by the girl. Yet to tell Tina the truth---that the unwed Charlotte is her mother---would destroy all hopes for a legitimate beau, so Charlotte says nothing, all the while being totally brokenhearted because the daughter she loves has rejected her and now calls Delia "mother." Will Tina ever change? Will Charlotte's broken heart ever heal? These are the questions which will play out in the balance of the film.
Pairing two such strong, formidable actresses, who already had hatred/jealousy issues between them, found director Edmund Goulding "more often refereeing than directing; filming went slowly, as each woman fought for every scene she was in. One co-worker said "Working with these two ladies is a slow drag." Goulding himself was to say, "There were times when they behaved like perfect little bitches". . . However, the women's intense dislike for each other did have a positive side, for it not only added to their pleasure in making the picture but also proved so mutually stimulating that Warners production chief Hal Wallis planned to team them again." [1] The women were paired again, in Old Acquaintance.
A huge Bette Davis fan, I enjoy having the opportunity to catch Bette in a sympathetic role for a change. She's terrific here---as she is always. What I find so impressive about Bette is that beyond her brilliant acting, she was always willing to take on unglamorous roles and be seen as dowdy, ugly, and unsophisticated. Her acting was so great that she didn't have to get by on looks alone.
The Old Maid is a lot like one of my top 25 films, Stella Dallas, in that it is the story of a mother's sacrificial love for her daughter. However, while I give The Old Maid 4 stars, I do prefer Stella Dallas, mostly because of the daughters' character. Here in The Old Maid, Tina is selfish and obnoxious, whereas Lolly, Anne Shirley's Stella Dallas character, is loving and caring. Because of Clementina's attitude, I just never had the affection for her that I had for Lolly.
Out on DVD, The Old Maidshould be fairly easy to track down. I hope you get a chance to see it.
Happy viewing!!
[1] Majestic Hollywood, The Greatest Films of 1939, by Mark A. Vieira, Running Press, 2013.
Another of the films highlighted in Majestic Hollywood, The Greatest Films of 1939 is Golden Boy, a boxing drama starring Barbara Stanwyck, Adolphe Menjou, and---in one of his earliest film appearances---William Holden. Based on Clifford Odets' 1937 play, this Reuben Mamoulian film, which features Lee J. Cobb, Joseph Calleia, and Sam Levene in support, garnered a Best Music Academy Award nomination.
Joe Bonaparte (William Holden) is a sensitive young violinist, who lives with his father (Lee J. Cobb), sister, and brother-in-law above the family's grocery store. Although Joe plays the violin beautifully and could possibly have a future in music, he wants to make money quickly and, therefore, begins boxing for Tom Moody (Adolphe Menjou).
Joe becomes an overnight sensation in the boxing ring, but since a violinist needs his hands and he could possibly injure his hands boxing, he talks about backing out. Moody knows that he has a money-maker in Joe, though, so he's not about to let him walk away and, therefore, instructs his secretary/mistress, Lorna Moon (Barbara Stanwyck), to change Joe's mind. Joe has fallen in love with Lorna, and after she leads him to believe she loves him too and that there can be a future for them, Joe returns to the boxing world, much to the disappointment of his father.
Because Joe is such a sensation, he quickly attracts the attention of another promoter, one who promises him bigger and better things. Joe jumps at the opportunity and leaves Moody's organization, which infuriates Moody and sends Lorna, once again, to Joe's side in an attempt to change his mind.
Joe soon becomes disillusioned with boxing....but does he quit? Does he return to the violin? Does he really love Lorna? Does she really love him? Those are the questions which play out in the balance of the film.
Though Golden Boy is not one of my favorite Bill Holden films (or even one of my favorite boxing films), it is a solid, interesting, well-acted drama, and it gives an opportunity to catch Mr. Holden before his star had begun to rise. Although it's easy to see why he went on to become the star that he did, at the outset, it would have appeared that Holden's career was over even before it began. The seemingly-endless boxing lessons, violin lessons, and dramatic coaching were exhausting to Holden; according to Majestic Hollywood, "It was a dreadful period for the young actor, and he expected to be replaced at any time. However, Barbara Stanwyck believed in Holden and went to bat for him. Telling Columbia boss Harry Cohn that he hadn't given the young man a chance, she promised to work with him. With Miss Stanwyck coaching him, Holden regained his confidence and was able to take direction from Mamoulian; after Golden Boy, Holden was suddenly in demand and on his way to a successful, Academy Award-winning career. He never forgot Barbara Stanwyck's support and help; in years to come, he would always send her flowers on April 1, the anniversary of Golden Boy's first shooting day." [1]
Beyond Bill Holden's performance, is that of Lee J. Cobb. He is absolutely terrific! He would reprise his role in 1952, when Golden Boy, again, played on Broadway. Interestingly, in that production, one of my other great loves---John Garfield---would take on the Joe Bonaparte role.
Barbara Stanwyck is my #3 gal (sometimes even #2), and William Holden is one of my "terrific 10," so even though Golden Boyisn't a favorite, I do enjoy their pairing here. They have great chemistry together. I'm calling this 3 stars, but it's more like 3.5
Out on DVD, Golden Boy should be quite easy to track down.
Happy viewing!!
[1] Majestic Hollywood, The Greatest Films of 1939, by Mark A. Vieira, Running Press, 2013.
New for 2014---the "Best Film Discovery of the Month" series, in which I will highlight the best "new to me" film I watch each month. For January, that film is 1932's I Am a Fugitive from a Chain Gang, starring Paul Muni and featuring Glenda Farrell and Helen Vinson in supporting roles. Not only is this pre-code drama the best "new to me" film I saw in January, it is also my first 5-star film "discovery" of the year. Based on Robert Elliott Burns's autobiography, I Am a Fugitive from a Georgia Chain Gang, this Mervyn LeRoy film received three Academy Award nominations, including Best Picture and Best Actor for Mr. Muni.
After being convicted of a crime he did not commit, WWI veteran James Allen is sentenced to 10 years of hard labor on a Southern chain gang. When he is unable to cope another minute with the horrid conditions and the brutality of the guards, James convinces another inmate to break his chains, then he sets out on the run.
Escaping to Chicago, James changes his name to Allen James and eventually becomes a successful, respected businessman. When his landlady (Glenda Farrell) discovers his past, she blackmails him into marrying her; it's a union void of love, however, and a few years later, in a fit of jealousy because Allen/James has fallen in love with another woman (Helen Vinson), the wicked woman turns him in to the authorities.
Although Allen/James had not committed any crime and has been a model citizen for years, he is returned to the chain gang, with the promise that his sentence will be for a period of only 90 days. Because he had spoken out about the inhumanity of the chain gangs, however, the "establishment" has no intention of honoring that promise, and once again, the man is forced to break his chains and live a life on the run. How everything plays out is the balance of the film.
I Am a Fugitive from a Chain Gang is a masterpiece of a film. It's gritty, meaty, powerful, deeply troubling and features an absolutely brilliant performance by Paul Muni...and the final line of the film is about as haunting an ending line as there ever was.
This film is out on DVD; however, I believe it is only available as part of the Controversial Classics Collection, which is a spendy $79.98. Adding to the nearly cost-prohibitive price, TCM doesn't seem to air Chain Gang very often, so it might not be an easy film to catch. Keep your eye out for it, though, as it is a spectacular must-see.
First up in my focus on the films highlighted in Majestic Hollywood, the Greatest Films of 1939, is Bachelor Mother, a sweet romantic comedy starring Ginger Rogers and David Niven. Co-starring Charles Coburn and Frank Albertson, this delightful movie, which received a Best Writing Academy Award nomination, garners 4-stars from me. The film was remade in 1956, as the musical Bundle of Joy, with Debbie Reynolds and Eddie Fisher in the starring roles.
The movie begins with Polly Parrish (Ginger), being let go from her job as a seasonal salesclerk for the John D. Merlin & Sons Department Store. While walking home after her final day at work, Polly passes by the local foundling home, where she sees a woman leaving a baby on the doorstep. After ringing the bell of the home, the woman turns to leave, but Polly scolds her for abandoning her baby. Denying that the child is hers, the woman rushes away, leaving Polly with the baby in her arms as the foundling home door is opened. Of course, the directors of the home assume that the baby belongs to Polly, and though she tries to convince them otherwise, they don't believe her and keep insisting that she not abandon her baby.
When the directors of the foundling home learn that Polly was recently let go from Merlin's Department Store, they assume her lack of employment is why she wants to give up her child, so they approach the store owner David Merlin (David Niven) about giving Polly her job back. Of course, David is happy to enable Polly to keep her baby and offers her full-time employment.
Satisfied that Polly will now be able to keep "her baby," the foundling home directors deliver said child to Polly's apartment, letting her know that because Mr. Merlin gave her her job back, she can keep "her baby." However, knowing it's not her baby, plus having plans that evening, Polly delivers the child to Mr. Merlin's home, telling his butler that "Mr. Merlin got her into this mess and that the child is his responsibility." The young man Polly is with overhears her words to the butler and assumes that David Merlin is the father of Polly's baby, and in a moment of jealousy, lets the senior Mr. Merlin (Charles Coburn) know that he has a grandchild.
As the movie continues, senior Mr. Merlin is convinced his son is the father of the baby, and junior Mr. Merlin is convinced that the baby really is Polly's. How everything plays out is the balance of the film.
Bachelor Mother is not a profound film---and it's totally predictable---but it really is very sweet and lots of fun, plus it gives Ginger Rogers an opportunity to show that she was much more than just a dancer. She's lovely here, and delightfully funny, clearly establishing herself in "a new career as a comedienne."[1] My husband quite adores Ginger---she's his #1 gal---and this is the film which began the love affair.
According to Majestic Hollywood, the Greatest Films of 1939, just days before production of Bachelor Mother was to begin, Ginger Rogers complained about the script. Producer Pandro S. Berman attempted to assure her that the script "was better than 90 percent of Hollywood scripts going into production;"Ginger disagreed, however, and refused to begin the film. After being put on suspension, she eventually backed down, made the film, and even said she "loved working with David Niven and the precious baby." In the end, Ginger's hesitancy about doing Bachelor Mother was proven wrong, for audiences were wild about it. In fact, it was said to be "the best comedy of the year." [1]
Out on DVD, Bachelor Mother should be fairly easy to track down; plus, it's on the TCM schedule for Friday, March 21st, at 10:00 a.m. (ET). I hope you get a chance to see it.
Happy viewing!!
[1] Majestic Hollywood, the Greatest Films of 1939, by Mark A. Vieira, Running Press, 2013.
Classic Film Santa---in the form of my daughter---gave me this wonderful book for Christmas. It highlights 50 films from Hollywood's most glorious year---1939. (For me, 1937 is neck-and-neck with 1939 as my favorite film year.) While I've seen several of the titles highlighted in the book (including beloved favorites Gone with the Wind and Dark Victory), many more I've never seen (The Women and Of Mice and Men to name just two), and there are even a few films I've never heard of (such as Hollywood Cavalcade and Confessions of a Nazi Spy).
One of my film goals for 2014 is to watch all 50 films highlighted in this book. No, I won't be reviewing them all, but I hope to review at least twelve of them---one per month.
What about y'all? What is your favorite year for films? And what is your favorite of the 1939 releases?
While I'm very familiar with Claudette Colbert's "code" work, with the exception of Imitation of Life and It Happened One Night---both of which were from the year the code went into effect---I've not seen any of her pre-code films. I decided that during her reign as star of the month here at They Don't Make 'Em Like They Used To, I would make it a point to expose myself to some of her pre-code works. The first of those is Torch Singer, a 1933 drama also starring Ricardo Cortez, with David Manners, Lyda Roberti, and Charley Grapewin also making appearances.
After giving birth to a baby girl, unmarried, unemployed Sally Trent (Claudette Colbert) tries to make it on her own. When the friend she is living with loses her job and moves away, Sally finds herself in dire straits---she's behind on her rent, locked out of her apartment, and unable to find a job. With no ability to support herself, let alone a child, Sally approaches the wealthy aunt of her former boyfriend, Michael Gardner (David Manners, though you won't see him until 45 minutes into the film), hoping that the woman will take her little girl. Although Sally promises to give up all claim to the child, the older woman will have no part of it; in fact, she's not even sure the child is that of her nephew
With nowhere else to turn, Sally returns to the hospital where she gave birth, putting her child into the hands of the kindly nun who had helped her months earlier. Although warned by the sister that things will be permanent, that she'll be giving up her daughter forever, Sally knows she has no choice.
Now without a child, Sally changes her image and takes on the name Mimi Benton, finding success as a nightclub singer and garnering an unsavory reputation.
A few years later, Sally/Mimi helps a friend out of a bind by stepping up to the mike when the storyteller of his children's radio program bails on him. Although she is Mimi Benton---torch singer---and not the wholesome Aunt Jenny she is slated to be, children all over the country love her. With ratings soaring, Sally is given the role permanently.
By now, Michael has returned from his trip to China, and he sets out to track down the woman he left behind and whom he still loves. Upon locating Sally, he is disconcerted by both her attitude towards him and the change in her demeanor. Gone is Sally Trent, he says, and in her place is a selfish, hard woman. Michael vows to do what it takes to win his love back. Sally, too, desires to do some winning back---she intends to use her radio show to track down the little girl she gave away. How it all plays out is the balance of the film.
This film is the youngest I have ever seen Miss Colbert, and I think she is beautiful. Her performance in this role is terrific. She is one of those stars who shines as readily in drama as she does in comedy. Oh, and she gets an opportunity to belt out a few tunes here. Who knew she could sing? The other stars, as well, do a great job in their roles. In fact, this film had the potential for being a 4-star gem; in the end, though, because the ending is lame, rushed, unrealistic, and leaves a lot of unanswered questions, I downgraded to 3 stars---but it's more like 3.5. Definitely, Torch Singer is a solid, very enjoyable film.
Out on DVD as part of a Pre-code Hollywood collection, Torch Singer should be fairly easy to track down. It is also available on YouTube, in parts. HERE is the link to the first part. If you enjoy pre-code films, or if you'd like to catch Claudette Colbert in her very young years, you'll definitely want to see this.
Regular readers of They Don't Make 'Em Like They Used To know that I am a sucker for tearjerker dramas. The more touching a film is, the more I like it. One such heart-tugger is 1934's Imitation of Life, which I reviewed back in the very first week of this blog's existence. What I have deemed a "mommy movie," Imitation of Life is one of four films I always watch during Mothers' Day weekend. (The others being Stella Dallas, Madame X, and Penny Serenade) Loving this film as I do, I decided a revision and expansion of my earlier review was in order during Claudette Colbert's reign as star of the month.
Based on Fannie Hurst's novel of the same name, Imitation of Life stars Claudette Colbert and Louise Beavers, with Rochelle Hudson, Fredi Washington, and Warren William taking on supporting roles. Nominated for three Academy Awards (including Best Picture), Imitation of Life is not only a 5-star film for me, but it is one of my 5 favorite films of the entire decade of the 1930's and among my 20 favorite films of all-time. I absolutely love this movie.
As white widow Bea Pullman (Claudette Colbert) tries to balance the responsibilities of running her late husband's maple syrup business and taking care of her young daughter, into her life comes Delilah Johnson (beautifully portrayed by the wonderful Louise Beavers), a black woman---also a widow---with a similar-aged daughter of her own. After Delilah convinces Bea to hire her as her maid, she and her little girl, Peola, move in with Bea and daughter Jessie.
Upon tasting Delilah's delicious pancakes one morning, Bea realizes that with her maple syrup and Delilah's pancake recipe, the two of them could join forces and go into business together. Bea sets out to snag a building and all the necessary equipment for them to do so. The business is a great success, and before long, they have gone beyond just a restaurant...in fact, they are packaging Aunt Delilah's Pancake Mix and selling it to grocery stores all across the country. Although, Delilah is a partner and earning a good living through the business, she continues to stay on as Bea's maid, since they have also become good friends.
Daughters Jessie and Peola, who are now school age, attend a nearby school, but the extremely light-skinned Peola, does not want her teacher nor any of her classmates to know she is black. Able to pass as white because of her fair complexion, she seeks to hide her blackness; when Delilah shows up at the school one day---claiming to be Peola's mother and thereby ending the masquerade---Peola is furious with her.
The years go by....the women's business becomes more and more successful, Jessie (now Rochelle Hudson) heads off to school, Bea falls in love, and Peola (now Fredi Washington) grows more and more angry at her skin color and tries even harder to sever ties with her black heritage and to live in a white world. She even, at one point, disowns her mother, who keeps showing up in her life and ruining things for her. How everything plays out is the remainder of the film.
As you can imagine, this is a sobber!!! Yes, Peola will see the error of her ways and seek to make amends; the scene in which that happens is particularly poignant and touching. If you are anything like I am, the tears will be pouring down your face then.
While Claudette Colbert gets top billing in this movie and is completely wonderful and charming in her role, for me, the real star is the amazing Louise Beavers. Miss Beavers' portrayal of Delilah is totally delightful and full of love and grace and faith. I was in love with her from moment one. Fredi Washington is terrific in her role as well. She brings Peola's tortured soul brilliantly to life.
Even more than the racial situation, Imitation of Life is the story of a mother's love for her child. Both Bea and Delilah loved their daughters unconditionally and sacrificially and would give anything---even her own life---for her. As a woman who has devoted over two decades of my life to motherhood, I find that stories like this quite resonate with me.
The team of Ross Hunter and Douglas Sirk got their hands on this story in 1959, remaking the film with Lana Turner and Juanita Moore in the Claudette Colbert/Louise Beavers roles and Sandra Dee and Susan Kohner as their respective daughters. Despite the fact that I adore Lana Turner and count her among my top 5 favorite actresses, I definitely prefer the earlier version. The remake is moving and heart-tugging and I do enjoy it and deem it a 4-star film, but for a couple of reasons, it just doesn't top the original for me. Yes, Lana is gorgeous and her acting is terrific, and Juanita Moore and Susan Kohner are both sensational; however, in the remake, Turner's character is extremely selfish. She can't hold a candle to Claudette's Bea. Also, Juanita Moore's character is always just a maid---the women don't go into business together. Finally, the white daughter is more whiny and selfish in the remake, making it hard to really like her. The one upside to the Sirk version is that the downward spiral of the black daughter gets more attention and is much more graphic than in the earlier film, making it, therefore, all the more heartbreaking.
Out on DVD, this film ought to be fairly easy to track down. One of the ways it is available is in the 2-disc Imitation of Life collection, which includes both films, along with bonus feature commentary.
Happy viewing!
NOTE: Unless stated otherwise, all photos were obtained from Doctor Macro (HERE)
My latest 5-star film discovery of 2013 is an early work of beautiful star of the month, Miss Maureen O'Hara. That film is 1939's The Hunchback of Notre Dame. Based on Victor Hugo's classic novel, this masterpiece of a film also stars Charles Laughton and Sir Cedric Hardwicke, with Thomas Mitchell, Edmond O'Brien, Alan Marshal, and Harry Davenport among the supporting players. Nominated for two Academy Awards, this lavish production was directed by William Dieterle.
Set in 15th century France, during the reign of Louis XI (Harry Davenport), Hunchback is the story of the beautiful Gypsy girl, Esmeralda (Maureen O'Hara), who has danced in the streets and attracted the attention of many, including the Chief Justice, Frollo (Sir Cedric Hardwicke). Lusting after the ravishing beauty, yet despising himself for doing so, Frollo brings Esmeralda before the court on a trumped-up charge of murder. Convicted, Esmeralda is sentenced to hang, but is saved from that fate by Quasimodo (Charles Laughton), the deaf, nearly mute, deformed bell ringer of Notre Dame, who is hopelessly in love with her. Some of the themes tackled in this timeless story are:
Superstition: Because Quasimodo is deformed, the people fear him and believe him to be possessed.
Handicaps: Not only is Quasimodo deformed, but he is deaf and barely speaks.
Prejudice: Chief Justice Frollo despises all Gypsies and deems them unfit to enter France.
Fear: The printing press has been invented, and Frollo fears what will happen if the people are able to read certain truths for themselves.
Places of refuge: The Cathedral of Notre Dame is a safe refuge for all. Once within its walls, those being sought have sanctuary.
Love: Esmeralda's love for her people and for the soldier, Phoebus (Alan Marshal); poet Gringoire's (Edmond O'Brien) love for Esmeralda; Quasimodo's love for the bells; and, of course, his heartbreaking love for the beautiful Esmeralda, which culminates in one of the most memorable lines I have ever heard, "Why was I not made of stone like thee?"
Hypocrisy: Though Frollo disapproves of Esmeralda and claims her dancing to be evil, he secretly lusts after her. He gives the appearance of righteousness and purity, all the while longing for the very thing he claims must be destroyed. Blaming Esmeralda for inciting the sinful thoughts in him, he is determined to punish her, and he does so by convicting her of crimes she did not commit.
Self-loathing: Frollo is not all bad, as evidenced by the fact that he has been Quasimodo's protector and benefactor ever since rescuing him as an abandoned infant years earlier; Esmeralda herself believed there was love in him. It is not wickedness---but rather shame over his fall into lust---which drives the Chief Justice to persecute Esmeralda.
Mercy and kindness: Posssessed with a good and kind heart, Esmeralda desires to help her people---the Gypsies---find freedom from persecution, and when Quasimodo is publicly flogged and left in the pillory, Esmeralda takes pity on him and satisfies his cries for water.
To be honest, though The Hunchback of Notre Dame is a classic and very well-known piece of literature, I haven't ever read it. I struggled greatly with Mr. Hugo's Les Miserables, so I was never keen on reading another of his works. Thus, I have no idea how close this film is to the novel. As I've stated before, though, whether a film is true to its book counterpart or not rarely matters to me. I think both have merit of their own---and this film version has incredible merit.
Quite honestly, I think this production is nothing short of spectacular. While it came away with an Academy Award nomination for its Alfred Newman score, as well as a Best Sound, Recording nomination, I can't believe it didn't receive many more nominations. For sure, I think it ought to have received a Best Picture nomination, as well as a Best Director, a Best Costume Design, and last but not least, a Lead Actor nomination for Mr. Laughton. I haven't seen Laughton's entire filmography, of course, but I can't help but believe his work in Hunchback was the performance of his career. He is beyond brilliant in this role. The way he brings the deformed Quasimodo to life is absolutely breathtaking . . . and heartbreaking. Yes, 1939 was the year Clark Gable and James Stewart gave terrific ("should have won an Oscar") performances in Gone with the Wind and Mr. Smith Goes to Washington, but Mr. Laughton was right there with them. Not nominating him for a Lead Actor award was a gross oversight on the part of the Academy.
In addition to Mr. Laughton, I believe the costume designer and makeup artists ought to have received Oscar nominations. (Of course, that wasn't go to happen, because those categories didn't become part of the Academy Awards until 1948 and 1981.) Whether acknowledged with an award or not, however, the people responsible for transforming Mr. Laughton into a grotesque "hunchback" did a phenomenal job Though made in 1939, the artistry of this film was very ahead of its time.
Nineteen years old and incredibly beautiful here, Maureen O'Hara plays the part of the kind-hearted Esmeralda perfectly. This is her 4th film, and its easy to see why she would go on to be a major Hollywood star. Harry Davenport is his usual, fairly-lovable self (not at all in keeping with other film portrayals of King Louis XI). Edmond O'Brien, in his film debut at age 24, is incredibly handsome (and thinner than I have ever seen him). What fun seeing him at such a young age.
Finally, Sir Cedric Hardwicke gives a superb performance as well. Frollo is a complex character---not completely evil, just power hungry, controlling, and disgusted by the awakening of desires from which he had pledged to abstain. Hardwicke does a fantastic job bringing all the nuances of the troubled Frollo to life. He, too, ought to have received an Academy Award nomination.
Out on DVD, this 1939 version of The Hunchback of Notre Dame ought to be fairly easy to track down. I highly recommend seeing it. It is a spectacular work of art.
Happy viewing!
By the way, Hunchback is one of the films being screened at Boise's Egyptian Theatre this coming Saturday (August 17th), for Maureen's 93rd birthday bash. Much as I love it and would be thrilled to catch it on the big screen, I won't be doing so. I have tickets for The Quiet Man, The Black Swan, and How Green Was My Valley, which run consecutively, so I'll already be sitting through over 6 hours of movies. Hunchback follows How Green Was My Valley, so that would be pretty much 8+ solid hours of sitting. The 6 hours is pushing it, so I know I wouldn't make it through 8.
NOTE: All photos obtained from Doctor Macro (HERE)
In memory of Deanna Durbin, who passed away recently at the age of 91, I thought I would review 1938's Mad About Music, which I watched about a month ago. The third feature film for Miss Durbin, who was 16 years old at this point in time, Mad About Music also stars Herbert Marshall and features William Frawley, Arthur Treacher, and Gail Patrick in small, supporting roles.
Sent off to a Swiss boarding school because her teenage presence is a detriment to the glamour-girl image her actress mother's agent wants for her, Gloria Harkinson (Deanna Durbin) has invented a make-believe life for herself. Although her Navy flier father died when she was a baby, she has never revealed that to her friends and, instead, has bragged that he is an important explorer. Through weekly letters presumably from her dad, Gloria charms her schoolmates with tales of his African adventures. One girl, however, doesn't believe a word Gloria says and is determined to prove she's lying.
Having made the claim that her father would be stopping at the school for a 1-hour visit, Gloria suddenly finds herself in completely over her head. With all the students and even the headmistress congregating at the train station to welcome Mr. Harkinson, Gloria realizes the need to produce a father.
Composer Richard Todd (Herbert Marshall), who has traveled to Switzerland for a bit of R & R, alights the train at the school's stop, and Gloria immediately pounces on him, hugging him and welcoming him to town. She convinces him to pose as her father, and though he is at first reluctant, he may just end up embracing the role. How it all plays out is the balance of the film.
Nominated for four Academy Awards, Mad About Music is a sweet, enjoyable, very charming film. Herbert Marshall is his dashing, wonderful self, and Deanna is pure delight. She sings several songs, including "I Love to Whistle" and "Ave Maria." This is a very solid, entertaining, 3-star viewing experience.
Out on DVD, this film should be fairly easy to track down. I think it's a film all Deanna Durbin fans will want to see.
In recent weeks, I have bumped Fredric March from one of my top-10 faves to one of my "beloveds." (I now have 8 great loves, with over a dozen more hovering just below that status.) I have been an appreciator of Mr. March's talents since the first time I ever saw him---in The BestYears of Our Lives; however, the more I see of his works, the more impressed I am with him and the more I love him. I have come to completely adore him!! Thus, I've been on a quest to see as many of his films as I can, and Death Takes a Holiday was one I was dying to see (pun intended). A romantic drama from 1934, the film also stars Evelyn Venable, with Guy Standing, Henry Travers, and Helen Westley taking on supporting roles.
Fredric March is Death, and in an endeavor to discover why mortals fear and hate him, he takes a 3-day holiday from that role, and, inhabiting the body of a prince, becomes a mortal himself. Spending his holiday at the home of Duke Lambert (Guy Standing), he finds himself falling in love with the beautiful Grazia (Evelyn Venable). While some of the duke's house guests find him odd and even fear him, Grazia does not. She loves him and is willing to follow him anywhere. But does anywhere mean leaving the land of the living?
This is an interesting, well-acted film...and Fredric March is more handsome than I have ever seen him. Except for that early-1930's "lipstick look" which makes the men a bit too feminine-looking for my taste, I think he is completely gorgeous here! Looks aside, Mr. March's acting in Death Takes a Holiday is completely over-the-top, something I happen to think is spot-on. Given that he was playing an other-worldly character, I think the overacting goes with the territory; however, I know others who think he was actually laughable in this role. Each viewer will need to make up his own mind.
The supporting players are all a real treat. I would have liked to have seen their characters fleshed out a bit more, though that is hard to do in a 78-minute movie. Had the film been longer and more developed, I might have rated it higher. As it is, I'm calling this a solid 3-star film.
The film is out on DVD and part of the Classic Flix inventory (that's how I caught it); however, it is also available in its entirety on YouTube (HERE).
For the next five days, it's all things James Cagney over at The Movie Projector. There are thirty bloggers participating in a salute to one of the most sensational actors there has ever been...or will ever be. In conjunction with the blogathon, host R.D. is offering a giveaway of the 2-disc edition of Yankee Doodle Dandy, the film for which Mr. Cagney won his only Lead Actor Academy Award. For more information about the giveaway and to read all the other wonderful entries in the event, go HERE.
My contribution to this fantastic blogathon is that quintessential gangster film from 1931, The Public Enemy. Directed by William Wellman, The Public Enemy provided Mr. Cagney with his breakthrough role, as he was moved from a secondary character to the lead one before filming began. Though Jean Harlow gets second billing, she's really quite a minor player. The film is all Cagney's, with supporting help from Harlow, Edward Woods, Donald Cook, and Joan Blondell. Mae Clarke, Beryl Mercer, and Leslie Fenton also have feature parts in this terrific 5-star film, which in my mind remains the measuring stick of all gangster films, even now, some 80 years after its release.
The film begins in 1909 on the streets of Chicago, where two young boys, Tom Powers (who will grow up to be James Cagney) and Matt Doyle (who will grow up to be Edward Woods) are beginning down the road which will ultimately lead them to organized crime. With Tom as the instigator, the boys are repeated troublemakers, even stealing for local gangster Putty Nose (Murray Kinnell). Matt's sister, Molly, warns Tom that he's no good and will end up in jail someday.
As the years go by, Tom and Matt grow to manhood, getting involved in ever-bigger capers, now with guns in their hands. When things go haywire during their robbery of a fur company and one of their own is killed, ringleader Putty Nose skips town, leaving the boys feeling double-crossed and desirous of revenge. They soon join forces with another local gangster, Paddy Ryan (Robert O'Connor).
After their first big payoff, Tom and Matt delight in getting fitted for fancy suits and, afterwards, enjoy a night on the town. Matt soon finds himself in love with Mamie (Joan Blondell), while Tom spends time with Kitty (Mae Clarke), before ditching her for Gwen (Jean Harlow).
As Prohibition becomes the law of the land in 1920, Tom and Matt are primed to become big shots. Operating a bootleg beer business, Paddy joins forces with another local mobster, Nails Nathan (Leslie Fenton). Gang warfare ultimately breaks out, and many are sure to get caught in the crossfire. How it all plays out is the balance of the film.
The Public Enemy is a simply sensational film. The direction is fantastic...the cinematography is appropriately stark and gritty...the acting---especially that of James Cagney---is brilliant. He plays the cold, heartless, evil Tom Powers to absolute perfection. Especially upon discovering that these gangster roles were just a way to pay the bills...that Cagney really preferred song-and-dance roles...you realize just what an amazing performance he gave here. I think it's one of his best---though being honest, I think Mr. Cagney (whom I positively adore!) always gave a "best" performance.
One of the most haunting scenes in all of film history (to me) is Tom Powers' final arrival at his mother's door. It's a sight that will stick with you for days. (Can't say more, so as not to give away the ending to those who may not have seen this film yet.)
Probably my favorite scene in the film is the one which gives a little glimpse into the song-and-dance life of James Cagney. It's short and, perhaps, unnoticed by most people. After obtaining Gwen's telephone number, Tom does a little two-step on the sidewalk. With Mr. Cagney's love for dance, I figure that was an improvisation to put a little of himself into the film.
When production of The Public Enemy got underway, Cagney was originally hired for the Matt Doyle role; however, by the time shooting commenced, it was realized that Cagney was the more dominant personality and, thus, ought to have the star part. Mr. Cagney puts it this way in his autobiography, Cagney by Cagney, "Public Enemy was about two street pals---one soft-spoken, the other a really tough little article. For some incredible reason, I was cast as the quiet one; and Eddie Woods, a fine actor, but a boy of gentle background, well-spoken and well-educated became the tough guy. Fortunately, Bill Wellman, the director, had seen Doorway to Hell , and he quickly became aware of the obvious casting error. He knew at once that I could project that direct gutter quality, so Eddie and I switched roles after Wellman made an issue of it with Darryl Zanuck." This casting change had huge bearing on Mr. Cagney's career, because after The Public Enemy, Warners gave him star billing.
In his typical humble way, Mr. Cagney doesn't have a negative word to say about anyone in the cast. He called Donald Cook, who played his brother in the film, "that good actor." He also said, "Public Enemy had a fine cast: Eddie, Donald, Mae Clarke, and the unforgettable Jean Harlow, whom, he said, was "very pleasant to work with." The two never saw each other again after PublicEnemy, but Mr. Cagney was, nevertheless, saddened by her untimely death.
One of the most memorable scenes in James Cagney's career is the infamous grapefruit scene, in which Tom, frustrated by his girlfriend's (Mae Clarke) nagging, shoves a grapefruit in her face. According to Mr. Cagney's autobiography, the scene had been "derived from a real incident in Chicago when a hoodlum named Hymie Weiss took an omelet prepared by his overly-talkative girlfriend and shoved it in her face. Of course, an omelet was a bit too messy to be repeated on the screen, so the grapefruit was substituted."
A little anecdote about that scene is that "Miss Clarke was once married to Monte Brice, Fanny's brother. Mae and Monte divorced , and apparently with a little rancor, because every time Cagney pushed the grapefruit into Mae's face at the Strand Theatre, there was a guaranteed audience of one---Monte. He would come in just before the scene was shown, gloat over it, then leave."
The Public Enemy is a totally brilliant movie...a definite must-see, as it paved the way for all gangster films following in its wake. It is one of my 10 favorite films of the 1930's, my 2nd favorite James Cagney film, and among my 40 all-time favorite movies. I cannot recommend it highly enough. Out on DVD and soon to be released on Blu-Ray, the film should be very easy to track down. It is also on the TCM schedule for Sunday, June 2nd, at 12:30 p.m. (ET). Do try to catch it---you will absolutely not be disappointed.
Happy viewing!!
All quoted material derived from Cagney by Cagney, by James Cagney, Doubleday & Company, Inc., 1976
We Live Again, starring Fredric March and Anna Sten, is a 1934 period drama based on Leo Tolstoy's novelResurrection. Fredric March is Dimitri, a Russian nobleman, who is getting caught up in the beginnings of socialism. He believes in equality of persons, and thus, he spends the bulk of the summer enjoying the company of Katusha (Anna Sten), a beautiful peasant girl who works for his family. Although Dimitri and Katusha are very much in love, by summer's end, they separate, as Dimitri must pursue military training.
Over the next two years, Dimitri's views change, and by the time he returns home, he is not the same man he was before. He does still desire Katusha, though, and in short order, seduces her. The morning after their interlude, Dimitri rides away and out of Katusha's life, leaving nothing behind but an envelope with a piece of money contained within.
Katusha is humiliated and devastated by Dimitri's actions. Soon, though, she discovers that she is pregnant, which makes her situation even worse, for the royals dismiss her from her position. Driven from her home and job, Katusha falls onto very bleak times and, ultimately, finds herself on trial for murder. It is at that point that Dimitri re-enters her life.
As already noted, this movie is based on Leo Tolstoy's novel Resurrection. Some might think that you would need to be a Tolstoy fan in order to enjoy this movie. I don't find that to be the case. I actually don't care for Tolstoy. War and Peace is a huge challenge for me to get through, and I have never been able to get through Anna Karenina. I've never read the novel on which We Live Again is based, but I definitely enjoyed the movie...I even found myself getting misty-eyed on a couple of occasions. Two warnings, though...first, the ending is highly unrealistic. Second, there is a scene in the church about 25 minutes into the movie that was far too long, in my opinion. It went on for about three minutes, and I very nearly gave up on the movie at that point. But I persevered through the boredom...and I'm glad I did. Although this isn't an excellent movie by any means, I think it's a solid 3 stars (more like 3.5) and definitely worth watching. Fredric March gives his usual terrific performance, and Anna Sten, who I'm not overly familiar with, is lovely and very good in her role.
By the way, there is a very strong socialist message in this film, but don't let that deter you from seeing it. It's more a beautiful love story and a story of repentance than anything. The film is out on DVD, so it should be easy enough to track down.
Another film from that golden year of 1939 is They Made Me a Criminal, a vehicle which gives name-above-the-title billing to John Garfield and The Dead End Kids. Directed by Busby Berkeley, this film sees Claude Rains, Gloria Dickson, and May Robson taking on supporting roles. While some movie posters tout Ann Sheridan as a co-star, the reality is that she is an extremely minor player; in fact, she's dead within the first ten minutes. They Made Me a Criminal is a remake of the 1933 Douglas Fairbanks, Jr./Loretta Young film The Life of Jimmy Dolan(reviewed HERE).
NOTE:This review is part of the John Garfield 100th birthday blogathon. To read all the other wonderful entries in the event, go HERE.
At a victory party following a fight, boxing champion Johnny Bradfield (Garfield) drinks to excess and finds himself involved in an altercation with a newspaper reporter. After slugging the man, Johnny---completely drunk---passes out.
With Johnny out cold, his manager proceeds to get into it with the reporter, dealing a blow which leads to the man's death. Anxious to cover his tracks, the manager---along with Johnny's girlfriend, Goldie (Ann Sheridan)---leaves the scene, knowing that the crime will then be pinned on Bradfield. The two of them end up being killed in a fiery car crash, and because the man was wearing Johnny's watch, his body is identified as that of Johnny. However, police detective Phalen (Claude Rains), who is out to prove himself to the higher-ups, is quite sure Johnny is still alive, and he has every intention of finding him and charging him with murder.
When the real Johnny comes to and reads the newspaper account of what has happened, he has no choice but to go on the run. After being warned to not use his fists lest he give himself away, Johnny takes on the name Jack Dorney and heads West. Hopping freighters, as well as pounding the pavement with his feet, Johnny/Jack makes his way to Arizona, where he finds a welcome at a ranch for troubled boys.
The teenage boys (played by The Dead End Kids) have been sent by a New York priest to his sister's (May Robson) farm, where it is expected that kindness, responsibility, and hard work will rehabilitate them. Johnny/Jack is put to work, and although his influence on the boys is initially a matter of concern, he eventually proves himself. In fact, it's not long before the "look out for yourself" man wants to help the farm reverse its dismal finances. When he sees an advertisement for an amateur fight, Johnny is willing to enter the ring for the prize money---despite the fact that he is a "wanted man" and really needs to keep a low profile.
Does Johnny go through with the fight? Or, realizing the danger of being so visible, does he back out? Does Detective Phalen, who has seen Johnny's picture in the paper, find him and take him back to New York to face a murder rap? These are the questions which play out in the balance of this film.
Although listed on Mr. Garfield's filmography as his second film, They Made Me a Criminal, technically, is his third. Blackwell's Island, the true second film to be made, was released a couple months after this one. With Garfield's debut performance in Four Daughters the previous year touting him as "the sensational new "find"---not of the year, but of the decade," Warner Brothers knew they had a mega-star on their hands; wanting to capitalize on that popularity while Four Daughters was fresh in the minds of audiences, they rushed They Made Me a Criminal ahead of the B-grade Blackwell's Island. While Garfield had been billed seventh in Four Daughters, he was given name-above-the-title status in this film.
They Made Me a Criminal is a perfect vehicle for the talents of John Garfield. He completely excelled in roles like this, and he was his usual wonderful self here. The misunderstood, huge-chip-on-the-shoulder rebels are easily my favorite kinds of roles for Mr. Garfield. Quite honestly, I love him like this!! The Dead End Kids, who are normally so obnoxiously disrespectful that I can hardly stand them, were definitely more tolerable in this film. Even Leo Gorcey wasn't as smart-alecked as usual. According to Mr. Garfield's biography, Body and Soul, The Story of John Garfield, he enjoyed working with the Dead End Kids.
As for Claude Rains' portrayal of a New York detective---he felt he was dreadfully miscast for the role and begged to be let out of it. Interestingly, however, Mr. Garfield felt that Rains "contributed the strongest performance" to the film. Garfield was critical of his own performance---finding it "hollow"---and he would "deprecate the picture at every opportunity in later years." Funny, I thought he was quite good in the role...maybe not his best performance, but certainly solid and very believable.
May Robson is completely delightful...especially in the fight scene. What a fun grandma-type she is. I love her spunky spirit!
This film is out on DVD, plus it is available in its entirety on YouTube, so you shouldn't have a problem being able to view it. It's a solid, 3-star film...close to 3.5 stars. I think it's a film all Garfield fans will want to see.
Happy viewing!!
NOTE: All directly quoted material is obtained from Body and Soul: The Story of John Garfield, by Larry Swindell, William Morrow and Company, Inc., 1975)
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