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.
Looking for something new for your holiday viewing this year? Look no further than the little-known 1947 heartwarmer It Happened on Fifth Avenue. Directed by Roy Del Ruth, this delightful film stars Victor Moore, Don DeFore, Charlie Ruggles, Ann Harding, and Gale Storm. Since catching this 4-star charmer when it made its TCM premiere in 2009 (as one of their holiday movies), our family has included it in our own holiday viewing schedule. Although the setting is more winter than Christmas---with the exception of a small tree-trimming/Christmas Eve scene---I think the message of the movie shouts that this is a holiday movie.
The story takes place on Fifth Avenue in New York City, at the home of the extremely wealthy Michael O'Connor (Charlie Ruggles). Every winter, from November 1st to March 15th, O'Connor closes up his mansion and heads south to Virginia. What he doesn't know is that after he moves out, the homeless Aloysius McKeever (Victor Moore) moves in.
This particular year, McKeever runs into Jim Bullock (Don DeFore), whose apartment building has just been sold, sending him to the streets in search of new living arrangements. Unable to find anything, Jim is resting on a park bench when McKeever meets up with him. Telling Jim he lives alone, McKeever invites Jim to be his guest for the evening. Jim has no idea Mac (as he calls McKeever) is living in the home with the owner unaware, so he accepts the offer.
That same evening, O'Connor's daughter, Trudy (Gale Storm), who has run away from her finishing school, arrives at the house, and not wanting Mac and Jim to know of her connection to the very wealthy O'Connor, she invents a story about being in town looking for a job. She, too, is invited to remain a guest in the mansion, and very soon, she and Jim are in love with one another.
Before long, two of Jim's Army buddies---unable to find a suitable apartment---are calling the O'Connor mansion home, and then when O'Connor himself makes an unexpected early appearance, he is assumed to be homeless and, also, is welcomed into the fold.
How long can the charade be kept up? How long will Michael O'Connor be willing to be a guest in his own home? And what happens when Trudy's mother---Michael's ex-wife (Ann Harding)---shows up as well? These are the questions that play out in this very sweet little film.
According to Robert Osborne, when this film was originally being made, Frank Capra was going to direct it; however, early on, he heard about another script---the beloved It's a Wonderful Life---and he chose to direct that film instead, selling his rights toIt Happened on Fifth Avenue to Roy Del Ruth. In trueIt's aWonderful Life style, though,It Happened on Fifth Avenue also features a beautiful line about friendship... "To be without friends is a serious form of poverty."
This sweet film is on TCM's Christmas Day schedule---Friday, December 25th at 6:00 p.m. (ET), so if you'd like to see it (and I definitely recommend it), be sure to set your DVR. It's also TCM's lineup earlier in the month---Sunday, December 20th, at 10:00 a.m. (ET).
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.
This article is part of the James Stewart Blogathon hosted by the Classic Film & TV Cafe. You can view the complete blogathon schedule here. The Jackpot, from 1950, is a little-known Jimmy Stewart comedy which I discovered on Fox Movie Channel a couple years ago. It's a film I had never even heard of, let alone seen, but since my family adores Jimmy Stewart, when I saw this on the FMC schedule, I just had to set the DVR. It's really a charming movie, and even I---drama-lover that I am---enjoyed every minute of it. The film also stars Barbara Hale, while James Gleason and a young Natalie Wood have minor roles.
Bill and Amy Lawrence (Stewart and Hale) are just an average, everyday family---that is, until bandleader Harry James changes their life for the worse. Of course, it wasn't Harry James's fault--- his name just happened to be the answer to a radio show's "Mystery Husband" contest. Though Bill at first thinks his phone number being chosen to play the game is nothing more than a gag, he soon discovers it is all very real, and he more than gets into playing along. When, by the flip of a coin, Bill decides that Betty Grable's husband is the mystery husband and that by knowing that, he has won $24,000 worth of prizes, total mayhem descends upon his formerly mundane life.
Bill and Amy's prize package includes an assortment of goodies, some practical, some hilarious---a diamond ring, a palomino pony, a complete home makeover, a grand piano, several thousand cans of soup, a trip for two, a portrait appointment with an artist, and on and on. The chaos begins when the Lawrences are informed that they are responsible for the income tax on everything.
When all is said and done, they owe $7,000 in taxes for all their loot, and that's where the fun of this film comes in. Adding to their dilemma of trying to sell their winnings in order to raise the money for the tax, Amy begins to suspect that Bill is having an affair with the French artist painting the portrait. How it all plays out is the balance of the film.
The Jackpot is just a sweet, loads-of-fun movie. It's certainly no Academy Award winner, but it's a delightful film the whole family can enjoy . . . yes, even the little ones ought to get a huge kick out of this. Jimmy Stewart is his usual, totally wonderful self; I feel quite sure that all Stewart fans will want to see this 4-star, little-known gem.
While this film is not out on DVD, it is on VHS. Additionally, it is available on YouTube, in its entirety (HERE). Definitely try to see this if you can...I'm sure you will enjoy every minute of it.
Impossible as it may be to believe, it wasn't until they were both 75-years old, that screen legends Bette Davis and James Stewart ever made a film together (both were born in 1908). While both are extremely beloved, iconic stars of the golden age, it took until 1983 for their film paths to cross for the first (and only) time. That film, an emotional, heart-tugging, made-for-Cable-TV drama called Right of Way, also stars Melinda Dillon. Based on Richard Lee's play of the same name, Right of Way is my addition to the "Diamonds and Gold Blogathon" hosted by Wide Screen World and Caftan Woman. This event---dedicated to celebrating stars who were working well into their senior years---is sure to have a multitude of terrific entries. You can access all the other articles HERE.
Elderly and long-married Teddy and Minnie Dwyer (Stewart and Davis) have recently learned that Minnie is afflicted with a terminal blood disorder. Although there are complex treatments which could possibly buy her a bit more time, Minnie's prognosis is bleak, and the couple, who have lived together as one for years, have determined that they will die together as one. Wanting to inform their daughter, Ruda (Melinda Dillon), of their plans, Teddy phones her and requests that she come for a visit.
Shocked by her parents' suicide plan---yet unable to talk them out of it---Ruda contacts Human Services, and after a social worker visits the Dwyer's unkempt home, Teddy and Minnie are rendered unable to care for themselves. Knowing it is only a matter of time until they are under the state's care and no longer free to do as they please, the couple realize they will have to act quickly if they hope to be in control of when and how they die. How it all plays out is the balance of the film.
It seems amazing to me that the only pairing of these two screen legends did not take place until the tail-end of both their careers. While I don't know how they got along on set (Bette Davis, Larger Than Life doesn't say), they gave every appearance of being a loving, devoted, decades-married couple. The tender scenes between them easily reminded me of my own parents, grandparents, and in-laws. I found Jimmy and Bette both to be wonderful and very believable in their roles. Bette was typical Bette---sharp-tongued and not inclined to tolerate any foolishness. Jimmy, too, was his usual self---lovable, slightly confused, somewhat-stammering. If I closed my eyes and just let my mind go, I would have thought Margo Channing and Elwood P. Dowd had come together. What a testament to both of them that their iconic All About Eve and Harvey characters could still be envisioned at the end of their careers.
While patient suicide and euthanasia generate much controversy here in the 21st century, back in the early 1980's, they did even more so, making Right of Way quite bold for its time. I want to make clear that while I enjoyed this film and give it 4 stars, because of my faith, I absolutely cannot condone euthanasia or patient suicide. However, the subject is handled with dignity and sensitivity and makes for a powerful discussion-piece kind of film. Also, with many of us Baby Boomer/Generation X'ers currently watching our own parents age, Right of Way will probably hit close to home for the bulk of us.
Unfortunately, it doesn't appear that Right of Way is out on DVD; it is, however, available on VHS, as well as on YouTube (HERE). I do hope you get a chance to see it, especially if you are a Bette Davis or Jimmy Stewart fan.
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.
It's Ingrid Bergman as you've never seen her before---icy, hard, and incredibly vindictive--- in 1964's The Visit. Also starring Anthony Quinn, this gripping drama features supporting help from (among others) Claude Dauphin, Irina Demick, and Valentina Cortese. Based on Friedrich Durrenmatt's play Der Besuch der alten Dame, The Visit received an Academy Award nomination for Best Costume Design. (For the record, I think Ingrid ought to have received a Lead Actress nomination.)
Two decades after leaving her small European hometown, Carla Zachanassian (Ingrid Bergman) returns for a visit---but it is not any kind of happy reunion she's seeking. Rather, she has returned to destroy the man who disgraced her when she was a teenager. Serge Miller (Anthony Quinn) had been her boyfriend/lover, but when Carla found herself pregnant, he refused to marry her. Beyond that, he bribed two men to testify that they had had relations with her, implicating her as a promiscuous woman. Driven out of town because of her reputation and pregnancy, Carla fell into prostitution.
Now a rich and powerful widow, Carla wants revenge on Serge, and the way she accomplishes it provides for a powerful, riveting film---tackling such issues as greed, corruption, and hypocrisy.
As expected, this is not a feel-good film. In fact, it's rather difficult to watch, especially as one by one, the townspeople, corrupted by greed, turn on Serge. While both Ingrid Bergman and Anthony Quinn are fantastic in their roles, Ingrid's performance is absolute mesmerizing. I have never seen her this icy, hard, bitter, and unforgiving. Wow! She really "blew me away" with her portrayal of the revenge-minded Carla. Her acting is what takes this from 3 stars to 4.
Made available on DVD in late 2012, The Visit is part of the inventory of Classic Flix. It is also periodically on Fox Movie Channel (which is where I caught it). If you like Ingrid Bergman (as I do), you will want to track this film down to catch her in what I feel is probably her most evil role. Her fabulous performance will not disappoint.
Regular readers of They Don't Make 'Em Like They Used To know that within the last year, Kirk Douglas began his ascent up my favorite actor list. Once I discovered what sensational work he does, I began seeking out more and more of his films. Last August, during Summer Under the Stars, TCM had a day for Kirk Douglas, so I set my DVR for several of the titles, and now, over six months later, I finally had the chance to watch one of them---1963's The Hook. Also starring Robert Walker (Jr.) and Nick Adams, with Nehemiah Persoff and Enrique (Pancho) Magalona in support, this George Seaton Korean War-era drama is meaty, powerful, and incredibly gripping.
In the waning days of the Korean War, a small group of American soldiers is responsible for loading oil onto a neutral freighter. Before the job is completed, an enemy plane shoots at them, killing one of the GI's. The remaining three soldiers capture the downed bomber, taking him aboard the freighter with them. Speaking with his South Korean headquarters, Sgt. Briscoe (Kirk Douglas) receives an order to execute the prisoner, and with 19 years of service under his belt and a military pension on the line, Sgt. Briscoe is determined that the orders be carried out; he instructs Private Dennison (Robert Walker) to do the job.
Insisting that killing a man out of combat is murder, Pvt. Dennison refuses to do as commanded, which puts him at odds with his superior. Having seen a fellow GI refuse to kill a Japanese soldier at Guadalcanal during the last war, Sgt. Briscoe insists that to refuse to kill the enemy is to be soft and that being soft will result in one's own death at the hands of the enemy. Besides, he tells Dennison, an order is an order, and it must be obeyed. But Pvt. Dennison will not be swayed---he will not execute the prisoner, whom he has come to see as a man like himself, with a name, a wife, a child.
Sgt. Hackett (Nick Adams), too, begins to suffer an agony of conscience and will not obey the command to kill the prisoner. If the man is to die, it will be at the hands of the one given the order---Sgt. Briscoe. But will he do it? Or will Privates Dennison and Hackett be able to convince him that such an order is one not to be obeyed? How it all plays out is the balance of the film.
Based on the French novel L'Hamecon, The Hook is a gripping, wonderfully-acted film. Kirk Douglas gives a terrific, mesmerizing performance. He is absolutely superb. Nick Adams is very good too, as is Robert Walker, in his first film appearance. Though billed as Robert Walker, this is Robert Walker, Jr., son of Jennifer Jones and Robert Walker. Wow, does he look like his dad. Enrique (Pancho) Magalona is also terrific. Because of the language barrier between the men, his character speaks very little---at least with his mouth. His eyes, on the other hand, speak volumes.
One word of warning---the racial slur "gook" is used dozens of times in this film. Of course, given that it is a war film and was made in the 1960's, that is to be expected, but I always want to point out those things which viewers will find offensive. The final line of the film---"Any day a war ends is a good day"---is as meaningful and powerful now as it was then.
A great discussion-piece kind of film, The Hook may, unfortunately, be a little difficult to track down. I don't believe it is out on DVD, nor is it on the TCM schedule anytime soon. I think it's well worth keeping an eye out for, though. For me, it is easily a 4-star film.
When I see Sidney Poitier's name among a cast, I know I am in for an incredible treat. Mr. Poitier excels at meaty, hard-hitting, dramatic roles, and since those are some of my favorite kinds of films, I always set the DVR, whether I've ever heard of the film or not. Looking through the TCM February guide, I discovered one such film---a never-heard-of Sidney Poitier title called The Slender Thread. Also starring Anne Bancroft, with supporting help from Telly Savalas, this 1965 Sydney Pollack drama was my best film discovery for the month of February. It's a 4-star film for me.
When her husband refuses to forgive her for a premarital indiscretion, Inga Dyson (Anne Bancroft) sees no point to go on living. She downs a bottle of barbiturates, then, wanting someone to talk to while she waits for death to come, she calls the local crisis center, where college student Alan Newell (Sidney Poitier) volunteers once a week. On this particular night, Newell is alone when the crisis call comes in; he soon discovers that the voice on the other end of the line is not the usual "prank call," but is, indeed, a woman in dire need of help. With only a short time left before the pills take their effect, Alan engages the troubled woman in conversation, desperately yearning to find out why she has chosen to end her life. (Her story plays out through the phone call.) Meanwhile, after a trace is put on the call, the authorities race against time to reach Mrs. Dyson before her life is snuffed out. How it all plays out is the balance of the film.
The Slender Thread is an engrossing, exciting, mildly suspenseful film, with the usual superior performance I've come to expect from Sidney Poitier. Anne Bancroft, as well, gives a brilliant performance. Featuring a Quincy Jones score, this meaty drama features future stars Ed Asner and Dabney Coleman in bit parts. A recipient of Academy Award nominations for Best Costume Design and Best Art Direction, The Slender Thread was Sydney Pollack's film debut, and it's easy to see why he would go on to enjoy the success he did.
Although not on the TCM schedule anytime soon, The Slender Thread is out on both DVD and Blu-Ray. If you are a fan of Sidney Poitier, Anne Bancroft, Sydney Pollack, or hard-hitting dramas, you ought to enjoy this. I hope you get a chance to see it.
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.
The Search, from 1948, is a somewhat sentimental post-war drama, directed by Fred Zinnemann and starring Montgomery Clift in his second film appearance. Also starring Wendell Corey, Aline MacMahon, and Ivan Jandl, The Search provided Mr. Clift with his first Best Actor Academy Award nomination. According to Clift's biography, Monty considered The Search to be "the most fulfilling artistic experience of his life." (From Montgomery Clift, a Biography, by Patricia Bosworth.)
The movie begins with a trainload of displaced children arriving at a relief center, where they will be temporarily housed while a search is made for their relatives. Though the intent of the center is to help, many of the children, having previously been herded onto trains and shipped off to concentration camps, are understandably terrified and untrusting. One little boy in particular, Karel Malek, is so frightened that he actually finds a way to run away, escaping on his own into war-torn Germany.
Ralph "Steve" Stevenson (Monty Clift), an American soldier still stationed in Germany, happens upon the hungry and frightened little boy.
Feeling that the boy shouldn't be wandering around on his own, Steve feeds him and then takes him back to his apartment, with the intent to locate his parents.
Though fearful and untrusting at first, Karel comes to realize that Steve is his friend and wants to help him.
Meanwhile, in another part of the city, Hannah Malek is combing the relief centers in search of the son from whom she was separated at Auschwitz, hoping against hope that he still lives.
A sweet, mildly heart-tugging film, The Search always gets me misty-eyed. Montgomery Clift is extremely good in this Oscar-nominated role, and his chemistry with the little boy (Ivan Jandl) is terrific. Wanting to be completely prepared for his role, before shooting began, Mr. Clift lived for a time in an army engineer's unit, dressed in army fatigues, and toured U. N. Relief and Rehabilitation camps in Germany. He was totally driven to make his character and the film authentic, which resulted in numerous improvisations of the script and endless battles with the film's producer. In the end, though, the film received unanimous acclaim and Monty, who was pleased with his performance, became one of Hollywood's hottest stars.
A solid 4-star film, The Searchisdefinitely worth watching, and since it is available on DVD, it ought to be fairly easy to track down. If you are a Montgomery Clift fan, or if you like post-war films, definitely see this. You're sure to enjoy it.
Although Montgomery Clift won't be taking center stage here at They Don't Make 'Em Like They Used To until next month, he's making an appearance a week early, as the 1958 drama Lonelyhearts is my contribution to the "Breaking News" blogathon. Hosted by Comet over Hollywood and Lindsay's Movie Musings, this blogathon is all about journalism in classic film. It's sure to be a fantastic event, so you'll want to visit as many of the entries as you can. Go HERE to get involved.
Lonelyhearts, from 1958, is a bold, mature-themed drama, starring Montgomery Clift, Robert Ryan, Myrna Loy and Dolores Hart and featuring Maureen Stapleton in her Academy Award-nominated film debut. Based on the 1933 Nathanael West novel, Miss Lonelyhearts, this story had a 12-day run as a Broadway stage play in 1957. I originally sought the film out because I was on a quest to see all of Monty Clift's work; however, subsequent viewings are more to enjoy the brilliance of Robert Ryan, who I believe is one of the most under-rated actors ever.
Adam White (Montgomery Clift), a kind, gentle young man with a desire to do right, hopes to land his dream job on the local newspaper, The Chronicle. Having made the acquaintance of Florence Shrike (Myrna Loy), the wife of the paper's managing editor, he hopes to garner an introduction to said editor (Robert Ryan, who is absolutely stellar in this role). Although Adam makes a bad first impression, Bill Shrike offers him a job.
Bill Shrike is a cynical, unlikeable man who believes it is impossible for people to be good, that people are all frauds and can't be trusted. His relationship with his wife is condescending and ugly; ever since he caught her in an affair ten years earlier, he has treated her like a tramp, never forgiving her and constantly belittling her and humiliating her.
Bill promises Florence that he'll hire Adam, but only to prove the point that the man is a phony. It's not just Shrike's wife who is the target of his contempt---he informs one of his employees that he is as important to the department as Shrike's tonsils, which were lost 40 years earlier.
Adam is given the job as the editor of the Lonelyhearts column, and his responsibility is to respond to the advice-seeking letters that are sent to him. At first, Adam laughs about the problems his readers are experiencing, but eventually, he begins to really care about the people behind each letter. He longs to give them sound advice to help their hurting hearts; he begins to care too much and is somewhat emotionally involved with his audience. For his part, Bill Shrike insists that the readers are all frauds and that they deserve what they have gotten; he challenges Adam to meet with one of the letter writers, just to prove his point.
Adam does meet with one of Miss Lonelyhearts' readers---Faye Doyle (Maureen Stapleton)---and she informs him that her husband was injured in an accident and that, as a result, they haven't had physical relations for seven years. She needs advice as to what to do...but, within minutes, Mrs. Doyle is after more than advice---she wants Adam to kiss her, which he does, and before long, they are sexually intimate, an act which causes Adam to feel ashamed and Bill Shrike to triumphantly gloat that he was right all along, that Adam really is nothing more than a phony do-gooder. How everything plays out is the balance of the film.
Upon my first viewing of Lonelyhearts, I gave it 3 stars (on Net Flix). While it is an interesting, extremely well-acted drama, it is quite painful for me to watch, mostly because of the appearance of Montgomery Clift. Right up there with Rock Hudson and Tyrone Power as one of the most beautiful men I have ever seen, Monty is fabulously gorgeous in all of his early works; however, his 1956 car accident dramatically altered his appearance, and it was here in Lonelyhearts that I caught my first glimpse of the post-accident Monty. I have to admit, like movie-going audiences of the 1950's, I was shocked by the change in his facial appearance. (I think he even sounds different post-accident.) Since seeing Lonelyhearts for the first time, I've read Clift's biography, and I know how deeply grieved he was by the loss of his perfect looks. "While the man had confidence in himself as a creative artist, as a damaged commodity in an era of handsome rebels, he did not, and he continually wondered if his new face would keep him from being considered for parts." (p. 313-314) "Self-conscious about his new face, Monty even took down most of the mirrors in his home...and he hated being photographed." (p 314)
Besides his distress over his appearance, here in the late '50's, Monty was in a deep, dark, troubled period (which would last the remainder of his too-short life); he was in poor health and constant pain, addicted to drugs and alcohol, angst-filled over his sexuality, and, due to his bizarre, erratic behavior, on the "outs" in Hollywood. Because I love Monty so much, and because Lonelyhearts was made during such a difficult time in his life, this film is exceedingly painful for me to watch (as are all his post-accident works). Looks and personal demons aside, though, Monty, who was always adept at portraying men with deep inner struggles, gives his usual top-notch performance here in Lonelyhearts. Knowing the severe drug and alcohol addiction Mr. Clift was facing at this time of his life, I find it remarkable that he was able to perform at all, let alone to do so as wonderfully as he does. His portrayal of the troubled, guilt-ridden Adam is really great, and his chemistry with Dolores Hart, who plays his girlfriend, Justy, is terrific, as is his chemistry with Ryan and Loy.
Clift's chemistry with Loy may well have been no acting job. According to Montgomery Clift, a Biography, "Monty was impressed with Loy---by her wit, her compassion, her commitment to liberal causes...For several years, she was entangled in his romantic life. They saw each other frequently and traveled together...Many of Myrna's friends thought she was deeply in love with Monty and that she wanted to marry him." (p. 336-337)
While my first-time viewing of Lonelyhearts garnered 3 stars, subsequent viewings have seen me going with 4 stars. Yes, it's still painful watching the troubled Montgomery Clift, but I've gotten past that and am able to concentrate on the good. For one thing, it is a very bold, mature story. (I love meaty dramas and will take one any day of the week.) And the performance of Robert Ryan, who was always super at playing the unlikeable, is totally spectacular. I love Ryan when he is playing nasty...he is simply brilliant. In my opinion, he is even better than Clift here; in fact, I feel he steals the show. Mr. Ryan was in his late 40's here, and I must say, I think he aged well...I love the little touch of gray at his temples.
Myrna Loy's part is fairly small and it is out of character for her, but she does a great job. She is in her early 50's here, and I think she, too, aged well.
Maureen Stapleton is spectacular in her screen debut. It's easy to see why she received a Best Supporting Actress Academy Award nomination.
Finally, and I greatly appreciate this, the sexual encounter is left totally to the imagination, unlike today, when graphic sex and nudity fill the screen. I really don't need to see everything we're privy to today; for me, less is more.
While some people might find the film's ending (which differs from the book) to be lame and unrealistic, I rather like it. As one who believes in the power of forgiveness, I can easily accept what happens. (I won't say more, so as not to give anything away.)
To my knowledge, Lonelyhearts is not out on DVD (at least in Region 1); however, it is available on You Tube, both as a whole and in several parts. I hope you get a chance to see it...even if just for the opportunity to watch Robert Ryan doing what he does so well---playing a cynical, hardened, unlikeable man---and to catch Monty Clift doing what he does so well---portraying a deeply troubled man in the midst of a moral crisis.
Happy viewing!!
NOTE: All quoted material from Montgomery Clift, a Biography, by Patricia Bosworth, Limelight Editions, 1978.
When was the last time you found yourself thinking about that middle school teacher you had such a crush on? You know, the teacher you adored so much that you wished the entire school day belonged to English (or math, or whatever) class, just so you could be in his (or her) presence...the teacher you so wanted to impress that you worked your tail off in his (or her) class, knowing he (or she) would be proud of your efforts and accomplishments...the teacher who, in the fantasy world of the "tween," you imagined might "like you back." Never mind that we now know it would be foolhardy, not to mention illegal, for a teacher to get involved with one of his students; in the dream world of a 1970's middle schooler, a love affair with the teacher was possible. For me, the teacher who inspired those things was 6th grade English teacher, Richard Barnett---oh, was he dreamy! Though the man hasn't crossed my mind in close to 40 years, after watching the very charming, heartwarming, and sentimental Remember the Day last night, I found myself thinking about him, even vividly visualizing his handsome face and friendly smile. One of the "new to me" films I had on my agenda for Claudette Colbert month, this lovely 1941 romantic drama also stars John Payne and features Douglas Croft, Ann Todd, Anne Revere, and Jane Seymour in supporting roles. If you are anything like I am, this Henry King-directed film will take you on a trip down memory lane, bringing those crush-inducing teachers to your mind front and center.
Mostly told in flashback, the story begins in the present day, as presidential nominee Dewey Roberts (John Sheppard, aka Shepperd Strudwick) prepares to speak at a Washington, D.C. event. Among those in attendance is a somewhat-older-looking woman, Nora Trinell (Claudette Colbert), who hopes for an opportunity to meet with Mr. Roberts. After handing a note to the bellboy, Miss Trinell allows her mind to travel back to April, 1916, when she first met little boy Dewey (Douglas Croft).
A student at Auburn Grammar School, the school where Nora has just begun teaching, Dewey Roberts is a bright and friendly young man. In very short order, a special bond is formed between the boy and his teacher, with Miss Trinell even stopping by Dewey's home when he is absent due to a knee injury and with Dewey naming his model ship the Miss Trinell. Although Dewey's plan has long been to attend his father's old prep school the following year, because of his attachment to Miss Trinell, he changes his mind. Telling his beloved teacher that she's beautiful, Dewey informs her that he is going to stay on at Auburn and play football under Mr. Hopkins (John Payne).
A fellow teacher at Auburn, Dan Hopkins coaches the baseball and football teams. He and Nora fall in love, yet with their positions at the school to be considered, they don't publicly declare their love. Both Nora and Dan are quite close to Dewey, and through postcards they each send him, their relationship comes to the attention of the school principal. Mindful that his teachers need to be setting a good moral example for the students, Mr. Steele requests a resignation. (I don't want to give too much of the story away, so I won't reveal more than that.)
The years go by...Dewey Roberts grows to be a successful man with presidential aspirations...Nora Trinell gets older, touching the lives of countless other students along the way. Now, here in 1941, will they have a chance to speak with one another? And if they do, will Dewey even remember the teacher he used to love so dearly? These questions will play out in the remainder of the film.
Remember the Day is a charming, extremely sentimental movie, with enjoyable performances from all. Miss Colbert and Mr. Payne have terrific chemistry together, and Ann Todd (Ann E. Todd, not British actress Ann Todd) is her usual delightful self. Douglas Croft, who would grow up to be Gary Cooper in Pride of the Yankees and James Cagney in Yankee Doodle Dandy, is another child actor I enjoy watching. He does a great job here. Incredibly heartwarming, this film didn't just get me misty-eyed---it had me heartily weeping.
The film was released shortly after the attack on Pearl Harbor, in December, 1941, so, obviously it did much more than simply entertain; with its nostalgic, patriotic tone, I'm sure it inspired audiences as well. It definitely worked its nostalgia on me, reminding me of one of the most wonderful, inspiring (and crushable) teachers I ever had---6th grade English teacher, Richard Barnett. I think now is a good time to pull those boxes of yearbooks out of the far recesses of the garage!
Remember the Day is out on DVD (and available through Classic Flix); it used to be available on YouTube, but I can't find it there anymore. I do hope you get a chance to see it, as it is a lovely, heartwarming story and, easily, a 4-star film for me.
To celebrate the 101st anniversary of the Gish sisters' (Lillian and Dorothy) screen debut, Movies Silently and The Motion Pictures are hosting a blogathon in their honor. This is my contribution to the event. Go HERE for a list of the others who are participating.
Deep into their twilight years, screen legends Lillian Gish and
Bette Davis joined forces in The Whales of August, a poignant film which
explores how people cope with the aging process and the thought of approaching death. Also starring Vincent Price, and featuring Ann
Sothern and Harry Carey, Jr. in supporting roles, this 1987 film was adapted
from the David Berry play of the same name.
It saw Miss Sothern receiving a Best Supporting Actress Academy Award
nomination.
Widowed elderly sisters Libby Strong (Bette Davis) and
Sarah Webber (Lillian Gish) have been spending their summers in a cottage on the coast of Maine
all their lives. As young girls, they,
along with their friend Tisha (Ann Sothern), used to watch expectantly for the annual August arrival of the migrating whales. Eventually, the whales no longer made an
appearance, but that is not the only change the women have known.
Libby is blind . . . and bitter.
Somewhat estranged from her daughter, she is now dependent upon Sarah to
take care of her. Yet far from being
grateful for Sarah’s love and care, Libby is crotchety, unhappy, and
extremely negative. She believes death
is right at her door, even suggesting to Sarah that they are too old to
consider new things, that their lives are over and the grim reaper will be along
for them any day now.
Sarah, who lost her husband in the war, enjoys painting and
gardening. Kind and friendly, she has
struck the fancy of Mr. Maranov (Vincent Price), a down on his luck Russian nobleman. After inviting him to dine with her and
Libby, Sarah spends some time primping and reminiscing about her late husband.
A true gentleman, Mr. Maranov accepts Sarah's dinner invitation, even bringing along that morning's catch to share with the sisters. Libby is rude to him, though, saying there is no need for him in their house. Although Sarah would be interested in seeing the kindly gentleman, with Libby’s negativity, it doesn’t seem likely that she will. Sarah very much wants to go on with living for what time she has left,
while Libby feels that her life is already over. Tisha suggests to Sarah that she make other arrangements for Libby and then move in with her.
Will Libby ever be able to enjoy the time she has
left, thus enabling Sarah to do the same?
Or will Sarah be forced to make other arrangements for her sister so
that she will be able to embrace the remaining years of her life? These are the questions which play out in the
balance of this touching drama.
The Whales of August is a lovely, sentimental, heart-tugging movie, made all the more so by the knowledge that it is, essentially, a goodbye song---and not just for Libby and Sarah. This is the final film of both Miss Gish and Miss Sothern and the next to last of Miss Davis. Vincent Price would make less than a half dozen more films after this one, so he is in the final stages of his career as well, and director Lindsay Anderson made no more feature films after this. In a touching and beautiful way, The Whales of August gives us--and each of them---the chance to say goodbye.
Hard to believe that Miss Gish is 93 years old here---she definitely aged beautifully and looks years younger than her age. Gracious, spry, and lovely, she gives a moving performance, ending her seven-and-a-half decade career on a beautiful, grace-filled note. By taking on this role "at the age of 93, Miss Gish became the oldest actress to have appeared in a starring role."[1]
Bette Davis, two years away from her death here, is very clearly in poor health. Earlier in the decade, she had battled cancer (which would ultimately return and be the cause of her death) and been afflicted with a series of strokes, resulting in partial paralysis of the left side of her face. The effects of the paralysis are obvious. Still, though, she does her usual great job of bringing an unkind, largely unlikable character to life, and she plays blind very believably. Without all the bizarre makeup so prevalent in her late-career films, Bette looks less harsh---younger-looking even---than in some of her 1960's works. Even here at the end of her career, she remains my #1 gal.
Putting these two screen legends together, of course, had
the potential for contention and rivalry.
However, according to Bette Davis, Larger Than Life, “Miss Gish proved far tougher and more
impervious to Davis’s
barbs than many lesser players by simply switching off her hearing aid whenever
any nonsense occurred.” [1] Touche for Lilllian! That is definitely one way to tune out those who drive us crazy!
Vincent Price, while not having a whole lot to do, is
well-suited to this role. Given that I
have a predisposed negativity towards Mr. Price (the result of The House of
Usher as a child), for me to see him in a positive light says a lot for the
man’s acting skills. I enjoyed his
chivalrous character here. Ann Sothern received a Best Supporting Actress nomination
for her work here, and while she doesn't have much to do, she's funny and sweet in her role.
Besides Misses Gish and Davis, the other star of The Whales
of August is the stunning scenery. Who
wouldn’t enjoy a trip to the coast of Maine
after finishing this. Although the film is slow-moving and without any dramatic action scenes or special effects, the characters, the stars’ performances, the scenery, and the touching story are enough to make it quite charming.
Out on DVD, The Whales of August ought to be fairly easy to
track down. Fans of any of these four wonderful stars will enjoy catching them in their final years. I'm calling this a 4-star film---one definitely worth a watch.
Happy viewing!
[1] Bette Davis,
Larger Than Life, by Richard Schickel and George Perry, Running
Press Book Publishers, 2009
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