Caftan Woman

Caftan Woman

Monday, August 22, 2016

SUMMER UNDER THE STARS Blogathon: Robert Montgomery in Night Must Fall (1937)

Robert Montgomery
May 21, 1904 - September 27, 1981

Kristen Lopez of Journeys in Classic Film is hosting the Summer Under the Stars Blogthon of which this post is a happy submission.  Check HERE for previous and future contributions throughout the month of August.

Robert Montgomery's long and successful career as an actor, producer and director garnered him two Academy Award nominations for Best Actor.  In 1941 he was nominated for the role of Joe Pendleton in Here Comes Mr. Jordan, adapted from Harry Segall's play Heaven Can Wait.  Joe is a boxer whose soul was taken before its time by an overeager Heavenly emissary.  How things are sorted out is the story of this cock-eyed fantasy with a problematic ending and, like its lead character, a lot of heart.

Robert Montgomery's 1937 nomination was for the role of Danny in the film version of Emlyn Williams' (The Corn is Green, The Stars Look Down) play Night Must Fall.  Playwright/actor Williams starred as Danny in the 1935 London production of his play which ran for over 400 performances.  A 1936 Broadway production featuring original cast members Williams and Dame May Whitty ran for just over 60 performances.  MGM picked up the property and John Van Druten (I Remember Mama, Bell Book and Candle) adapted the screenplay.

Robert Montgomery

Danny is a unique character, not only in Montgomery's career, but in Hollywood films at the time as perhaps the screen's first true sociopath.  A complicated soul is Danny.  He presents himself as a fellow of rakish charm and winning ways.  People, especially women, are enchanted by his devil-may-care appeal.  What isn't apparent to the blinded eyes is that Danny is a villain.  He is a remorseless murderer whom empathy has bypassed.

A picture-perfect, rose covered cottage on an isolated English lane is the setting for our story.  This little fiefdom is ruled over with an iron fist by Mrs. Bramson (Dame May Whitty), an invalid who bullies everyone in her sphere.  It is a tiny group over whom she rules, but she definitely rules her cook Mrs. Terrence (Kathleen Harrison), housemaid Dora (Merle Tottenham) and her unfortunate niece Olivia (Rosalind Russell) who acts as a companion/secretary under constant threat of being left out of the will.

Olivia is stifled in this environment and longs for excitement.  A way out is presented to her in the pleasant form of her aunt's solicitor Justin (Alan Marshall), but she declines his ardent proposal in lie of something out there in the dark.

The cottage becomes less isolated when a middle-aged woman staying at a resort goes missing and is presumed dead.  The woods around the cottage are the subject of a search and the inhabitants questioned by the police.  Inspector Belsize (Matthew Boulton) is professional, sympathetic and impressed with Olivia's "flight of fancy" regarding this new situation.

Olivia:  "I often wonder on very fine mornings what it would be like for night to come, and I never can.  Yet it has to.  Silly.  Well, here we all are perfectly free English people.  We woke up this morning thinking "here's another day".  Got up, looked at the weather, talked - here we all are still talking - and all the time there may be something lying in the woods, hidden under a bush with two feet showing.  Perhaps a high heel catching the sunlight with a bird perched on the end of it.  And the other?  The other's a stockinged foot with blood that dried on the stocking.  Somewhere there's a man walking about, talking just like us.  He got up this morning.  He looked at the weather.  And he killed her."

Dame May Whitty, Robert Montgomery

"He" will soon enter this cloistered cottage.  The workhorse Dora has been having trouble with her young man who, coincidentally, is employed at the spa.  Dora's faith in the power of Mrs. Bramson extends to her being able to bring this fellow to heel in the matter of matrimony.  There will be no wedding bells for Dora, but Danny finds the situation much to his liking.  Mrs. Bramson is easy prey to his games and quickly offers him a job about the place.  Olivia, whom Danny deems "repressed", intrigues him.  Olivia is equally intrigued by the newcomer.  Olivia has great faith in her own powers of understanding and at the same time wants to dissect the charmer whom she suspects is a murderer.  Perhaps this is excitement beyond her expectations.

Rosalind Russell, Robert Montgomery

Danny has never yet been beaten in a contest of wills with a woman, but he doesn't realize that Olivia may be closer to his inner self than he suspects.  The sound of church bells bid a speech from the deranged stranger that is reminiscent of Olivia's thoughts.  Are Danny and Olivia two sides of the same coin?  Soulmates?

Danny:  "I forgot it was Sunday.  They're going to church down in the villages.  All done up in their Sunday best.  The organ is playing and the windows are shining, shining on holy things as holy things isn't afraid of the daylight.  And all the time the daylight is moving across the floor.  By the end of the sermon the air in the church is turning gray.  The people don't think of holy things so much any more, but only the terrible things that's goin' on outside.  Because they know it's still daylight and everything is ordinary and quiet.  The day is the same as all the other days, and it'll come to an end, and it will be night."

The scene outside the cottage becomes a circus as regular tours are made to satisfy the curiosity of the public once the murder has been definitely established by the discovery of the decapitated body.  What, precisely, does that detail have to do with the hatbox Danny brought with him?  While sensible women of the region refuse to travel alone at night Olivia can't bring herself to leave the cottage and Danny.  It is a psychological battle that tests two wills and the choice between sanity and depravity.

Robert Montgomery's outstanding performance was Oscar nominated and at the 1938 ceremony the award was given to Spencer Tracy for Captains Courageous.  Dame May Whitty was nominated in the Supporting Actress category with Alice Brady receiving the trophy for In Old Chicago.

Monday, August 22nd is TCMs tribute to Robert Montgomery on Summer Under the Stars.  The line-up includes the sophisticated comedy When Ladies Meet, the P.G. Wodehouse story Piccadilly Jim, the sentimental gangster story Hide-Out, and two with Norma Shearer The Divorcee and Private Lives.  The experimental Lady in the Lake is Robert Montgomery's official directorial debut although he did direct some scenes of They Were Expendable when John Ford was ill, and I have read that Montgomery took over the same chores for Richard Thorpe during filming of Night Must Fall.  If so, that makes his accomplishment in front of the camera even more impressive.

Friday, August 12, 2016

THE FILM NOIR BLOGATHON: New York Confidential (1955)

The Film Noir Blogathon is hosted by The Midnite Drive-In from August 12-14.  Click HERE for all the dangerous dames and dirty dogs.  I can't resist those mean streets and am thrilled to contribute a look at 1955s New York Confidential.

Newspaper journalists Jack Lait and Lee Mortimer published a series of crime books in the 1940s and 50s, the first being 1948s New York Confidential.  Follow-ups include Chicago Confidential, Washington Confidential and U.S.A. Confidential.  The books detail the night life of their respective cities and purport to blow the lid off of the workings of the crime syndicates - payoffs, rub-outs, graft, the whole dirty business.

Russell Rouse and Clarence Greene co-wrote the screenplay (D.O.A., Pillow Talk, The Well) with Rouse directing New York Confidential for Edward Small Productions.

Given the journalistic background, the movie starts off with a narration and the feel of a docudrama as a broad outline of the reach of organized crime is related and we are introduced to the suits who run the operation.  It sounds like Reed Hadley narrating, or is it that all narrators start to sound like Reed Hadley after a while?

Broderick Crawford

The big boss of the New York operation is Charlie Lupo (Broderick Crawford).  The suit and office can't hide the fact that this man is a hoodlum who came up through the ranks.  It is in his language and demeanour.  His right-hand man Ben Dagajanian (J. Carroll Naish) is a much calmer man, necessary for balance in this tense business.  The two men are such close friends that Charlie's daughter Kathy (Anne Bancroft) calls Dagajanian "Uncle Ben".

An unauthorized and strictly personal hit which happens to take out two innocent bystanders begins our picture.  Nobody is bigger than the syndicate (remember that).  It is voted that the errant mobster must be taken out for his transgression.  This is a tough boy so an out-of-towner is selected for the job.  Johnny Achilles (Onslow Stevens) who runs the Chicago turf sends one of his best, Nick Magellan (Richard Conte).

Magellan is confident, ambitious and loyal.  He also happens to be the son of an old friend of Lupo's, so when the NYC job is carried out to everyone's satisfaction, Achilles approves a transfer, if you will, of Nick Magellan's services from Achilles to Lupo.  Nick is immediately accepted into the inner circle, acquiring a wardrobe befitting his rarefied status and the attention of two women. 

Marilyn Maxwell, Richard Conte

Iris Palmer (Marilyn Maxwell) is Charlie Lupo's high maintenance girlfriend.  While we can't say we've ever seen her disloyal to Charlie, she has a yen for expensive things, good times and the good looking hit man.  Nick tells her "There's one thing you learn in my business.  Stick to your own territory."

Kathy Lupo (Anne Bancroft) is filled with conflict.  She loves her family, father and grandmother (Celia Lovsky), but hates her father's life.  She has been well-educated and has fallen for a man whose society-conscious family scorn her background.  She wants a simple, decent life for herself.  Kathy's longing and the steps she takes to claim a life of her own touch Nick.  He tries to get Kathy to understand the world as he sees it.

Nick:  "See that busboy?  He steals from the waiter.  The waiter steals from the boss and the boss cheats the government.  That's the way it is."

Kathy:  If I thought that was the way it was I wouldn't want to live.

Richard Conte, Anne Bancroft

Kathy vibrant and confused personality touches Nick's emotional core.  Keeping her secret existence from her father is Nick's only act that violates his code of ethics regarding the syndicate.  When it comes to business, Nick is a cold as ice professional and the killings mount up in the movie.

Not everyone is thrilled with Nick's rise to the top.  There is no sense of brotherhood of craftsmen between Nick and Arnie Wendler (Mike Mazurski), current go-to hitman in the Lupo organization.  Could this tension lead to trouble somewhere down the line?

On the home front Mama Lupo (Celia Lovsky) is in a constant state of worry about her boy Charlie.  "It's like the old days, hiding out and guns.  It's like the old days."  She also worries about Charlie and Kathy's relationship, advising him to let his daughter go and find the life she wants.  These touches go a small way to humanizing Charlie Lupo, along with his doctor's orders to avoid the foods he loves.  Hey, he's just like any of us with troubles at home and on the job.  Only his job involves cheating and killing.  No big deal.

The criminal business reaches all the way to Washington and billions of dollars are at stake when a bought off politician decides to spill.  Charlie complains that you can't trust the hypocritical pigs.  Ain't it the truth!

New York Confidential sometimes has difficulties combining the documentary style with the emotional story told and as a consequence both aspects suffer somewhat.  Nonetheless, I still find the criminal element of the film fascinating as the dots are connected between the syndicate and their bought politicians.  The planning of the hits and the board room meetings also capture the imagination.  The performances from Richard Conte and Anne Bancroft are a highlight as these two characters touch without touching and make an indelible impact on each other.  As in the best of film-noir, do not look for a happy ending.  In fact, when it comes to crooks, don't look for an ending at all.

Friday, August 5, 2016


Hal Roach
January 14, 1892 - November 2, 1992

When Horace Greeley, in an 1865 editorial, exhorted the young men of America to "go west", generations took it to heart.  Hal Roach left his hometown of Elmira, New York and worked as a wrangler and as a gold prospector in Alaska.  However, it was in California that Roach would realize his dreams of success and in a relatively new industry - motion pictures.

Of the many attempting to get a foothold in the burgeoning world of films, there was a young man named Harold Lloyd who came to California with his father and brother to get into the acting game.  Harold was stricken with stage fever and had appeared in stock companies until financial security issues forced him to look to the movies.  At the Universal lot he met a fellow "extra" in Hal Roach.  Roach's ability to ride had given him an "in" for the many westerns the studio produced.

Harold Lloyd and Hal Roach

Hal didn't remain an extra for long at Universal.  He was promoted to assistant director which opened his eyes to the many functions of a studio and the possibilities of success for an enterprising young man.  He formed the Rolin Film Company in 1914 in partnership with Dan Linthicum, a fellow actor.  During that first year the firm released four short comedies directed by Roach and featuring his friends including Harold Lloyd.  Harold at this time still considered himself a serious actor, but obliged Roach with a foray into slapstick comedy from which he would never leave.

At this time Roach became associated with film distributor Pathe, an uneasy teaming that would last until 1927. The French firm initially turned down the product from Rolin, but expressed an interest in the work of Harold Lloyd who at the time appeared as a character named Willie Work.  Eventually, his Chaplin-like Lonesome Luke would be a winner for Rolin and for Pathe.

In the second half of the decade Hollywood solidified itself as the centre of the movie business.  Roach longed to make features and every sort of film, but was finding his comedies to be his most successful product.  Lonesome Luke and Harold Lloyd had really taken off.  Comedians such as Chaplin, Keaton, Arbuckle and Lloyd were creating their own personas and improving the quality of their pictures with plot and characterization.  Shorts still ruled the screen with the public demanding more and better.  With Lloyd as his star and distribution assured, at least for his comedies, Roach set about creating a studio and a standardized process.  Roach also determined that the public was tiring of the purely slapstick so he, his directors and stars moved into more character-based comedy.  Hal Roach took pride in the quality of product they presented to the public.  He took equal pride in providing a working environment that brought out the best in all.  Early rental spaces for the Lot included Santa Monica Boulevard, Olive Street and the Bradbury Mansion on Court Street.  In 1920 they would find a permanent home in Culver City.

By this time Harold Lloyd, the most successful actor in the stable, was anxious to exert more control over his screen persona.  "The glasses character" was waiting to be born and would not be put off.  It took a while to take the edge off the initially hyperactive fellow, but he struck a chord with the audience.

Harold's 1919 accident with a prop bomb which caused facial burns and the loss of part of his hand and thumb meant a long convalescence.  The studio was particularly dependent on Harold's output, but in backup Roach began a series starring Snub Pollard.  He also signed Ernie "Sunshine Sammy" Morrison, who was part of Lloyd's stock company.  The African-American child actor got into show business through his father who worked on the crew of film companies.  A happy, non-crying baby (hence the nickname "Sunshine") was a boon for filmmakers.  A standout in the Lloyd films, "Sunshine Sammy" received top billing in Roach pictures and was the first of the "Our Gang" kids to be signed.  Later he performed in Vaudeville, was part of the Step Brothers, the East Side Kids and led a band.  A soldier in WW2, he eventually found work in military plants after leaving show business. 

Harold Lloyd returned with perfect autonomy over his product and after successful features such as Grandma's Boy and A Sailor-Made Man, Lloyd and Roach split company, on friendly terms, in 1923.  Harold was now his own boss.  It was a double-edged sword for Roach not having the successful franchise and its profits under his banner, but now could spread his wings for the dramatic features he always envisioned.  However, the movie Fates seemed to want Hal to stick to comedies.

The next successful series for the studio was Our Gang.  Hal would often regale people with the story that one day he watched a group of kids playing in a lot and fighting over a stick.  He realized that he was fascinated with watching the interactions and - well, really, who wouldn't?  Our Gang was born, although their original title was Hal Roach's Rascals.  Roach, director Robert F. McGowan and writer Tom McNamara set about casting the series.  They already had "Sunshine Sammy" and added Mary Kornman, Mickey Daniels, Allen "Farina" Hoskins, Jack Davis, Jackie Condon and Joe Cobb.  The popular series would last for years with younger actors transitioning into the gang as older cast members "aged out".  Over the years fans would meet Mary Ann Jackson, Jean Darling, Bobby "Wheezer" Hutchins and Harry Spear.

Pete the Pup, an American Pit Bull Terrier joined in the fun.  In the talkie era audiences met Norman "Chubby" Chaney, Dorothy DeBorba, Matthew "Stymie" Beard, Donald Haines and future Oscar nominee Jackie Cooper.  George "Spanky" McFarland was only three years old when he joined the group.  Scotty Beckett and Dickie Moore spent time in the gang.  In 1935 Darla Hood, Carl "Alfalfa" Switzer and Eugene "Porky" Lee became stalwarts and Billie "Buckwheat" Thomas took a larger role in the fun.

The series remained popular, but shorts weren't the money-maker they once were and late in the 1930s Roach considered putting an end to the series.  However, his distributor at the time, MGM, offered to buy out the series including all rights in 1938.  Roach made the deal and refocused his studio to features only.  MGM, with its glossy production values and prim view of American life, took the heart right out the freewheeling Our Gang.

Unable to find that one big star to build the studio around in the 1920s Roach took the ensemble approach producing the Roach Comedy All-Stars:  Charley Chase, James Finlayson, Edgar Kennedy,  Oliver Hardy, Max Davidson, Clyde Cook, Mae Busch, Anita Garvin, Eugene Pallette, Edgar Kennedy, Noah Young, and Stan Laurel.  Somewhat faded stars such as Mabel Normand and Theda Bara would appear, along with Lionel Barrymore whose career was in transition at the time.  Something magical was about to happen at the Roach "Lot of Fun".

English-born Vaudevillian Stan Laurel had been trying to break into films as a performer for sometime.  Circumstances, opportunities and lack of a focused individual characterization had been constant obstacles in his path.  Eventually he ended up working at Roach Studios as a gag man and he had found his niche.  While working out gags for others and learning about directing film Stan found a true sense of purpose and happiness.

"There just wasn't a nicer job in the world than getting together with a great bunch of people and working your whole day so you could make people laugh, thousands of people to laugh.  I used to love going there every morning, and at night I always hated to leave."
- Stan Laurel

Georgia-born Oliver Hardy entered the movie business via Florida and New York City.  By the 1920s he was a stalwart in the Hollywood picture business as a reliable heavy or comic, and well-known scene-stealer.  He was one of Roach's All-Stars at the time Stan was phasing out the performing part of his career to concentrate on behind-the scene activities.  When a kitchen accident prevented Oliver from appearing as a butler in the 1926 production Get 'Em Young, Stan, with a raise in pay, was prevailed upon to put his mug in front of the camera once again.

Both Stan and Oliver were important components of the All-Star ensemble, but there was no bolt of lightning that paired the two.  It was a natural progression of appearing in a films here and there, such as 45 Minutes from Broadway in 1926 to Duck Soup in 1927 (based on a skit written by Stan's father) when everyone at the studio, even the actors themselves, started to accept that here was indeed a team.

Hal Roach, Leo McCarey

Hal Roach's assistant, Leo McCarey became obsessed with the fellows.  Everywhere he looked he saw story opportunities for the dimwitted, yet likable pair of characters that Stan and Ollie were creating.  The future three time Oscar winner wrote, produced and/or directed many of the shorts that made Laurel and Hardy immortal including Putting Pants on Philip, Two Tars, Big Business, Blotto and Liberty.  Before anyone realized it, audiences and exhibitors knew that the Roach All-Stars had found genuine stars in Laurel and Hardy.

The advent of sound or talking pictures was no impediment to the popular team or to Our Gang.  Roach also had popular stars like Thelma Todd and Patsy Kelly under contract.  Previously silent pictures had no barrier to foreign markets.  Learning or reading their lines phonetically displayed on a chalkboard, and with different supporting casts, Laurel and Hardy remade their shorts for Spanish, German, French and Italian audiences.  This expensive, and I'm sure tiring, experiment did not last long, but perpetually endeared the stars to their worldwide fans.

Although not credited as a director on the Laurel and Hardy films, Stan was always the welcome support to James Parrott, James Horne, Leo McCarey, etc.  He knew the characters, he knew gags, he knew what worked.  The staff would preview the films within an inch of their lives, timing the laughs so they could edit to the second.  Quality tells.

The sheen was coming off the short film products as the 1930s wore on.  Animated cartoons began filling that slot in a movie night lineup.  Hal Roach moved into more feature productions, even for the masters of the short film, Laurel and Hardy.  Roach had longed to make this move for sometime.  His features of the 1920s, westerns and adventures, did not have the backing of his distributors nor the success of the shorter films.  Laurel and Hardy's features are a mixed bag.  Some of the feel of being padded the extra reels while others are classics from Babes in Toyland to Way Out West to Sons of the Desert.  Stan and Oliver, always under separate contracts to Roach, had decided to leave the studio in search of greener pastures which they would not find at Twentieth Century Fox or MGM.  Stan would later admit that it was a mistake.  Whatever issues with money or credit or interference that Stan and Hal had run into, at least Roach had always let the boys have their way.

Hal Roach, Jr.

So too are Roach's non L&H features a mixed bag, but any movie buff is sure to find a favourite from among Topper, Turnabout, One Million B.C. and Of Mice and Men.  Shortsightedly, after purchasing  the rights to Of Mice and Men from John Steinbeck, Roach turned down an option on The Grapes of Wrath.  The competition between the two motion picture versions would not work to the Roach Studio's advantage.  One Million B.C. has co-directing credits for Hal Roach and Hal Roach Jr., who was stepping into his father's shoes at the company, and a good thing too.  For Hal Roach Sr. was about to be drafted!  Exempted from WWI as an employee at Rolin, Roach accepted a commission into the Signal Corps. during the 1920s.  He had resigned shortly before the 1940s, but a clause of calling up members during an emergency saw the 50-year-old Hal Roach denied a deferment and transferred to the Signal Corps. base in Astoria where he ran the studio long distance.  The studio at this time made its money mostly from renting the space, catalogue availability and the loan out of valuable properties in Patsy Kelly and William Bendix.

After the war Hal Roach Jr. brought the studio into television production for syndication.  Like his father, this Hal seemed to have a sense of where the industry was going and what the audience would accept.  My Little Margie starring Gale Storm and Charles Farrell, The Stu Erwin Show, Racket Squad and Public Defender with Reed Hadley, Blondie with Arthur Lake and Pamela Britton and the horror anthology The Veil hosted by Boris Karloff are still familiar to television fans.

Sadly, what may have been his program was not to be.  Hal Roach Jr. had an agreement with Laurel and Hardy for a series of television specials setting the boys in a Fairy Tale environment.  Sadly, Stan had a stroke before they went into production and after his recovery Oliver was felled by the stroke in 1956 that left him paralyzed, and he passed in 1957.

The Roach Studio would not survive the tumultuous years of the 1950s.  Bankruptcy and sale would be the sad end.  In 1963 the site was demolished for a modern commercialization.  However, when you stop to consider that much of the output of a studio begun in 1914 and lasting almost 50 years - thousands of reels of films - have left the world with fond memories transcending centuries, it is quite an accomplishment for the adventurer from Elmira.

Hal Roach Studios at the Oscars

1932 The Music Box
Best Short Subject, Comedy

1936 Tit for Tat
Nominated: Best Short Subject, Comedy

1936 General Spanky
Nominated:  Best Sound, Recording, Elmer Raguse

1937 Bored of Education
Nominated:  Best Short Subject, One Reel

1937 Topper
Nominated:  Best Actor in a Supporting Role, Roland Young
Nominated:  Best Sound, Recording, Elmer Raguse

Marvin Hatley

1937 Way Out West
Nominated:  Best Music, Score, Marvin Hatley

1938 Block-Heads
Nominated:  Best Music, Original Score, Marvin Hatley

1938 There Goes My Heart
Nominated:  Best Music, Scoring, Marvin Hatley

1938 Merrily We Live
Nominated:  Best Actress in a Supporting Role, Billie Burke
Nominated:  Best Cinematography, Norbert Brodine
Nominated:  Best Art Direction, Charles D. Hall
Nominated:  Best Sound, Recording, Elmer Raguse
Nominated:  Best Music, Original Song, Phil Charig and Arthur Quenzer, Merrily We Live

Elmer Raguse at work

1939 Of Mice and Men
Nominated:  Best Picture
Nominated:  Best Sound, Recording, Elmer Raguse
Nominated:  Best Music, Scoring, Aaron Copland
Nominated:  Best Music, Original Score, Aaron Copland

1940 One Million B.C.
Nominated:  Best Effects, Special Effects, Roy Seawright (photographic), Elmer Raguse (sound)
Nominated:  Best Music, Original Score, Werner R. Heymann

1940 Captain Caution
Nominated: Best Sound, Recording, Elmer Raguse

1941 Topper Returns
Nominated: Best Sound, Recording, Elmer Raguse
Nominated:  Best Effects, Special Effects, Elmer Raguse (sound), Roy Seawright (photographic)

1984 Honorary Oscar presented to Hal Roach
In recognition of his unparalleled record of distinguished contributions to the motion picture art form.

Hal Roach's Honorary Oscar was introduced by Our Gang alumni Jackie Cooper, presented by George "Spanky" McFarland, and the standing ovation from the audience started by Ernie "Sunshine Sammy" Morrison.

"...he (Hal Roach) was always a good man to work for."

- Charley Rogers, director
The Devil's Brother, Babes in Toyland, The Bohemian Girl 

A History of the Hal Roach Studios, Richard Lewis Ward, 2005
Mr. Laurel and Mr. Hardy, John McCabe, 1961
The Comedy World of Stan Laurel, John McCabe, 1974
Babe: The Life of Oliver Hardy, John McCabe, 1989
Harold Lloyd - Magic in a Pair of Horn-Rimmed Glasses, Annette D'Agostino Lloyd, 2009

The Classic Movie History Project annual blogathon runs from August 5 - 10th.
Day 1: Host, Fritzi at Movies, Silently - The Studios, The Publicity Department
Day 2: Host, Ruth at Silver Screenings - The Films - The Production Code, Animation
Day 3: Host, Aurora at Once Upon a Screen - The People - Groundbreakers, Before They Were Stars
Day 4: Host, Fritzi at Movies, Silently - The System - Technical, Costuming
Day 5: Host, Ruth at Silver Screenings - The Films - Movie Disasters, Color
Day 6: Host, Aurora at Once Upon a Screen - The People - Family Business, Foreign Affair

Saturday, July 30, 2016


I may have mentioned this before, but my mom used to have a thing for Mark Stevens.  I knew her for over 50 years before I discovered this little fact that only came out when she asked to borrow my copy of 1946s The Dark Corner.  It still makes me shake my head.  You think you know a person!

Kathleen:  "I've never been followed before."
Brad:  "That's a terrible reflection on American manhood."

Private Investigator Brad Galt (Mark Stevens) has problems.  He can't turn around in his NYC office without some copper checking up on him due to a prison record back in California.  He has an ex-partner who framed him.  Hell, he has enemies he hasn't even met yet.  It's a good thing his secretary Kathleen (Lucille Ball) is a girl with brains, a big heart and good legs.

Stauffer:  "I need two yards, powder money."

Galt learns of his current trouble when he's being tailed by hired muscle (William Bendix).  His name is Stauffer, but we'll call this character "White Suit" pursuant to his sartorial choice for following guys at night.  The ex-partner Tony Jardine (Kurt Krueger) is more than a part of Brad's shady past.  Jardine has been creating crime and deceit right here in NYC.  His less than honourable actions with wealthy women has not gone unnoticed by gallery owner Hardy Cathcart (Clifton Webb), nor have his charms been lost on Cathcart's young and beautiful wife Mari (Cathy Downs).  How the paths of these disparate character criss and cross over the landscape and close in on the hapless Galt is the story of The Dark Corner.

Cathcart:  "The enjoyment of art is the only remaining ecstasy that is neither immoral nor illegal." 

Among the supporting cast you will enjoy Constance Collier (Stage Door) as a wealthy art patron, Reed Hadley (I Shot Jesse James) and his voice, as a police detective, and an unbilled John Russell (TVs Lawman) as a uniformed officer.

Based on a story by Leo Rosten (Captain Newman, M.D.) with a screenplay by Jay Dratler (Pitfall, Laura) and Bernard Schoenfeld (Phantom Lady, Down Three Dark Streets), The Dark Corner bristles with 1940s slang and snappy one liners.  The moody cinematography is from one of my favourite purveyors of the art, Joe MacDonald (My Darling Clementine, Panic in the Streets).

Director Henry Hathaway specialized in nifty noir during this period of his long and varied career.  Whether it be the docudrama style of The House on 92nd Street, 13 Rue Madeleine and Call Northside 777 or the more melodramatic crime stories like Kiss of Death and The Dark Corner, they all feature a grittiness served by location filming.

The Dark Corner takes its audiences from crowded penny arcades to exclusive art galleries, from crowded walk-ups to swanky penthouses, through nightclubs and office buildings as our story takes place.

Brad:  "There goes my last lead.  I feel all dead inside.  I'm backed up in a dark corner, and I don't know who's hitting me."

For music, Cyril Mockridge reached into the 20th Century Fox vault for Alfred Newman's Street Scene for the theme.  It takes you directly where you need to be by dropping you right in the middle of the city streets.  The background music played by orchestras, radios and recordings is a mix of Harry Warren standards and, in what I think is a cheeky move considering what happens to Stauffer's white suit, Duke Ellington's Mood Indigo.

A special treat in the movie is the appearance, too briefly, of jazz pianist/composer Eddie Heywood appearing as himself in a nightclub scene playing his Heywood Blues.


Of Lucy's dramatic pictures, I believe this and the following year's Lured are her only mysteries.  As much as she shone in other dramas and especially in her comedies, I like her in this murky world.  She is both of it and above it - a most interesting dichotomy.

Kathleen:  "What's done to you is done to me."

Fans, you don't have to wait long for this film-noir treat.  TCM is screening The Dark Corner on Tuesday, August 2nd at 8:00 PM as part of the Summer Under the Stars salute to Lucille Ball.

Monday, July 25, 2016

BROADWAY TO HOLLYWOOD starring Shirley Booth, Joan Blondell and special guest star Katharine Hepburn

Two actresses born on August 30th share a career and two roles.  Both were born in New York City and started Broadway careers in the 1920s.  One was whisked away to Hollywood in 1930 and appeared in over 90 films.  The other only made a handful of movies, the first one in 1952.

Shirley Booth

When fans think of Shirley Booth it is likely their first image is of Hazel, the sitcom maid based on Ted Key's comic in the Saturday Evening Post, which ran 1961 to 1966, and then in syndication for kids to catch after school.  Perhaps Lola Delaney in Come Back, Little Sheba or Dolly Levi in The Matchmaker.

Joan Blondell

When fans think of Joan Blondell, whose film and TV work is more extensive, their first image may run the gamut from Lottie, the saloon keeper on Here Come the Brides which ran from 1968 to 1970 or the saucy, naughty gal of Warner Brothers 1930s output.  The studio kept her very, very busy.  At first glance the two actresses have little in common, but let's look a little bit closer.

William Lynn and Shirley Booth
Three Men on a Horse

Opening in 1935 George Abbott and John Cecil Holm's comedy Three Men on a Horse was a major hit that ran for over 800 performances.  It is the story of a simple writer of greeting card verses with a knack for choosing winning race horses.  Two denizens of that world take advantage of our hero, Erwin, keeping him from hearth and home to fatten their pocketbooks.  The scheme's mastermind has a ditzy girlfriend named Mabel who is enthralled with Erwin's poetic nature.  Oh, if his wife ever found out!  Shirley Booth starred as Mabel.

Before the play finished its run in New York, Warner Brothers released the film version of Three Men on a Horse.  Sam Levene came from the New York Company and Joan Blondell played the very scatterbrained Mabel.  Joan's sister Gloria, played a hotel maid in the Broadway show.  Three Men on a Horse is an exceptional farce that has enjoyed many Broadway revivals, most recently in 2011.  Joan Blondell's characterization is outside the normal wisecracking dame that the studio usually handed her, and she's great fun.

Joan Blondell as Aunt Cissy

Betty Smith's 1943 novel A Tree Grows in Brooklyn was a great popular success and the 1944 film release from Twentieth Century Fox was the film directing debut of Elia Kazan.  Joan Blondell played the character of the beloved Aunt Cissy; warm and loving, tough and practical, vulnerable Cissy.  Miss Blondell's work is exemplary and how she managed to avoid an Academy Award nomination is a mystery.

Shirley Booth as Aunt Cissy

In 1951 a musical version of A Tree Grows in Brooklyn with songs by Arthur Schwartz and Dorothy Fields and starring Shirley Booth as Cissy.  Shirley had won the second of three Tony Awards the previous season for Come Back, Little Sheba.  An Oscar would come her way for the same role shortly.

Katharine Hepburn

Shirley Booth and Katharine Hepburn also shared a journey on their career paths.

Frank Fenton, Joseph Cotten, Katharine Hepburn, Van Heflin, Shirley Booth

The 1939 Philip Barry play The Philadelphia Story ran for over 400 performances and gave Katharine Hepburn a great personal success starring as Tracy Lord.  Shirley Booth co-starred as Elizabeth Imbrie, the photographer played by Ruth Hussey in the film with Hepburn.

In 1952 Shirley Booth won the Tony Award starring in The Time of the Cuckoo by Arthur Laurents.  Katharine Hepburn was nominated for an Oscar starring in the film version entitled Summertime in 1955 directed by David Lean.  The play and film is the moving story of the unexpected romantic adventure of a spinster traveling in Italy.

Opening in 1955 and running for almost 300 performances, Shirley Booth starred as Bunny Watson in The Desk Set.  The office comedy and romance centers on the threat of automation to clerical staff.  The 1957 movie Desk Set co-starred Katharine Hepburn and Spencer Tracy and featured Joan Blondell.

Three unique actresses of great skill crossing paths on that road from Broadway to Hollywood and back again.

Monday, July 18, 2016

A trip to the ROAD HOUSE (1948)

On TVs Leave It to Beaver, Ward asked his eldest son Wally why he hung out with the often overly slick Eddie Haskell.  After thinking it over Wally replied "Gee Dad, a guy's gotta have a best friend."

I guess all of us have that friend that leans a little toward the psycho side.  In the case of Pete Morgan (Cornel Wilde) in Jean Negulesco's Road House that friend is "Jefty" - Jefferson T. Robbins (Richard Widmark).

Jefty is the scion of the first family of their middle-sized city somewhere outside of Chicago and not far from the Canadian border.  What Jefty doesn't own isn't worth talking about.  The hub of the social life of the area is "Jefty's" road house - a combination restaurant, nightclub, bar, sporting goods retailer and bowling alley.  Kids looking to connect and cut loose and guys looking to get drunk make up most of the clientele.  And there is musical entertainment.  In his travels Jefty finds and supports female talent by hiring them for his place and striking up personal relationships.  While Jefty floats, Pete does the grunt work as manager of the joint.  Pete is in charge of everything from cash to sweeping up.  He's also in charge of personnel and that includes quietly getting rid of Jefty's hired acts when they have worn out their welcome.  You can imagine Pete is less than thrilled when another songbird ends up on his doorstep.  It's the old routine all over again.  Or is it?

Pete and Lily
Do you think this will lead to anything?

Lily Stevens (Ida Lupino) is nobody's fool and nobody's pushover.  It took her a long time and a lot of living to become her own woman and she is protective of the achievement.  Jefty senses the something different in this one and is intrigued.  Pete is not so quick to warm to this difference and Lily has to take him down a peg or two.  Now, that catches his attention.  On one hand that's a shame because gal pal Karen (Celeste Holm), who works at the club has been Pete's fallback girlfriend, but sadly she reads the writing on the wall.  Jefty is not so astute.

Jefty's absence of a week leaves Pete and Lily free to explore their feelings for one another and those feelings run deep.  They flirt and fight to the strains of bluesy jazz in the nightclub.  They reveal their inner thoughts and kiss the kiss of commitment to the sound of classical music on the radio.  It's the real deal.

Pete, Lily and Karen
Caught in a trap.

There had been nothing serious between Lily and Jefty so Pete is blissfully unaware of any problems in their path.  Lily has noted the off-kilter look in Jefty's eyes and his mood swings.  She has felt the undercurrent of something manic in his conversation.  Lily anticipates nothing but trouble.  Karen gets it.  It's a girl thing.  We can see a psycho for miles.

Jefty is all smiles and good cheer at the news about his friends.  He's just tickled.  They want to leave town - no problem.  It's a free country.  Only it is tough to leave town when you've been framed for stealing from the road house.  Tough to leave town when the court convicts.  Tough to leave town when Jefty pleads with the judge to be lenient with his friend Pete.  Release him, your honour, in my custody.  A big man like Jefty can pull strings like that and Pete's probation and Lily's Purgatory is  set.

Pete, Lily and Jefty
A quiet evening at home among friends.

Jefty's needling starts to wear cracks in Pete and Lily's resolve.  Jefty is a master at driving these two to distraction with his hints and his demands.  Pete naturally feels the brunt of Jefty's sly anger, but Pete is only the means to torture Lily.  Lily will be forever changed by Jefty's psychopathic need for revenge.  A quiet trip to his hunting lodge not far from the Canadian border with Pete, Lily and Karen sets the stage for a night of drunken taunts and temptation.  How far is too far when you are bent on torment?

Standards like Harold Arlen and Johnny Mercer's One for My Baby showcase Ida's talents as a song seller along with Higgins and Overstreet's There'll Be Some Changes Made.  20th Century Fox composer Lionel Newman would compose two songs for the film, The Right Kind with Charles Henderson and lyrics by Don George, and the soon to be a standard Again with lyrics by Dorcas Cochran.

Road House is a moody treat for the noir fan.  Even in the sunlight this rural setting is a dark world compliments of cinematographers Joseph LaShelle (Laura, Marty) and uncredited Norbert Brodine (Kiss of DeathSomewhere in the Night).  The movie delivers true tension and a kick to the gut in the performances of Ida Lupino as the world weary Lily and Richard Widmark as the demented Jefty.