THE EVE ARDEN BLOGATHON: The Doughgirls (1944)

Phyllis Loves Classic Movies is hosting The Eve Arden blogathon running November 11 and 12. Click HERE for the fun times with everyone's favourite wisecracking dame.

The Doughgirls was a successful Broadway play by Joseph Fields that ran for 671 performances beginning in 1942. Fields, son of entertainer Lew and brother of lyricist Dorothy, was a successful screenwriter and playwright who won Tony Awards for Wonderful Town and Flower Drum Song. Other hits include My Sister Eileen, The Desk Set, and Gentlemen Prefer Blondes with Anita Loos.

The plot involves three married ladies, who discover through happenstance that they are not really married. Their problems are only beginning as they struggle to maintain their hold on a hotel suite in the midst of the Washington housing shortage.

The Doughgirls - Broadway cast

Arlene Francis, Doris Nolan, Arleen Whelan, Virginia Field

The cast of this comedy on stage were accomplished actresses, but Hollywood, particularly Warner Brothers who purchased the property, had their own stable of accomplished actresses. Thus, Vivian played by Arleen Whelan (Charley's Aunt) was replaced with Jane Wyman. Edna played by Virginia Field (Dial 1119) was replaced with Ann Sheridan. Nan played by Doris Nolan (Holiday) was replaced with Alexis Smith. Sylvia played by Natalie Schafer (Gilligan's Island) was replaced with Irene Manning. The scene stealing role of Russian sniper Sgt. Natalia Moskoroff played by Arlene Francis was replaced with Eve Arden.

The Doughgirls - on screen

Eve Arden, Jane Wyman, Alexis Smith, Ann Sheridan

Vivian (Wyman) and hubby Jack Carson were married by a bogus JP and their lives are complicated by his boss, played by Charlie Ruggles, becoming enamored of the suddenly single lady.

Edna's  (Sheridan) husband, played by John Ridgely finds his previous wife played by Irene Manning is not yet his previous wife.

Nan (Smith) had intended on marrying her flyer played by Craig Stevens, but he is quarantined with the measles. Charmingly, Alexis Smith and Craig Stevens were married in real life the year this movie was released. Their marriage lasted nearly 50 years until Alexis' passing in 1993.

Natalia had grown weary of life at the crowded Russian Embassy and sought to learn more about Americans by living with them. Eve's way with a quip loses none of its potency with the fractured-English dialogue and Natasha-like accent. Indeed, the humour is only heightened by these additions, and last on the bill Arden, though still above the title, manages to steal every scene in which she is involved. The role is not overused, and the audience looks forward to every appearance.

Political and contemporary jokes abound and will get chuckles out of those who know the history of the times. At the same time, jokes about being disowned for voting for the "wrong" party or finding a way to cheat the inheritance tax will give rise to a smirk or two. Vivian's seemingly naive rebuffs of the amorous advances of her boss (Wyman and Ruggles) are amusing, yet sure evidence of the more things change, the more they stay the same. 

We're in the money!

Alexis Smith, Ann Sheridan, Jane Wyman, Eve Arden

The three wives-without-hubbies knew each other from their past careers as chorus girls. One of them had booked the hotel room, but were scheduled to leave for the other. Discovering their friendship connection, the first couple extended their stay and then the third dancing pal moved in to create a cozy little mad house.

The three husbands-to-be are all involved with the war effort; a pilot, a fuel manufacturer looking for a deal, and a bureaucrat wanting to hold onto his job. The hotel is full of people with the vain hope that someone (anyone!) will check out soon. Barring a free room, there is a running gag with a fellow played by Joe DeRita simply hoping there is a couch he can use for a nap. Cleaning ladies rush in and out, a really old bellboy is a day late with room service menus, and the bill is enormous.

Speaking of the enormous bill, the girls come up with an ingenious and circuitous way of getting the hotel manager off their backs. It involves a card playing "pawn breaker" of Natalia's acquaintance. Eve Arden leading cleaning staff in her version of The Volga Boatman to lyrics which include "Put the ring in. Take the clips out." is only one of her very funny bits.

John Alexander is a businessman who falls for the first wife of the manufacturer. Regis Toomey is an FBI agent investigating the women's application to join a wartime service operation. Donald MacBride is a apoplectic judge who is supposed to marry someone, and it doesn't matter who! Alan Mowbray is a snooty, bragging radio correspondent who ends up sharing the suite at one point.

To no one's surprise, things work out with our romantic pairings, and it is all thanks to the adorably overbearing Natalia. Directed by James V. Kern, whose mettle proved to be TV comedy with I Love Lucy, My Three Sons, The Ann Sothern Show, and Pete and Gladys among his credits.

The Doughgirls has an obvious 3 act set-up retained from the play (you can't see it, but you can sense the curtain closing), and most of its action takes place in the hotel suite, but hey, why mess with success? A play with over 600 performances that gives a cast a chance to shine and an audience a chance to laugh doesn't need to be fixed.

FOOD IN FILM BLOGATHON: Easy Living (1937)

Kristina of Speakeasy and Ruth of Silver Screenings are hosting the Food in Film blogathon which runs from November 3 to 5. Yum!  Day 1 recap  Day 2 recap  Day 3 recap  Apperitif

Writer Preston Sturges had been working in Hollywood for seven years, and it would be three more years before he would add film director to his credits. His screenplay for Easy Living is based on a story by Vera Caspary and directed by Mitchell Leisen. It is the height of the screwball comedy era in Hollywood where the wacky wealthy cross confusing paths with the working class with, you should pardon the cliche, ensuing high jinks.

Edward Arnold, Robert Greig, Ray Milland

Johnny: "The cooking isn't good enough!"

Our story starts at breakfast. The third largest banker in NYC, J.B. Ball (Edward Arnold) is not enjoying his morning repast. Perhaps this is not the right time to go over the bills. The chef insists on using butter when J.B. feels you can fry an egg in lard. His profligate son, John Jr. (Ray Milland) has traded in a recently paid off car for a new, expensive, foreign model. A showdown is in the offing between father and son, and son walks out to find his way in the world.

Mary Nash, Edward Arnold

Jenny: "Well, now that you've got it, what are you going to do with it, eat it?"

His wife Jenny (Mary Nash) has purchased a "no return" sable coat for $11,000. The last straw! A slapstick chase through the mansion culminates with the luxury item taking a header off the roof unto the head and hat of working girl Mary Smith (Jean Arthur) riding on the top of a double-decker bus.

Jean Arthur and Kismet

Honest Mary gets off the bus to find the owner and when she and J.B. meet up he insists she keep the coat, plus he buys her a matching hat. And we are off to the races. Shop owner Van Buren (Franklin Pangborn) starts the gossip down the line, and before you know it the whole town knows about a certain financier and a certain girl. Especially when Miss Smith (if that is her real name) takes up residence in the Louis Hotel.

Luis Alberni, Jean Arthur

The Imperial Suite

Mr. Louis Louis (Luis Alberni) is the owner of an extravegant hotel that has three mortgages with Mr. Ball. Mr. Ball employed Louis Louis in his former career as a chef. He was the finest cook in the world, but he wanted to be a hotelier. With all three mortgages due within a week, and armed with the news of Mr. Ball's indiscretion from Mr. Van Buren, Mr. Louis Louis installs Miss Mary Smith in his Imperial Suite. Miss Mary Smith, who lost her job for being late and wearing expensive clothes she can't explain, and not even having the wherewithal to pay her $7/wk rent, doesn't fully understand why she should live in the Imperial Suite, but it's just been that kind of day.

Surrounded by all the comforts of the moneyed, Mary is starving and takes her last remaining loose coins to the Automat. Neil Simon called the Automat "the Maxim's of the disenfranchised" which would exchange your nickels for food displayed behind a glass vending area. Mary can just afford a cup of coffee and a piece of pie.

You will never guess who is working as a bus boy at the Automat. Go ahead. Yes, it is John Ball Jr. and he has an eye for a pretty girl in a sable coat who, incongruously, is patronizing the Automat. John puts his job on the line to get a beef pie into the starving Mary.

Johnny: "By the way, I hear the beefsteak pie is magnificent. Six nickels. And with three nickels more you can get a grapefruit."

A convoluted and impractical plan is in play to get Mary a meal. John's execution of said plan didn't reckon on staff security. John looses his job in spectacular fashion. He punches the cop, starting a melee that opens the vending machines.

"Hey. Food. Food. Come on, folks. Right here for food. All free food."

"Free food!" is the rallying cry and slapstick is the order of the day.

Food is stolen. Food is eaten. Food is spilled. Food is everywhere. 

John and Mary escape into the night, with a half-eaten beef pie left to an unknown fate. The Imperial Suite of the Louis Hotel boosts five reception rooms, a kitchen with an empty fridge, and an incomprehensible bathroom. Plenty of room for soft-hearted Mary to invite the unemployed Knight of the Automat home.

Edward Arnold, Luis Alberni, Jean Arthur, Jon Picorri

Supper time

Still unaware of the beating her reputation is taking, Mary is pleasantly surprised to see the gentleman who gave her the sable coat is now staying at the hotel. J.B.'s wife has hotfooted it to Florida after their fight. John Jr. didn't return home that evening. J.B. decided to get away and have fun by hassling Louis Louis at the hotel. J.B. considers it a duty to order for Miss Smith.

Louis Louis: "Take an order. Now, I think you should have ... you should have now a little snack of lobster."

J.B. Ball: "No, no, no. Not at all. Have you any guinea hen?"

Louis Louis: "Yes."

J.B. Ball: "Breast of guinea hen on Westphalian ham. Guinea hen."

Louis Louis: "What I am thinking about. Naturally. And a little salad with orange and avocado."

J.B. Ball: "No, no. Endive and beetroot. And don't forget the truffles with the guinea hen."

Louis Louis: "Endive and beetroots? Yes, that's right, but may I make a suggestion? A little bottle of 1923 Mums, don't you think?"

J.B. Ball: "No, I do not. I think she should have George Goulet, 1919."

Louis Louis: "With guinea hen, h'mm."

J.B. Ball: "You heard me."

Louis Louis: "And a bomb surprise for the end."

Jean Arthur
Mary's gastronomic dreams come true!

Louis Louis (to Mary): "You are good and hungry now, yes?"

He said a mouthful!

While J.B. rests the peaceful sleep of a man with a clear conscience, Mary and John Jr. bond over guinea hen and truffles while making plans for their next day's job search.

Johnny: "That's one of the finest suppers I ever supped. No, that's not right. Yes, it is too. Supped."

Mary: "It's just like Arabian Nights or something, except you don't look much like Prince Charming."

The Ball Affair, as I call it, has moved beyond the word of mouth gossip stage to the must-read columnist stage. Suddenly the Hotel Louis is the place to be when you want to be seen. Nothing sells like notoriety.

Jean Arthur, Franklin Pangborn

Decisions. Decisions. Decisions.

Mary is beset by salesman; high pressure lads with luxury goods to onload. One enterprising broker asks Mary for advice from Mr. Ball on the state of steel on the stock market. Asking the only Mr. Ball she believes she knows, Mary passes on John Jr.'s offhand comment that steel will fall. NYC's third largest banker is in for quite a day when that news gets around! Gossip does more than affect personal relations, it also has a financial impact. When he can no longer look at the long faces of his worried underlings, Ball bellows: "Why don't you birds go out and eat somewhere? You too Lillian (his secretary), and get me a sandwich."

Mary Nash, Edward Arnold, Ray Milland

Sandwich and milk in hand.

Jenny returns to help her now nearly destitute hubby, and to forgive him for the indiscretion he doesn't know he committed. John Jr. rallies around with strong advice and goes to work in the family business. Mary, the unintentional creator of the tumult arrives to become the instrument of calm and order. Can the romantic ending be long in coming?

Johnny: "I've got a job!"

Mary: "Oh, Johnny!"

Johnny: "So have you."

Mary: "Well, what is it?"

Johnny: "Cooking my breakfast!"

Yes, folks. All roads lead to breakfast in the Food in Film blogathon.


Bonus picture of our stars off set. It looks like they made off with some of the props from the Automat scene. Gotta keep their energy up. Screwball comedy is a tough gig.

CAFTAN WOMAN'S CHOICE: ONE FOR NOVEMBER ON TCM

Did your copy of Cheaper by the Dozen/Belles on Their Toes by Frank Gilbreth Jr. and Ernestine Gilbreth Carey come through the Scholastic Book Club at school? I was so excited when mine arrived because I was already a fan of the 1950 film. The funny and heartwarming movie was perfect in my young eyes, and I find its charms have not diminished with time.

Frank Bunker Gilbreth (1868-1924) was a pioneer in the field of time and motion management, implementing many concepts accepted in management and the construction industry to this day. Lillian Moller Gilbreth (1878-1972), a noted psychologist and industrial engineer, continued revolutionizing the field after his death. The biographical books by two of the Gilbreth's children recount anecdotes related to their parents use of their professional knowledge and theories in raising their twelve children.

Clifton Webb

The episodic film directed by Walter Lang (The Little Princess, Moon Over Miami, State Fair) features two of Hollywood's most popular stars as Frank and Lillian Gilbreth. Stage star Clifton Webb became an unlikely box office success at the age of 55 after appearing as Waldo Lydecker in 1944s Laura. Audiences couldn't get enough of the patrician and sarcastic Webb in winning comedies such as Dreamboat and the Mr. Belvedere series, and dramas like Titanic.

Myrna Loy

Myrna Loy took a break from Hollywood during the 1940s to devote her time and energy to the war effort for the Red Cross, but came back with a vengeance in The Best Years of Our Lives, The Bachelor and the Bobby-Soxer, Mr. Blandings Builds His Dream House, The Red Pony, and the final two installments in The Thin Man series with William Powell.

The Gilbreths at home.

Cheaper by the Dozen hops, skips and jumps through life with the Gilbreths in the 1920s narrated by oldest daughter Ann played by Jeanne Crain, at 25, back to playing a teenager as in 1946s Margie. We are witness to Mr. and Mrs. Gilbreth's professional accomplishments, along with their experiments in parenting. Throughout these theories and practices in child rearing, the love among the Gilbreths is paramount. Each individual strives to find their voice among the crowd while the family pulls together.

Don't worry about Mr. Gilbreth. He'll be fine.

Amusing anecdotes recount Mr. Gilbreth's interest in medical procedures, particularly as relates to tonsillectomies for his offspring. The Gilbreths encounter with a representative of a Planned Parenthood organization played by Mildred Natwick is a notorious family legend. The children's scheme to use their parents democratic notions against them when it comes to getting a dog into the family over Frank's vehement objections is, amusingly, a success.

Ann rebels by bobbing her hair!

The younger generation has its difficulties. Appalled by the current trend of "flaming youth", Frank persisitently threatens Ann with a convent in New Jersey with 12 foot high walls. Nonetheless, persistence, patience, and affection save the day.

Cheaper by the Dozen was beautifully photographed in Technicolor by 18 time Oscar nominee Leon Shamroy, winner for The Black Swan, Wilson, Leave Her to Heaven, and Cleopatra. Cyril Mockridge and Alfred Newman worked on the score which is filled with delightful hits from an earlier era. Edward Stevenson (Born to Kill) designed the costumes which are a treat to the eye. 

Frank's good-bye.

Cheaper by the Dozen is leading off an evening of family comedies on TCM on Thursday, November 23rd. The delightful sequel, 1950s Belles on Their Toes, based on Frank Jr. and Ernestine's book about their mother's lauded career is not among the other movies featured this evening, but keep your fingers crossed. Maybe someday.

Bonus movie treat:

Betty Lynn, Clifton Webb

Fans of The Andy Griffith Show will be delighted with a charming appearance from 24-year-old Betty Lynn, Barney Fife's girlfriend Thelma Lou, as a friend of Ann's who is charmed by her father. Ms. Lynn turned 91 this past August, and resides in Mount Airy, North Carolina.

Sadly, for Betty Lynn's family and many fans, the actress who was born on August 29, 1926, passed away on October 16, 2021.

HALLOWE'EN CHUCKLES

Hallowe'en night is almost here. I love the little kids coming to the door for their treats, especially the tiniest ones who don't have a clue what's going on. So cute! I also love immersing myself in classic horror stories, kitschy horror stories, and comical horror stories. Here are some of my favourite Hallowe'en chuckles.

Disney's 1949 take on Washington Irving's The Legend of Sleepy Hollow is a must-watch this time of year. It is a perfect combination of cheeky humour and the genuine chills. Previous post found here.

See those guys? Rathbone, Price, Lorre, Karloff? They have such fun playing off their dastardly film personas in this 1963 movie that your sides will ache. Richard Matheson wrote the story of a failed undertaker played by Vincent Price. Who fails at an undertaking business? It would be like not running a successful casino. Anyway, his ideas to keep the business going are murder! Jacques Tourneur (Curse of the Demon) directed and the aforementioned hams are delicious. Previous post found here. 

Bob and Paulette had a great success in the 1939 version of The Cat and the Canary, so naturally they were reunited in another comedy/horror flick in 1940. The Ghost Breakers screenplay by Walter DeLeon, like the earlier film he wrote, was adapted from a play. The director of our movie is George Marshall, who had a way with this sort of thing. See Murder, He Said, The Gazebo and the remake with Dean and Jerry of this one, Scared Stiff.

Bob is a radio star who, with his servant played by Willie Best, is on the run from mobsters. He crosses paths with Paulette, who has inherited a fortune which comes along with a haunted castle on an island near Cuba. Can zombies be far behind? Also in on the fun are Paul Lukas, Richard Carlson and Anthony Quinn. Trust me. I enjoy it even more than their earlier hit, and I get a kick out of that one.

A good, old-fashioned ghost story is just the ticket. Lou and Marjorie Reynolds are ghostly holdovers from the Revolutionary War who need to have their loyalty to the cause proven or else they're stuck. Bud is the descendant of the guy who done them dirty. 

A Connecticut landmark is the setting for the clash of this world and the next. If you know nothing else about the movie, know that Gale Sondergaard is on board as a psychic. A great script by our pal Walter DeLeon (see The Ghost Breakers), and fast and furious gags abound. You'll love this 1946 film!

We all have them; the movie that cracks you up, time and time again. For me Joe Dante's 1989 comedy/chiller The 'Burbs is such a movie. The neighbourhood here doesn't really have anyone living in it that you would call "normal", but when one family is even odder than the rest, there may be something to worry about.

Worrying is one thing, but actually organizing to do something about it is entirely different. Who knows where it will lead? Better to just stay in bed and read the paper. What do you think? Well, once you start down the Buttinski Road, there is no turning back! Again, trust me on this, there are lots of laughs and an especially fun bit with Gale Gordon.

Well, there you have it, five of my favourite Hallowe'en movie chuckles. What does your list look like? I can always do with some more laughs.

THE JOAN FONTAINE CENTENARY BLOGATHON: Kiss the Blood Off My Hands (1948)

Crystal of In the Good Old Days of Classic Hollywood and Virginie of The Wonderful World of Cinema are co-hosting The Joan Fontaine Centenary Blogathon running October 20th to 22nd. Click on either site to access contributions to the blogathon.

Burt Lancaster

Does one rash act define a life or does a harsh life lived lead to a blur of wrong choices? Bill Saunders (Burt Lancaster) is a lonely, rage-filled man in post WW2 London. The rootless Canadian veteran of a German POW Camp is set off by a simple "Time, gentlemen, please". A sock to the jaw of a barman and the unfortunate meeting of skull on furniture results in murder and desperation as Bill runs into the night.

Burt Lancaster, Robert Newton

The incident brings two people into Bill's life whose influence will be overwhelming for good and for ill. Harry Carter (Robert Newton) is a small time hood with grand ideas. A witness to Bill's impetuosity, Harry uses his knowledge of the accidental murder to blackmail Bill into future co-operation for any criminal activity deemed advisable.

Joan Fontaine

Hiding from the police that fateful night brings Bill into the modest bedsit of Jane Wharton (Joan Fontaine). Jane is also a deeply lonely human with the loss of her fiance during the war. Lloyd was in the RAF; one of the brave few to whom so much was owed as immortalized by Churchill. Jane's life is quiet and one of comparative solitude, but not one of desperation such as Bill experiences. Jane is respected and well-liked in her profession as a nurse at a clinic where she enjoys the life-affirming feeling of being useful. Jane is basically kind, and that may be the motive behind her allowing Bill to go free when she could have turned him in to the authorities.

Burt Lancaster, Joan Fontaine

Jane's instinct to keep away from the volatile Bill gives way to his need to be with this compassionate young woman. An innocent and fun outing to the racetrack will end with Bill's inability to curb his violent tendencies and the fateful consequence of a jail term and a brutal lashing. Upon his return to society, Harry and Jane pull Bill in two very different directions.

Burt Lancaster, Joan Fontaine

While Harry reminds Bill of his criminal obligations, Jane gets Bill a job as the clinic's lorry driver. (Note: there is a disconcerting film error in that the driver's side of the vehicle is on the wrong side for England.) Through his work, Bill now knows that feeling of being useful and liked, and his relationship with Jane grows into love. Their love and their very lives are threatened by Harry's black market plans for the clinic's medical supplies.

Joan Fontaine, Burt Lancaster

The couple are dogged on all sides by the relentless Harry, and Bill's lifetime of troubles and rash acts. There is a destiny in the dark city and even darker society that makes of their love a desperate thing. To run or to stay are the choices for Bill and Jane, and here is the conundrum. Spoiler ahead.

The film's ending has the couple staying to face the consequences. On one hand, it is the most pragmatic solution, yet the character of Bill is almost offhandedly hopeful that he and Jane may yet have their heart's desire. Perhaps that hopefulness is only something I read into the scene, and not intended by the filmmakers. Nonetheless, the ending felt unsatisfactory in execution.

Kiss the Blood of My Hands was produced by Harold Hecht, who promoted young Broadway actor Burt Lancaster in his Hollywood career. Hecht-Lancaster Productions would be formed in the early 1950s and their collaborations include Sweet Smell of Success, Run Silent Run Deep, and Marty.

Bill at a crossroads in our story.

The source novel by Gerald Butler was published in 1940 and was a popular success with its lonely and alienated character. The screen play is by Leonardo Bercovici (The Bishop's Wife, Portrait of Jennie). Cinematographer Russell Metty tapped into his moody side creating a pervasively dark atmosphere to rival that of Touch of Evil. Miklos Rozsa's score is appropriately chilling and melodramatic. Director Norman Foster (Woman on the Run, Rachel and the Stranger) shows a lovely touch for the emotionalism inherit in this story where the plea of the title comes to define both Bill and Jane.

Jane - reflected and reflecting.

Joan Fontaine is lovely as our heroine Jane, timidly, yet bravely reaching out for love in a lonely and cruel world. This period in Joan's film career is filled with interesting and diverse films and roles. Along with our film-noir, she gave us the masterful performance in Letter from an Unknown Woman, the scheming murderess in Ivy, the humorous love story of the out-of-date Countess in The Emperor's Waltz, leading to the glorious romance of September Affair and the notorious Christabel of Born to Be Bad. Joan Fontaine was an actress to be reckoned with, and an actress to remember and admire.