Intro.
Here is yet another film that is a must see simply because of the cast. This film is a perfect way to round out Cary Grant month, as it pairs him with wonderful co-stars and a chance to show off his wonderful sense of humor. This film, much like most of Hawks's comedies, is rather silly but still provides some depth to the story. While it is a wild and entertaining romp about what can happen when adults are turned into children, it also touches upon the sadness of losing that innocence. As Cary Grant's character, Barnaby, muses: "I'm beginning to wonder if being young is all it's cracked up to be. We dream of youth. We remember it as a time of nightingales and Valentines. And what are the facts? Mal-adjustment, near idiocy and a series of low comedy disasters, that's what youth is."
Overview
Cary Grant plays Dr. Barnaby Fulton, a chemist who is hoping to discover a formula that will ease the aches and pains of age. He has a laboratory of chimpanzees and one very funny boss who is more focused on profits (played by Charles Coburn). Barnaby's wife Edwina (played by Ginger Rogers) supports him wholeheartedly and they have a wonderful marriage. One day one of the chimps gets loose and concocts a formula, which she then dumps into the water cooler of the lab. Barnaby tests his latest formula on himself and takes a drink of water to wash it down. Almost instantly he begins acting like a 20 year old college boy - not only is he free of aches and pains and bad vision, he drives like a maniac and goes roller skating and swimming and such with his boss's beautiful secretary, Lois Laurel (Marilyn Monroe). After a wild day, he sleeps it off, but as he attempts to try it again, Edwina instead takes the formula followed by a drink of the lab's water. She begins to act like her 20 year old self, and as she convinces Barnaby to return to the hotel where they honeymooned, she then begins to re-enact all of the drama of their wedding night. Poor Barnaby gets kicked out of their room and again a crazy night ensues. Emotions settled the following morning, they make up and go back to the lab. Edwina uses the lab water to make them some coffee while Barnaby resolves to destroy all his notes. Meanwhile his boss has heard of the success and demands that Barnaby turn over the formula. Both Edwina and Barnaby are taken back to their 8 year old selves and the chaos only increases! At long last and many laughs later, the truth of the water is discovered and the chimp responsible is put to work to replicate it (which echoes the idea of monkeys writing Shakespeare).
Highlights
The big draw today for this film is Marilyn Monroe's real break out role. She is delightful as the dim-witted but beautiful Lois, and seems to have a good sense of comedic timing. She's quite a supporting actress and holds her own with such established and talented co-stars. You can tell that Hawks is really trying to figure her out, getting her ready for his next picture, Gentlemen Prefer Blondes (also wonderful, by the way, as is How to Marry a Millionaire).
Not only is Marilyn wonderful, but so is Ginger Rogers! It's easy to forget that Ginger appeared in films without Fred Astaire, but without his big shadow you can really see her shine. She's just as funny as Cary Grant (even funnier at times) with impeccable timing. It reminded me of her amazing comedic role in Stage Door (which, if you haven't seen, you should add to your list!!). She's pure dynamite.
I wondered in this film if any other two actors could carry a film about reverting to childhood so well. Both Grant and Rogers make the effects of the formula apparent and believeable. Together they make an endearing, fun-loving couple who discover that love only gets better with time and youth is not all it's cracked up to be.
Review and Recommendation
Instead of sounding like a broken record and saying that you should see this film because of the great cast, I'm only going to say that it is one of the best Hawks comedies I've seen. And really, how can you resist Cary Grant playing with a chimpanzee named Ester?
Also, keep your eyes peeled for a great cameo by Harry Carey Jr!! And as always, you can read more at IMDb.
Saturday, January 30, 2010
Sunday, January 24, 2010
Suspicion (1941)
Intro.
I didn't plan to watch a lot of Hitchcock films, but the more I've watched Cary Grant in Hitch's films, the more I love them. Suspicion was definitely my favorite so far. I had read a lot about it previously in a few film classes, mainly because it is a prime example of everything Hitchcock did - the camera work is phenomenal, the story is filled with complexity and the characters are deep and well developed. The special effects are wonderful too, especially the "glowing" glass of milk.
Overview
Shy intellectual Lina (Joan Fontaine) mingles with the elite crowds of England, going on fox hunts and to balls, but she is afraid of turning into an old maid, a fear her parents have accepted as fact. So when the charming, gorgeous Johnnie swoops into her life, she falls for him. In less than two weeks they are married and off to an elaborate honeymoon all over Europe. When they return to their new mansion, Lina is shocked to find that Johnnie hasn't a cent to his name and abhors the idea of working for a living. He would rather gamble and take his chances. The rest of the film focuses on the strain this financial trouble takes on their relationship. Johnnie, who is obsessed with murder mysteries, starts to become fascinated by poison. After Johnnie's close friend (and financial business partner) dies, Lina begins to fear that she too will become a victim. Every move Johnnie then makes she suspects as a possible move to murder her. It all ends with an incredibly terrifying drive along a cliff and well, let's just say the ending will leave you shocked.
Highlights
As I wrote above, the cinematography is incredible. The interior of Johnnie and Lina's mansion is shot with lights flooding in through "windows" - we can see the outlines of windowpanes. In the main foyer, the round window above makes Lina look as though she's trapped in a web, very appropriate for her growing suspicion. And that famous glass of warm milk that Johnnie brings her (which may be poisoned) glows. I saw on a documentary once that they had to light the milk from beneath in order to get it just the right glow. Hitchcock has it beautifully framed too, as Cary Grant switches off the hall light and all you see is that glass of milk. Even if it was harmless, we as an audience are just as freaked out as Lina.
Joan Fontaine won an Oscar for this role, and she definitely deserved it. Her character remains shy throughout the film, but where we initially saw her as completely given over to Johnnie, she quickly grows wary of his gambling and then his interest in murder. Most impressively, we see just how hard it is for her to put on good face when interacting with the other townspeople. She must pretend to be the gracious, grateful wife no matter what. Hitchcock also does a great deal to really build the suspense so that as Lina's suspicion grows, ours does too - the entire film is from her point of view, so we see and hear what she does.
Cary Grant needs recognition too. Even though he wasn't nominated, he should have been. I had my doubts going into this film that anyone could ever believe he could commit murder. But boy did I believe it! The traits Lina (and we as the audience) initially found charming grow into annoying and then almost mean. His tone becomes more sharp and his actions more mysterious. There's one shot where he stands in Lina's doorway as she's in bed and he looks like, well, he looks like a murderer. A lot can be contributed to Hitchcock, but I know that any other actor would've had a harder time (trying to picture Jimmy Stewart in this role is ridiculous). He pulls it off. Best of all, when the ending is explained (and we realize the truth along with Lina) you can't help but feel your heart wrench. I got so into the film that I said, "I can't believe I didn't see that!" Of course I didn't see it, because I was watching from Lina's view point and she didn't see it either. I won't say any more because I don't want to ruin it, but the end is truly amazing.
Recommendation
I could write a 20 page paper on why this movie deserves the title of "classic." It's a rich experience and I highly recommend it. It's one of the best mystery/suspense films I've seen, and definitely one of the best of Hitchcock. It's a very close second to my favorite Hitch film, Rear Window. I even want to watch it again, something I rarely think about when I see murder mysteries. There's so much to see and consider that it has to be on your must-see list (if it isn't already!)
I didn't plan to watch a lot of Hitchcock films, but the more I've watched Cary Grant in Hitch's films, the more I love them. Suspicion was definitely my favorite so far. I had read a lot about it previously in a few film classes, mainly because it is a prime example of everything Hitchcock did - the camera work is phenomenal, the story is filled with complexity and the characters are deep and well developed. The special effects are wonderful too, especially the "glowing" glass of milk.
Overview
Shy intellectual Lina (Joan Fontaine) mingles with the elite crowds of England, going on fox hunts and to balls, but she is afraid of turning into an old maid, a fear her parents have accepted as fact. So when the charming, gorgeous Johnnie swoops into her life, she falls for him. In less than two weeks they are married and off to an elaborate honeymoon all over Europe. When they return to their new mansion, Lina is shocked to find that Johnnie hasn't a cent to his name and abhors the idea of working for a living. He would rather gamble and take his chances. The rest of the film focuses on the strain this financial trouble takes on their relationship. Johnnie, who is obsessed with murder mysteries, starts to become fascinated by poison. After Johnnie's close friend (and financial business partner) dies, Lina begins to fear that she too will become a victim. Every move Johnnie then makes she suspects as a possible move to murder her. It all ends with an incredibly terrifying drive along a cliff and well, let's just say the ending will leave you shocked.
Highlights
As I wrote above, the cinematography is incredible. The interior of Johnnie and Lina's mansion is shot with lights flooding in through "windows" - we can see the outlines of windowpanes. In the main foyer, the round window above makes Lina look as though she's trapped in a web, very appropriate for her growing suspicion. And that famous glass of warm milk that Johnnie brings her (which may be poisoned) glows. I saw on a documentary once that they had to light the milk from beneath in order to get it just the right glow. Hitchcock has it beautifully framed too, as Cary Grant switches off the hall light and all you see is that glass of milk. Even if it was harmless, we as an audience are just as freaked out as Lina.
Joan Fontaine won an Oscar for this role, and she definitely deserved it. Her character remains shy throughout the film, but where we initially saw her as completely given over to Johnnie, she quickly grows wary of his gambling and then his interest in murder. Most impressively, we see just how hard it is for her to put on good face when interacting with the other townspeople. She must pretend to be the gracious, grateful wife no matter what. Hitchcock also does a great deal to really build the suspense so that as Lina's suspicion grows, ours does too - the entire film is from her point of view, so we see and hear what she does.
Cary Grant needs recognition too. Even though he wasn't nominated, he should have been. I had my doubts going into this film that anyone could ever believe he could commit murder. But boy did I believe it! The traits Lina (and we as the audience) initially found charming grow into annoying and then almost mean. His tone becomes more sharp and his actions more mysterious. There's one shot where he stands in Lina's doorway as she's in bed and he looks like, well, he looks like a murderer. A lot can be contributed to Hitchcock, but I know that any other actor would've had a harder time (trying to picture Jimmy Stewart in this role is ridiculous). He pulls it off. Best of all, when the ending is explained (and we realize the truth along with Lina) you can't help but feel your heart wrench. I got so into the film that I said, "I can't believe I didn't see that!" Of course I didn't see it, because I was watching from Lina's view point and she didn't see it either. I won't say any more because I don't want to ruin it, but the end is truly amazing.
Recommendation
I could write a 20 page paper on why this movie deserves the title of "classic." It's a rich experience and I highly recommend it. It's one of the best mystery/suspense films I've seen, and definitely one of the best of Hitchcock. It's a very close second to my favorite Hitch film, Rear Window. I even want to watch it again, something I rarely think about when I see murder mysteries. There's so much to see and consider that it has to be on your must-see list (if it isn't already!)
Thursday, January 21, 2010
Melody Ranch (1940)
Intro.
It seems as though I've stumbled onto all these great 1940 musical Westerns in the past few weeks. I happened upon this one on Netflix and the reason it stood out was the cast - I have to admit, I had to blink a few times to make sure I was reading it correctly. A Gene Autry picture with Ann Miller and Jimmy Durante? THE Jimmy Durante? The same Jimmy Durante that completely won me over in It Happened in Brooklyn (one of Frank Sinatra's best films)??? In a WESTERN? Needless to say, I had to see it to believe it.
Overview
The plot to the film is really pretty interesting - Gene plays a cowboy who gave up his spurs for a microphone and has become a big radio star. His old hometown, Torpedo, has invited him to be an honorary Sheriff for their Frontier Days celebration. Thinking it's good for publicity, Gene goes with his whole radio show, including big-city diva Julie (Ann Miller) and comical manager Corny (Jimmy Durante), who certainly lives up to his name. Once there, Gene gets shown up by some bad guys and realizes he's lost his edge - he's no longer a cowboy, but a pampered city dweller. So he decides to stay in Torpedo, get in shape, and clean up the town. Which he of course does, all the while still hosting his radio program and winning over Julie.
Highlights (and low points)
The music in this film was above par for Gene's B-Westerns. He has some beautiful solos in here, most enchanting being "Call of the Canyon". He and Ann Miller have a gorgeous duet as well, "Never Dream the Same Dream Twice." It's clear in this picture why so many women went crazy over Gene - his voice is at its peak and he looks terrific too. When he serenades Ann Miller overlooking Melody Ranch's canyon, you fall for him right along with her. The music is added to by Mary Lee (who I adore!) and her rich voice, as well as Gene's backup. I thought those musicians looked familiar - it's none other than Bob Wills and His Texas Playboys! Talk about a bunch of legends together on one screen!
I'm glad that Ann Miller gets a dance solo in here too, even if it is a bit short. On the other hand, though, she gets more time to sing, which makes you appreciate her talent in a different way. Also to note, the bad guys do a funny parody of Gene's famous theme song with (Go) "Back to the City Again." And bonus, Ann's manager/boyfriend Tommy is played by Jerome Cowman. You probably know him better as Miles Archer...as in Spade & Archer of The Maltese Falcon.
Finally, Jimmy Durante. He plays the screwy sidekick like Frog Millhouse or Pat Buttram. It's hard seeing him in such a corny role and I have to admit some of his scenes will make you groan. But you have to remember it's all in good fun and really, Jimmy is terrific anywhere and anytime. It's funny, I was just thinking how this film is a good example of the type of film I call the "crooner-comedian" type. Think Martin and Lewis or Crosby and Hope or Sinatra and Durante. There's always the straight man with the smooth singing, and then the comedic sidekick who can get obnoxious, but only in fun. In this case it's Autry and Durante - an unusual pairing, but still very, very entertaining.
Review and Recommendation
There are some films you have to see simply because of the cast. It's like Paint Your Wagon - yes, it's a bit cheesy and wrong on so many fronts, but it features Clint Eastwood singing. This is a must see. Similarly, seeing Jimmy Durante in a Western is definitely a must see. It's corny, and if you're a Durante fan, you may be a bit disappointed. But go with the flow, enjoy it for entertainment's sake and remember that you're watching a bit of grand Hollywood history.
Oh yeah, and if you're a huge Gene Autry fan like me, this film will give you plenty to swoon over :-) Enjoy!
It seems as though I've stumbled onto all these great 1940 musical Westerns in the past few weeks. I happened upon this one on Netflix and the reason it stood out was the cast - I have to admit, I had to blink a few times to make sure I was reading it correctly. A Gene Autry picture with Ann Miller and Jimmy Durante? THE Jimmy Durante? The same Jimmy Durante that completely won me over in It Happened in Brooklyn (one of Frank Sinatra's best films)??? In a WESTERN? Needless to say, I had to see it to believe it.
Overview
The plot to the film is really pretty interesting - Gene plays a cowboy who gave up his spurs for a microphone and has become a big radio star. His old hometown, Torpedo, has invited him to be an honorary Sheriff for their Frontier Days celebration. Thinking it's good for publicity, Gene goes with his whole radio show, including big-city diva Julie (Ann Miller) and comical manager Corny (Jimmy Durante), who certainly lives up to his name. Once there, Gene gets shown up by some bad guys and realizes he's lost his edge - he's no longer a cowboy, but a pampered city dweller. So he decides to stay in Torpedo, get in shape, and clean up the town. Which he of course does, all the while still hosting his radio program and winning over Julie.
Highlights (and low points)
The music in this film was above par for Gene's B-Westerns. He has some beautiful solos in here, most enchanting being "Call of the Canyon". He and Ann Miller have a gorgeous duet as well, "Never Dream the Same Dream Twice." It's clear in this picture why so many women went crazy over Gene - his voice is at its peak and he looks terrific too. When he serenades Ann Miller overlooking Melody Ranch's canyon, you fall for him right along with her. The music is added to by Mary Lee (who I adore!) and her rich voice, as well as Gene's backup. I thought those musicians looked familiar - it's none other than Bob Wills and His Texas Playboys! Talk about a bunch of legends together on one screen!
I'm glad that Ann Miller gets a dance solo in here too, even if it is a bit short. On the other hand, though, she gets more time to sing, which makes you appreciate her talent in a different way. Also to note, the bad guys do a funny parody of Gene's famous theme song with (Go) "Back to the City Again." And bonus, Ann's manager/boyfriend Tommy is played by Jerome Cowman. You probably know him better as Miles Archer...as in Spade & Archer of The Maltese Falcon.
Finally, Jimmy Durante. He plays the screwy sidekick like Frog Millhouse or Pat Buttram. It's hard seeing him in such a corny role and I have to admit some of his scenes will make you groan. But you have to remember it's all in good fun and really, Jimmy is terrific anywhere and anytime. It's funny, I was just thinking how this film is a good example of the type of film I call the "crooner-comedian" type. Think Martin and Lewis or Crosby and Hope or Sinatra and Durante. There's always the straight man with the smooth singing, and then the comedic sidekick who can get obnoxious, but only in fun. In this case it's Autry and Durante - an unusual pairing, but still very, very entertaining.
Review and Recommendation
There are some films you have to see simply because of the cast. It's like Paint Your Wagon - yes, it's a bit cheesy and wrong on so many fronts, but it features Clint Eastwood singing. This is a must see. Similarly, seeing Jimmy Durante in a Western is definitely a must see. It's corny, and if you're a Durante fan, you may be a bit disappointed. But go with the flow, enjoy it for entertainment's sake and remember that you're watching a bit of grand Hollywood history.
Oh yeah, and if you're a huge Gene Autry fan like me, this film will give you plenty to swoon over :-) Enjoy!
Tuesday, January 19, 2010
People Will Talk (1951)
Intro.
I watched this film as part of my whole January is Cary Grant Month theme. I was hoping that by watching Grant films I haven't previously seen, I would discover some real gems (as I did with Holiday, my earlier post). This film, however, was a bit unusual. First I should explain that it came after many of Grant's screwball comedies of the thirties and forties, but before North by Northwest and An Affair to Remember, so maybe that's why he was cast in such an unusal role. It's also interesting to note the "witch-hunts" and high suspicions that play a large part in this film. At the time of its release, America was in the middle of the McCarthy trials and Red Scare. I would have loved to have gone to this film's release in 1951 just to watch people's reactions - that historical situation is enough to warrant a second viewing.
Overview
Dr. Noah Praetorius (Cary Grant) is a well-known and somewhat mysterious doctor. Rumors surround him regarding his methods, his unusal treatments, and most of all the very close friendship of an aloof man named Sunderson. As his University begins an investigation (which culminates in a formal review/inquest) on him, Praetorius begins to treat a woman, Deborah (Jeanne Crain) who has gotten pregnant out of wedlock. When he gives her the news, she tries to kill herself. In an attempt to calm her, he tells her there was a mistake and that she is not pregnant. He then goes out to meet her father, to supposedly explain the situation to him, but instead realizes the girl's in a bad situation. Naturally, he falls in love with her and they marry. The rumors about him continue until the final inquest with the faculty board, where Sunderson's true identity and relationship with Praetorius is revealed.
Ponderables
1) There are many parts of this movie that left me scratching my head. First is the way the relationship of Sunderson and Praetorius is presented. They go from being good friends in a Holmes and Watson sort of way to hints of being more than that. What struck me most was one of Praetorius's lines - while he and Deborah plan their wedding, she remarks that he's talking like a woman who has to get married. He replies that he's about as close to needing it as any man can be. While it could be that he's trying to hide the fact that he has knowingly committed malpractice (I won't even go into that), it comes off sounding like he has to get married in order to prove that he is not gay. It adds to the way Sunderson is portrayed almost like a good wife - he cooks and cleans and does anything that can be helpful in any way. Even if I'm way off base, it's still strange.
2) Dr. Praetorius is very counter-culture and against all conservative, traditional forms of medicine. That's all well and good and it's nice to see a doctor who cares so much about the well-being of his patients. However, I couldn't quite overlook the fact that he lied to Deborah about the baby. Okay, I understand initially it was because she was suicidal; however, he didn't tell her the truth until after they're married and she realizes that she's probably pregnant. How did she not notice before then? And then once he tells her, she's upset but then it's all okay again because he's Cary Grant? I feel like it didn't have a firm resolution - Deborah doesn't get enough time. Instead the faculty of the university step in for a hearing. I wanted her story line to be more complex, more resisting - she falls for Cary Grant at first sight. For a film that pushes stereotypes and conservative views, her character is every bit the helpless fallen woman.
Recommendation
Given the time of the film's release and the strikingly unusual role for Cary Grant, I would consider seeing this film again. If you are a fan of American history (particulary the 40's and 50's) you will enjoy it. The revelation of Sunderson's identity is a bit far fetched (in my opinion), but the rest of the film will leave you puzzling over topics of health care and what makes a good doctor.
Want to read more? Check out the film's page at IMDb and read up on McCarthy here.
I watched this film as part of my whole January is Cary Grant Month theme. I was hoping that by watching Grant films I haven't previously seen, I would discover some real gems (as I did with Holiday, my earlier post). This film, however, was a bit unusual. First I should explain that it came after many of Grant's screwball comedies of the thirties and forties, but before North by Northwest and An Affair to Remember, so maybe that's why he was cast in such an unusal role. It's also interesting to note the "witch-hunts" and high suspicions that play a large part in this film. At the time of its release, America was in the middle of the McCarthy trials and Red Scare. I would have loved to have gone to this film's release in 1951 just to watch people's reactions - that historical situation is enough to warrant a second viewing.
Overview
Dr. Noah Praetorius (Cary Grant) is a well-known and somewhat mysterious doctor. Rumors surround him regarding his methods, his unusal treatments, and most of all the very close friendship of an aloof man named Sunderson. As his University begins an investigation (which culminates in a formal review/inquest) on him, Praetorius begins to treat a woman, Deborah (Jeanne Crain) who has gotten pregnant out of wedlock. When he gives her the news, she tries to kill herself. In an attempt to calm her, he tells her there was a mistake and that she is not pregnant. He then goes out to meet her father, to supposedly explain the situation to him, but instead realizes the girl's in a bad situation. Naturally, he falls in love with her and they marry. The rumors about him continue until the final inquest with the faculty board, where Sunderson's true identity and relationship with Praetorius is revealed.
Ponderables
1) There are many parts of this movie that left me scratching my head. First is the way the relationship of Sunderson and Praetorius is presented. They go from being good friends in a Holmes and Watson sort of way to hints of being more than that. What struck me most was one of Praetorius's lines - while he and Deborah plan their wedding, she remarks that he's talking like a woman who has to get married. He replies that he's about as close to needing it as any man can be. While it could be that he's trying to hide the fact that he has knowingly committed malpractice (I won't even go into that), it comes off sounding like he has to get married in order to prove that he is not gay. It adds to the way Sunderson is portrayed almost like a good wife - he cooks and cleans and does anything that can be helpful in any way. Even if I'm way off base, it's still strange.
2) Dr. Praetorius is very counter-culture and against all conservative, traditional forms of medicine. That's all well and good and it's nice to see a doctor who cares so much about the well-being of his patients. However, I couldn't quite overlook the fact that he lied to Deborah about the baby. Okay, I understand initially it was because she was suicidal; however, he didn't tell her the truth until after they're married and she realizes that she's probably pregnant. How did she not notice before then? And then once he tells her, she's upset but then it's all okay again because he's Cary Grant? I feel like it didn't have a firm resolution - Deborah doesn't get enough time. Instead the faculty of the university step in for a hearing. I wanted her story line to be more complex, more resisting - she falls for Cary Grant at first sight. For a film that pushes stereotypes and conservative views, her character is every bit the helpless fallen woman.
Recommendation
Given the time of the film's release and the strikingly unusual role for Cary Grant, I would consider seeing this film again. If you are a fan of American history (particulary the 40's and 50's) you will enjoy it. The revelation of Sunderson's identity is a bit far fetched (in my opinion), but the rest of the film will leave you puzzling over topics of health care and what makes a good doctor.
Want to read more? Check out the film's page at IMDb and read up on McCarthy here.
Sunday, January 17, 2010
Ride Tenderfoot Ride (1940)
Intro.
One recurring theme in Gene Autry's pictures is that of a cowboy who must venture into the city for some purpose. It's an old story, really, something like the city mouse and the country mouse children's story. Usually the cowboy feels out of place in the city, and when he returns to the range with a city-dweller, the roles are reversed. As always, the cowboy saves the day as the whole party rides out into the West. The idea plays on our ever present dream of going West - out where there is land and opportunity, even golden prospects. It is there that the heroic cowboy, acting as a symbol of all hard-working Americans, can beat any number of "city-slickers." Such is the theme behind Ride Tenderfoot Ride, one of Gene's most entertaining Westerns.
Overview
The film itself has a pretty standard plot - a man dies and leaves his packing plant to Gene Autry, a man no one seems to be able to find. As it turns out, Gene is working as a cowhand for the plant's competitor. At least, was working until a misunderstanding occurs with his boss Ann (played by the always wonderful June Storey). They part ways, but not for long, as Ann's little sister Patsy runs away only to meet up with Gene, who of course helps her get home. Ann and her partner, Don Gregory, try to convince Autry that they were friends with the man who left him the plant, and that they were going to consolidate their businesses. Autry agrees to sell his plant to them, but when he finds out they intend to shut it down and put all the workers out of jobs, he fights it. He manages to get the contract revoked and then the fun really begins as he and Ann start competing head to head to sign cattlemen. They are now in Gene's territory, out in the small towns in cattle country. Gene is really at his best as he tries to out-sell and then out-sing Ann. It turns out then that Don Gregory is less than honorable, and Gene must save the day. In between fist fights and Frog Millhouse's shenanigans, Gene still has time for some great songs including the title track as well as the classic "When the Work's All Done This Fall."
Highlights
This film really highlights the city mouse/country mouse tale. It is clear in a few scenes especially, such as when Gene and Frog are invited to the nice city house of Ann. There they stick out like sore thumbs among all the citified gentry, right down to their clothes and manner of speech. Gene is told there and a few other times that he'd be no good behind a desk. Frog stands out more than Gene, mainly because of his naturally awkward presence.
I really want to note how great Mary Lee is in this film. I've really started to admire her, not only as an actress, but also for her voice. As Ann's little sister she is hilarious, even more so when she runs away and tells the airline that Gene is her new husband (only because newlyweds get 2 rides on 1 ticket). Later she shines again during a duet with Gene.
Finally, Gene is not the soft, shy cowhand he can sometimes play. He's ready to meet Ann's challenge in business. There's one scene where Ann has taken over Gene's singing street show in order to get business away from him. A group of older townswomen are talking about how disgraceful it is for women to act like Ann. I thought for sure Gene would stand up to them and explain, but instead he says "I absolutely agree with you. It is disgraceful, isn't it?" That gets him the contract, as the women force their husbands to side with Gene instead of Ann. June Storey should also get a lot of credit, as she is much tougher and independent than most women in Westerns. She has to prove that she can make it in a man's world, and she does. In the end it all works out too, as Don Gregory is finally brought to justice and Gene gets not only the plant, but the girl too.
Recommendation
I loved this movie. Not only is it a great example of the classic city and country folk swap, it showcases both Gene and Mary Lee's beautiful singing. The story is well worked too and has a good pace. And above all, you have to root for Gene - the hard working cowboy who overcomes the crooked city businessmen. He is the rugged individual against the corporation and he triumphs. Now that's a happy ending.
One recurring theme in Gene Autry's pictures is that of a cowboy who must venture into the city for some purpose. It's an old story, really, something like the city mouse and the country mouse children's story. Usually the cowboy feels out of place in the city, and when he returns to the range with a city-dweller, the roles are reversed. As always, the cowboy saves the day as the whole party rides out into the West. The idea plays on our ever present dream of going West - out where there is land and opportunity, even golden prospects. It is there that the heroic cowboy, acting as a symbol of all hard-working Americans, can beat any number of "city-slickers." Such is the theme behind Ride Tenderfoot Ride, one of Gene's most entertaining Westerns.
Overview
The film itself has a pretty standard plot - a man dies and leaves his packing plant to Gene Autry, a man no one seems to be able to find. As it turns out, Gene is working as a cowhand for the plant's competitor. At least, was working until a misunderstanding occurs with his boss Ann (played by the always wonderful June Storey). They part ways, but not for long, as Ann's little sister Patsy runs away only to meet up with Gene, who of course helps her get home. Ann and her partner, Don Gregory, try to convince Autry that they were friends with the man who left him the plant, and that they were going to consolidate their businesses. Autry agrees to sell his plant to them, but when he finds out they intend to shut it down and put all the workers out of jobs, he fights it. He manages to get the contract revoked and then the fun really begins as he and Ann start competing head to head to sign cattlemen. They are now in Gene's territory, out in the small towns in cattle country. Gene is really at his best as he tries to out-sell and then out-sing Ann. It turns out then that Don Gregory is less than honorable, and Gene must save the day. In between fist fights and Frog Millhouse's shenanigans, Gene still has time for some great songs including the title track as well as the classic "When the Work's All Done This Fall."
Highlights
This film really highlights the city mouse/country mouse tale. It is clear in a few scenes especially, such as when Gene and Frog are invited to the nice city house of Ann. There they stick out like sore thumbs among all the citified gentry, right down to their clothes and manner of speech. Gene is told there and a few other times that he'd be no good behind a desk. Frog stands out more than Gene, mainly because of his naturally awkward presence.
I really want to note how great Mary Lee is in this film. I've really started to admire her, not only as an actress, but also for her voice. As Ann's little sister she is hilarious, even more so when she runs away and tells the airline that Gene is her new husband (only because newlyweds get 2 rides on 1 ticket). Later she shines again during a duet with Gene.
Finally, Gene is not the soft, shy cowhand he can sometimes play. He's ready to meet Ann's challenge in business. There's one scene where Ann has taken over Gene's singing street show in order to get business away from him. A group of older townswomen are talking about how disgraceful it is for women to act like Ann. I thought for sure Gene would stand up to them and explain, but instead he says "I absolutely agree with you. It is disgraceful, isn't it?" That gets him the contract, as the women force their husbands to side with Gene instead of Ann. June Storey should also get a lot of credit, as she is much tougher and independent than most women in Westerns. She has to prove that she can make it in a man's world, and she does. In the end it all works out too, as Don Gregory is finally brought to justice and Gene gets not only the plant, but the girl too.
Recommendation
I loved this movie. Not only is it a great example of the classic city and country folk swap, it showcases both Gene and Mary Lee's beautiful singing. The story is well worked too and has a good pace. And above all, you have to root for Gene - the hard working cowboy who overcomes the crooked city businessmen. He is the rugged individual against the corporation and he triumphs. Now that's a happy ending.
Thursday, January 14, 2010
Notorious (1946)
Intro.
I have to admit, I've never been one for suspense films. I've liked some Hitchcock films, but also fallen asleep on some. But as January is Cary Grant month, I was determined to watch a few of the pictures considered his best - Notorious being one of them. Immediately, I was drawn into the story and stayed fixated until the end. It aired on Turner Classic Movies as one of "The Essentials" and I have to agree, as far as a stellar entry in Hitchcock's filmography, it is also one of the greatest performances of both Ingrid Bergman and Cary Grant. It also marked Hitchcock's first film as both director and producer.
Overview
Notorious refers to both of the Hubermans. First the father, who at the film's opening, has been convicted of treason and sentenced to 20 years. Second is his daughter Alicia (Ingrid Bergman), who is a notorious party and good-time girl with society friends and a penchant for cocktails. After her father's trial, she is approached by Devlin, (Cary Grant), a quiet and mysterious guest at her party. The two have instant chemistry, but when she wakes the next morning, her hang-over isn't her only source of pain - Devlin is also an FBI agent who was sent to recruit her for a special assignment. Reluctantly she agrees to go with him to Rio, where they will get further instructions. While they wait in Brazil, the two fall in love. This is where the sub-plot begins: Devlin suspects that he cannot fully trust Alicia, and refuses to let go of his principle job - to protect her. He also refuses to make her decisions, a theme that recurs several times in the course of the film. Alicia's assignment, which she carries out well, is to reunite with Alexander Sebastian, a scientist who was friends with her father and still very much in love with Alicia. She encourages him and they wed. We learn, and then Alicia and Devlin learn, that Sebastian is part of a group of German scientists who are up to "suspicious" activity. While we never hear their entire plan, we do learn that they are working with uranium, and we see them plot to kill off a member who has said too much to strangers. When Sebastian begins to suspect his wife of espionage, both plots (the FBI vs. the Germans and Alicia & Devlin's rocky relationship) twist, turn and lead to a great ending.
Highlights
There are so many topics to bring up, but I can't cover them all, so I'll pick two. First is the unique, beautifully coordinated cinematography. The unusual shots and angles add to the film's feeling. There is a scene early on when Alicia wakes up with a hangover and the camera takes on her point of view, tilting up and sideways to watch Cary Grant cross the room. The second is when she realizes she's been poisoned and fears that she will be killed - the room tightens, characters talk but only their shadows are seen. In effect, we become as disoriented and terrified as Alicia. Second of all, there is the way that Hitchcock ties all the elements together like a great novel. What I especially liked was the champagne. When Devlin and Alicia are in Rio together and in love, Devlin goes out and buys a bottle of champagne. On his way back to their romantic night, he is called to the office and given the news of Alicia's assignment. In order for her to work on Sebastian, Devlin has to give her up. He forgets the champagne at the office and returns to her to bear the bad news, and you can almost hear the passion fizz out (clearly the party is over, if you pardon the pun). Later, the champagne plays a key role during Sebastian's party. Alicia steals the key to the wine cellar in order to allow Devlin to snoop around and find the uranium. She fears that Sebastian will discover this when the champagne begins to run out and he is called upon to get more. We start to see the bottles disappearing, we see Alicia begin counting glasses of champagne the waiters present on trays. It uses a seemingly innocent item like champagne to represent something much larger and remind us of the double layer of plot.
Not to be Missed
1) Claude Rains is wonderful in this role! He has created a character that is detestable and evil as well as empathetic. At times you hate him, at times you feel sorry for him. It's a wide range, but he plays it all with a cool charm that reminds you what good acting is about.
2) Edith Head (who I love!!!) designed the gowns for Ingrid Bergman and they are all lovely! I'm not at all a fashionista or know anything about it, but I love watching the dresses Edith Head makes. Check out her list of films here (yes, she did Grace Kelly's amazing dresses in Rear Window and all those dozens of gowns for Shirley MacLaine in What a Way to Go!).
3) The woman who plays Madame Sebastian (Leopoldine Konstantin) is truly terrifying without trying. I think Alec Baldwin (who introduced the film with Robert Osborne on TCM) hit it when he said the reason she's so terrifying is that she never blinks. He's absolutely right - during all of her scenes, I think I saw her blink twice. It's just as unnerving as the off-center camera angles.
4) Finally, the kiss. In order to subvert the Hayes code of the day that limited on-screen kiss time to four seconds, Hitchcock had Grant and Bergman kiss for several minutes, breaking every four seconds for a quick line of dialogue. It's one of the best and most memorable of all love scenes.
Review and Recommendation
I loved this film even though I was not expecting to do so. It has renewed my interest in the suspense/thriller drama because it has so much complexity and such great, powerful characters. If you've decided you're not really a Hitchcock fan, consider watching this film - it may change your mind!
I have to admit, I've never been one for suspense films. I've liked some Hitchcock films, but also fallen asleep on some. But as January is Cary Grant month, I was determined to watch a few of the pictures considered his best - Notorious being one of them. Immediately, I was drawn into the story and stayed fixated until the end. It aired on Turner Classic Movies as one of "The Essentials" and I have to agree, as far as a stellar entry in Hitchcock's filmography, it is also one of the greatest performances of both Ingrid Bergman and Cary Grant. It also marked Hitchcock's first film as both director and producer.
Overview
Notorious refers to both of the Hubermans. First the father, who at the film's opening, has been convicted of treason and sentenced to 20 years. Second is his daughter Alicia (Ingrid Bergman), who is a notorious party and good-time girl with society friends and a penchant for cocktails. After her father's trial, she is approached by Devlin, (Cary Grant), a quiet and mysterious guest at her party. The two have instant chemistry, but when she wakes the next morning, her hang-over isn't her only source of pain - Devlin is also an FBI agent who was sent to recruit her for a special assignment. Reluctantly she agrees to go with him to Rio, where they will get further instructions. While they wait in Brazil, the two fall in love. This is where the sub-plot begins: Devlin suspects that he cannot fully trust Alicia, and refuses to let go of his principle job - to protect her. He also refuses to make her decisions, a theme that recurs several times in the course of the film. Alicia's assignment, which she carries out well, is to reunite with Alexander Sebastian, a scientist who was friends with her father and still very much in love with Alicia. She encourages him and they wed. We learn, and then Alicia and Devlin learn, that Sebastian is part of a group of German scientists who are up to "suspicious" activity. While we never hear their entire plan, we do learn that they are working with uranium, and we see them plot to kill off a member who has said too much to strangers. When Sebastian begins to suspect his wife of espionage, both plots (the FBI vs. the Germans and Alicia & Devlin's rocky relationship) twist, turn and lead to a great ending.
Highlights
There are so many topics to bring up, but I can't cover them all, so I'll pick two. First is the unique, beautifully coordinated cinematography. The unusual shots and angles add to the film's feeling. There is a scene early on when Alicia wakes up with a hangover and the camera takes on her point of view, tilting up and sideways to watch Cary Grant cross the room. The second is when she realizes she's been poisoned and fears that she will be killed - the room tightens, characters talk but only their shadows are seen. In effect, we become as disoriented and terrified as Alicia. Second of all, there is the way that Hitchcock ties all the elements together like a great novel. What I especially liked was the champagne. When Devlin and Alicia are in Rio together and in love, Devlin goes out and buys a bottle of champagne. On his way back to their romantic night, he is called to the office and given the news of Alicia's assignment. In order for her to work on Sebastian, Devlin has to give her up. He forgets the champagne at the office and returns to her to bear the bad news, and you can almost hear the passion fizz out (clearly the party is over, if you pardon the pun). Later, the champagne plays a key role during Sebastian's party. Alicia steals the key to the wine cellar in order to allow Devlin to snoop around and find the uranium. She fears that Sebastian will discover this when the champagne begins to run out and he is called upon to get more. We start to see the bottles disappearing, we see Alicia begin counting glasses of champagne the waiters present on trays. It uses a seemingly innocent item like champagne to represent something much larger and remind us of the double layer of plot.
Not to be Missed
1) Claude Rains is wonderful in this role! He has created a character that is detestable and evil as well as empathetic. At times you hate him, at times you feel sorry for him. It's a wide range, but he plays it all with a cool charm that reminds you what good acting is about.
2) Edith Head (who I love!!!) designed the gowns for Ingrid Bergman and they are all lovely! I'm not at all a fashionista or know anything about it, but I love watching the dresses Edith Head makes. Check out her list of films here (yes, she did Grace Kelly's amazing dresses in Rear Window and all those dozens of gowns for Shirley MacLaine in What a Way to Go!).
3) The woman who plays Madame Sebastian (Leopoldine Konstantin) is truly terrifying without trying. I think Alec Baldwin (who introduced the film with Robert Osborne on TCM) hit it when he said the reason she's so terrifying is that she never blinks. He's absolutely right - during all of her scenes, I think I saw her blink twice. It's just as unnerving as the off-center camera angles.
4) Finally, the kiss. In order to subvert the Hayes code of the day that limited on-screen kiss time to four seconds, Hitchcock had Grant and Bergman kiss for several minutes, breaking every four seconds for a quick line of dialogue. It's one of the best and most memorable of all love scenes.
Review and Recommendation
I loved this film even though I was not expecting to do so. It has renewed my interest in the suspense/thriller drama because it has so much complexity and such great, powerful characters. If you've decided you're not really a Hitchcock fan, consider watching this film - it may change your mind!
Saturday, January 9, 2010
The Three Musketeers (1921)
Intro.
A friend of mine introduced me to the Weinberg Center in Frederick, Maryland about a year ago. Although it's a bit of a drive, I never regret visiting. The Weinberg shows different kinds of performances - plays and singalongs and concerts - but its specialty is film. The crowning touch to the majestically restored theater is the Wurlitzer concert organ. According to the Center's website, the organ was purchased in 1926 for $19,000 and today is the only operational movie organ still in its original installation. The Weinberg has a Silent Film series which features the massive organ and the talents of organist Ray Brubacher. Even if you aren't a history geek, it's still impressive when the lights dim and the floor of the stage opens. Up rises the organ, glowing with golden lights, as the organist plays a triumphant song. It's truly breathtaking. It's also a beautiful reminder of what movies used to be - an unforgettable experience.
Overview
The film featured last night was the 1921 version of The Three Musketeers, featuring Douglas Fairbanks. And featuring is correct - he is credited as actor, writer and producer. Right from the opening chords, the film was captivating. The basic plot followed Dumas' story fairly well: a young man (D'Artagnan, played by Fairbanks) out to seek his fortune wants to join the King's Musketeers. In doing so, he falls for a beautiful seamstress to the Queen who is smack in the middle of royal intrigue. The palace scenes, while beautifully decorated, were a bit slow and at times, overly dramatic - the Queen is suspected of having an affair with a British duke, and although she is trying to discourage the duke's affections, the Cardinal is determined to show her as unfaithful before the King. It didn't drag too much through because of the quick cuts back to the story line involving D'Artagnan, which has many comedic scenes as well as terrific duels. In the end, the Queen of France is saved, order is restored, and D'Artagnan becomes a Musketeer.
Highlights
I'd never seen a Douglas Fairbanks film before and was quite impressed that he did all his own stunts. There were some great ones in this film too, particularly the duel in the grocer's shop where he's jumping from counter to counter as he fights. It was obvious to see why such films were hits of their time and how Fairbanks became a star.
Reflection and Recommendation
As I mentioned earlier, seeing this film in a restored theater with a beautiful organ was a grand experience. I could almost imagine being a moviegoer in 1921 at the time of the film's release. The thick carpeting and crystal chandeliers made it even more glorious. As the film itself reads on the opening story card, although set 300 years earlier, the story remains timeless and could have happened yesterday or happen again tomorrow. Truly, great films are timeless. We can watch and celebrate them at any time and be transported back to the days when the story was set or even when the film was made. Part of the magic is the lost art of imagination - silent movies can be boring or difficult if you aren't willing to use your imagination, to put yourself into the story, to absorb it and figure out the missing dialogue. I had an interesting discussion with a friend awhile back about how today's films leave nothing to the imagination. We've gotten lazy as audiences. I want films that make you think, that make you interpret the missing scenes. You learn just as much about story lines from what isn't shown as you do from what is. But that's a topic for another time.
Finally, I would like to recommend this film if you haven't seen many silent pictures. It's a great example of the historical swashbuckling adventures, and a nice introduction to Douglas Fairbanks. Just be prepared that it does run a good two hours. It also leads me to an idea for a future review. As I sat there enjoying the film, I couldn't help but think that D'Artagnan's character had certain quirks and charms that reminded me of Gene Kelly. I had heard in an interview that Gene had wanted to do a version of the Three Musketeers for a long time before finally getting the part of D'Artagnan. I just added the film to my Netflix list and am eagerly waiting to see him as the dashing swordsman. Like Fairbanks, Gene did his own stunts and shared the same charisma. Sitting in the theater last night, I felt like I could see where his desire had come from - Gene Kelly would've been 9 years old when the Fairbanks film appeared - and at that age, imagination is boundless. I imagined that Kelly was probably awestruck as I was. Maybe it was the theater, or the organ, or the film, or a combination, but I felt like I had finally caught a glimpse of the glamour that once was old Hollywood.
Read more about Fairbanks and the others at IMdB, and check out the Weinberg's site here.
A friend of mine introduced me to the Weinberg Center in Frederick, Maryland about a year ago. Although it's a bit of a drive, I never regret visiting. The Weinberg shows different kinds of performances - plays and singalongs and concerts - but its specialty is film. The crowning touch to the majestically restored theater is the Wurlitzer concert organ. According to the Center's website, the organ was purchased in 1926 for $19,000 and today is the only operational movie organ still in its original installation. The Weinberg has a Silent Film series which features the massive organ and the talents of organist Ray Brubacher. Even if you aren't a history geek, it's still impressive when the lights dim and the floor of the stage opens. Up rises the organ, glowing with golden lights, as the organist plays a triumphant song. It's truly breathtaking. It's also a beautiful reminder of what movies used to be - an unforgettable experience.
Overview
The film featured last night was the 1921 version of The Three Musketeers, featuring Douglas Fairbanks. And featuring is correct - he is credited as actor, writer and producer. Right from the opening chords, the film was captivating. The basic plot followed Dumas' story fairly well: a young man (D'Artagnan, played by Fairbanks) out to seek his fortune wants to join the King's Musketeers. In doing so, he falls for a beautiful seamstress to the Queen who is smack in the middle of royal intrigue. The palace scenes, while beautifully decorated, were a bit slow and at times, overly dramatic - the Queen is suspected of having an affair with a British duke, and although she is trying to discourage the duke's affections, the Cardinal is determined to show her as unfaithful before the King. It didn't drag too much through because of the quick cuts back to the story line involving D'Artagnan, which has many comedic scenes as well as terrific duels. In the end, the Queen of France is saved, order is restored, and D'Artagnan becomes a Musketeer.
Highlights
I'd never seen a Douglas Fairbanks film before and was quite impressed that he did all his own stunts. There were some great ones in this film too, particularly the duel in the grocer's shop where he's jumping from counter to counter as he fights. It was obvious to see why such films were hits of their time and how Fairbanks became a star.
Reflection and Recommendation
As I mentioned earlier, seeing this film in a restored theater with a beautiful organ was a grand experience. I could almost imagine being a moviegoer in 1921 at the time of the film's release. The thick carpeting and crystal chandeliers made it even more glorious. As the film itself reads on the opening story card, although set 300 years earlier, the story remains timeless and could have happened yesterday or happen again tomorrow. Truly, great films are timeless. We can watch and celebrate them at any time and be transported back to the days when the story was set or even when the film was made. Part of the magic is the lost art of imagination - silent movies can be boring or difficult if you aren't willing to use your imagination, to put yourself into the story, to absorb it and figure out the missing dialogue. I had an interesting discussion with a friend awhile back about how today's films leave nothing to the imagination. We've gotten lazy as audiences. I want films that make you think, that make you interpret the missing scenes. You learn just as much about story lines from what isn't shown as you do from what is. But that's a topic for another time.
Finally, I would like to recommend this film if you haven't seen many silent pictures. It's a great example of the historical swashbuckling adventures, and a nice introduction to Douglas Fairbanks. Just be prepared that it does run a good two hours. It also leads me to an idea for a future review. As I sat there enjoying the film, I couldn't help but think that D'Artagnan's character had certain quirks and charms that reminded me of Gene Kelly. I had heard in an interview that Gene had wanted to do a version of the Three Musketeers for a long time before finally getting the part of D'Artagnan. I just added the film to my Netflix list and am eagerly waiting to see him as the dashing swordsman. Like Fairbanks, Gene did his own stunts and shared the same charisma. Sitting in the theater last night, I felt like I could see where his desire had come from - Gene Kelly would've been 9 years old when the Fairbanks film appeared - and at that age, imagination is boundless. I imagined that Kelly was probably awestruck as I was. Maybe it was the theater, or the organ, or the film, or a combination, but I felt like I had finally caught a glimpse of the glamour that once was old Hollywood.
Read more about Fairbanks and the others at IMdB, and check out the Weinberg's site here.
Gaucho Serenade (1940)
I meant to post this yesterday in honor of "Fridays with the Flying A," but as Fridays are usually busy, the weekly Gene Autry post will now be on or around Friday instead. :-)
Intro.
So often Gene Autry films are overlooked in the history of American film; most academics scoff at the mention of "singing cowboy" pictures. I've heard a few colorful names for them, like oaters and B-Westerns. But if it wasn't for Gene Autry and the introduction of music to the films, the Western genre may very well have died off back in the 30s. Adding a rising radio singing star like Autry made Westerns appeal to more people, specifically women. More people meant more business and more money. Soon all kinds of singing cowboy pictures turned up, even with stars like Bing Crosby and John Wayne (needless to say, John Wayne had his singing dubbed!)
But it was the Lavender Cowboy himself, Gene Autry, that really led the charge. And of all the films he made prior to his enlistment in World War II, I think that Gaucho Serenade (1940) is arguably one of the best. The premise is similar to many of the "road" pictures common at that time (think It Happened One Night and Without Reservations) - strangers meet on the road West, join together through some outside cause, and at first fight then become friends.
Overview
This film starts with corrupt businessmen having framed a man for murder. As he is about to testify in a case against them, they decide to convince his 12 yr old son to come home from England to reunite with his father. They of course plan to hold him as a bit of blackmail. Anyway, the boy comes over, but mistakes Gene and Smiley Burnett for the businessmen and falls asleep in the back of their car. They don't have the heart to tell the boy that there's no such thing as "Rancho San Quentin" like his father wrote him about. Things get more complicated when the guys unknowingly pick up two women - one of which is a runaway bride (who stole the bridegroom's car no less). What follows is pure entertainment - from the girls and guys bickering, to dodging the cops and the crooked businessmen, to a runaway trailer and hold up, to a shootout on a moving train and even a jail break! It all works out, though: father and son reunite, justice is served to the bad guys and Gene gets the girl.
Review
What I like the most about this film is that it comes right at the middle of Gene's film years - he's learned a lot about acting since those 1936 pictures, but still has that vigor and lighthearted spirit that seemed to dim after the war. Perhaps it was because he wasn't competing with Roy Rogers quite yet. And his role is unusual - not only is he a bit out of his environment (on the road and in cities instead of on a ranch and in some frontier town), but his attitude is more spunky. I love the banter between him and the would-be bride Joyce (played by June Storey). I also love the songs - they fit a little better in the plot, and Gene's duets with Joyce's sister Patsy (played by Mary Lee) are superb.
Recommendation
All in all, if you ever want to see a Gene Autry film, I would recommend starting with this one. It's light, it's funny, has great songs and a great cast. What a great way to start off "Fridays with the Flying A!"
Interested in singing cowboy films? Check out the book Singing in the Saddle by Douglas B. Green and Back in the Saddle Again: Essays on the Western by Edward Buscombe and Roberta E. Pearson. You can also read more about Gene, Smiley and the rest of the cast at IMdB.
Intro.
So often Gene Autry films are overlooked in the history of American film; most academics scoff at the mention of "singing cowboy" pictures. I've heard a few colorful names for them, like oaters and B-Westerns. But if it wasn't for Gene Autry and the introduction of music to the films, the Western genre may very well have died off back in the 30s. Adding a rising radio singing star like Autry made Westerns appeal to more people, specifically women. More people meant more business and more money. Soon all kinds of singing cowboy pictures turned up, even with stars like Bing Crosby and John Wayne (needless to say, John Wayne had his singing dubbed!)
But it was the Lavender Cowboy himself, Gene Autry, that really led the charge. And of all the films he made prior to his enlistment in World War II, I think that Gaucho Serenade (1940) is arguably one of the best. The premise is similar to many of the "road" pictures common at that time (think It Happened One Night and Without Reservations) - strangers meet on the road West, join together through some outside cause, and at first fight then become friends.
Overview
This film starts with corrupt businessmen having framed a man for murder. As he is about to testify in a case against them, they decide to convince his 12 yr old son to come home from England to reunite with his father. They of course plan to hold him as a bit of blackmail. Anyway, the boy comes over, but mistakes Gene and Smiley Burnett for the businessmen and falls asleep in the back of their car. They don't have the heart to tell the boy that there's no such thing as "Rancho San Quentin" like his father wrote him about. Things get more complicated when the guys unknowingly pick up two women - one of which is a runaway bride (who stole the bridegroom's car no less). What follows is pure entertainment - from the girls and guys bickering, to dodging the cops and the crooked businessmen, to a runaway trailer and hold up, to a shootout on a moving train and even a jail break! It all works out, though: father and son reunite, justice is served to the bad guys and Gene gets the girl.
Review
What I like the most about this film is that it comes right at the middle of Gene's film years - he's learned a lot about acting since those 1936 pictures, but still has that vigor and lighthearted spirit that seemed to dim after the war. Perhaps it was because he wasn't competing with Roy Rogers quite yet. And his role is unusual - not only is he a bit out of his environment (on the road and in cities instead of on a ranch and in some frontier town), but his attitude is more spunky. I love the banter between him and the would-be bride Joyce (played by June Storey). I also love the songs - they fit a little better in the plot, and Gene's duets with Joyce's sister Patsy (played by Mary Lee) are superb.
Recommendation
All in all, if you ever want to see a Gene Autry film, I would recommend starting with this one. It's light, it's funny, has great songs and a great cast. What a great way to start off "Fridays with the Flying A!"
Interested in singing cowboy films? Check out the book Singing in the Saddle by Douglas B. Green and Back in the Saddle Again: Essays on the Western by Edward Buscombe and Roberta E. Pearson. You can also read more about Gene, Smiley and the rest of the cast at IMdB.
Wednesday, January 6, 2010
Great Article!
I read this article yesterday and had to post it:
Roy Rogers & Gene Autry Riding High Again
Way to go, Gene and Roy!
Roy Rogers & Gene Autry Riding High Again
Way to go, Gene and Roy!
Tuesday, January 5, 2010
Holiday (1938)
Intro.
I will be the first to confess, I initially wanted to watch this movie because I thought it would be very similar to Cary Grant's other screwball comedies, like Bringing Up Baby. At first I was puzzled and then pleasantly surprised to find that it was more of a comedic drama. It is more light in spirit than the later film, The Philadelphia Story (which also paired Hepburn and Grant) and the humor a bit less cutting. In any respect, I felt it was along the lines of a happier sort of Eugene O'Neill play.
Overview
The plot seems a lot like many romatic comedies - boy meets girl, they fall in love, she doesn't tell him she's rich, her family objects, complications ensue. In this case it's Grant as the clueless, independent free spirit who has fallen for Julia Seton (played by Doris Nolan), heiress to one of the largest fortunes - and snobbiest families - in all of New York. Grant's character, Johnny Case, comes home elated that he has found "the one" - a girl who wants what he wants: the same house, the same life, the same dreams. He agrees to meet her at Christmas to tell her father, but upon arriving at her mansion and learning of her fortunes, he immediately feels out of place. As Julia's father, sister and brother soon learn, Johnny Case is a working boy who has worked his way to a promising job at a financial house. His future looks bright and his charm soon wins them over. On New Year's Eve the engagement is to be announced, but there is a hitch - Johnny reveals that he wants to take the money he's earned and live a rich, full life - take a holiday and learn who he is and what he wants out of life. You can almost hear the air sizzle out of he and Julia's relationship. His audacity to consider such a reckless life instead of a secure one working at her father's bank is more than Julia can take. While this is happening, Johnny finds that he has more in common with Julia's sister Linda, the black sheep of the family who shares Johnny's sense of fun and adventure. I won't give away the ending, but it does have a few twists and turns to try and keep you guessing. One thing you can't miss though, is the undeniable chemistry between Cary and Katharine. It turns what would normally be an average film into a superb one.
Highlights
With such strong personalities in the two lead roles, it is hard to believe that the supporting cast could shine, but shine they do. Most notably is Lew Ayers, who plays Julia's brother Ned. Ned has landed in the role of the reluctantly dutiful son who must forgo his own dreams to learn the family business. To compensate, he drinks to excess each night. While humorous, there is a deep pathos to his alcohol-induced talks with his sister Linda, and he soon becomes a scene-stealer. Neither he nor Linda accept the cold, social-climbing life they have, and find relief in their mother's old playroom - the only room of the house decorated in a cozy, homey way. There is a fireplace and flowery sofas instead of marble and pillars. While Julia and her father find this way of life childish, there is a sense of joy and hope that doesn't exist in the rest of the house. It creates an interesting dynamic for the film - where different scenes take place says as much about what's happening as the dialogue does.
Also worthy of note are Johnny's friends Nick and Susan Potter (Edward Everett Horton and Jean Dixon), who come to the engagement party, but feel completely out of place. They even tease Johnny that they can't recognize him in his tux and slicked back hair. They too take refuge with Linda in the playroom and bring a sense of life back into the house.
Finally, Cary Grant's performance should be mentioned. I love watching him when he's alone in the mansion at the film's opening - he's curious and uneasy and trying to entertain himself. He even gets seperated from the butler and hollers that he's lost. It's very similar in appearance to Jimmy Stewart's character in The Philadelphia Story. On top of that, Cary brings his real-life acrobatics into the picture, doing tumbles and flips throughout, which not only makes him more endearing and child-like, but also highlights his refusal to conform.
My personal favorite highlight is that Johnny Case is supposed to be a Baltimore boy, born and bred. I've lived in and around Baltimore my whole life, and no one born and bred here has an English accent like Grant's. However, I do have to give him credit, unlike Julia's father, he actually pronounces the name of the town with the local drawl instead of emphasizing the 'i'. It's not "Ball-TEE-More", it's "Balw-mer" or "Bal-da-more", hon.
Review & Recommendation
All in all, I highly recommend this movie. You may laugh at Cary Grant doing somersaults and cartwheels, but the film has a serious, deeply moving heart to it. It is a picture about childhood dreams - those we sacrifice and those we need to fight for. It is a grim picture of our economic culture as well, and reminds us that there is much more to life than money.
If you'd like to read more, check it out at IMdB. There's a great write-up about the film by a reviewer with the screenname 'Glenn Miller'. His piece is far more eloquent than I am and it's definitely worth reading. Also, just because it's Baltimore, I still think the two best Baltimore accents I've heard in films by non-Baltimore natives are John Travolta in Hairspray and Robert Mitchum in Cape Fear. Although Mitchum does have a general Southern drawl in that film which could be from anywhere, when he says Baltimore, you believe him!
I will be the first to confess, I initially wanted to watch this movie because I thought it would be very similar to Cary Grant's other screwball comedies, like Bringing Up Baby. At first I was puzzled and then pleasantly surprised to find that it was more of a comedic drama. It is more light in spirit than the later film, The Philadelphia Story (which also paired Hepburn and Grant) and the humor a bit less cutting. In any respect, I felt it was along the lines of a happier sort of Eugene O'Neill play.
Overview
The plot seems a lot like many romatic comedies - boy meets girl, they fall in love, she doesn't tell him she's rich, her family objects, complications ensue. In this case it's Grant as the clueless, independent free spirit who has fallen for Julia Seton (played by Doris Nolan), heiress to one of the largest fortunes - and snobbiest families - in all of New York. Grant's character, Johnny Case, comes home elated that he has found "the one" - a girl who wants what he wants: the same house, the same life, the same dreams. He agrees to meet her at Christmas to tell her father, but upon arriving at her mansion and learning of her fortunes, he immediately feels out of place. As Julia's father, sister and brother soon learn, Johnny Case is a working boy who has worked his way to a promising job at a financial house. His future looks bright and his charm soon wins them over. On New Year's Eve the engagement is to be announced, but there is a hitch - Johnny reveals that he wants to take the money he's earned and live a rich, full life - take a holiday and learn who he is and what he wants out of life. You can almost hear the air sizzle out of he and Julia's relationship. His audacity to consider such a reckless life instead of a secure one working at her father's bank is more than Julia can take. While this is happening, Johnny finds that he has more in common with Julia's sister Linda, the black sheep of the family who shares Johnny's sense of fun and adventure. I won't give away the ending, but it does have a few twists and turns to try and keep you guessing. One thing you can't miss though, is the undeniable chemistry between Cary and Katharine. It turns what would normally be an average film into a superb one.
Highlights
With such strong personalities in the two lead roles, it is hard to believe that the supporting cast could shine, but shine they do. Most notably is Lew Ayers, who plays Julia's brother Ned. Ned has landed in the role of the reluctantly dutiful son who must forgo his own dreams to learn the family business. To compensate, he drinks to excess each night. While humorous, there is a deep pathos to his alcohol-induced talks with his sister Linda, and he soon becomes a scene-stealer. Neither he nor Linda accept the cold, social-climbing life they have, and find relief in their mother's old playroom - the only room of the house decorated in a cozy, homey way. There is a fireplace and flowery sofas instead of marble and pillars. While Julia and her father find this way of life childish, there is a sense of joy and hope that doesn't exist in the rest of the house. It creates an interesting dynamic for the film - where different scenes take place says as much about what's happening as the dialogue does.
Also worthy of note are Johnny's friends Nick and Susan Potter (Edward Everett Horton and Jean Dixon), who come to the engagement party, but feel completely out of place. They even tease Johnny that they can't recognize him in his tux and slicked back hair. They too take refuge with Linda in the playroom and bring a sense of life back into the house.
Finally, Cary Grant's performance should be mentioned. I love watching him when he's alone in the mansion at the film's opening - he's curious and uneasy and trying to entertain himself. He even gets seperated from the butler and hollers that he's lost. It's very similar in appearance to Jimmy Stewart's character in The Philadelphia Story. On top of that, Cary brings his real-life acrobatics into the picture, doing tumbles and flips throughout, which not only makes him more endearing and child-like, but also highlights his refusal to conform.
My personal favorite highlight is that Johnny Case is supposed to be a Baltimore boy, born and bred. I've lived in and around Baltimore my whole life, and no one born and bred here has an English accent like Grant's. However, I do have to give him credit, unlike Julia's father, he actually pronounces the name of the town with the local drawl instead of emphasizing the 'i'. It's not "Ball-TEE-More", it's "Balw-mer" or "Bal-da-more", hon.
Review & Recommendation
All in all, I highly recommend this movie. You may laugh at Cary Grant doing somersaults and cartwheels, but the film has a serious, deeply moving heart to it. It is a picture about childhood dreams - those we sacrifice and those we need to fight for. It is a grim picture of our economic culture as well, and reminds us that there is much more to life than money.
If you'd like to read more, check it out at IMdB. There's a great write-up about the film by a reviewer with the screenname 'Glenn Miller'. His piece is far more eloquent than I am and it's definitely worth reading. Also, just because it's Baltimore, I still think the two best Baltimore accents I've heard in films by non-Baltimore natives are John Travolta in Hairspray and Robert Mitchum in Cape Fear. Although Mitchum does have a general Southern drawl in that film which could be from anywhere, when he says Baltimore, you believe him!
Saturday, January 2, 2010
January is Cary Grant Month!
I'm hoping to have a theme for each month of my film posts. It may be an actor or actress, a director, a genre, or something else. I decided to stay classy and start with the most charming, most elegant gentleman in the acting profession - Cary Grant. I have quite a few films queued up, so let's kick off the New Year with style!
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