Now, Voyager (1942)

Intro.

Now, Voyager is one of those movies I've heard referenced but never had a chance to see.  It seems to come up any time Bette Davis is mentioned and also happens to pop up in questions on the game Scene It: Turner Classic Movies Edition.  It was on a few nights ago and I recorded it on a whim.  Last night I had some time to myself and took a break from my November writing to watch.  What a fascinating film!

Overview

Charlotte Vale (Bette Davis) is the spinster aunt in the very wealthy, very prominent Vale family of Boston.  She lives with her aging mother, Mrs. Vale (Gladys Cooper), who had two sons and then much later in life had Charlotte.  As the film opens, nervous and emotionally battered Charlotte is met at home by her sister in law, Lisa (Ilka Chase), and a famous psychiatrist, Dr. Jaquith (Claude Rains).  After meeting her controlling mother, they meet agitated Charlotte, and Dr. Jaquith talks to her up in her room for some privacy.  Charlotte is in the middle of a nervous breakdown and goes with Dr. Jaquith to his country sanitorium for some rest and therapy.  She makes remarkable progress, even losing some weight and realizing that she doesn't need glasses (she was just hiding behind them).  She gains enough confidence to go out and try something, so Dr. Jaquith books her on a cruise to South America.  On the first shore trip, Charlotte shares a cab with the only other single passenger, dashing Jerry Durrance (Paul Henreid).  As they spend the afternoon together, Charlotte discovers that Jerry is married and has two little girls.  Although initially disappointed, Charlotte and Jerry wind up forming a close friendship which, with the help of a car accident that forces them to spend the night in a cabin together, blossoms into romance.  But Jerry can't get a divorce from his controlling (and also ailing) wife and Charlotte must go back home to face her mother again.  Charlotte asserts her independence from her mother at last, but their final fight ends with her mother dying from a heart attack.  Racked with guilt, Charlotte goes back to the sanitarium, where she befriends a twelve-year old girl (Tina) who is exactly how Charlotte was at that age (right down to the mother problems).  Charlotte becomes her caregiver and invites her to live with Charlotte in Boston, in a home where she will be wanted and respected.  The fact that the girl is Jerry's youngest daughter is what makes this seemingly happy ending very dark and very complicated.

Highlights

There is good reason why this film is considered Bette Davis' tour de force.  She is incredible as Charlotte, both strong and vulnerable, coming into her own while still holding onto that troubled self-consciousness.  Her transformation and wonderful presence really make this film.  What's so remarkable is her subtlety as she plays this role.  She makes Charlotte more than the conventional "basket-case" heiress who makes a breakthrough.  We can see that she is still vulnerable under that sarcasm while on the tour of South America and while taking care of Tina, she is also taking care of herself.

Also stand-outs in their performances are Paul Henreid and Claude Rains.  Rains was reportedly not going to do the picture initially, but after his part was built up, he took it and did a marevellous job.  I wasn't sure at first how believable he'd be as a psychiatrist (maybe I have him stuck in my head as Capt. Renault), but he does a great job and is really fun to watch.  Paul Henreid is equally good as Jerry, making his character both lovable and easy to hate.  He makes Jerry a round, dynamic character instead of playing him off as the trapped husband.  I especially enjoyed Tina, played by Janis Wilson, who can be a real scene stealer.

I have a few random points I'd like to bring up here, so forgive the disjointedness here.  First is that the ending caught me by surprise.  Not to give anything away, it was much more realistic and sad than I had expected.  You won't find all that Hollywood feel-good stuff here and don't expect wedding bells.  But it is still a triumph - an assertion of Charlotte coming into her own and being happy with her life.  Also pleasantly surprising was seeing Mary Wickes make an appearance as Mrs. Vale's nurse.  Can't place her?  She's been in everything from Higher and Higher to White Christmas to the more recent Sister Act.  She adds a great touch of comedy to the picture and I always love seeing her.  Finally, one bit of Hollywood trivia - Now, Voyager ran late in filming, and Paul Henreid literally finished his shooting on the film one night and bright and early the next day was on the set for that other 1942 gem, Casablanca.   

Now, Voyager is a film about finding yourself and accepting happiness, even if it does not come in the dream you were expecting.  It is deep, poignant and timeless in its portrayals of family duties and personal responsibilities.  The title refers to a line from Whitman, which Dr. Jaquith gives to Charlotte as she embarks for South America.  It goes: "The untold want by life and land ne'er granted, /
Now, voyager sail thou forth to seek and find."  What a fitting line for Charlotte's journey towards her own self-discovery.

Review

I really enjoyed this movie, even though I wasn't so sure I would at first.  The rich characters and fine acting create a story worth seeing that transcends 1942.  I could go on about Now, Voyager, but the last line of the film really captures the essence of the whole film.  Charlotte looks out the window and says, "Oh Jerry, don't let's ask for the moon; we have the stars."

Woman of the Year (1942)

Intro.

It was Katharine Hepburn day on TCM and I cheered!  What a great salute to a sensational actress.  I had been wanting to see more films featuring Katharine Hepburn and Spencer Tracy, so this presented the ideal opportunity.  As I read the description of Woman of the Year, I realized how similar it was to Designing Woman, which I had recently seen.  Watching the original or the movie that inspired another is always great, so I picked the perfect film.

Overview

Woman of the Year begins with top newspaper columnist Tess Harding (Katharine Hepburn) giving a radio interview about international affairs in which she says that sports have no purpose.  Sports writer Sam Craig (Spencer Tracy), who works for the same paper, takes offense and writes his next column as an attack on Tess's statements.  She in turn writes a ripping rebuttal, but before the war can continue, their editor calls them into his office to meet in person and make nice.  They do more than that as Craig falls in love at first sight with Tess.  From their, the mismatched pair continues a fun courtship including a baseball game where Sam has to explain every single move and play on the field to Tess, and then Tess throws a dinner party where Sam is the only English-speaking guest.  They wind up married, but right from the start we can see they're in for a lot of headaches (well, at least Sam is).  While Tess might be spending all of her time trying to improve the world, she spends no time trying to improve (or even have) a marriage.  It all comes to a head when she is named Woman of the Year on the same night that Sam moves out of their apartment.

Highlights
Hepburn and Tracy have undeniable chemistry.  This was their first movie together; in fact it was the first time they had met in person.  And from there, as they say, the legend was born.  A thirty year romance started off-screen, and the love comes across in some wonderful acting on-screen.  

This film is an unusual look at marriage, particularly because Tess is the one career-driven while Sam is the one neglected at home.  The film moves from comedy to drama after the marriage, and Sam's disappointment grows.  It's refreshing to see such real characters and impressive when Sam finally moves out.  I couldn't help but think it was a pretty daring move for an audience of 1942 and would still be considered pretty bold by today's standards. 

Not to give away too much, but the film concludes with both Sam and Tess realizing that marriage is a melding of their two lives, a constant compromise, a meeting in the middle.  That's why Sam has such a good ending line: "I don't want you to be Tess Harding or Mrs. Sam Craig; what about Tess Harding Craig?"

Review and Recommendation

Woman of the Year is one of the great films by one of Hollywood's best couples.  It is a humorous, yet still powerful look at marriage.  It will pack an emotional wallop.  An enduring, endearing film, I'd recommend it to everyone. 

Casablanca (1942)

Intro.
Casablanca.  The name alone conjures the now-iconic images from the film: Bogart slumped at a table drinking and muttering about all the gin joints in all the world, the look on Ingrid Bergman's face as she asks Sam to play "As Time Goes By", the ending that leaves us breathless - the plane, the fog, the beginning of a beautiful friendship.  This film above all others defines what it means to be a classic. 

The first time I saw this film, I have to say, I wasn't all that impressed.  I couldn't follow the German/French resistance storyline and Claude Rains just got on my nerves.  But now that I've seen it about four times, I have to say that it's grown to be one of my favorite films.  However, like some of the people I've talked to, I have to be in the right mood to watch it, mainly because it is a bit slow in some parts.  I wasn't feeling very festive this past Valentine's Day, but TCM aired the film and for some reason I couldn't turn it off.  That's when I knew I had to bend my blog rules and write about it.

Overview

Rick (Bogart) runs a bar and nightclub in the town of Casablanca.  It's 1942 and while Morocco is unoccupied, the German Gestapo is a real presence.  With WWII raging in Europe, many refugees are coming to Casablanca in order to make the trip to America.  Travel papers are hard to come by, so most of them come to Rick's to find contacts.  Such is the case of Victor Laszlo and his wife Ilsa.  Rick, it so happens, has gotten two passes to America - tickets to freedom.  And Ilsa happens to be the woman he loved a long time ago in Paris (hence "we'll always have Paris") who left him without explanation and completely broke him.  Ilsa and Rick must ask themselves if their love is still alive and worth fighting for, despite the danger that lies for Victor, who is a key leader in the Resistance.   

Highlights

I think part of what makes this film work is the mood - as I wrote earlier, you have to be ready to watch it.  Despite its usual label of a "love story" I would argue that it is instead a film about love and heartbreak.  I'm never ready to watch it when I'm happy or want a fun movie to cheer me up.  I want to see it on those days when I'm curled up in blankets on the couch with the rain beating down on the windowsill.  It's a melancholy type of film.  We see the love that Rick and Ilsa had and we are made painfully aware that it is gone.  Ilsa tries to convince Rick she still loves him, but does she really?  I change my mind each time I watch.  Which leads to the next point - great acting.  Ingrid Bergman is beautiful, smart and such a natural.  Claude Rains is funny and a bit over the top as Captain Renault (although after viewing it a few times, I've noticed more of his backstory, which made him more endearing).

I was going to keep this post short since it's such a famous movie, but I can't stop without mentioning Bogart.  Humphrey Bogart makes this film.  It was his "breakout" role in the sense that it established him as a romantic leading man, not just a gangster or tough guy or wisecracking detective.  He had just done The Maltese Falcon the previous year, and established himself as an icon in film noir.  This film, however, makes him even more of a star.  And most of that is how well he plays the role of Rick.  This tough, neutral-standing saloon keeper lets down his rocky facade and shows how vulnerable he is.  It's moving, it's completely human and it's darn good movie-making.  Rick becomes the classic American hero - he is willing to sacrifice his own happiness for the "greater good."  He's got a criminal past, he runs a saloon with illegal gambling, has lousy friends yet somehow we love him. 
 

Review

This part I will keep short - if you haven't seen this film, watch it.  If you've seen it once and not been too impressed, wait awhile and watch it again, preferably on a rainy night when you're in the mood to think about things like lost loves and old memories.

As always, check out IMDb, and if you get a chance, try to see the documentary "Bacall on Bogart."  It's a great look at the life and career of Bogie, and will shed some light into this film as well. 

The Road to Morocco (1942)

Intro.
The third of the Bob Hope and Bing Crosby road pictures, The Road to Morocco definitely has the most memorable theme song!  It had been a long, long time since I had seen any of the "Road" pictures, so when TCM held a night filled with Bob and Bing, I had to catch up with this one.  It certainly illustrates the crooner-comedian format that defined many comedies of the forties and fifties and even 64 years later continues to entertain and delight audiences.

Overview
In this parody of Arabian swashbuckling adventures, Orville (Bob Hope) and Jeff (Bing Crosby) have been stranded on a raft in the ocean.  After nearly starving and getting sick of each other, they land on a sandy beach and climb aboard a camel that takes them through the desert and into a bustling city somewhere in Morocco.  Once there, Orville gets noticed by a princess (Princess Shalamar, played by Dorothy Lamour) and Jeff gets his hands on $200.  The only problem is, Jeff gets the dough by selling Orville!  Jeff's conscience gets the best of him, so he goes out to rescue Orville.  Only thing is, Orville has been sold to the Princess and is set to marry her.  But when Orville finds out that the first husband of the princess is fated to die within a week of the wedding, he tries to get Jeff to take his place.  It almost works until sheik Mullay Kassim takes them all hostage in order to marry the Princess himself.  The prophecy is found out to be false, so Bob and Bing must escape and save Dorothy and make it back to the good ole USA! 

Highlights
I love this movie.  Bob and Bing always make a terrific pair, but here is one of their best performances.  I think what makes the movie such a standout is that it doesn't take itself seriously.  Throughout the film, the boys are constantly breaking "the fourth wall" - in their opening song, they sing "I'll bet you eight to five that we meet Dorothy Lamour!"  Later, and perhaps my favorite gag, is when the sheik throws the boys in jail, Orville starts going through all of what's happened up to that point.  When Jeff says he knows all that, Orville replies, "well, the people who just came into the movie don't know that." 

I'm not normally a huge Bing Crosby fan.  Don't get me wrong, I like him and I think he can really sing well, but I guess I'm more of a Frank Sinatra girl.  But when Bing sings "Moonlight Becomes You" I have to admit, I kind of swooned.  If you ever want to know why millions of women went nuts for Bing, listen to him sing this ballad.   

Celebrity Spotings
Anthony Quinn plays Mullay Kassim.  According to Robert Osborn, Anthony was often cast in a wide range of ethnic supporting roles because of his appearance.  He was of Irish-Mexican descent, yet he looked a little Middle Eastern.  He would later go on to play in The Guns of Navarone and The Old Man and the Sea, and would win Oscars for Viva Zapata! and Lust for Life.  And he is both strong and funny as the sheik.  Also of note is Dona Drake, who plays one of the princess's handmaidens who falls in love with Orville and helps him escape.  I had to look her up on IMDb because she looked so familiar - I had seen her in Without Reservations (ironically enough, another funny road movie).  She's pretty awesome in this one too, and can keep up with Bob's quick humor.

Review
The Road to Morocco is what good family comedy is all about.  There's enough humor for everyone to enjoy and will endure as a comedy classic for a long, long time.  If you want to see a Bob Hope Bing Crosby film, I strongly urge you to start with this one - you won't regret it!  (And I'll bet you eight to one that you get the theme song stuck in your head!)

As always, read more at IMDb.com.  Want to hear the theme song?  Check it out here.