A Hole in the Head (1959)

Frank might have "High Hopes" but he's got a very low bank account. Make that non-existent.

Intro.

I took a break from holiday movies the night before last.  As I near my 100 film goal, I decided I wanted to review one last Sinatra film, and this one was fresh on my DVR and also one I hadn't seen.  The premise sounded good, but after watching, I still have some mixed feelings. 

Overview

An owner of a run-down Miami hotel, Tony Manetta (Frank Sinatra) tells his story straight: "If anyone thinks I'm a well-heeled bigshot out on a spree, they've got a hole in the head.  Truth is, I'm broke."  Not only is he broke, but he is trying to support his twelve year old son Ally (Eddie Hodges) and raise enough dough to dodge their eviction.  Tony's respectable, business-owner Mario (Edward G. Robinson) and Mario's wife Sophie (Thelma Ritter) come down from Brooklyn, worried about Ally's well-being, as Tony is notorious for living recklessly and often going broke.  At first they want to take Ally back to live with them, but then they hatch a plan to get Tony married to some nice, respectable girl (Sophie's friend Mrs. Rogers (Eleanore Parker) happens to fit the part) so Mario can get him set up with a shop and a nice, respectable home.  But Tony can't quite shake his get-rich-quick schemes or his penchant for "wild" women and good times.  What comes across though is how strong his bond is with Ally, who loves him unconditionally.  It's that bond which takes center stage in the film and ultimately saves Tony.

Highlights

Okay, Eddie Hodges has to be one of the cutest kids ever.  He is so much fun to watch and a complete scene stealer.  I loved his reaction when he sees Mrs. Rogers for the first time and is shocked at how lovely she is.  And his interaction with Frank Sinatra is really something to admire; they work very well together, which is great because their relationship is really the heart of the film.  Tony might not be in the running for best father of the year, but it isn't for his lack of trying.  I think Sophie says it best when she tells Ally that "He's a child of 41 and you're a grown man of 11."  He decides to have Ally go and live with Mario and Sophie in the end and hates himself for it and hates that he can't be the kind of father Ally deserves.  The ending, not to give too much away, is really bittersweet.

I also loved Edward G. Robinson in this non-gangster role!  What a treat to see him as the respectable older brother.  And Thelma Ritter makes a great match for him.  But especially good is Eleanore Parker, who is undeniably sweet and charming and helps Tony sort things out in the end.  And then there's Frank, who does a great job.  I think the reason I felt so conflicted about this movie is because I both loved and hated Tony a little, but in the end just kind of felt sorry for him.  I wanted to be on his side the whole time, but when he went to the dog track, I just knew something bad would happen.  He just didn't know when to quit.  I think it gets summed up best in the song that Frank sings during the opening credits.  The song is "All My Tomorrows" and the line I loved was "And all the dreams I can beg, steal or borrow on some bright tomorrow belong to you."  Basically this movie will not follow a traditional pattern of a romantic comedy or family drama - it falls somewhere in-between and seems at times a bit superficial.  I wish I could have had more time with these characters and gotten to know them better.

Review and Recommendation

While I found this movie entertaining, I wouldn't say it was extraordinary.  It was a pretty standard film; like I said, about middle of the road.  The cast is all very good and the little boy is adorable, but there is still that vein of despair mixed in with the humor.  I haven't really made up my mind about recommending it, but if anyone out there has seen it and would like to comment, please do!      

The Shop Around the Corner (1940)

If you think this is simply the precursor to You've Got Mail, you've got another thing coming!

Intro.

In keeping with my theme of holiday films, I decided to watch The Shop Around the Corner the other day.  My original plan was to watch part of it while I had dinner, then do some chores and then finish it later.  Well, needless to say, those chores never got done because I fell so much in love with the film.  I had vaguely remembered seeing it some time back, but found myself surprised and also deeply moved upon watching it this time around.

Overview 

The opening screen of the movie reads: "This is the story of Matuschek and Company - of Mr. Matuschek and the people who work for him.  It is just around the corner from Andrassy Street - on Balta Street in Budapest, Hungary."  Indeed it is about Mr. Matuschek (Frank Morgan) and his employees in his leather goods shop in the few weeks leading up to Christmas.  His lead salesman is Alfred Kralik (Jimmy Stewart), whom he treats like a son.  There's also the arrogant Mr. Vadas (Joseph Schildkraut), the kindly father and fellow clerk Mr. Pirovitch (Felix Bressart) and delivery boy Pepi (William Tracy).  A woman named Klara Novak (Margaret Sullavan) comes into the shop and despite not being able to support another clerk, Matuschek hires her because she is able to sell a musical cigarette box that Kralik is convinced won't sell.  Klara and Kralik do not hit it off and their rocky relationship continues until Kralik is fired.  During that time, they both reveal (not to each other) that each has been corresponding with an anonymous pen-pal.  In truth, Kralik has fallen in love with this woman who writes to him as "Dear Friend" and Klara thinks her "Dear Friend" is a gentleman far better than Mr. Kralik.  You probably guessed it - they are each other's dear friends.  Kralik realizes it before Klara and tries to patch up their rough work relationship.  That isn't easy because, as I said, he was fired.  Mr. Matuschek believes one of his employees is having an affair with this wife, and only Kralik had ever been to Mr. Matuschek's home.  When the PI confirms that he has proof, a devastated Mr. Matuschek fires Kralik.  When the evidence proves it is in fact a different employee, Mr. Matuschek breaks down and tries to commit suicide, interrupted only by Pepi's late return to the otherwise empty shop.  Kralik gets his job back, even a promotion to store manager, and the only thing left to do is reveal to Klara who her pen pal truly is.

Highlights
So much has already been said about the wonderful chemistry between Jimmy Stewart and Margaret Sullavan, but I have to add a brief comment.  They are absolutely brilliant screen partners and make a great couple whether they are arguing about suitcases or talking about love.  Not only are their characters well rounded, but also well acted.  I love the scene in the cafe when the pen-pals are supposed to meet for the first time, but Kralik realizes that Klara is his date and he can't bring himself to face her.  Instead he takes off his carnation and meets her as if he too is waiting to meet someone and tries to get her opinion on her mysterious pen pal.  It's great! 

I think what really struck me about this film was Matuschek.  That intro. card was right - it really is about him and the people in his shop.  Frank Morgan gives a great performance and his depression then recovery really hits at the heart of this film.  It isn't just about pen pals lovers who unknowingly work (and bicker) together.  It's also about love lost and the toll infidelity takes.  Matuschek's realization that his employees were more family to him and his shop was his home is both sad and  beautiful.  That theme is often repeated in holiday films too; that Christmas in particular is really about the gift of those we love, including "families" of people who aren't actually related.           


I was so excited to see this film appear in the New York Times Critics' Picks section.  There's a wonderful film clip there with reviewer A. O. Scott talking about The Shop Around the Corner.  He mentions that the film takes place in Budapest although none of the actors look Hungarian (and speak English with distinct American accents *I'm looking at you, Jimmy Stewart*).  Scott says that it could be that director Ernst Lubitsch, who was originally from Germany, could have been trying to recapture some of the nostalgia and comfort of the "old country."  I thought about when this film came out and how with all the immigration to America at the turn of the century and into the 1920s, the audience in 1940 probably were from Eastern Europe or were children of immigrants from that area.  It could have been a piece of their family history or they could imagine their parents shopping at a similar store once upon a time.  I'm more than a few generations away, but I also loved that nostalgic, old-world charm, particularly as some of my family came from Czechoslovakia and had similar sounding surnames (at least similar sounding to me anyway).  I'm not sure if WWII played a role in it either, though it's an interesting idea - why didn't they simply change the store to New York or even Bedford Falls? 

The Shop Around the Corner does wax nostalgic and has its share of charm.  I know I've said this before, but I am not a fan of remakes.  Usually the classic films are the ones that really get things right; films today are usually more concerned with what can make the most money in a weekend as opposed to having a great story.  Although I do enjoy some remakes, I think it's always good to go back and see the original, and The Shop Around the Corner is no exception.  It's been remade as In the Good Ole Summertime, Shop, and You've Got Mail.  It has other followers too.  All those Christmas-themed love stories, all those romantic comedies about people hating each other then finding out it's really love after all - they all owe their story lines to The Shop Around the Corner.  It's true that the formula of bickering, misunderstandings and eventual true love isn't new. You could go back at least as far as Pride and Prejudice (and probably even further) and find the same story.  But The Shop Around the Corner was one of the first films to really get it right and make an almost perfect film.

Review and Recommendation
If you haven't yet watched The Shop Around the Corner, add it to your list.  Curl up with some of the people you love and enjoy this great film.  Perfect for the holidays, but just as enjoyable any day of the year, I have a feeling you'll fall in love with Klara and Kralik and all the folks at Matuschek and Company!

Holiday Affair (1949)

All I want for Christmas is you, Robert Mitchum!

Intro.
I have a long list of favorite holiday movies, as I'm sure most people do.  But near the top of my list is one that I've never confessed to liking - Holiday Affair.  I was talking in my last post about the corny nature of some Christmas films, and this one is no exception.  I've never told anyone it's one of my absolute favorites mainly because I like to think of it as a sort of Christmas secret, maybe even a guilty pleasure.  Sure it's corny and a bit silly, but still delightful.  And really, how could I say no to a Mitchum romantic Christmas comedy?

Overview
Connie Ennis (Janet Leigh) is a war widow and mother who works as a comparison shopper.  She purchases a train for her job from amiable sales clerk Steve Mason (Robert Mitchum) and takes it home overnight instead of straight to her office.  Her six year old son Timmy (Gordon Gebert) peeks at it and is overjoyed, but his hope is shattered the next day when the package is returned.  Unfortunately, Steve has figured out Connie's job, but lets her go without contacting the store detective.  He then loses his job, but manages to take Connie to lunch.  Steve is the most unusual person Connie's met; he's a generous, kind, free spirit who wants to build sailboats in California.  He helps her finish her shopping and carries some of her packages home, but they get separated.  Back home, Connie trims the Christmas tree with Timmy and her boyfriend Carl (Wendell Corey) but is interrupted when Steve finally finds her apartment and turns up with her packages.  She has a lot of explaining to do, especially when Timmy takes a real shining to Steve that he hasn't taken to Carl in the two years Carl's been around.  It doesn't help any that come Christmas morning, Steve sends an electric train to Timmy.  What it comes down to is that the two men both propose to Connie and she must choose if she wants to take a chance on real love or take shelter in a life with a man she just likes a lot.  But can Timmy adjust to the changes in his life and can Connie let go of the memory of her late husband and let herself be loved again? 

Highlights
Another TCM back story: So Robert Mitchum hit a bit of a low point in 1948 when he was arrested and served a prison term for marijuana charges.  When he got out, studios didn't really know what to do with him, leading to several unconventional roles for him.  Howard Hughes saw to put him in this romantic comedy as it would help clean up Mitchum's image and establish him as a good guy.  That's why Robert Osborne's line was so funny - he said the film stars the "last person you'd expect in a warm fuzzy Christmas movie."  So true, but also so wonderful.  Mitchum is cool and self-assured and definitely comes off as a "warm and fuzzy" sort of leading man.

What I really enjoyed about the film after viewing it again this year was the complexity of the relationships.  I think I missed some of it in previous years, but Mitchum sums it up in one line.  "It's not just two guys fighting over you.  It's two guys, a woman and her husband."  The film does focus on all the details of Connie's relationship with her son and how she sees her husband in Timmy.  But even more interesting is how Connie's mother-in-law also takes that same line, remarking just how much Timmy still looks like his father.  I think that aspect is what makes the film different from most feel-good romcoms: it isn't so much about two men fighting for a woman, but a woman having to decide whether or not she wants to make herself vulnerable again by giving in to love.  I understand how she feels; she doesn't want to risk that massive heartache of losing someone again.  It's touching and very human.  I admire Janet Leigh a lot more each time I see this movie for just that reason.

Speaking of touching moments, you have to love Timmy in this movie.  He is a scene-stealer for sure.  His talk with Steve about how miracles don't happen (Steve convinces him that they do) is memorable, though not as good as what Timmy does later.  On Christmas Day, Steve is arrested (it's a long and pretty funny story, but basically he gave his necktie to a homeless man who then used the tie to attack, gag and rob some other guy).  Everyone comes to the courthouse to bail him out, and Timmy hears Steve admit that he's broke (he spent his last few dollars on Timmy's train).  It doesn't seem to bother Steve, but it does bother Timmy.  Timmy sets out the next day to take his train back to the department store for a refund.  He walks all the way there and has a heck of a time trying to get the money back.  He manages to get up to the President's office and as he is undeniably adorable (I mean, he's 6 years old and carrying a train set almost as big as he is), he is allowed to speak to Mr. Crowley.  He gets his refund and a ride home to his worried-sick mother.  It's a very selfless and grown-up thing to do, but more than that, it's the true spirit of Christmas.  (I'm going to stop here before I get too mushy!)

Review and Recommendation
Holiday Affair may seem a bit silly and old-fashioned, but it has enough warmth and heart to make anyone's season bright.  I recommend it as a good holiday romance film.  So break out the popcorn and hot cocoa and enjoy!

Marty (1955)

I had no idea Ernest Borgnine could be so lovable!

Intro.

I never really liked Ernest Borgnine before, probably because I had always seen him cast as bad guys, most notably as "Fatso" in From Here to Eternity.  But the write-up of Marty in the television listings sounded simple but charming, so I gave it a shot.  The write up said: Love comes to a shy, heavyset Bronx butcher.  Oscars for Screenplay, Director, Lead Actor and Best Picture.

Overview
Marty Piletti is a heavyset 34-year old butcher living at home with his mother.  He's constantly reminded by his customers (mainly Italian-American wives and mothers) and family that all five of his siblings, both older and younger, are married.  "You should be ashamed of yourself," most of the women say.  But it's not like Marty can help it; "I've been looking for a girl every Saturday night of my life."  And this Saturday is no different; he and his friend Angie (Joe Mantell) heed his mother's recommendation and go to a dance club called the Stardust Room.  Marty gets the brush off from girls, as usual, and he gets a bit disheartened.  Then something incredible happens - this fellow approaches him, explains that he's on a blind date with a girl who's a dog and he's met up with some girl and wants to ditch his date.  He offers Marty $5 to take his place on the date, but Marty being a very kind hearted gentleman calls the guy out for being a huge jerk.  The guy goes off and Marty sees the girl alone.  She looks so fragile and sad and when she goes out onto the fire escape to cry, Marty follows her.  She's not a dog at all, though she's not as attractive as some of the other women at the club.  Her name is Clara (Betsy Blair) and pretty soon she and Marty are inseparable.  They dance, they confide in each other, they go out for coffee and wind up talking for three hours.  What they have in common is that they've both nearly given up on ever finding love.  Yet here they are, a perfect match.  That is, until Clara meets Mrs. Piletti and disagrees with the family situation - Mrs. Piletti's sister Catherine is being kicked out of her son and daughter-in-law's house because the two women can't get along.  So Mrs. Piletti, who's been after Marty to get married, refuses to like the girl he's finally found.  Marty's friends aren't any help either, saying that Clara's a dog.  Angie even gets jealous because Marty won't be spending time with him anymore.  Will Marty take a chance on Clara or will he let what might be his only chance for true love pass him by?

Highlights 
As I said in the tagline, I had no idea that Ernest Borgnine could be so lovable.  This is one of the few (and possibly the first) times he was cast against his bad-guy type.  And he's wonderful!  Right from the opening lines we can see how kind and patient he is, even against the constant barrage of "when are you gonna get married?"  We can see his close relationship with his family, which makes his decision much harder.  Borgnine does a great job and it's easy to see why he won Best Actor (though I would've been torn on the Committee because he was up against Frank Sinatra in The Man with the Golden Arm).

What works so well is the simplicity of this story.  A reviewer on IMDb wrote that this was the time when we didn't need special effects or action scenes to make a great and unforgettable story.  And we don't just have the story of Marty and Clara.  Just as impressive is the story of Aunt Catherine (Augusta Ciolli) and her fight with her daughter-in-law.  Two women trying to rule the same house is difficult and it's a real shame that they can't get along.  The fight that results between the daughter-in-law, Virginia, and her husband Tommy is realistic and an interesting perspective on married life.  The scene where that fight unfolds is after they move Aunt Catherine into her sister Mrs. Piletti's house.  They're on the porch and Marty's trying to ask Tommy about a business idea - he wants to buy the butcher's shop.  He asks a question, but Tommy replies instead to Virginia about the situation with his mother.  They finally leave, telling Marty that he's stupid to want to get married.  Meanwhile we also get this lovely exchange between sisters Catherine and Teresa (Mrs. Piletti).  They talk about growing old and feeling unloved and unwanted by their children.  For these women, their children were their whole lives and although they are happy to see them married, they are also facing  loneliness.  The heart of the film lies in this loneliness, both for the women and for Marty and Clara, and how it can be overcome.       

Clara is also really well played by Betsy Blair (who is anything but ugly, but made up to look less attractive).  She has a college education, a loving home with her parents and a job offer waiting for her, but the one thing she wants most is the one thing she can't have.  Her confession to Marty that she'd been to the Stardust Room before and sat alone for an hour and a half without a single dance request (guys even came to her table then changed their minds) is really important and truly heartbreaking.

I don't want to get too personal here, but watching this film made me feel better about myself.  If Marty and Clara can find love, then so can anyone.  That's what really made this film stand out to me - hope.  There really is someone for everyone.  It's what makes us human, this desire to love and be loved.  No wonder it won best picture.  Everyone can cheer for Marty and Clara.     

Two stories to end with: First, although television was a huge threat to the film industry in the fifties, this film crossed the line between the media.  Marty was originally a television drama featuring Rod Steiger.  But Burt Lancaster's production company bought the rights and made it into a feature film.  When it won Best Picture, the news left a big impact on the industry.  Television wasn't just the low-class enemy anymore.  And a funny story: I was on the phone with my friend Catherine trying to explain this story.  She asked, well, how ugly is the guy who plays Marty?  Is he really ugly?  I said, "well, it's Ernest Borgnine, so...."  I don't know that I'd call him the ugliest actor in Hollywood, but he's a very far cry from say, Cary Grant.  However, Betsy Blair I think was too pretty to play a "dog".  It also made me smile when she said no one would dance with her because her real life husband was Gene Kelly.

Review and Recommendation

I love this movie.  I know I've already said that, but I want to say it again.  I can always tell when I really liked a movie when I get really upset that it ends too soon.  In this case, I wanted to see the rest of it - Marty and Clara dating more, getting married, having a family.  But it was cut short!  Still, the way it ends is probably Borgnine's finest moment on film.  I definitely recommend Marty to everyone, especially to shy, single folks like me who have just reached the age when our group of single friends shrinks rapidly and we starting to get invitations to weddings.  If Marty and Clara can find love, so can we!  

Sabrina (1954)

Bogart's a little too old, Holden's a little too blond, but Audrey is just right.

Intro.

I think everyone is familiar with the story of Sabrina. An ordinary girl falls in love with a rich man who doesn't know she exists, she goes away and transforms into a lady and upon her return, he falls in love with her.  There's more to it, of course, but at its heart, Sabrina is in every sense a Cinderella story.  With a seemingly perfect combination like Billy Wilder, William Holden, Humphrey Bogart and Audrey Hepburn, Paramount was excited to see what a great film would be created.  They were right, though the off-screen story was far from a fairy-tale.

Overview
"Once upon a time, on the North Shore of Long Island, some thirty miles from New York, there lived a small girl on a large estate."  So begins the story of Sabrina Fairchild (Audrey Hepburn), the timid young daughter of the chauffer employed by the very wealthy Larrabee family.  She is in love with the younger of the Larrabee sons, David (William Holden), who is a playboy with three divorces to his name and no work ethic.  That ethic is instead present in his older brother, Linus (Humphrey Bogart), who is a regular workaholic with no time for fun.  Distraught because David doesn't know she exists, Sabrina tries to commit suicide, only to be stopped by Linus.  Her father has saved his money and sends her to Paris the next day to cooking school.  Over the next two years, she not only learns how to cook, but also how to live and returns to Long Island as a sophisticated, knowledgeable and absolutely beautiful lady.  David is quick to notice her now and finds himself ignoring his fiancee in favor of Sabrina.  Linus won't stand for that, though, as David's marriage is part of a company merger in a multi-million dollar plastics manufacturing deal.  So Linus decides to distract Sabrina so that she'll forget about David; he'll even pay her off it that's what it takes.  None of them expect what happens next, as Linus learns to loosen up some and winds up falling for Sabrina himself.  When Sabrina gets two tickets to sail back to Paris, just who will accompany her?   
 

Highlights

Sabrina has all of the charm and humor of a classic romantic comedy.  It is one of the best examples of the genre and I believe a lot of that has to do with the fine writing and even finer performances.  You can tell Bogart and Holden are well versed in acting, and even though this was only Audrey Hepburn's second film, she is captivating and ideal for the role.  I know I wouldn't want to be in her shoes as Sabrina, having to choose between Linus and David.  What a sweet, funny movie.  Sabrina proves my point that a great film doesn't need violence, awful language or sex to be entertaining.  I swear if you don't at least smile when David is getting broken glass removed from his rear end (yes, he sat on two champagne glasses) and Linus calls out "goodbye, Scarface," you don't have a sense of humor.

As I mentioned above, the back-stage story is even more interesting than the one on the celluloid.  I have a DVD of Sabrina, and watched the short documentary for the first time.  Like the film it was upbeat, innocent and featured a voice-over that sounded more like a trailer introduction than a documentary.  Originally Cary Grant had held the role of Linus, but had to back out one week before shooting began.  Paramount needed an older, well-established star and turned to Bogart.  This was unlike any role he had previously held, and he was excited for it.  He even remarked during production that "if I were as handsome as Bill Holden, I wouldn't have any doubts as to why Bacall married me."  That's all well and good, but I knew something was a bit off, so I pulled out my copy of Bogart by A.M. Sperber and Eric Lax (a fabulous book that I highly recommend!) and checked into it.

There's a very funny story from Bogart.  In 1939, Bogart was a bit upset that he took fourth billing after much younger William Holden in a film called Invisible Stripes.  On set, Holden insisted on doing a stunt by himself, where he drove a motorcycle with Bogart as the passenger.  The book has it written this way: "Bogart objected - 'That S.O.B., he'll crack it up!' - but Holden insisted. He promptly ran the bike into a wall.  Only egos were injured. (pg. 103)"  No wonder Bogart was a bit leary when he worked with Holden again. 

According to Sperber and Lax, Bogart was excited to do Sabrina, but that excitement faded once he realized that Holden and director Wilder were already buddies (they had just made Sunset Boulevard and Stalag 17 together), and along with young Hepburn, they formed a sort of clique that left the older star out in the cold.  As they wrote in their biography, Sperber and Lax talked about the private meetings and lunches between the others.  "Evidently no one thought of inviting Bogart.  Then again, probably no one observing one of the biggest stars in Hollywood, with one of the loveliest women waiting for him at home, would have guessed the wells of insecurity tapped by this exclusion." (pg. 492)  He just wanted to be asked, to be recognized.  He became difficult to work with, arguing and throwing tantrums, though he wasn't the only difficult one - Wilder was just as difficult, and would sometimes get Hepburn to pretend to be sick because he didn't have the day's script finished yet.  None of those problems show in the finished film, however.  Bogart and Wilder made peace a few years later, but what happened during the filming of Sabrina is still a part of Hollywood history.

One last point I should make is that the Paramount costume and wardrobe designer was Edith Head, whom I adore.  She designed all the gowns in What a Way to Go! and those absolutely jaw-dropping dresses for Grace Kelly in Rear Window.  So when Audrey Hepburn decided to ask new fashion designer Hubert de Givenchy to make her clothes for the post-Paris part of the film, I was a bit disappointed.  Not by the gowns, because they are gorgeous.  Still, I should say it must have been harder to make dresses for Audrey Hepburn that made her pretty but still a bit school-girlish.  And those were entrusted to Edith, who did as wonderful a job as ever.  I think I have a bit of a crush on her, or at least on her work.

Review and Recommendation
Sorry to make this such a long post!  All in all, Sabrina is a true classic.  Funny, charming and sweet, it's a perfect example of a romantic-comedy.  I highly recommend it for the great acting, the beautiful Audrey Hepburn, and those early dresses from Edith Head.  Can I say the obvious tagline?  Let your heart be stolen by Sabrina!

P.S. Bogart really is one of the best biographies I've ever read.  Maybe even the best.  It's by A. M. Sperber and Eric Lax, published by William Morrow and Company, New York, 1997.  No copyright infringement intended. 

The Moon is Blue (1953)

Intro.

As much as I am a fan of movies, I am also a bit of a television nut.  It helped that I lived with two friends during college who also watched a lot of television, and our inevitable "television nights" became a great refuge.  One of my favorites was (and still is) M*A*S*H, which I watched every day in reruns as a kid.   One episode I remembered involved some of the M*A*S*H surgeons, Hawkeye and BJ, trying to get a copy of a film called The Moon is Blue, which had recently been banned in Boston.  It's a pretty funny story of trying to wheel and deal in order to get that film, which turns out to be very inoffensive after all. I thought of that when I saw the listing on television and my curiosity got the best of me.

Overview

Donald Gresham is an easygoing architect, full of charm and swagger.  When he exchanges smiles with a pretty stranger, Patty O'Neill (Maggie McNamara), he has no idea what he is in for.  He follows her to the top of the Empire State Building, where they meet and begin talking.  He tries to pick her up and succeeds when one of his coat buttons comes off.  She offers to sew it back on, but he conveniently "loses" the needle.  So they head over to his office, where there are no needles.  Donald starts to realize that Patty is an odd mix of naivety and cynicism when it comes to men, and he becomes determined to pursue her.  They decide to go to dinner, but first Donald must change his coat (it's still missing a button, and that isn't fit for a restaurant), so he gets her to go to his apartment.  It begins to pour, so instead of a rain-drenched date, Patty offers to cook for them.  Donald leaves for the corner store to get some groceries.  While he's gone, his upstairs neighbor David Slater (David Niven) comes down and finds Patty.  They start to talk about love, marriage, children and he finds her to be very inquisitive and opinionated.  She only wants to marry an older man.  "I want to be appreciated, not drooled over," she says.  Oh and she adds, "romance is for bobbysoxers."  What she learns though, is that David's daughter, Cynthia (Dawn Addams), just broke up with Donald and is still very angry.  Donald returns, then Cynthia shows up and things go from funny to crazy.  One angry father, a black eye, lots of misunderstanding and two marriage proposals later, Donald and Patty end up where they started on top of the Empire State Building, but a lot happier.   

Highlights

I couldn't help but wonder how on earth such an innocent romantic comedy as The Moon is Blue could wind up breaking censorship codes so much it would be banned.  Turns out the director, Otto Preminger, set out to do just that - to test the limits of the Breen code.  The Moon is Blue was the very first film to use the word "virgin" as well as other banned words like "seduce" and "mistress".  And I think all of these words are used by Patty, who is a girl determined not to give in to playboys and keep her virtue until marriage.  There's no nudity, no blood and gore, no depictions of sex, just a few words.  However, all of the conversations center on sex, love, marriage and the like.  It isn't so much suggestive or erotic as it is a hard look at what relationships in the 20th century really were.  It's so different from films today, where there are no holds barred.  The more sex, violence and foul language, the bigger the hit seems to be.  Hollywood and American culture have both come a long way.  I'm just not so sure I like where we're headed.

Although it's a bit of a run-of-the-mill romantic comedy, The Moon is Blue does feature some good acting.  William Holden is charming as ever as Donald, but David Niven gives a great performance as an equally charming (though a bit more lecherous) playboy.  I think what surprised me the most was how good Maggie McNamara was.  A newcomer to the film business, she gives life to such a complicated role.  Patty is both a modern woman and an old-fashioned one.  You're torn the whole movie between thinking she's really smart and really naive.  The key moment in the film comes near the end of the film, where Patty hesitates outside of Donald's bedroom door, wondering if her morals are really what she wants them to be.  As David puts it, "understanding is almost as precious as virtue."  We don't know what she's really going to do and her hesitation speaks volumes.

Review and Recommendation
The Moon is Blue is a fun piece of Hollywood history.  Preminger eventually got those bans dropped, but the entire incident was the first blow to eventually bring down the staunch Breen code.  I recommend it as a light, entertaining romantic comedy not to be taken too seriously.  The ending is a bit too cute, but sometimes that's what we really want to see, right?  Good old fashioned comedy.

P.S. Want to read more about the Breen code?  Check it out here.

Adam's Rib (1949)

Intro.

I used to work at a customer service call center, where I answered around 80 phone calls a day.  Sometimes I thought I had heard it all, from the most colorful of obscenities to sweet, happy people who would sing to me.  From time to time my caller would make some old film reference which I would get (much to their delight).  I even got a few film recommendations, like Adam's Rib.  Now a couple thousand calls and a new job later, I came across a copy of the film and remembered the callers who told me to watch it.  As it starred Katharine Hepburn, I couldn't very well say no, and soon found myself a new favorite romantic comedy.

Overview (with a few spoilers - sorry!)
Young housewife Doris Attinger (Judy Holliday) suspects her husband Warren (Tom Ewell) of infidelity.  She tracks him down, catches him with his mistress and nervously pulls a gun on them.  Shaking all over, she fires off several rounds, one of which hits Warren in the shoulder.  Doris is brought up on charges of attempted murder, but manages to get the best defense lawyer on her side - Amanda Bonner (Katharine Hepburn).  The only problem is that Amanda's husband Adam (Spencer Tracy) gets assigned to the prosecution.  The resulting court trial challenges not only the definitions and prejudices of the law, but the marriage of Amanda and Adam.  Amanda argues that Doris was only defending herself and her family, and if a man had done what she did, no one would judge or blame him.  Adam argues that no one, not even Doris, can twist the law to forgive something that was clearly attempted murder.  As the case grows more intense, the drama at home between the Bonners worsens, no thanks to their neighbor Kip (David Wayne) who is in love with Amanda.  While Amanda does win the trial, Adam isn't quite finished as he figures out a way to make her realize that he was right all along in their domestic argument.  What results is a dramatic and hilarious conclusion about the one difference between men and women.

Highlights

Spencer Tracy and Katharine Hepburn have amazing chemistry in all of their films, but this one is especially good.  Few couples I think could have really conveyed the love and respect the Bonners have for each other while still expressing their very stubborn opinions.  I liked how the strain on the marriage comes through gradually and erupts both in the courtroom and in their home.  Both Adam and Amanda have strong arguments and it's great to see them battle it out as they are both so well matched.

I love Judy Holliday.  One of my favorite musicals is Bells Are Ringing but that's mainly because it also stars Dean Martin and really they just make a great couple.  But in Adam's Rib, Judy gives a great performance as the slightly neurotic Doris.  Her interview with Amanda at the beginning is great:
                                    Amanda: "And how did you feel after you shot him?"
                                    Doris: "Hungry."
Doris with all her sweetness becomes the lightning rod for the whole trial.  The jury selection is even geared towards the defense.  Amanda asks each possible juror, "do you believe in equal rights for women?" and surprisingly some of them say of course not.  While hers is a cause for women and aimed to prove that Doris was only defending her home and her life, Amanda fails to realize that Adam's point is exactly that.  If Doris is to be treated equally, then the law should apply to her the same as to a man in that situation.  Their clash in the courtroom carries to the bedroom where Adam tells Amanda that he doesn't like what she's doing.  "Marriage is a law, a contract," he says.  "Are you going to outsmart that the way you've outsmarted all the others?"  Now that's good writing!

I was talking to some of my coworkers about this film and they brought up something called the Bechdel test.  Basically it's a standard test applied to films, books, etc.  The three rules are 1) it has to have at least 2 women in it, 2) they have to talk about 3) something other than men.  It all started with a comic strip, but the idea has really taken off, spawning lots of study and some interesting online debates like the ones here.  It's an interesting concept, especially as the commentors have mentioned that the test itself is like the letter of the law, but the film itself is the spirit - a film that passes the Bechdel test does not mean it is feminist-friendly.  It could even be anti-feminist.  Anyway, at first I got very upset because I think Adam's Rib is a great film for the feminist cause, but it didn't meet the requirements, as Doris and Amanda's conversation is all about Doris trying to kill her husband.  However, Amanda calls a few women to the stand to prove that women are the equals, if not superiors, of men.  We meet a prominent female chemist with more degrees than anyone could remember, a foreman with 383 workers under her (including her husband), and a vaudeville performer.  At least the conversation with the chemist does not involve men.  Katharine Hepburn embodied the feminist cause as early as the thirties; she was even banned because she insisted on wearing pants.  Her performance here is classic.  And just as we can argue over the Bechdel test, Amanda Bonner concludes for us all - "just as man is body and soul, law is letter and spirit."          
 

Review and Recommendation

Okay, this post is getting much too long, so I want to open it up for thoughts and comments.  I highly recommend Adam's Rib to everyone.  It's a great example of the legendary Hepburn-Tracy team as well as a film with such a strong leading lady. 

P.S. Special thanks to my coworkers Catherine and Rachel.  You guys rock!

Bringing Up Baby (1938)

Intro.

Lately I've been thinking about today's films, specifically comedies, and what makes them appeal to different audiences.  I often don't understand modern comedies that are popular today, and that got me wondering how comedy films have changed over the years.  Screwball comedies like Bringing Up Baby were popular back in the 1930s, but haven't been made lately.  It was a different time and laughter, especially aimed at the trials and tribulations of the priviledged upper class, would have relieved a lot of the nation's stress.  Where Public Cowboy #1 helped give voice to the struggle of farmers in the 1930s, screwball comedies could help all Americans laugh. 

Overview

The film opens with zoologist David Huxley (Cary Grant), who is nearing the completion of a brontosaurus skeleton as well as his marriage to fellow museum worker Alice Swallow (Virginia Walker).  His museum is on a list of contenders to receive a $1 million gift from Mrs. Carlton Random.  As David tries to make a good impression on Mrs. Random's lawyer, Mr. Peabody, but he does just the opposite.  That's because he keeps crossing (and criss-crossing) paths with Susan Vance (Katharine Hepburn), the pretty socialite who's not all that bright.  Just when he thinks he's rid of her, the next day David is excited to receive the final bone for his brontosaurus and to get ready for his wedding that afternoon.  However, Susan calls to ask for help because there's a leopard in her apartment.  Much to David's chagrin, there really is a leopard there.  Good-natured David helps Susan get the leopard, named Baby, to Susan's aunt's farm in Connecticut.  Things only get crazier as Susan plots to keep David with her as long as possible - a plan that is only helped when her aunt's dog George steals the brontosaurus bone, Baby escapes, and a local circus loses its leopard that has attacked its trainer.  In all the hilarious hunting, Susan and David continue to bicker and eventually wind up arrested.  I won't ruin how they get out, but their madcap escapades are great!

Highlights

Bringing Up Baby is a classic comedy and one of the best.  It's also Katharine Hepburn's first comedy, and she was unsure of her abilities at first.  Cary Grant coached her and encouraged her to just be herself.  The result is one of her best performances.  Both she and Grant handle themselves well and they have a natural chemistry.  As for the plot, it can't get much screwier!  At a time when class was still more divided in the U.S., I could see the appeal this film would have as it made fun of the antics of the privileged.   

There is a scene in the Connecticut house after David and Susan arrive where David has to take a shower.  While he does, Susan steals his clothes (to paraphrase Susan: "he can't leave because he's the only man I've ever loved!").  David is then forced to wear the only thing he can find, which happens to be a very flimsy woman's bathrobe trimmed in feathers.  As he proceeds to look for Susan, her aunt comes home and is disgusted by his appearance.  After asking him repeatedly why he is dressed like that and where his real clothes are, an exasperated David leaps into the air and announces "because I just went gay all of the sudden!"  They originally had to leave this out to get the film past the censors, but it was put in at the last minute and made film history.  It also furthered rumors that Cary Grant was gay, but that's another post for another time.

Finally, Bringing Up Baby has some great quotes - the writing is outstanding.  At the beginning, Susan mistakenly hits David's golf ball.  He is trying to explain to her that it was his ball.  He's talking about the brand marking: "There, you see, it's a circle."  Susan: "Now of course it is, do you think it would roll if it were square?"  When David sees Baby in Susan's apartment, he says "Susan, you have to get out of this apartment!" Susan replies, "I can't David, I have a lease!"  Some of the scenes in the film have become comedy staples too, including the accidental removal of part of Susan's dress.

Review and Recommendation

Bringing Up Baby is an excellent film that is full of good, clean entertainment.  It's sophisticated and silly all in one package, and features two of Hollywood's greatest talents at their very best.     

Designing Woman (1957)

Intro.

Romantic comedies have been around since the beginning of film's history.  The comedy inherent in relationships goes back even further.  It is interesting (to me at least) to watch romantic comedies from different eras as the silver screen reflects the values, imaginations and everyday lives of those bygone eras.  It's true that the same can be said of any genre, but lately I've been focusing on romantic comedies because the basic premise is always the same - two people meet, fall in love and spend the rest of their lives together.  How they get from beginning to end is another matter entirely. 

Overview

Designing Woman takes after many films from the fifties.  The plot is very similar to other stories - two people meet, fall in love, marry in a whirlwind, then return to their normal lives only to realize how incompatible they are.  In this case, it is Gregory Peck as sports writer Mike Hagan, and Lauren Bacall as fashion designer Marilla Brown.  The two meet on vacation, marry quickly and return to New York.  The comedy starts with them trying to live together - Marilla finds a torn up photo of Mike's ex-girlfriend while Mike discovers that Marilla out-earns him.  Their first fight erupts after they both invite friends to their now shared apartment.  The usual insanity persists when Mike's sportswriters and ex-fighters come over for poker while Marilla's theater crowd works on plans for a new musical.  Such differences cause problems that continues to complicate the relationship.  First Marilla discovers that the actress in the musical she's designing gowns for is Mike's ex, then Mike not only lies about it, but then has to go into hiding because his articles have exposed a particular mobster as the leader in a corruption ring in boxing.  It wraps up with a lot of madness, jealousy and finally an all out bout of honesty, and of course Mike and Marilla live happily ever after.

Highlights and Interesting Points

First of all, Gregory Peck and Lauren Bacall are both wonderful in this film.  They have an easy chemistry and are both genuine talents in their own right.  Especially worthy of note is how well Lauren Bacall carries herself despite the fact that at home, her husband Humphrey Bogart was dying of cancer (he died in January and the film premiered in May of 1957).  Her strength of character and superb acting comes out in her performance.

As it is a traditional film of the 1950s, the gender-specific roles are very conservative.  This could be due to the politics of the day and a time in Hollywood where it was safer to stick to more conformist views.  However, there are some points of the film that break away from the norm.  For instance, Lauren Bacall is far from being June Cleaver - she still actively holds onto her thriving career and holds her own in equality with her husband.  Also, their respective groups of friends have men who aren't all what they seem, particularly Marilla's friend, a choreographer who, despite how he carries himself, is in fact straight and a happily married man and father of two.  But the film does come back to some standard (and somewhat sexist) views, like making Marilla stoop to petty jealousy and almost faint during a boxing match.  Her strength in the rest of the film redeems her, thanks mostly to Bacall's own fortitude.  What else helps is the humor - that deep down, the film doesn't take itself too seriously.  Both characters take turns with voice-overs that are steeping with irony and deadpan sarcasm.  Without such a device, the film could easily be made into a melodrama.   

What struck me about the picture was how, unlike most romantic comedies and musicals, it begins with marriage instead of ending with it.  At first I thought that was only something that came with the fifties and that society, but films like that have really been around for some time (think about Vivacious Lady from 1938).  In a way, it's kind of another wooing - a couple deprived of the usual complicated (and hilarious) courtship face problems after 'I Do' and have to get through it in order to achieve their happily ever after. 

Review and Recommendation
Designing Woman is a good, enjoyable fun - good talents, good chemistry and good jokes make it entertaining.  While a typical rom-com film of the 1950s, it goes a little further as both Bacall and Peck make it work.  Pay particular attention to the ending, where each character has their own epilogue, directly addressing the audience much like the old credits in 1930s B-films that show clips of each actor along with their name and part.  It's a nice break in the fourth wall and allows each character to have an equal voice.  Although the film is a bit predictable, it is good-natured fun.  If you get a chance to see it, break out the popcorn and have fun.

Fun Fact: My friend Catherine read that the film originally was to star Jimmy Stewart and Grace Kelly, but as Grace Kelly became engaged to the Prince of Monaco, she couldn't do the film and Jimmy Stewart didn't want to do it without her.  I wonder what would have happened if the two of them had filmed it - in many ways it would be like a follow up to Rear Window, where Grace Kelly worked in fashion and Jimmy Stewart worked as a photographer covering dangerous things like racing and other sports.

Vivacious Lady (1938)

Intro.

Vivacious Lady was one of those films I hadn't planned on watching, but when I saw it come on television, I was happily surprised.  As a part of a Ginger Rogers marathon, the film emphasized how great she was even without Fred Astaire.  I especially liked Robert Osborne's commentary on the film.  Apparently the film had been delayed several times because RKO had to borrow Jimmy Stewart from his home studio.  And the good rapport between Jimmy and Ginger existed off stage too, as they used to double-date with Henry Fonda and Lucille Ball.  How cool is that?

Overview

Jimmy Stewart plays Peter Morgan, a shy, conservative professor of botany who, on a trip to New York City, meets glamorous nightclub singer Francey (Ginger Rogers).  As he gets to know her, he realizes that she is very down to earth and a perfect match for him.  They fall in love, marry, then take the train back to his home town of Old Sharon.  Peter, afraid that his parents will object to Francey's way of life, suggests that she stay with his cousin, Keith (James Ellison) while he tries to explain the situation to them.  He also has to explain it to Jenny (Phyllis Kennedy), the blue-blooded woman to whom he is engaged (or was engaged!).  A lot of twists and turns prevent Peter from confronting his father with the truth and keeps the couple apart.  The best parts include Francey attending Peter's botany class as an eager new student, an all out fist-fight between Jenny and Francey, and straight-laced Peter drinking a lot of alcohol during his class.  It all ends with a tearful Jenny and her mother-in-law leaving their husbands and then a train-stopping finale.   

Highlights

Robert Osborne said at the film's introduction how difficult it would be to find the right actor to make the role of Peter believable.  If anyone could do it, that person was definitely Jimmy Stewart.  He makes Peter a quiet, somewhat awkward professor without turning him into a bumbling, absent-minded researcher.  Charles Coburn and Beulah Bondi both give good performances as his parents and get almost as many laughs as the main couple.

Ginger Rogers really makes this film.  She is graceful and charming, with a good measure of sass.  She delivers some stunning one liners with perfect comedic timing.  Her performance reminded me of a softer version of her character in Stage Door - sweet and good-natured with a razor sharp wit beneath those blond curls.  Anyone who thinks she's just Fred's dance partner obviously hasn't seen her other films - and definitely should.   

Review

Vivacious Lady is one of those old fashioned romantic comedies where the emphasis was on the comedy.  It's little known, but definitely worth watching to see Ginger Rogers and Jimmy Stewart together.  My only complaint (and it's minor) is that we don't get to see Ginger and Jimmy dance.  That would've made it a 10+.  Anyway, it's a fun, light movie with endearing characters.  You won't be disappointed!