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A Yank at Eton (1942)
Another Yank tangles with a British school and students
"A Yank at Eton" is an MGM comedy drama very similar to the studio's 1938 hit film, "A Yank at Oxford," that starred Robert Taylor and Vivien Leigh. Although the characters and backgrounds are different, the story line is generally the same. An American attends a top British school, where he clashes with some of the Brits, makes friends with a couple, and competes in and wins athletic events; eventually to fit in and be heartily accepted by his British schoolmates. The two schools - Oxford and Eton, are at different levels, of course, and the story details differ, including some of the sports competitions. The one that is the same is a running race. But here at Eton, the Yank gets into European football; while at Oxford, he competed in rowing.
Where the collegiate-level Oxford film also had a romantic aspect, this film has more of the school and house structure and its politics. From what I have read, MGM apparently made this film as a sort of compatriot propaganda film. American forces were descending on England to build up for the Allied assault of Germany. So, this film portrayed the friendly relations between the English and Americans. Of course, the war in Europe was raging at the time. The U. K. had survived the German bombings in 1941. So, it is strange that this film doesn't even have a hint of the war going on.
The Oxford film of 1938 was made in England. It was the first one out of MGM's newly established English studio. But, this film was made entirely in Hollywood. The entire cast gave very good performaces. Mickey Rooney gave a believable performance as a talented athlete. He's a young American, Timothy Dennis, who longed to play football at Notre Dame, but finds himself in a prep school in England after his widowed mother marries a prominent Englishman. So, the story isn't about Mickey Rooney, the very short actor. And the scenes of his sports on the field, and his racing are well acted and filmed. If there is a fault here, it's in portraying Ronnie Kenvil in the steeplechase as being so hesitant and fatigued.
Edmund Gwenn is the one key cast member who played a similar role as a school master in this film, to the one he had in the 1938 film. And, of course, this is one of Peter Lawford's very early films - just his sixth. Except for his quite distinct voice, I wouldn't have recognized the youthful 18-year-old Lawford who plays Ronnie Kenvil. Other familiar actors of note in this film are Ian Hunter, Alan Mowbray and Freddie Bartholomew.
"Yank at Oxford" had been a big hit at the box office in 1938 - finishing 29th for the year in ticket sales. This film wasn't as big a hit (well, it didn't have Robert Taylor and Vivien Leigh) but was a success and finished the year 60th in box office receipts, It didn't pass the earlier film, but it also had much greater competition with films of all types, including war-related. This was the year of such all-time classics as "Casablanca" and "Mrs. Miniver," and a host of fine musicals, dramas, comedies and other war-related stories.
This is an enjoyable film that reflects something of the time and higher end of English culture of the day. It's a good family film and one most people should still be able to enjoy well into the 21st century.
Lady Luck (1946)
A toss of a coin, a flip of the card, and a preposterous, funny plot
"Lady Luck" is a post-war comedy that brought two actors together who later would become best known for their respective roles in long-running television series. Robert Young and Barbara Hale do okay in their roles as Larry Scott and Mary Audrey. The screenplay and editing are a little disjointed in places, and the plot is quite preposterous. But, then, some, if not many comedies have far out plots or stories. This story revolves around gambling, and most of the film, after a comical opening of a look through history and some early scenes, takes place in Las Vegas. He's a gambler and she hates gambling because of its hold and curse on the men of her family - the latest being her grandfather, William Audrey. She's trying to reform gramps, and she has just opened a bookstore in Los Angeles.
How Larry and Mary get together sets the stage for this preposterous plot, and it's also the venue for the comedy that follows. He falls for her in one day and tells her he's a gambler but is going to give it up. He does, and they head for Las Vegas to get married. But his buddies want to save him, so they contrive a plot to get Mary hooked on gambling herself. The plot stretches more and she does and wins at everything she touches. Now, he's got to save her.
Well, it plays out nicely from thereon, as the story develops so that this romance can come to fruition, with a couple of twists en route. But I think the best thing about this movie is its supporting cast. Especially, the roles played by Frank Morgan, James Gleason, Harry Davenport and Lloyd Corrigan. These guys collectively, have about as much screen time as the two leads. Of course, a bunch of that is also with the leads.
But their roles are very good. Morgan plays grandpa William Audrey. And this is far from the usual films that have his characters as mostly buffoons. He still has some comical traits, but his character has much more substance. Gleason's Sacramento Sam is a mostly affable character as a top card player and gambler. Harry Davenport is a local judge in Vegas, who's part of the "gang" of the old-time gamblers. And Lloyd Corrigan rounds out the group as Little Joe. The way these guys toss money around, none of them seem to take it too seriously.
Robert Young (1907-1998) starred in two long-running TV shows - "Father Knows Best" of 1954-1960, and then, "Marcus Welby, M. D.," from 1969-1976. Barbara Hale was the female lead in the "Perry Mason" TV series of 1957-1966, as Della Street, the confidential secretary to the world-renowned detective. And, she ended her career over an 11-year period starring in the same role in 30 Perry Mason movies made for TV, from 1985 to 1995. Young, in between his two long series, and much before those, also made many films and appeared in various TV shows. And, interestingly enough, he ended his career in a 1988 TV movie that picked up on his popular "Marcus Welby" series.
For those interested in the lives of actors, artists and moguls of Hollywood and cinema, here are some other similarities of Robert Young and Barbara Hale. Both lived beyond age 90. Young died in 1998 at age 91, and Hale died in 2017 at age 94. Both were married just once and had long marriages. Hale's husband, actor Bill Williams, died in 1992, when they had been married 46 years And, Young's wife, nee Elizabeth Henderson, died in 1994 when they had been married 61 years. Both also had families but not the same size. Hale had three children and the Young's had four.
Here are some favorite lines from this film.
Larry Scott, "Ah the trouble with you is, Sam, you just never did like women." Sacramento Sam, "What are you talking about? Didn't I stay with my mother till I was 11 years old?"
Little Joe, "Yeah, but it didn't seem to affect your appetite none." Judge Martin, "In many years, my friend, I've learned not to confuse my heart with my stomach."
Judge, "Well now, Antony, it would seem that you've met your Cleopatra." Sam, "You know what I remind myself of?" Judge, "What?" Sam, "Frankenstein! I have made myself a monster."
Gramps Audrey, "Let's go get a beer. I can't think good with a clear head."
Gramps Audrey, "You've broken the 11th commandment, son. Never accuse a woman of your own imagination. Isn't that true, sister?" Manicurist, "You sit it, Pop."
Mary Audrey, crying, "He's gone. He's left me." Larry Scott, "Who, your husband?" Mary, "No, my grandfather." Larry, "You mean the old man who was in here? How do ya like that!" Mary, "I guess he was afraid I'd put him to work. You see, he's a gambler." Larry, "Well, a guy that old can't get very far in half an hour. Come on, I got a car outside."
Mary, "He can't really help it. It's in his blood, like insanity. Poor ole gramps."
Gramps Audrey, "You mean you'd blow $600 for a meal?"
Judge Martin, "It seems incredible. I only married 'em last night. They were so young and gay and blind. Ah, it saddens me."
Judge, "What a tragic misunderstanding. It seems to me that such antipathy against games of chance is most unusuaul. What's the history of the young girl?" Sacramento Sam, "Just a nice little girl, runs a bookstore." Little Joe, "The little dame runs a book?" Sam, "Reading books" Joe "Oh."
Little Joe, "You think that ain't a gamble? So, along comes a cyclone, blows down all your potato trees."
Mr. Magoo (1997)
A big flop and early sign of Disney decline
Slapstick comedy began with the Keystone Kops of the silent era, and the early masters of comedy, Charlie Chaplin, Buster Keaton, Harold Lloyd and Harry Langdon. One after another pratfall, trip, slip, stumble and knock on the head kept audiences laughing. When there was no dialog but occasional script cards flashed on the screen, action and facial expressions were everything in early comedy. But sound brought some changes, to comedy. It brought dialog that broadened the field and experiences of comedy. Some comedies were all with dialog - witty humor, funny expressions and looks, clever exchanges and zingers. But slapstick did still endure, now with some new purveyors of the art. Only now, it was mostly in couples or teams of players. Thus we had Laurel and Hardy, the Three Stooges, the Marx Brothers and Abbott and Costello from the 1930s into the 1950s. And, some movies were being made with various actors having an occasional scene with a pratfall or some other slapstick situation. Then, since the mid-20th century, situational comedy began to become more prevalent. And by the end of the century, situational and dialog all but dominated the field of comedy, with occasional antics worked in. But for the most part, slapstick was a thing of the past. The few rare occasions when it has been used to any extent since the mid-20th century with much success have been plots with exceptional screenplays.
Now, why all of this background and discussion about slapstick before a word about this movie? It's to put it in perspective and help one to understand the change in human perceptions that have accompanied the technical changes in the motion picture industry. Quite simply, when there wasn't sound, how long would an audience sit just to watch scenes interspersed with cue cards of the script, however funny the lines might be? The silent movies were made for minimal explanation, with much left to the imagination, minds and intelligence of the audience to understand what was going on in the pictures. What would get laughter more or quicker than a slapstick gesture or incident? But with sound, the human mind wanted and looked for more. Which also explains why the plots of films became much more substantial with screenplays to fill them out.
So, on Christmas 1997, Disney released the movie, "Mr. Magoo." It was based on a mid-20th century cartoon character of the same name. And the studio obtained Leslie Nielsen for the lead role. He was one of the few actors who had successfully made a smash slapstick comedy in the late 20th century -- "The Naked Gun," in 1988. That film led to a sequel and then another, in 1991 and 1994, which, following the trend of the vast majority of sequels, declined substantially in quality from the first film. I've never come across an article or source that explained the who, what and why of Disney making this movie. While Disney had grown to become the top movie studio of Hollywood by the end of the 20th century, it was showing signs of losing touch with the populace - with people and audiences, especially for films of family appeal.
Even with Leslie Nielsen in the lead role, I hardly chuckled at a couple of early goofs and then "Mr. Magoo" soon became tedious with its slapstick duds. The movie bombed at the box office and may have been the biggest flop of all movies of 1997 and 1998. It's total box office even fell short of its budget, by more than $1 million, giving Disney a loss of nearly $20 million. My three stars are for the dog that had the role of Angus. Disney apparently had plans to serialize "Mr. Magoo" with sequels, but its big bomb at the box office and unanimous put down by critics ended that plan. The Disney "empire" was begun by a man who loved to tell and show stories for children and families. The modern Disney entity, indeed, seems to have severed its roots with Walt Disney.
The Well Groomed Bride (1946)
Her lips kissed his defenseless mouth
That exchange between Margie Dawson and Lt. Torchy McNeil had me laughing out loud and pausing the DVD. It took a few more laughs before I could go on and not miss any of the rest of the dialog. This is one of several moments of great laughter in "The Well-Groomed Bride." What a hilarious romp, with a very good setting in the spring of 1945. The locale and setting with Navy and Army activities in San Franciso at the time are excellent. And the plot is overboard preposterous. But that's the case with many a great comedy film. Especially those involving romance. This is one very good comedy with a little romance and a great cast to carry it off.
Olivia de Havilland and Ray Milland alternate between affection and sparks as Margie Dawson and Lt. Dudley Briggs. And It's all about who gets the last magnum bottle of champagne in all of the Bay Area. At least at first. Sonny Tufts plays Army Lt. Torchy McNeil who hasn't seen a woman in 16 months. He and four buddies are just back from digging trenches for defense in the Aleutian Islands. And Sonny and Margie are engaged and about to be married. Or, so they think. But, when Navy Lt. Briggs is sent on the mission to get the largest bottle of champagne in the city to launch the new aircraft carrier the next day, the lives of all three - and some more, will change forever.
Adding much to the humor these three provide are James Gleason as Capt. Hornby, Constance Dowling as Rita Sloane, and Percy Kilbride (of "Ma and Pa Kettle") as Papa Dawson. McBride alone had me roaring with laughter when he goes to Margie's hotel room and finds Torchy there. Another long pause, restart, pause, rewind, and restart for the laughter in that long scene.
This film did okay at the box office in a year with many very good films, including 24 comedy romances. Veterans, real movie buffs, seniors and people who enjoy laughter should especially like this film.
Here are some favorite lines.
Capt. Hornby, "You're a good man at sea, Briggs. It wouldn't surprise me if you were a Lt. Commander soon." Lt. Dudley Briggs, "Really, sir?" Capt. Hornby, "Well, in another year, maybe. No need to rush things." Briggs, "Yeah. Yes, sir. Thank you, sir."
Capt. Hornby, "Oh, yes, San Diego. Blonde or brunette?" Lt. Briggs, "Red head, sir."
Capt. Hornby, "Well, take a tip from a man whose been through many a maneuver. Hold your fire until you get in close." Lt Briggs, "Yes, sir."
Lt. Torchy McNeil, "Aw, gee, Margie, I'm sorry. But what could I do? All f a sudden she saw me and before I knew what was happenin' she kissed me." Margie Dawson, "She kissed you? Right on her lips with your helpless mouth?"
Mr. Dawson, "I'll help the Navy but Margie's a different war."
Lt. Briggs, "Mr. Dawson, she's got to launch that carrier with he magnum. She's got to." Mr. Dawson, "Well, I could spank her, but at her age I think she'd like it better from you."
Road to Bali (1952)
Crosby and Hope's sixth road picture is set in the South Pacific
The road trip films of Bing Crosby and Bob Hope had two aspects about them that dated them terribly and thus didn't contribute to their longevity. The first was frequent references - often ad-libbed outside of the script, to trivia or other forgetful things. These might be a name, incident, news item, or anything that someone 10 years later would never have heard of or would have completely forgotten. So, it might be funny at that moment, but it is short-lived humor. So that years later, it would be meaningless and therefore not funny to people. The second thing was an occasional aside by one of the stars who would talk directly to the camera and audience. Those may have been somewhat funny to audiences at the time, but they sure are spoilers for people getting into the plot of a movie.
"Road to Bali" has some very good comic moments, mostly when the duo are doing a song and dance routine. The plot for this film is wackier than most, and that makes for some of the amusement. I like that this road picture was made in color, even though our first TVs were black and white in the 1950s. The several cameos might have been a plus in 1952, but to audiences of the future most may not even be known.
This film did well at the box office - finishing in 17th place for the year with $8.3 million in ticket sales, and then adding some more in early 1953. Many of the gags and quips are dated or are barbs at one another of the leads. Funny then, but not so much over time when Crosby and Hope were no longer around, in the news or on the air. The lasting value of this and all the road movies is mostly in seeing the fun and often funny routines the two entertainers had together.
An interesting aside with this film was the truckloads of sand that Hope got form the movie set after filming. The sand was hauled to his home and used to fill the sand traps around his small backyard golf course.
Contrary to some Internet sites, this movie was shot solely at Paramount's Hollywood studios and at the Iverson Ranch in California. The short scenes of Australia and Bali were clips taken from other films and edited in as is a usual practice in filmmaking. People interested in old movies especially, and who want information about them, would do well to trust the Internet Movie Database - this IMDb Web site, for the most accurate information.
The Duke Is Tops (1938)
Poor quality production lessens Lena Horne's film debut
Other reviewers give some background on the segregated movie industry in the U. S. In the very early years of cinema there were independent studios and theaters that made movies with African-Americans for African-Americans. "The Duke is Tops" is one of those films. It's too bad that the production quality of this film is so poor. With Lena Horne's debut on the silver screen, there was some great talent to be showcased here. Thankfully, within a few years, major studios (MGM, 20th Century Fox, and others) began to showcase talented African-Americans in movies. And in time, feature films would be made about African-Americans.
Lena Horne and the Berry Brothers had great song and dance scenes in "Panama Hattie" of 1942. And "Cabin in the Sky" of 1943 was a box office hit with an all African-American cast. It showcased the great talents of Lena Horne, Ethel Waters, Duke Ellington and his band, Eddie "Rochester" Anderson, Louis Armstrong and more. These and many more talented African-American actors and entertainers would go on to make countless movies from then on.
The Lyons in Paris (1955)
A wacko, screwball English comedy, packed with laughter
If the scripts of their radio shows were anything like the dialog in this film, it's not hard to see why Ben Lyon and Bebe Daniels were so popular in England before and the after World War II. "The Lyons in Paris," aka "Abroad," is a truly wacky, hilarious, frantic and far out screwball comedy. And their daughter, Barabara, and adopted son, Richard, are part of this great comedy, as are a couple of the staple characters from their radio show. Horace Percival plays Mr. (Horace) Wimple, and Gwen Lewis plays Mrs. (Winona) Wimple.
What comes to mind in watching this movie was the "I Love Lucy" TV series that ran in the early to mid-1950s in America. But the Lyons even went more overboard than that. Lucy was a mostly a one-person, one-woman comedy - it all revolved around her. Not so with the Lyon's. Both Ben and Bebe were deep into the comedy throughout, and when they weren't, it was their neighbors and friends, and later, the kids. Pretty soon, the Lyons seemed somewhat like the Marx Brothers, and at times like the Three Stooges or Laurel and Hardy.
And, as if their own group isn't wacky and funny enough all by itself, when they finally get to Paris more far out comedy is in store. Barbara meets a man on the ferry across the channel - well, Charles is a disheveled man who comes onto her as an artist. So, she's smitten by him and looks forward to seeing him in Paris. That leads to one night of rollicking laughter as the family and friends are treated to the Parisian hippies response to the decadent bourgeois.
Well, this is one very funny film. I have always loved British comedy and the English sense of humor. And I wonder if the radio and then TV shows of the Lyons didn't have some effect on that later original British comedy created and introduced by the Monty Python group. Surely, the style of the latter was quite distinct and original,. But, might not the brazenness, loud, and outlandish comedy of the Lyons' and their type in America be the push on the envelope that goaded some latent but bubbling explosion of comic talent to come out? I'm not saying it was or did - but isn't it possible that there was some sort of influence?
This is a wonderful comedy for many laughs. The American Lyon's, from England, on vacation in Paris. With their friends, the Wimples, for good measure. What a hoot. Here are some favorite lines from this film.
Barbara Lyon, "You've been married 26 years and you're so satisfied, aren't you?" Horace Wimple, "Yes. I've had enough."
Richard Lyon, "Do you follow me?" Horace Wimple, "I was with you until you started talking, and then it became very confusing."
Bebe Daniels, "Take off your glasses and fight." Ben Lyon, "I'm not wearing glasses." Bebe, "That's another of your underhanded tricks. Put up your dukes."
Horace Wimple, "Wilomena, my love." Mrs. Wimple, "Oh, ho! So you wanna start an argument.!"
Mrs. Wimple, "You might as well admit it. You're just tired of me." Horace Wimple, "Oh, no, my little scarlet pimpernel. You have everything a man desires. Broad shoulders... muscles... and a mustache."
Bebe Daniels, "Young man, young man! You needn't speak French. We all understand English perfectly."
Charles invites everyone to dinner at the Left Bank Club. "There we can see the existentialists and listen to beautiful sad songs about the futility of life." Ben Lyon, "Well, that'll be fun."
Ben, "I'll call a taxi." Charles, "Taxi? Pah! Are you so decadent you can't walk?"
Ben, "Well, why don't we all go out and shoot ourselves, and have a good laugh?"
Charles, "I like your face. It makes me suffer." Mrs. Wimple, "Horace, did you hear what he said?" Horace Wimple, "Yes, my love. How dare you say my wife's face makes you suffer." Charles, "But it does." Horace, "Well, suffer in silence like I do."
Capt. Le Grand, reading a note that Richard and Barbara had written to Fifi le Fleur, his wife, "It is written in French, but it says the most peculiar things . My sweetheart. My dear little cabbage head. I long to see you again. You teeth are beautiful. And I would like half a dozen delivered to the tradesmen's entrance." Fifi, "But what does it mean? Capt. Le Grand, "You know what it means - it is a lover's code."
Ben, "Stay holding me back." Horace Wimple, "I'm not holding you back." Ben, "Well, you should be. What kind of a second are you?"
The Church Mouse (1934)
The Church Mouse is a rose in disguise
When Betty Miller finagles her way into Johnathan Steele's office to try to nab the job as his secretary, much humor ensues. When he finally tells her to take a note and she begins her shorthand as he speaks, she says, "faster, faster." Steele keeps speeding up his dictation until he can't catch his breath. She tells him she writes shorthand at 195 words per minute, and he is impressed. He then asks her to read it back and she does, exactly as he had dictated it. Then, when they are interrupted by Pinky Wormwood, she takes a call and repeats and jots down a series of numbers. Steele is even more impressed.
All of this leads to Betty, Miss "Church Mouse," as Steele dubs her, being hired as his private secretary. And, in short order, the Church Mouse has become the pinnacle of efficiency and order for Mr. Steele's office, business affairs and the bank. The humor in all of this is a mixed bag of crisp, snappy dialog in the script, some small antics, and a whole lot of mannerisms and persona of the actors. And that was a Laura La Plante specialty. In this film, the Church Mouse turns out to be a rose in disguise.
"The Church Mouse" is based on a 1928 play by Hungarian author and playwright Ladislas Fodor. It had been adapted for films before this. A 1931 German film was entitled, "Poor as a Church Mouse," and a Warner Brothers 1932 version was called "Beauty and the Boss." It starred Marian Marsh and Warren William. And, Marian Marsh made that film, just as Laura La Plante made this 1934 film.
This is a very good comedy in spite of its stagy appearance in the early part. The rest of the cast are very good for their respective roles. Edward Chapman as Pinky Wormwood is especially good. And Jane Carr, as the flirtatious and likeable former secretary of Johnathan Steele, plays a very good Miss Sylvia James. But this really is a film that succeeds mostly on Laura La Plante's role.
The diminutive La Plante was one of the darlings of silent film in the 1920s. She was a star at Universal when it was still a second tier studio, and La Plante played in dramas as well as comedies. She was especially adept in the latter, and she made the transition into sound quite well. But she would give up her career within just a few short years. Some sources say that the wider pool of talent entering pictures reduced her appeal. Others note the decline in quality of the screenplays of her films.
While she wasn't forced out of her career, when she was just 31 years of age, it seems likely that there were a number of reasons she decided to end her screen career. That includes the two already suggested. But, La Plante was also known to be a very private person outside of the studios. So, the big frenzy over movie stars that came with sound pictures must have had something to do with her decision. The prying eyes of the media and apparent hunger of fans to know more about their screen heroes bothered La Plante. From all accounts, the public spotlight was anathema to her.
La Plante left Universal and moved to London in 1930. She made 10 films in England, mostly through the Warner Brothers studios there. She returned to the U. S. in 1935, where she quit her career after just two more films, and made just four more appearances into the mid-1950s, two of which were in TV series. La Pante outlived her second husband of 50 years by eleven years. They had two children. She was 91 when she died in 1996.
Incidentally, the normal speaking rate of people is about 100 words per minute. And a super stenographer in the days before steno machines could write shorthand at 160 wpm. So Miss Church Mouse was indeed super talented at shorthand.
Meet the Missus (1937)
Wonderful comedy and early satire of media contests
Until recently I hadn't seen and wasn't aware of this movie, "Meet the Missus" of 1937. But what a gem it turned out to be. I got the DVD when I saw that Victor Moore and Helen Broderick had the leads. And, what a hoot this film is. It's comedy everywhere as Moore's Otis Foster has to run their household as well as run his barber business and serve as mayor of the town . Otis isn't a henpecked husband, but has taken to cooking their meals, doing household chores, etc., just because wife Emma is consumed with and spends all of her time working on and entering newspaper contests. Well, she wins the local Happy Noodles contest and she and Otis travel from their western Ohio home to Atlantic City, New Jersey, for the national finals. Now, this was NOT the Miss America pageant, but as the comedy starts to ramp up here, the lampooning clearly alludes to certain real pageants as well.
The rest of this film is hilarious and a real scatihing satire of the various contests - and of the sponsors and contestants. It lampoons the American homemakers marching In step to the product tune, proudly wearing their regional sashes. Then the husbands come in and march to the music inn rank and file. The humor includes politicking by women to get selected in various stages of the final competition. Some even try to arrange for husbands of opponents to get caught in street brawls or night spot raids. The publicity in the newspaper the next day announces the woman's disqualification due to her naughty husband. This is the more poignant of the jabs and satire about the allure of the contests to women who would then do almost anything to win.
Well, while helping Emma behind the scenes - making a bed, sewing a dress, etc., Otis comes across a secret gathering room of the husbands. They have a password to gain entry. It's a respite for the guys away from all the rigmarole of the contest, where they can get together to play cards, have a few drinks and socialize. Otis is a teetotaler, but is welcomed and joins the group for relief from all the contest hoopla. The real high point then comes with a rebellion and protest by the husbands of the seven finalists. Otis is behind it, and when all the men shed their clothes and strip down to their gawdy long underwear and parade around to the music, it's a real riot.
The writers and/or director might well have been inspired for this scene by the Miss America pageant, which had begun in 1921. And, as chance would have it, the year after this film came out, the very first Mrs. America pageant was held in New Jersey. I wonder if many people who read about it in 1938 would have seen and remembered this movie from the year before.
Here's a favorite line form the film. Otis Foster, "What are you laughing at?" Emma Foster, "I'd like to see you trying to get out of a girdle."
This is a very funny film and wonderful satire. Modern audiences may not go for it, but old-time movie buffs should get a real kick out of "Meet the Missus" of 1937. Moore and Broderick are a great match for laughs and play off one another beautifully.
A number of movies have been made that had such contests in the plots, and some early TV sitcoms had episodes with radio, TV or newspaper challenges. My favorite movie with such a plot is one of the best comedies ever made. "Paradise for Three" of 1938 was a hilarious comedy romance with a huge cast of comedy actors of the day. Robert Young, Frank Morgan, Mary Astor and Florence Rice had the leads. And the great supporting cast included Sig Ruman, Edna May Oliver, Reginald Owen, Henry Hull, and Herman Bing.
Today We Live (1933)
A familiar wartime love triangle drama with four top actors
A cast of four top stars of Hollywood's golden era lead this film. "Today We Live" is a World War I combat film, drama and romance. The core of the plot is a love triangle, and this film has elements of some familiar later films about World War II. Two men love the same woman. She loves one and then the other. One goes missing and presumed dead only to turn up again soon. The woman goes to care for one who is permanently injured, although loving the other.
The film is based on a 1932 William Faulkner magazine story, "Turnaround," with the romance added. And Faulkner himself wrote some of the script. It's not a great film, with the story seeming conflicted or too bunched together in places. But it is a good film to see the four actors together who were already or about to become big stars. Joan Crawford had top billing here, but in a few years, few other actors would be billed ahead of Gary Cooper. This is an early film for Robert Young and only the second one for Franchot Tone. He and Crawford would wed two years later.
Law and Disorder (1958)
He's quite at home when away, yet never far from home, even when in the Orient
This is an absolutely delightful comedy crime flick that will have one smiling throughout. It's not loaded or even peppered with funny lines, or clever quips and witty dialog. Rather, it's a situational comedy - one in which the happenings are the humor. And, this isn't antics either, until near the very end. It's just plain ordinary goings-on, but in a story in which the goings-on are often a hoax or a cover-up or a disguise.
And, what makes "Law and Disorder" such a pleasant, feel-good film to watch, besides the plot and excellent screenplay, is the cast. More than a handful of actors from some of the funniest and best British comedy films of the mid-20th century are here. Robert Morley, Lionel Jeffries, George Coulouris, John Le Mesurier, Meredith Edwards and more are joined by wonder actresses Joan Hickson and Brenda Bruce.
But Michael Redgrave has the main role and is perfect as Percy Brand, who always pleads guilty to some scam or crime he has attempted. From the opening in 1938 when he is released from "one of His Majesty's prisons," Brand goes to his underground friends for an appropriate makeover with clothing, appearance, and souvenirs, etc., to reappear at the home of his sister who is raising his son. So, he serves three years, and then five, etc. Up until the late -1950s. He has returned as a clergyman, as a British officer, and more. Indeed, Percy's quite at home when away from home. Yet, he's never far from home, even when he's halfway around the world.
As of the last trip, his son, now grown, has completed law school and is being assigned as marshal to a prominent judge, Sir Edward Crichton. Robert Morely was never more ostentatious in any other role than he is here as the perfect upholder of the law and the justice system. The one hitch that drives the bulk of this film after Percy's last long trip away from home, is that each time Percy was sentenced to prison in the past, it was by Judge Crichton.
Not wanting his son, Colin Brand (played very well by Jeremy Burnham) to know the truth of his past. Percy must rely on the large cohort of friends from lowly places (i.e., the crime caper underground) to keep son Colin from finding out the truth. And what a frantic, hilarious, last round of goings-on this turns into. It's all much fun and very funny.
Joan Hickson is in her early film years playing Aunt Florence, Percy's sister and Colin's aunt. She's a real card in this role, and a little cards with the help of some marking are her main form of entertainment. Percy's accomplices bring his last arrest to a head by diverting the court proceedings to get Colin out of the way. John Le Mesurier appears as a known misogynistic barrister and judge in a case before Morley's court The bad-mouth parrot case is so obliquely played by Mary and Freddie Cooper (Brenda Bruce and David Hutcheson), that one can't help but laugh, especially as Morley's Chrichton becomes more and more impatient with the whole show.
This is a most delightful and entertaining comedy farce that most movie buffs should enjoy.
Those Endearing Young Charms (1945)
A very good cast in a much conflicted plot
As with another occasional film promoted in part as a comedy, this one needs close attention to find any humor. "Those Endearing Young Charms," even in its title, may be having some sport with audiences. Is the "Young" a reference to the male star, Robert Young? The plot and screenplay would suggest that, with reference to his "charms." Or is to this guy's persona, as a young Army pilot, who sweeps the girls off their feet?
I rate this film six stars just for the performances of the four principal cast members. They do very well with roles in a story that has a number of conflictions. Were Hank Travers (Robert Young) and Jerry (Bill Williams) buddies back in school together? Or, were they just from the same home town? Were they friends, or just acquaintances? Did they ever pal around together, or was Hank more of a loner who went with lots of girls and broke their hearts?
Jerry loves Helen Brandt (Laraine Day), even though he knows Helen looks on him as a brother. Their families were close friends back in their hometown. Helen and her mother, Mrs. "Captain" Brandt (Ann Harding), are close and live together. Mother is concerned about Helen's future, after she is attracted to Hank. She tells Helen of her lost love of the past, and Helen was surprised to learn that it was Jerry's father. The "Captain" and he had met and were in love before the last war. She wouldn't marry him, and when he returned from the war he married Jerry's mother instead. Yet, Helen still loved him, even after she married Helen's father.
Now, the Captain is worried about what Helen will do, regarding Hank. Will Helen let him go, as her mother had let her lover go before? Or would she hold onto him, and not have regrets later over lost love? But what never occurs to either woman, or is never mentioned at all, is an unspoken confliction. If mother had said "Yes" to her man before, and not married Helen's father, there would be no Helen today - she would not have been born. Nor would Jerry have been born to his father and mother.
The conflictions with Hank's character alone, and with Helen and Hank are even more apparent. Was Hank always so cynical and self-centered? His seeming "charm" was mostly in a gentlemanly and polite manner. But then he would revert to a cynical comment or snide remark. Can anyone believe that such a persona would attract lots of girls, or women? Now, it's obvious that Helen is no fool, or floozie, or naive young woman who is easily swayed by a smooth operator. She's intelligent and smart about life. So, she's a good person for someone to do word play with. Hank discovers that right away. So they are able to converse and get along, each one trying to find the real person hidden within the core of the other. Helen is as much a mystery to Hank as he is an interesting man to her, because his dating and love life haven't been so selective.
Now, Jerry becomes upset because Hank and Helen are getting close. He doesn't want to see Helen hurt by being dropped by Hank as just another of his love-em-and-leave-em girls. Or, perhaps Jerry is really worried that Hank and Helen will hit it off and get married? This is another confliction because one doesn't know what Jerry is really thinking or worried about.
So, all of these portrayals are very good, in showing each person as he or she is - and conflicted. But then the plot becomes a little problematic. It moves swiftly toward the end. When Hank takes Helen to the airbase to watch the planes, they run into a couple of his fellow air officers. They kid with him and chide him and he is uncomfortable with them seeing Helen. So, he must be a real down-to-earth guy after all? At least with men, fellows he associates and works with. And Hank falls for Helen and tells her so; but to the audience it's so very hard to believe because he shows no signs of any kind of change - emotion, physical, demeaner, happiness, giddiness, etc.
And, even though Helen shows some determination and a little excitement about going after her man at the end, there still doesn't seem to be a spark of romance or love. I guess the best way to describe their relationship is the old cliched term - that there never seems to be any chemistry between Hank and Helen.
One last observation about the screenplay. It's a very "talkie" script, and that further makes this film very closely resemble a soap opera. But, again, the acting and performances of the leads here clearly raise it above that level. So, it's an interesting, somewhat mysterious slice of life film about the time and place and meeting of people during World War II. The humor is very subtle and below the surface, and the romance isn't anything like the usual, out in the open between boy and girl, man and woman. It's a more sophisticated type of love story without very much romance at all.
Some may like it for all or some of these aspects and reasons. But for others, it may just be too unusual and not very entertaining at all. I saved what I think is the one very funny line in the film for last. When Hank takes Helen to the Dipsy-Doodle for dining and dancing, the waiter (Tom Dugan) shakes his head when Hank mentions food. So, Hank orders two high balls, and he and Helen start talking while the waiter stays and listens. Hank turns to him and says, "We'll tell you what happens when you come back." The waiter says, "Oh, will ya - thanks?" and leaves as he gets the message.
The Hot Heiress (1931)
A fair early sound comedy with Ben Lyon
"The Hot Heiress" was one of 10 movies that Ben Lyon made in 1931. The popular leading man, though mostly in B movies, transitioned well from silent to sound movies with a good voice that could carry a tune along with his looks and persona. This is a fairly good comedy for its time. It's a slice of life about the wealthy and the common working folks. When romance crosses the two with Lyons' Hap Harrigan, and wealthy Ona Munson's Juliette, the sparks fly. Well, sparks fly quite a bit in this film with riveters working on the girders of a rising skyscraper.
Not many films have been made that show men - whether actors, stunt men, or real workers, plying their trades in the skeleton shell of a high rise building. That's quite interesting in itself.
Ben Lyon and Bebe Daniels, who were married in 1930, before WW II moved to England where they were hit performers and had a popular radio show for many years. Movie buffs will see Walter Pidgeon in an early sound film, as a jilted suitor of Juliette. Munson would die of a suicide OD in 1955 at age 51. And another cast member, Thelma Todd, as Lola, would die in four years at age 29 of carbon monoxide poisoning. Although there was never a court case, there was speculation over her death. Was it accidental, suicide or homicide?
Here are some favorite lines from this film.
Juliette, "Don't bother about money. Money never worried me." Hap Harrigan, "Yeah, money never worries them that's got it."
Hap Harrigan, "I got principles. Haven't you got principles?" Juliette, "Yes. But I've got a heart too."
Juliette, "I don't care about luxuries. I could live in a tent, if the plumbing was good."
The Bride Wore Red (1937)
A subtle comedy, romance and drama with satire of class
"The Bride Wore Red" is based on a 1930 play of the same title by Ferenc Molnar. The Hungarian-born (1878-1952) author and playwright gave the world several wonderful stories that were made into films. They include three exceptional and favorite comedies: "The Good Fairy" of 1935, "Double Wedding" of 1937, and "One, Two, Three" of 1961.
This film is a comedy romance and drama, but of a quite different humor than the others with their hilarious plots and witty dialog. No, the humor here is subtle, and only emerges slowly as the story unfolds more akin to drama. As for romance, there's some obvious, some deceptive and some hidden but real. And, buried just below the surface is a little satire - of the class, times, and culture when some of society thought breeding made a naturally better class of human beings.
The film opens in Trieste, the eastern-most city of Italy along the Adriatic Sea. It borders modern Slovenia and is close to Croatia. The time is the 1920s, when Europe still had many aristocrats and royalties. The scene is a swanky night spot, the Cosmos Club. Count Armalia, played by George Zucco, has a view of life being "a great roulette wheel." He says to his companion, "A human is a little ball... bouncing helplessly from fluff to fluff. Where will he end, with wealth or poverty? As Rudi Pal, a desirable young aristocrat or... or as our friend, the waiter?" Rudi Pal, played by Robert Young, doesn't see eye-to-eye with the Count who then drags him off to a dive on the waterfront.
The Count says that there are no differences in people, the rich or the poor, the educated or the common folk. They are all equal. It's by chance and circumstances that some are wealthy while others aren't. At one point, he says, "Waiters are notoriously better-mannered than those they serve." Pal disagrees with the Count and says there is "breeding." After he leaves, the Count asks the proprietor to send to his table the young woman who had just been singing. Joan Crawford plays Anni, and Count Armalia has a surprise for her that will change her life forever. But will it be as she dreams, with new wealth? Or, in some other way?
The Count is out of the picture after this, but he sets in motion a practical joke and real test to prove his point and fool Rudi Pal. Anni is sent on her way for two weeks to a swanky hotel in Tirano, nestled in the Italian Alps. (The scene from the train window shows the station as Terrano.) There she is taken as a wealthy but somewhat mysterious woman, Anni Pavlovitch. She meets Admiral Monti (Reginald Owen) and Contessa di Meina (Billie Burke). With them is their daughter, Maddelena Monti (Lynne Carver) who is engaged to Rudi Pal. But, before landing at the hotel, Anni is alone at the rail station with no one to meet her. So, the happy, smiling station master who also serves as the local telegraph operator and mailman, offers her a ride to the hotel in his mule-drawn cart. Franchot Tone plays Giulio, who has many cousins in the beautiful mountain area.
The subtle humor here pokes fun in many directions. Most obviously is at the snobbery of the wealthy. While he appears kind, decent and friendly on the surface, Rudi Pal is a real snob deep down. He becomes infatuated with Anni Pavlovitch and calls off his engagement with Maddelena. Anni wants so badly to have everything that wealth can give her, as she has lived it for two weeks, but her heart belongs elsewhere - with Giulio. When Giulio finally delivers a telegram from Count Armalia to the Contessa, which tells her about his prank and Anni's true identify, all at the hotel table are silenced. Maddelena apologizes and Anni thanks her as the only decent person who's much too good for Rudi. And the desirable aristocrat himself has nothing to say. Has he all of a sudden fallen out of his mad love for Anni? Or has he been unmasked for failing to notice the difference in their breeding? The moral of Molnar's tale is driven home.
Anni leaves the hotel, and only Alberto, a waiter and cousin of Giulio, will open the door for her. But on her walk down the trail to the station, Giulio appears in his mule-drawn cart. And they ride off together toward his cozy mountaintop home with a view of the whole valley.
Those looking for a funny comedy may be disappointed. But most may find the subtle humor appropriate in this otherwise very good drama and fairy tale type of story set in early Europe. And, most should enjoy the performances of this top cast of the day. It has three leading actors and a supporting cast with some of the best and well known supporting actors of the day. All do very well in their roles. Billie Burke's character is not the hilarious persona she had in some later comedies, or the kindly persona of Glinda, the good witch of the North in "The Wizard of Oz." A prominent child star of the period, Dickie Moore, plays young Pietro, one of Giulio's many cousins.
Here are some favorite lines from this film.
Count Armalia, "Is this the lowest, most decrepit dump in all Trieste?" Cordellera Bar Proprietor (Charles Judels, uncredited), "It is, your excellency. You won't find a more decrepit bar in the world.
Cordellera Bar Proprietor (Charles Judels, uncredited), "We have the most beautiful girls - uh, that is the, lowest, most decrepit creatures...."
Rudi Pal, "It's fashionable I know, to think that the simple and humble things in life are best. They're nothing of the kind. In my opinion, most people prefer sardines to caviar simply because most people have never tased caviar."
How to Murder Your Wife (1965)
A change in lifestyle may not be so bad after all
The bulk of the comedy films in the 1960s were centered around or had three particular aspects in them. The most prevalent was one or more characters having psychoanalysts. Another was mothers-in-law, usually the cranky or disapproving type. The third was wealthy men living a life of luxury and pleasure. The latter tended to the hedonistic, self-centered wealthy or playboy type.
Well, "How to Murder Your Wife" fits the third type, modified from type. And that is that the main character, Stanley Ford, isn't a member of the idle rich. No, he works for a living and has made a fortune for himself by creating the most popular comic strip in American newspapers. His Bash Branigan is a secret agent who has one adventure after another. But Stanley proudly acclaims that he wouldn't have Bash do anything that he himself had not done. What that means is that Stanley has a team of people - actors on-call, one might say, who do his beckoning with plots that they act out on the streets, byways, and environs of the Big Apple.
This is all to the dismay of the mayor and other government officials who have to contend with public complaints about road blocks, apparent murder in the streets, and various disturbances. Of course, Stanley's readers get a kick out of everything in his comic strip. Well, this turns out to the source of some action and
much fun and entertainment for the audience. And, Stanley has a regimen of working out and exercising at his club, writing his cartoon script and spending his evenings boozing and partying with friends and any woman he is able to seduce - or be seduced by.
The hedonism is exaggerated by his valet, butler, man, cook, and confidant who sees to his every need and comfort, and applauds him along the way. That, and his living in a swanky three-story building that is surrounded by skyscrapers or a building going up in the adjoining lot beyond his terrace. It's partly because of that obvious exaggeration that the comedy comes off quite well. It's not fantasy that many or most men would want a lifestyle and situation like that of Stanley Ford. But it is a fantasy world in which his character exists. Far out, for sure. There's not another man in his exclusive club and circle of acquaintances and friends who lives as Stanley does. And the very strange and different aspects of the plot lend nicely to it being funny in places, and generally entertaining.
The lavishness of Stanley's home, the setting, his completely self-centered "free" bachelor lifestyle are played to the hilt for fantasy and smiles. The cast do a great job - especially Jack Lemmon, Terry-Thomas and Claire Trevor as Edna Lampson. Virna Lisi adds the glamor and marital character that the sworn bachelor Stanley slowly learns he can't live without.
The only drawback to the film is a big one. The court scene near the end is a humorless, contrived mess. After all the cleverness of the plot and script up to that time - even accepting an overly dufus part for Stanley's attorney, Harold Lampson, most of the court officers from the judge to prosecuting attorney seem to be morons. And, then, with Lampson's wife suddenly withdrawing from her domineering way, the scene is ruined as a forced conclusion. That could have used some writing to come up with great comedy and a witty conclusion to the court case. Many a great comedy film of the early to mid-20th century had wonderfully funny court scenes in which the characters weren't made out to be idiots. But the dialog and proceedings themselves were packed with humor. Even a very nice and subtle ending couldn't overcome that big deficit of this film.
The theme of the film dates it somewhat to that time in the American culture, especially in the entertainment field. It 's still somewhat funny in places. And a better idea and writing for the long court scene would have raised it two notches and made it much better and a much more lasting entertainment.
Here are a couple favorite lines from this film.
Harold Lampson, "Stanley, you simply cannot continue comporting yourself in the manner of an escaped lunatic."
Harold Lampson, "The family that sautés together, stays together."
You'll Never Get Rich (1941)
A great pre-war comedy and dance film with lots of Army humor
Any Army veteran will know the reference in the title of this film, to a common boot camp marching tune, "You're in the Army Now." The tune dates from 1917, when band leader Isham Jones composed "We're in the Army Now" as the U. S. entered World War I. It has remained popular in the military ever since - in one form or another. At least since WW II, drill sergeants in boot camp often changed the fourth line in the song. After the third line, "You'll never get rich," the original fourth line is, "Diggin' a ditch." The common substitute for that line was something else that rhymes with rich and ditch. And folks who never served in the Army should be able to figure that one out.
Well all that aside, this film was a timely musical comedy in an Amry setting, released in late September of 1941. Much of the world was at war, but the U. S. had not yet entered it. That would change soon, after Japan bombed Pearl Harbor on Dec. 7. The U. S. had begun inscription in 1940, in anticipation of it's entering the war. So, this and some other comedies and lighter dramas about the military were coming out of Hollywood. They were a contrast to the movie newsreels that showed the realities of war taking place in Europe.
Fred Astaire's dancing scenes alone, are entertainment enough for enjoyment of this film. Astaire was 40 years old, but still early in his vibrant dancing years. But then the comedy really puts this film over the top. The plot for this film is so obviously preposterous and far-fetched, and that makes it that much more hilarious. It's a gristmill for fantastic comedy. Astaire is as much a part of it as are Robet Benchley, Rita Hayworth, John Hubbard, Donald MacBride, Guinn Williams, Cliff Nazarro and others.
Benchley's Martin Cortland is a slippery eel of a stage producer. He plays the smooth-talking cad part so superbly that audiences just can't wait until he gets his comeuppance. MacBride is spot on as the Top Sergeant, a super grouch and a drill sergeant with humorous asides. Willams and Nazarro have some antics that are uproariously funny. The scenes of a spy pigeon under a hat should have anyone rolling with laughter. The entire cast give top performances in this wonderful entertaining comedy and musical dance film with a tremendous screenplay.
Scene after scene is loaded with dialog and/or antics that will have one laughing, chuckling or smiling. Astaire played and danced in many great comedy musicals. But this is his best of the bunch for comedy. Here are some of the many, many funny lines from this film.
Marge (Sunnie O'Dea, uncredited), "To a hungry man, a lamb chop is a tasty dish, but to the butcher it's just another hunk of meat."
Martin Cortland, "Would you stop looking at me that way?" Julia Cortland, "Like what?" Martin, "Well, you oughtta know, you're doing it."
Martin, "Do we have to fight on or wedding anniversary?" Julia, "How did you happen to remember that?" Martin, "Well, Jenkins told me." Julia, "Very thoughtful of Jenkins."
Julia Cortland, "Frankly, I'm disappointed in you. There was a time when your alibis were gems."
Martin Cortland, "You don't believe me, then?" Julia Cortland, "Oh, of course I do, darling. But that's because I know you so well. I'm just wondering how your story will sound to 12 strange men."
Martin Cortland, after Julia has left, "Twelve strange men. Twelve strange men? She's batty. What's 12 strange men got to do with this?
Martin Cortland, "A football team - 11 men. A baseball team - nine. A symphony orchestra - a hundred men. 12 men?...... A jury!"
Martin Cortland, "Do anything, so long as you make my wife believe I was telling the truth when I was lying to her." Robert Curtis, "Is that all?"
Sheila Winthrop, "Ohhh, Capt. Curtis. How democratic of you to have a private's uniform." Robert Curtis, from inside the guard house, "Oh, uh, this is just temporary. My tent burned down and I had to order a new batch of uniforms."
Robert Curtis, impersonating an officer, "You see, the enlisted man is the backbone of the Army. And sometimes officers are not as considerate as I think they should be."
Capt. Williams, "Have you inspected our guard house, captain?" Robert Curtis, wearing Willams's coat which he had stollen, "No, not completely. I expect to spend much more time there."
Capt. Williams, 'Tell me - what action would you recommend in the case of a private stealing a captain's coat?" Robert, "Well, I wouldn't have him shot." Williams, "You wouldn't?"
Tom Barton, "Colonel, Miss Winthrop and I are all packed and we're ready to leave on our honeymoon, sir." Colonel Shiller, "Well, what's so important about a honeymoon? When you've been married for 25 years as I have, you'll look back and wonder, uh, uh, but never mind that. One more word from you and I'll be forced to have you disciplined." Capt. Barton, "Yes, sir. Sorry, sir."
Martin Cortland, "Say, you'd think I was getting something out of this." Robert Cutis, "Only my services for nothing, that's all." Martin, "Whaddaya mean for nothing? The government pays you $21 a month, doesn't it? Where does that money come from? The taxpayers. I'm a taxpayer." Robert, "Let me thank you, Martin." Martin, "Don't mention it, my boy."
Robert Curtis, "If I didn't hate that guard house so much, I wouldn't even be talking to you."
Col. Shiller, "Do you think you could forego the somewhat dubious distinction of being a pioneer resident of the guardhouse long enough to assist him?" Private Curtis, "Oh, I'm sure of it, sir." Col Shiller, "Well, that's fine. And so that the shock of being away from the guardhouse won't be too great, you will continue to spend your nights there."
The Longest Hundred Miles (1967)
A mixed group flees the Japanese invasion of the Philippines
This World War II TV movie opens with a Japanese single-engine plane flying in the Philippines. The pilot broadcasts the "news" to the people below (civilians and POWs), that "the Americans have surrendered." The war is over, he proclaims. Japan has been successful.
Of course, that was a lie. But it is a true picture of the type of propaganda that Japan used throughout the war. The Japanese army and navy put a great deal into these efforts to demoralize and deflate the people. Weakened enemies would speed up their conquest of the Pacific Ocean nations. Later broadcasts from Japan that became known by the Americans and Allies as "Tokyo Rose," were similar propaganda efforts. These were aimed to demoralize and weaken the Allied troops..
After this opening, the movie plot then picks up on the ground where hundreds of POWs are being marched off by Japanese soldiers. So, this was probably set in late December of 1941, before the Japanese had overrun the entire islands.
Most people know the entry of the U. S. in WW II after the Japanese bombed Pearl Harbor on Dec. 7, 1941. But that was not its sole target to begin its siege of the Pacific. The very next day, Japanese ships, planes and troops attacked the Philippines with a fury. The Philippines and USA were allies. And, military command for the South Pacific was there, under Lt Gen. Jonathan Wainwright. So, this was a key objective of the Japanese forces. The embattled and bombed Allied forces on Bataan surrendered on April 9, 1942. By that time the U. S. and Filipino forces had lost 25,000 killed, 21,000 wounded, and 100,000 captured.
Of course, few believed the Japanese propaganda. Not the Allied force, nor the people of the islands. Indeed, the underground fighting and resistance to the Japanese by the Filipinos equaled that of the French underground and its efforts against the Nazi invaders in Europe.
Well the bulk of this story is about the break away from the POW march by one American GI, and his subsequent efforts to escape that soon include a missionary priest, some orphan children, and a Navy nurse who had been in hiding. It's a fair story as they make their way across their island over 100 miles to a pickup site the nurse knew of for people fleeing the Japanese. Doug McClure is okay as the American corporal, Steve Bennett, and Katharine Ross is okay as Lt. Laur Huntington. Ricardo Montalban plays the missionary, Father Sanchez. He and several of the children are part of the best of this film.
While some may find the film slow, especially with the fast action of so many modern movies, I urge anyone who starts the film to stick with it. It has quite a surprising and very meaningful ending. And, it's interesting to realize that more than 20 years after the end of WW II, the American public, and indeed, people in Europe and around the globe, were still very much interested in the war and movies about it. Interest in WW II would wane slowly through the end of the century. But in 1967, this TV movie was tied with another, "The Doomsday Flight," for the highest rated TV movie of the year.
The Outsider (1961)
A war hero, or lost and troubled soul?
"The Outsider" is a war movie and biopic about a native American, Ira Hayes. He was one of the six Marines who raised the flag atop Mt. Suribachi during the battle of Iwo Jima in World War II. The main aspects of Hayes, his life on the Pima Indian Reservation of Arizona, the Iwo Jima memorial and Hayes' untimely death at age 32 are all here. But the details, background and truth of it all may be fiction or mostly the truth. Without much more knowledge or a thorough biography of Hayes, one can only look at his life through the eyes of the character as played by Tony Curits, and directed by Delbert Mann.
So, my remarks here are on that role and person as Curtis played him. First of all, it is under a sympathetic blanket. But it doesn't picture a young man who is looked down upon because he was Indian. Curtis plays Hayes as an outgoing and lively personality with his peers and when he goes off to Marine Corps boot camp. He writes home that he is welcomed by the guys and joins in with them. But does he? The film doesn't show anyone shunning him, so much as his not being interested in or joining in their activities. One can understand that someone raised on an Indian Reservation and brought up farming wasn't going to be all knowledgeable about craps and card games. While the rest of his gyrenes say hi, see you later, chief, etc., Hayes never makes a move to ask where they're going, or if he can tag along. That's normal behavior. So, does he have a split personality, or is he just shy and withdrawn outside his family and familiar circle? But then, why doesn't he slowly begin to fit in with his new circle?
When he does become friends with Sorenson, played by James Franciscus, he seems to come out of his shell some. But when Sorenson is killed, he starts to fall apart. Watching the film at this point, one sees what Hayes asked a question about. Sorenson was killed after he was told that the two of them were to report back to the HQ. But for that "important" message, Sorenson and Hayes wouldn't have jumped up at that moment to go down the hill, and Sorenson wouldn't have been killed. I've seen any number of war movies with similar situations. When GIs or gyrenes or gobs lose a buddy in war, it's especially hard at the time. But they go on and seldom fall to pieces, as Hayes does slowly.
One can understand that the change - the very reason Hayes and Sorenson were called out of the front line was for the publicity and war cause on the home front - to give Americans heroes and to sell war bonds. Sure it's hoopla, sure it's unreal. But as anyone from military backgrounds, or students of warfare, or sociologists know, it's crucial to keep the spirit up of the people at home to bear with and be able to survive and win a war. Of course the GI on the line won't think about that, and who can blame him - having faced death and killing and losing buddies in battle. So, when he is taken out of battle, with his friends left behind, and he gets a royal treatment, it's very likely that he will have some feeling of guilt. That too is natural, and must be dealt with.
Well in this movie, Tony Curtis shows all those signs in Ira Hayes And rather than getting or seeking help, he slips into alcohol. There's a point in the film where the brass should have recognized this, that he wasn't just showing up once late or a little drunk. Today, of course, the Armed Forces are more aware of the various effects of war and combat on soldiers. Hayes clearly showed the symptoms of what today is known as PTSD, post-traumatic stress disorder.
After Hayes gets out of the Army and goes back home he is sent to Washington, against his wishes, to represent his reservation for an irrigation project. He knows nothing about politics or the workings of government, and easily slips back into his drinking and embarrasses his tribe. He returns home and then tries to make amends by quitting drinking and helping anybody and everybody whereover he can. He then becomes interested in seeking a seat on the tribal council - again, with a desire to help the tribe, do some good and to work for them. But does he make his interest known to anyone, even his family? Not only does he not express an interest when others talk about, when a younger brother says he will nominate Ira, Hayes puts him down. So, it was no one's fault but his own that he didn't get on the tribal council. .
Was that a persecution complex, or some psychological aspect or condition of his character? Whatever the medical or psychological field might call it, in the realm of 12-step programs, Ira Hayes, like most people, had some character defects. Many people, when they become aware of such, work to change themselves. Those who don't may have various levels of happy lives. But, alcoholics, who don't recognize and admit character defects, and who don't seek help, and work to overcome them most often wind up like Ira Hayes - dead, way too early in life. While their pain and hurt in this life may be over, they leave this life with a final act of hurt and grief for their family, loved ones and friends.
Tony Curtis played the character of Ira Hayes that way. His was a troubled soul, and a conflicted person.
The Eve of St. Mark (1944)
Play-based war film that was popular during WW II
"The Eve of St. Mark" is somewhat unusual for a war movie, especially in its number of oddities. It has a hometown romance of a boy and girl next door. It's set early in WW II with the first Americans being drafted in 1940 - more than a year before the U. S. entered the war. It takes a considerable jump in time from the start in Quizz and Janet's hometown, through San Francisco, and to a couple years later with Quizz and his artillery unit on a South Pacific Island shelling Japanese troop boats heading for an invasion.
The first oddity is that Quizz and Janet grew up together as neighbors, but he never gave her a second thought. Until, that is, he just met her in the city. Now they are deeply in love when he heads out for artillery school and then for San Francisco for overseas assignment. It was pretty clear that his unit would be going to the Hawaiian Islands. But that early draft was for just one year, and it was October 1940 when he was drafted. So, he either reenlisted or was extended and may have found himself in Hawaii at the time the Japanese bombed Pearl Harbor on Dec. 7, 1941.
The combat sequence of the film was unusual for a war movie. It didn't show ground fighting, shore landings, or front line combat. Rather, Quizz was in an artillery battery. He was located on an island among many that the Japanese were attacking. So, Quizz's big gun was shelling Japanese troop boats in the distance as they were heading to invade another island .
The last oddity was Quizz dreaming of talking with his mom and with Janet about what his gun crew should do. Should they stay and try to knock out as many Japanese boats as possible to hinder their invasion? Or, should they withdraw and try to save themselves before capture? The final outcome is hinted at and partly solved the question for them. Japanese planes strafed their position and knocked out their big gun.
The movie was based on a 1942 play that ran for two years on Broadway. The scenes and camera work had the feel of the stage or filming in close quarters.
Eight Iron Men (1952)
One squad's close-up in the waning days of WW II
"Eight Iron Men" is a close-up picture of the American GIs of one squad in the later days of combat in World War II. This squad has been holding a patrol position in a bombed town where German snipers are in hiding. When one three-man patrol is returning to the squad's position, it's fired upon by a machine gun and one of the men slips and is pinned down. The rest of the film has the members of the squad trying to decide to rescue the pinned down GI, or not. With orders coming for them to withdraw behind their lines, there's some nice drama in this.
I think a couple of characters were overly played. Lee Marvin will be the most recognized of the cast as Sgt. Joe Mooney. He shows the turmoil of not wanting to leave a man behind and the risking of more lives to save the one man. To audiences who have never been in such a situation (including veterans like me with no combat time), "Iron Men" does seem very talky. But realizing that this squad has been holed up in this position for more than two weeks, it's not so unreasonable to think that they may talk about things other than their current situation. So, food, the girl back home, family and some fun times were all things that GIs in combat were likely to think and talk about with their fellow GIs.
While some GIs no doubt had a pinup picture of a famous movie personality, how many had fox holes or lodgings in combat where they could put a magazine photo on a wall? The movie-star pinup was one of those throwaway items that Hollywood seemed to toss into so many war movies after World War II.
This is an all-male cast and story, but Columbia managed to sneak some "hot" female type in the pinups and dreams of a couple of the GIs. And, in its usual style (or lack thereof), the movie promos highlighted the sexual allure, which really accounted for a small amount of film time. The cinematography and direction elevated this film.
My favorite line in this film is when Capt. Trelawny says to Sgt. Mooney, "You know, sergeant, before the war I used to be a car salesman. I used to smile all the time. Every time someone came in the door I gave 'em a big smile."
Sabotage (1936)
Hitchcock pre-WW II British thriller during his move to America
"Sabotage" is a highly regarded mystery, crime, and espionage thriller, directed by Alfred Hitchcock. It is one of several films from the mid to late 1930s that propelled Hitchcock into the international spotlight of cinema. As with a few others - all considered great films, "Sabotage" has all the marks of Hickock's genius that was to have more influence on future films than anything or anyone else. The black and white stark contrasts in scenes; the shadows of images and characters that instill suspense and even fright, the still scenes of objects - doors, clocks, wheels, etc. That beg for more of what's next - these and many more uses of the camera and settings and tricks of the trade are here.
This film is based loosely on Joseph Conrad's 1907 novel, "The Secret Agent." Anyone who studied English literature will have read that novel and at least two other Conrad classics "Heart of Darkness" of 1899, and "Lord Jim" of 1900. But the setting and some major details of this film are changed and made current for the time. The main male (Oscar Homolka), Karl Verloc, while operating a movie theatre in London, was doing sabotage work for an unnamed country. To movie audiences in 1938, he clearly was a Nazi agent. In Conrad's book, his first name is Adolf, and his country might well be implied to be Germany.
But the lead character of this film is Verloc's wife, played by Sylvia Sidney. This is a look at a very young Silvia Sidney. She had many films to her credit already, and would be in many more films before and during a more active life in TV series in the late 1950s through 1970s.
John Loder has the second male lead as Detective Sgt. Ted Spences of Scotland Yard. The Yard had suspected Verloc of sabotage and Spence was working undercover at a vegetable market next door to the theater. From there he could watch Verloc's coming and going. The Verloc's had recently moved to London from rom the USA. While there's no explanation in the film about Mrs. Verloc's young brother living with them, one can guess that their parents were dead and she was raising her brother, Stevie.
Two anomalies about this film though - and somewhat surprising that Hitchcock wouldn't catch these. The first is the death of Karl Verloc. It's a very big stretch to think that Mrs. Verloc, with the round ended carving knife could have so easily stabbed her husband as shown. She made no lunge or stabbing motion, and his motion was a slight movement toward her. He had his jacket on and a vest and there was scarcely a foot of distance between them. How she would have been able to suddenly raise the point the knife at him and then in an instant have him stabbed with a picture of the knife all the way into his chest is unbelievable.
The second anomaly is the bus explosion with just the bus being blown and demolished in a scattered heap but no other vehicles to the side or in front or behind it damaged. It's understandable that there probably wouldn't be much of any bodies on the bus to be found or identified. But with such a blast, and the scenes just before it of the traffic jam conditions with vehicles all around the bus, it's not very believable that there would have been considerable damage to any number of other vehicles and perhaps some sidewalk deaths or injuries of flying pieces of the bus blasting in all directions around it. While these things may seem trite and trivial to most moviegoers, they are very noticeable things to die-hard mystery fans. I am one of those whom one might call an arm-sleuth.
Hickock made his mark and solidified a career in movie-making with this film and several more made in the mid to late 1930s. These would prove just to be the warm-ups for many truly great mysteries and films he would make in the USA.
The Lady Vanishes (1938)
Hitchcock's top film from his directorial days in England
"The Lady Vanishes" is a fantastic mystery film, and part comedy, with some notable aspects beyond its great plot. The story is a missing person mystery that soon segues into a mystery espionage thriller. It is based on a 1936 novel by Ethel Lina White, "The Wheel Spins." And the setting is mostly aboard a train traveling across the mountainous region of eastern Europe in 1938. Without direct mention of countries or politics, the film is obviously about pre-war espionage involving Germany and England,
Among the notable aspects of the movie are its director and two leading actors. Although Alfred Hitchcock already had 10 silent films and more than a dozen sound films under his belt, this is the film that brought him international attention, including an open door for his future of film directing in America.
The film also propelled the two leads into the spotlight that would keep them there for the rest of their distinguished careers on stage and in the cinema. This is an early film and wonderful portrayal by a very young (22) Margaret Lockwood. Although she had started in cinema four years earlier, at age 18, she had nearly a dozen and a half films to her credit, but only a couple leading roles. Before this, her roles varied from very small to supporting roles in mostly mediocre plots. But her lead in "The Lady Vanishes" propelled her star overnight.
And, for Michael Redgrave, this was just his second film after an uncredited bit part in "Secret Agent" of 1936. Redgrave was 30 years old and had gotten a somewhat late start in acting four years earlier on the stage at age 26. But with this film and the next half dozen in which he had all the male leads, Redgrave's career was cemented for the future.
Among the top supporting cast of the day is May Whitty, who plays the character of the film's title. Paul Lukas, Cecil Parker, Linden Travers, and the pair of English gents, Naunton Wayne and Basil Radford. The latter seem to be somewhat wealthy, and they appear in this and some other films as addicts for the English sport of cricket. They are unable to think or care about anything other than the latest scores or getting somewhere to watch an English cricket matches.
This mystery should enthrall most audiences these many decades after it was made. And, the light touches of humor, from the two Englishmen and Michael Redgrave add a nice little soothing aspect to the tension. The mastery and genius of Alfred Hitchcock is on full display in this film, especially in his use of the camera. It has close-ups that focus just on the train's wheels rolling, then of the larger part of the train speeding over the tracks, and finally, of the various cast members with their somber, devious or concerned looks. One spectacular scene shows the train from a distance speeding over a high trestle in the mountains. One of Hickock's fortes, that had a major effect on filmmaking, was shooting films on locations. The location atmosphere helped instill a sense of reality to the whole film. Audience members could easily imagine themselves there, observing the events taking place close up.
This film is considered one of the great British movies of the 20th century. It's one of many very good to great movies directed by Hitchcock, and perhaps the very best of all the films he directed in England. The maestro may not be so well known for this film by audiences today, with such great movies he made in the United State - "Vertigo," "Psycho," "North by Northwest," "Rear Window," and so many more. But audiences who get a chance to see this film will find it every bit as enthralling and entertaining of any of Hickock's films. Here are some favorite lines.
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Hotel manager, "It's a great honor to have you with us again." Iris Henderson, "It's nice to see you, too, Boris You haven't change a bit since last Saturday."
Hotel manager, "Everything is ready. I didn't change anything." Iris Henderson, "Not eve the sheets, we know."
Charters, "If only we hadn't missed that train in Budapest." Caldicott, "I don't want to rub it in, but if you hadn't insisted on standing up until they finished their national anthem." Charters, "But you must show respect, Caldicott. If I'd known it was going to last 20 minutes...." Caldicott," It's always been my contention that the Hungarian Rhapsody is not their national anthem."
Gilbert, "Well now, would you like to hear about my early life?" Iris, "I don't think so." Gilbert, "Well, since you press me, I'll begin with my father. You know, it's remarkable how may great men began with their fathers."
Partners in Crime: The Affair of the Pink Pearl (1983)
Married sleuths East of the pond are quite up to the Thin Man couple
"The Affair of the Pink Pearl" was a film in the Partners in Crime TV series about Agatha Christie's sleuths, Tommy and Tuppence. In the first feature film, "The Secret Adversary," she was Tuppence Cowley, but she and Tommy have wed so now they are the Beresford's. In this film, Tommy has just taken over The International Detective Agency that was on the brink of closing, due to the proprietor being a "guest of the government." Some clients or dealings he must have had! Scotland Yard approved of Tommy's takeover and when Inspector Marriott visits to deliver his "private eye" license, Tuppence is excited and thrilled. But Marriott tells him the name and proprietor can't be changed right away. The Yard's interest is partly in finding out WHO some of Theodore Blunt's shady clients were, and what they were up to.
As one can tell by now, with their previous discussions and butler Albert's funny imitations of a gangster, this is going be a mystery comedy, or a comedy mystery of sorts. Indeed, looking for a missing pearl isn't much of a plot, with very little intrigue. Certainly not of the type that would have Hercule Poirot exercising his little gray cells, or Miss Marple sleuthing shrewdly.
I have read several Christie books, but not any of the stories with this couple. So, I don't know how much the film is true to the novel, especially the characters. Did Christie write such a light, fun story - sort of as a breather from her very involved and complex mysteries of her great sleuths? In that first film, "Adversary," Tommy and Tuppence were in a typical complex Christie story. The humor was light, with most focus on the mystery. This film is quite different. The story is more about their relationship with considerable comedy, than in the mystery. It's somewhat fun and entertaining, but this story falls way short of the more compelling Christie mysteries.
Again, considering that this novel was written at the start of her career (1922), one can't help but wonder if Christie's couple, Tommy and Tuppence, didn't inspire some other mystery writers. One in America, in particular, was Dashiell Hammett. Mystery fans will surely be familiar with the Nick and Nora Charles film mysteries that were made after Hammett's 1934 novel "The Thin Man." William Powell and Myrna Loy especially made Nick and Nora so well known to movie audiences. That was in the mid-1930s to mid-1940s, and then on late night TV runs in the 1950s and beyond.
Christie followed her 1922 novel with a few more books of her couple, many years apart, into the late 1960s. I've only seen two of the movies about Tommy and Tuppence. "Adversary" was a complex and intriguing story. This one is a simple plot. It's a far cry from the great mystery plots that had Hercule Poirot exercising his little gray cells or Miss Marple sleuthing shrewdly. The result here is a light comedy that overshadows the mystery, crime and justice. Where Powell and Loy were great in their films, they had a good mix of light comedy, but with complicated mysteries to be solved. And the crimes and intrigue were serious with just touches of occasional humor, that didn't make light of the mystery.
Still, most people should find this film entertaining. But serious mystery aficionados may not think too highly of it. I enjoy great mystery myself, but my liking for this film was mostly for the relationship of the two leads and the comedy that includes their butler Albert. Here are a few favorite lines from this film.
Tuppence, "I wish something would happen." Tommy, "This craving for vulgar sensation alarms me."
Tommy, "Hmmm... shall I neglect you a little? Take other women out -- that sort of thing?"
Tuppence, "You're not starting the crossword, are you? We were having a conversation." Tommy, "Mm hmm." Tuppence, "Oh,, where has your spirit of adventure gone?"
Tuppence, 'You're getting fat. And comfortable." Tommy, "I am not." Tuppence, "Sweet, and prosperous, and comfortable."
Tommy, "What on earth is that?" Tuppence, "Do you like it? It's my disguise tree." Tommy, "Your what?"
Tuppence, "I'd say we will find a house full of snobs."
Tuppence, "If you don't mind, I think I'll skip being your secretary and become your assistant."
Partners in Crime: The Secret Adversary (1983)
The first film of Christie's pair of young English sleuths
"The Secret Adversary" was just the second mystery that Agatha Christie wrote. It was first serialized in 1922, and introduces the young couple who become detectives - Tommy Beresford and Tuppence Cowley. This 1983 movie was the first film adapted from Christie's story of the same title. While many of the Hercule Poirot and Miss Marple mysteries had films made before 1983, both for the cinema and television, it had taken some time for others of her stories to be adapted.. These others have all been very good mysteries crafted by the mind and hands of the great English writer, but the main characters aren't quite up to Poirot and Marple in appeal and interest. Still, this is Agatha Christie, so it's sure to be intriguing and interesting to most audiences.
Some of the Tommy and Tuppence mysteries were adapted from Christie novels and made into TV films for a BBC mini-series called Partners in Crime. As with many TV mini-series, the first film is a full length feature film that introduces the series, while the following films fit the one-hour TV format of 50 to 54 minutes, allowing for commercials. Besides being the first film made about Tommy and Tuppence, this film is the opening feature film for the 1983-84 mini-series that ran on the BBC. That run had 10 more episodes, each with a different story. Another Partners in Crime mini-series was made in 2015 for British TV. It had three episodes each of two of the Christie stories. "The Secret Adversary" was one of the two, and they were updated from Christie's 1922 and 1941 settings to post -WW II and the early Cold War years with Josef Stalin as head of the USSR. I have always preferred the adaptations of Christie to be in the original times and places, and have yet to find a more modern setting adaptation to be anywhere nearly as good as those set in the time and place as Christie wrote them.
This story is set in London shortly after the end of World War I. Tommy Beresford was a lieutenant in the British Army who was wounded twice in the war. Tuppence Cowley was a nurse. They met when he was in the hospital in France after being wounded the first time in 1915. They had not seen one another since then. He had been sent back to the front and was wounded a second time. After the war, each had returned home, but had no prospects for employment. Tommy had just been back home two months, and Tuppence five months.
After meeting in a park, they went to have tea together. And that's when Tuppence suggested they team up and advertise their availability for any type of work or adventure. She asks for a piece of paper and a pencil to write an ad for the newspaper.
Tommy starts to dictate to her, "Uh, now, how about, uh, 'Young officer, wounded in the war - twice wounded in the war' .." Tuppence chimes in with what she has just written, "Here we go! 'Two young adventurers for hire. Willing to do anything, go anywhere. Pay must be good. No reasonable offer refused." Tommy then says, "I should think any offer we'd get to that would be a pretty unreasonable one." And, Tuppence says, "Tommy, you're a genius. That's much more chic. 'No unreasonable offer refused.'"
And that launches their career as private investigators. This story, like some others of Christie, is tied to recent past history. In this case, it has to do with the war and a lost draft treaty when the Lusitania was sunk by a German U-boat on May 7, 1915. But now that the war is over, if that document were to surface it would lead to a nationwide strike and revolution in England. How Tommy and Tuppence get involved in the search for the document is part of the intrigue. And, a number of people come into the picture, fueling the intrigue and providing even a slight touch of humor.
I am a big fan of Christie mysteries since I discovered her and began reading her books while I served in the U. S. Army in Europe in the early 1960s. I have not been able to pick the culprit in the vast majority of her stories, until near the end or when Poirot or Marple reveal the person. I have had a few good guesses prove out, but those have been near the end of the stories. This film, which I had not seen until shortly before this writing, has a number of bad guys. About halfway into the film my guess was half right. Anyone who watches the film will understand what I mean by that at the film's ending.
Here are some more favorite lines from this film.
Julius Hersheimmer, "And you can count on me, if needed, for $1 million, Sir James." Sir James Edgerton, "Mr. Hersheimmer, that is a very large sum." Julius, "Well, I don't think these are the kind of people we can offer six pence to, do you?" Tuppence Cowley, "He's not pulling your leg, Sir James. He is disgustingly rich."
Tuppence, "How do you know about that?" Tommy Beresford, "Oh, there's quite a lot I know that you don't know I know."
Tuppence, "Rather fun, wasn't it?" Tommy, "Rather."
The Pale Horse (1997)
A later Christie mystery with all new characters
"The Pale Horse" is based on a late mystery novel by Agatha Christie. By 1961, her two most famous detectives had become immortalized with many novels and short stories. She would still have a few more mysteries to write about Hercule Poirot and Miss Marple as she was winding down her writing career. And with only a dozen films having been made based on her stories, there were another dozen in store before her death in 1976. But modern fans will be most familiar with the several dozen feature films and TV movies from the1970s through the first two decades of the 21st century. Of those, Hercule Poirot and Miss Marple appear in the vast majority.
This movie is quite different just in having all new characters with a very good plot. Black magic was a draw for her novel of the same title and the film. But it differs from the book in some characters, including not having Ariadne Oliver in a small part.
Christie wove a very interesting plot here. She wrote several mysteries around the supernatural, including black magic and witches. But Christie fans learn early to not suspect the dark characters of being the actual culprits in her stories. I did have suspicions about one outcome, but I really miss the conclusion and who the villain was.
The film seems to be updated to the late 1990s in England when it was made. I aways prefer her Poirot and all of her characters and plots to be set in the older and original times. Mystery fans especially should enjoy this film.