This is my contribution to the Mary Astor blogathon being hosted by classic movie blogs Tales of the Easily Distracted and Silver Screenings, running from May 3-10, 2013 – please do visit the other blogs taking part.
The Mary Astor film I’ve chosen to write about is And So They Were Married, a little-known romantic comedy from 1936, where she plays a divorced mother thrown together with widowed father Melvyn Douglas at a snowbound ski resort over Christmas and New Year. It’s not available on DVD, but can currently be seen on Youtube, and is also due to be shown on TCM in the US at 11.15pm (ET) on Wednesday, July 3. While not a masterpiece, this is an enjoyable family film and could also be a fun alternative to better-known Christmas movies to bear in mind when the next festive season arrives.
The scenery, filmed on location at Donner Pass in California, is beautiful, and Astor and Douglas make a great couple, even if at times they could do with sharper dialogue. This will be a fairly short posting and this isn’t the sort of film where you need to worry about spoilers – though, in any case, as the New York Times review pointed out: “And So They Were Married gives away nearly all the story it has to offer in one titular burst of generosity.”
I knew that Mary Astor found herself pushed into mother roles later in her career, but I hadn’t realised she started to play this kind of part quite so young, while still at the height of her beauty. She was just 30 when And So They Were Married was released, and looks very young to be the mother of Edith Fellows, who was 13 (although her character is said to be nine). However, even if the casting is a slight stretch, Astor’s relationship with her screen daughter comes across as warm and natural, showing the way forward to her later mother roles in better-known films like Meet Me in St Louis.
Many great musicals have plots packed with drama and unlikely coincidences. By contrast, on the surface anyway, Meet Me In St Louis has almost no plot at all. However, there is far more to this holiday classic, starring Judy Garland in one of her best-loved roles, than meets the eye on first viewing. Producer Arthur Freed, director Vincente Minnelli and the team at MGM agonised over the ingredients just as the Smith household’s cook, Katie (Marjorie Main) worries over her homemade ketchup bubbling on the stove in the film’s opening scene.
Katie is afraid the ketchup may be too sweet. MGM’s powers-that-be saw the same danger in this adaptation of writer Sally Benson’s humorous Kensington magazine stories, recalling her girlhood in St Louis at the turn of the 20th century. Various scriptwriters were drafted in and encouraged to add exciting plot twists, such as an unlikely blackmail plot involving a Colonel, to make the mixture a little stronger.
I originally wrote this posting a while ago, but have now rewritten it as part of my William Wellman season here. I first watched Other Men’s Women on a dodgy bootleg copy, which was the only way of seeing it at the time, but am now delighted to have a beautifully remastered official DVD, issued as part of the Forbidden Hollywood 3 box set.
This is a fast-moving film which really appealed to me because I am a fan of both melodrama and gritty early Warner films focusing on people’s working lives. The fact that it also features an early performance by James Cagney, though in a very small part, is another attraction. It has some dramatic, dark and grainy footage of trains in rainstorms – Wellman very often uses rain in his films, partly to give a feeling of his characters being up against it and facing a hostile world, as in the famous scene with Cagney in the rain near the end of The Public Enemy, made in the same year. I gather some of the train scenes were done with miniatures, but they still look convincing to me.