Tag Archives: Warner Brothers

Stage Fright (Alfred Hitchcock, 1950)

This is my contribution to the Sleuthathon organised by Movies Silently. Please do visit and read the other entries. The film I’ve chosen is controversial because of some plot elements. I won’t discuss this aspect until the end and will give a spoiler warning, since, as so often with Hitchcock, this is a film where you definitely don’t want to know what’s coming in advance! 

Stage Fright 3Jane Wyman stars as young actress Eve, who turns detective to prove the man she loves is innocent of murder. That’s the starting-point for this unusual Hitchcock thriller, also starring Marlene Dietrich and Michael Wilding. For my money, the movie disproves the claim that he couldn’t do comedy, with many hilarious moments from British character greats such as Alastair Sim and Joyce Grenfell. At times the humour does slow the pace, but it’s all so enjoyable that it’s hard to care – and the tension still builds to an unbearable level whenever the plot calls for it. In particular, the ending of the film is increasingly tense, achieving the same sort of edge-of-the-seat agony as many better-known Hitchcocks.

Hitchcock was keen to work in London at this time because daughter Patricia was at drama school there, and he gave her a small part as a character with the wonderful name “Chubby Bannister”. Despite a mainly British cast, probably with an eye on the US box office, he chose an American actress for the lead role. I’ve just been watching Jane Wyman’s most famous films made with Douglas Sirk, so I was interested to see her in a very different part here. This was made only four years before she played an older woman in  Magnificent Obsession, yet here she is cast as a fresh-faced ingénue who still lives at home with her mother. Well, with her mother (Sybil Thorndike in sublime grande dame form) half the time, and her father (a gloriously grumpy Alastair Sim) the other half.

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Young at Heart (Gordon Douglas, 1954)

Young at Heart 4It must be a daunting prospect to step into a role which another actor has already made his own. But Frank Sinatra did it at least twice, in musical remakes of much-loved movies. In High Society he took on the role which had won James Stewart an Oscar in The Philadelphia Story, and a couple of years earlier he stepped into the shoes of another legend, John Garfield.  In Young at Heart, starring opposite Doris Day, Sinatra plays the character who turned Garfield into a star – a bitter, mixed-up young musician who believes the fates are out to get him.

I’m a big fan of Garfield and of the original 1938 film, Four Daughters, also starring Priscilla Lane, which I hope to return to here in the New Year, as part of a series about films focused on groups of sisters or female friends. However, I also really like the remake, directed by Gordon Douglas, who worked with Sinatra on several other films. This version keeps a lot of the same witty dialogue by Julius Epstein and Lenore J Coffee – and Sinatra burns up the screen as Barney Sloan. (His name has been changed from Garfield’s Mickey Borden.) Day is also perfectly cast as Laurie Tuttle, the golden girl who tries to break through Barney’s defences, but sadly she doesn’t get any musical numbers to equal the three great torch songs which Sinatra performs in the course of the film. Sitting at the piano nursing a cigarette and wearing a battered Fedora, he looks as if he has materialised from the sleeve of one of his albums of sad songs, such as In the Wee Small Hours, released the following year. 

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Always Goodbye (Sidney Lanfield, 1938)

This is my contribution to the Barbara Stanwyck blogathon being organised by Girl with a White Parasol, which features a great range of postings going right through her career.

Barbara Stanwyck and Johnny Russell

Barbara Stanwyck and Johnny Russell

Sacrificial mother love was a persistent theme in 1930s melodramas – and Barbara Stanwyck played several roles of this kind, most famously in the classic Stella Dallas (1937). The following year she was cast as a mother suffering for her child once again in Always Goodbye (1938), which isn’t one of her best-known pictures, but does feature another great performance. Did she ever give anything less? Another plus is that it casts Stanwyck opposite Herbert Marshall, whose voice adds so much to the power of every role he plays.

Always Goodbye was a remake of a pre-Code film starring Ann Harding, Gallant Lady (1933). I would like to see that one too, especially as it was directed by Gregory La Cava. Like the Stanwyck film, it isn’t available in the UK , but has had DVD releases in the US and elsewhere, so I may be tempted to buy it on import. If you’ve seen the La Cava version, I’d be really interested to hear your thoughts on how the two compare.

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The Strawberry Blonde (Raoul Walsh, 1941)

strawberry blonde 14This is my contribution to the James Cagney blogathon being organised by R.D. Finch at The Movie Projector. Please do visit and read the other postings. There is also the chance to win a two-DVD special set of ‘Yankee Doodle Dandy’ – scroll down to the bottom of the Movie Projector blogathon page for details of how to enter.

Both James Cagney and director Raoul Walsh are best-known for their tough-guy dramas – and they made two great ones together, gangster classics The Roaring Twenties and White Heat. Yet this pair also teamed up to make one of the sweetest of romantic comedy-dramas, a period piece suffused with charm and nostalgia. With not one but two great leading ladies, Rita Hayworth and Olivia de Havilland, a sparkling script and an irresistible musical soundtrack,  The Strawberry Blonde is a film which deserves to be much better known. Sadly this title has never had a full DVD release, and old VHS videos  used to change hands at scarily high prices – but now it has been brought out on Warner Archive in region 1, and it has also been shown in a fine print on the UK TCM in the last few years.

Most of the film unfolds in flashback, so we know from the start that young dentist Biff Grimes (Cagney) has been disappointed in love and spent time in prison after somehow being framed by a friend. The film then shows how it all happened – before we finally discover whether Biff will be tempted to take his revenge on the friend in question, Hugo Barnstead (Jack Carson), when he finally turns up in his surgery as a patient.

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Saturday’s Children (Vincent Sherman, 1940 – and other versions)

Saturday's Children 2This posting is really a follow-up to the excellent John Garfield centenary blogathon. In the last few days I’ve  been lucky enough to see one of Garfield’s rarer films,  Saturday’s Children, and was surprised to realise just how many other versions of the same story have been made. The film was reviewed during the blogathon, but I can’t resist giving my own take on it too. Anyway, after talking about the film itself, I’ll then go on to mention the other versions which have been staged or filmed, ranging from the original Broadway stage play – starring a very young Humphrey Bogart! – right through to a stage revival in the last couple of years. I’ll also post some pictures of some of the other versions. Although I do like discussing endings, I’ve resisted the temptation on this occasion, so there are no serious spoilers in this posting – but, if you just want to know about the other versions, scroll down to the bottom!

The 1940 film starring Garfield, directed by Vincent Sherman, was the third screen adaptation of  Maxwell Anderson’s play. It is often described as a romantic comedy – but perhaps a more accurate description is that it’s a tragicomedy. The way it moves from sweet early scenes to increasingly painful/bitter ones, and eventually lurches into near-melodrama, reminded me of one of my favourite James Cagney films, The Strawberry Blonde, made the following year, which I will be writing about soon for the forthcoming James Cagney blogathon. Both films have scripts by Casablanca writers Julius J. and Philip G. Epstein, reworked from stage plays, and both see Warner Brothers ‘tough guys’ cast somewhat against type, in roles which bring out their more vulnerable qualities.

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My Fair Lady (George Cukor, 1964)

Audrey Hepburn

My Fair Lady has one of the greatest scores of any musical, by Lerner and Loewe, with many songs which have become standards, such as With a Little Bit of Luck, Wouldn’t It Be Loverly and On the Street Where You Live. It is also one of the most gorgeous musicals to look at, making full use of Super Panavision, with its dazzling Cecil Beaton costumes and colourful sets. It wasn’t filmed on location in London, but Covent Garden flower market and the dingy back streets look convincing enough to me, while scenes like the Embassy ball and Ascot have all the visual flamboyance you’d expect from director George Cukor, aided by art director Gene Allen. Yet this celebrated film was allowed to deteriorate into a sorry state and needed full-scale restoration by the mid-1990s. The DVD I have, part of an Audrey Hepburn box set, features the restored print, looking great, plus several special features – and there are also a couple of different two-disc special editions available, as well as a region 1 Blu-ray. But what I’d really like would be to see this on the big screen some day.

This was one of the first musicals that I came to love, as a child of the 1960s. But the version I knew back then was the soundtrack of the Broadway show, starring Julie Andrews as Shaw’s Cockney flower girl Eliza Doolittle, whose life is transformed when eccentric phonetics expert Henry Higgins decides to teach her to speak “like a lady”. My mother had a copy of the LP which someone had brought back for her from America (it wasn’t allowed to be sold in the UK at that time, presumably for copyright reasons), and we listened to it endlessly. So when I hear anyone else singing those songs, I still always have Julie’s voice in the back of my head somewhere.

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Love is a Racket (William A Wellman, 1932)

Frances Dee and Douglas Fairbanks Jr

Countless movies from the 1930s feature fast-talking, fast-living  journalists, armed with battered old typewriters, phones and bottles of whiskey. Some of these reporters are fearlessly determined to expose corruption at any cost. Others, however, are quite the opposite, and the (anti)hero of Wellman’s quirky romantic comedy-melodrama Love Is a Racket is a case in point. Gossip columnist Jimmy Russell, played by a very young and handsome Douglas Fairbanks Jr, isn’t interested in putting his neck on the line. When he hears about a juicy story involving New York mobsters fixing the price of milk, he can’t get to the phone fast enough…  to keep it out of the paper!

This is one of six movies made by Wellman in 1932, during his amazingly prolific pre-Code days. Made under contract at Warner, it has the studio’s gritty style, but is also stamped with the director’s personality, as it lurches from witty dialogue to  black humour, practical jokes and slapstick. Also, about half the film seems to take place in torrential rain, Wellman’s favourite type of weather. There’s a great cast, with Lee Tracy, the original stage star of  The Front Page, as Fairbanks’ best buddy and newspaper colleague, Frances Dee as our hero’s on-off girlfriend, and Ann Dvorak, one of my favourite 1930s actresses, in a sadly small role as his pal who wants to be something more. Even with all this going for it, this film isn’t on DVD as yet and is one of the director’s more obscure early works. But it has recently been shown on TCM in the US, so there must be  a chance it will soon get released on Warner Archive.

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More Wellman on DVD

William Wellman and Dorothy Coonan on the set of 'Wild Boys of the Road '

It’s been a while since I did any full reviews of William A Wellman movies here, but I have been watching more of his work in the meantime and have updated my Wellman page with brief details of all the films of his I’ve seen so far (40-plus.) I do also have a couple more of his films which I haven’t got round to watching yet, and there are a few more available which I haven’t bought yet, so I will carry on updating, and hopefully review some more of them too.

Anyway, I’m delighted to say that my page is already getting out of date, because Warner Archive has just announced that it is releasing three more of his titles on DVD. I’m especially excited at the release of his great pre-Code Safe In Hell (1931), starring Dorothy Mackaill in a brilliant performance as an ex-prostitute who runs away to a Caribbean island after killing an ex-boyfriend.

The other two are later titles, which I haven’t seen as yet. One is My Man and I (1953), starring Shelley Winters as an alcoholic bar girl befriended by Mexican farmhand Ricardo Montalban. The other is Wellman’s very last film, Lafayette Escadrille (1958), starring Tab Hunter and David Janssen, and with a small part for Clint Eastwood. This returns to the theme of the director’s first big success, Wings, by focusing on First World War flyers. I have seen an interview with Wellman where he talks about this film and about how upset he was by the studio changing his ending and also imposing a title –  he had already had a lot of interference with many other films, but you get the impression this one broke his heart. (He himself  didn’t fly with the Lafayette Escadrille, as usually stated, but with the Lafayette Flying Corps.) Anyway, this film is already available on a French DVD from Warner, but this is said to be a remastered edition, so I’m not sure which would be the better buy. The French DVD is probably a pressed one rather than a DVR, but maybe this is a better print?

It’s also good to hear that classic screwball comedy Nothing Sacred (1937), starring Carole Lombard and Fredric March, is being released by Kino on both DVD and Blu-ray on December 20 in a new “authorised edition from the estate of David O Selznick and the collection of George Eastman House). Should be much better than all the faded public domain copies on the market!

Big City Blues (Mervyn LeRoy, 1932)

I’ve been meaning to write about one or two more obscure pre-Codes that I’ve seen in the last few weeks, but haven’t got round to it and my memory of some of them is already starting to fade. So here is a short posting on one of these, Big City Blues, starring Joan Blondell and with an all-too brief, though memorably violent, appearance by an uncredited Humphrey Bogart. Sadly, this movie isn’t on DVD as yet, though it is yet another one that we can hope Warner Archive may release. This posting is mainly an excuse to post the pictures and posters I’ve gathered together of this film.

This film, a predictable tale of a young man from the country who finds New York life too much for him, is really a very slight offering, at only 65 minutes. However, having said that, anything featuring Bogart or Blondell surely has an interest, while director LeRoy also has a following, and went on to do a great job on the better-known Three on a Match and I am a Fugitive from a Chain Gang.  Big City Blues  is also worth looking out for its typically gritty Warner Brothers’ portrayal of New York City life in the Great Depression. I saw this around the same time as Alfred E Green’s Parachute Jumper, an early Bette Davis film made the following year, and the two have slightly blurred together in my mind. Between them, the two give a picture of rootless young people wandering round the big city in search of a living, a good time, or just a meal.

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Parachute Jumper (Alfred E Green, 1933)

I’ve watched a few little-known pre-Codes lately which aren’t masterpieces by any means, but are still interesting. I thought I’d post a few thoughts on them before they fade in my mind completely, starting with this early Bette Davis comedy-drama from Warner Brothers. Davis is one of my favourite actresses and I’ve been trying to watch as many of her movies as possible, so that’s why I tracked this down,  though it isn’t on DVD as yet.  There may be a hope that it will turn up in Warner Archive in the future.

I was especially intrigued by this film because of the title, since I am a fan of 1930s aviation dramas and recently reviewed Wellman’s Central Airport, also made in 1933, which features a woman parachutist. Sadly, however, Bette isn’t the parachute jumper in this one, staying firmly on the ground throughout! In fact it is top-billed star Douglas Fairbanks Jr who does the jumping, though he doesn’t do very much of it.

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