Angel and the Badman (James Edward Grant, 1947)

John Wayne and Gail Russell
John Wayne and Gail Russell

This is my contribution to the 1947 Blogathon being organised by Shadows and Satin and Speakeasy. Please take a look at the great range of postings.

A rider gallops through the Western countryside – but falls from his horse, hit by a bullet. He is seen by a pair of passing Quakers, who go to his aid, but he is reluctant to accept their help, wanting to press on with his quest even if it kills him. That’s the starting point for Angel and the Badman, an unusually romantic Western starring John Wayne and Gail Russell as a couple who come from completely different worlds.

Director James Edward Grant also wrote the script, so this was clearly a film which meant a lot to him. It has an atmosphere all of its own, almost taking place at two speeds, with some fast-moving Western segments, such as a bar-room brawl, and some slower and more gently unfolding scenes in the world of the Quakers’ farmhouse.

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A Couple of Items About William A Wellman

Just to say that I’ve written a new review of William A Wellman’s great pre-Code drama Wild Boys of the Road for Wonders in the Dark, as part of the site’s Greatest Childhood/Adolescent Films Countdown. It’s a film I’ve already written about here in the past, but it was fun to watch and write about it again and there was lots more to say!

Still on the subject of Wellman, who is one of my favourite directors, I was excited to hear that a blogathon is being organised about his work, from September 10 to 13. Now Voyaging is hosting The William Wellman Blogathon, and has had the honour of receiving a comment from Wellman’s son and biographer, William Wellman Jr.  I will be taking part and contributing a piece about his Second World War aviation drama Thunder Birds.

Trapped by Television (Del Lord, 1936)

Trapped by Television 5This is my contribution to the Film Preservation Blogathon, being hosted for its final day (May 17) by  Sam and Allan at  Wonders in the Dark. The blogathon aims to raise funds for the restoration of the intriguingly titled 1918 silent film Cupid in Quarantine, a Strand comedy which is centred on a couple trying to start a smallpox outbreak! To support this cause, please scroll down to the bottom for the donation button, and do visit Wonders and the other host blogs, Ferdy on Films and This Island Rod.

Science fiction is the loose theme of the Film Preservation Blogathon. In all honesty, the comedy-drama Trapped by Television, starring Mary AstorLyle Talbot and Nat Pendleton (all pre-Code veterans), doesn’t entirely fit the bill. However, this film does take off from the science fact of the time, as it focuses on efforts to develop the first TV sets. It also seemed an appropriate choice because it’s one of the many movies which have landed up in the public domain. This means they are freely available on the internet and on many cheap DVDs – but also usually means nobody is prepared to fund a restoration. Trapped by Television is actually in a better state than many of the films existing in this sad copyright limbo, but still suffers from a rather grey picture and some surface noise. Watching it is a reminder of why it’s so essential to preserve and restore our film heritage. I watched the movie at Archive.org, but I think the picture quality is slightly better at http://free-classic-movies.com/.

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Mary of Scotland (John Ford, 1936)

This is my contribution to the Great Katharine Hepburn Blogathon, organised by Margaret Perry. Please do visit and take a look at the other posts!

Mary of Scotland 2
Katharine Hepburn in one of the amazing costumes created by Walter Plunkett

On paper, it ought to have been so good. A great director, John Ford, a great star, Katharine Hepburn, and a legendary story of rivalry between two queens. Yet somehow on the screen this historical spectacular doesn’t live up to its pedigree. It’s a slow and often boring film, despite its atmospheric, shadowy lighting, lavish art direction and evocative score by Nathaniel Shilkret, featuring snatches from many Scottish folk songs. There are some memorable patches, but the film as a whole doesn’t live up to its best scenes.

Ford famously “printed the legend” rather than worrying about historical accuracy, and that’s certainly the case here. The film turns Mary into a tragic heroine and her controversial relationship with Bothwell, played by Frederic March, into a picturesque romance. Of course, biopics and historical dramas always reshape events, and this one does that shaping from a pro-Stuart, anti-Tudor angle, editing out facts and speculation which work against its chosen story. Many dramas taking Elizabeth as the heroine have done just the opposite.

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Gaslight (1940 and 1944)

This posting is my contribution to The Great Villain Blogathon. Please take a look at the other postings, which cover an amazing range of films.

gaslight poster 2There’s something peculiarly chilling about a villain stalking you in your own house – especially when it’s the person who is supposed to be your soulmate. A number of films made in the era of noir explored the plight of wives psychologically tortured by their husbands (Rebecca, Suspicion, The Two Mrs Carrolls). The two versions of Gaslight are among the best.

Here are my thoughts on the two films – and gaslight poster 1the two  villains of the piece, played by Anton Walbrook and Charles Boyer, with Diana Wynyard and Ingrid Bergman as their terrified wives. Both versions have great lead performances and it’s fascinating to compare them. In particular, Boyer and Walbrook are very different. To my mind the earlier film, directed by Thorold Dickinson, holds its mood better and is more truly frightening than the George Cukor remake, but both are powerful dramas in their own right.

Although there are many changes, in each case the main story is the same, focusing on a wife trapped within a Gothic house amid the darkness of Victorian London. A murder took place in the house years ago, with a woman being killed for her jewels, but her attacker failed to find the gems and went away empty-handed. Now the house is haunted by the memory of that crime. Every evening the gaslight dims – but is it really the wife’s mind which is fading? Her apparently attentive husband claims that she is showing signs of mental illness, yet it becomes increasingly apparent that he is the one driving her to a breakdown.

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The Song of Songs (1933)

Poster - Song of Songs, The (1933)_03This is my contribution to the Pre-Code Blogathon, organised by Danny of Pre-Code.com and Karen of Shadows and Satin. Please take a look at the other postings – there’s a wide range of films being covered.

Marlene Dietrich’s series of films made with Josef von Sternberg are her most famous pre-Codes. As a result, The Song of Songs, made by another great director, Rouben Mamoulian, tends to be overlooked. However, here too she gives a powerful and varied performance, in a film which is packed with pre-Code content and really pushes the boundaries. I was lucky enough to see this film during the recent pre-Code season at the BFI in London, and Victor Milner’s cinematography makes a powerful impression on the big screen. It’s also available to watch on DVD – I have the standard DVD from Universal in the UK/region 2, which doesn’t feature any extras. In region 1 it’s been issued on a more expensive DVD-R from Universal and TCM.

The excellent cast includes Brian Aherne and Lionel Atwill as the two men in Dietrich’s life, but this is her film all the way, giving her a chance to put several different spins on her screen persona. She also sings two great songs, which encapsulate those different versions of her personality.

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