This is my contribution to the Symbiotic Collaborations blogathon, being hosted by CineMaven’s Essays from the Couch. Please take a look at the other postings, which all focus on collaborations between a director and star.
Both Raoul Walsh and James Cagney are known for their quality of toughness, so it’s no surprise that two of the four movies they made together are famous gangster films. But both director and actor were also interested in focusing on character and, beyond the action sequences, their films also contain equally powerful scenes bringing out the vulnerability of the heroes/villains played by Cagney. I can’t look at every aspect of all four films here, so am concentrating on this theme. I’ve also put a separate bit about some of the films’ endings at the end, including pictures.
Zeffie Tilbury appeared in more than 70 films, came from a famous theatrical family and had a long stage career before making her film debut at the age of 54. So I’ve been surprised to see how hard it is to find much information about this grand old lady of film and theatre. Admittedly, many of her movie parts were small and uncredited – but she also played a number of major roles.
The first time I really noticed her was in Desire (1936), directed by Frank Borzage and starring Marlene Dietrich and Gary Cooper. Tilbury, who was then in her 70s, plays an elderly conwoman going under the name Aunt Olga, and urging on Dietrich’s character to press ahead with her efforts to con Cooper. She makes a memorable entrance, heading for the booze and admitting in her aristocratic English voice that she is just out of jail. There aren’t many actors who can hold their own with Dietrich on camera, let alone steal a scene, but I’d say Tilbury manages to do it on this occasion.
This is my contribution to the They Remade What ?! blogathon being organised by Phyllis Loves Classic Movies. Please do visit and read the other postings.
Frank Capra first made his fairy tale of New York in black and white in the early 1930s. Then he returned to it 28 years later for a more light-hearted, star-studded Technicolor remake – which turned out to be his last full-scale film. As a fan of movies from the pre-Code era, I fully expected to prefer the 1933 version of this story, starring May Robson in the lead role. And I did, yet I also really enjoyed much of the 1961 version, where Bette Davis steps into Robson’s shoes. I watched the two more or less straight after each other – but did see the 1933 version first. I was surprised to learn that there has actually been a second remake, Miracles (1989), directed by and starring Jackie Chan, which moved the story to 1930s Hong Kong – but I haven’t had a chance to see that one.
So what’s the story? Street seller “Apple Annie” ekes out a living selling fruit to passers-by on the streets of New York. But she’s embarrassed about her poverty and doesn’t want her daughter, who has been educated abroad since early childhood, to know the truth about her life. So Annie “borrows” notepaper from a swanky hotel and writes letters describing a lovely society lifestyle for herself, to delight young Louise.
It all seems to be going well, until Louise writes to say that she is engaged to the son of a Spanish Count – and the couple are about to pay a visit. Annie is in despair, until gangster Dave “the Dude”, who regards her apples as his personal lucky charm, comes to the rescue. He arranges for her to borrow a flat in the hotel and pose as a society lady for the period of Louise’s stay. But can Annie carry off such a daring deception?
“The most glamorous production of all time,” proclaims the original trailer to Dinner at Eight. Well, Jean Harlow’s astonishing dresses, made by Adrian, are certainly glamorous – and so is the whole central idea, of a businessman’s wife arranging a grand society dinner. But, like the previous year’s great portmanteau drama featuring some of the same stars, Grand Hotel, this is very much a Depression era film, with a desperation underlying the glamour.
The film has an astonishing cast even by the standards of MGM – it must be one of the most star-studded ensembles of all time, featuring both John and Lionel Barrymore, as well as Harlow, Marie Dressler, Wallace Beery, Billie Burke, Madge Evans, Lee Tracy and Edmund Lowe. Names like Phillips Holmes, Grant Mitchell and May Robson have to make do with bit parts.
This 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 Astor, Lyle 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/.
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.
This 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.