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.
This piece is my first contribution to the Sinatra Centennial blogathon, which I’m proudly co-hosting with Emily at The Vintage Cameo. I’m also hoping to put a second piece up before the event ends on Sunday!
They might have only co-starred in two movies, but Frank Sinatra and Bing Crosby loom large in each other’s legend. Sinatra took inspiration to start out on his singing career from Crosby’s success, while Bing jokingly spoofed Frank on film. Although best-known as singers, both were also Oscar-winning actors. They appeared together on radio and TV over the years, most famously in the TV special Happy Holidays with Bing and Frank, which has recently been resurrected – and is perfect festive viewing for Sinatra’s Centennial.
According to a biography of the young Sinatra I read a few years ago, Frank: The Making of a Legend by James Kaplan, the young Frank had a picture of Bing on his wall and wore the style of cap favoured by his idol. Once Sinatra started to make a name for himself as a singer and followed Crosby into films, comparisons were soon being made between the two.
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.
I’ve been enjoying contributing to a few blogathons lately, and this is my contribution to another one – the Universal Blogathon, celebrating the studio’s 100th birthday. Please take a look at the great range of postings.
Universal might be best known for its horror films, but the studio also produced many other types of movie over the years, including Westerns. The Alaskan gold rush is the backdrop for The Spoilers, a lighthearted film with a great cast, headed by Marlene Dietrich, John Wayne and Randolph Scott. I’d remembered all the best bits of this film from a previous viewing, before deciding to revisit it for the blogathon, and, having watched it again, would have to admit there are quite a few flaws which had slipped my mind. So it isn’t a masterpiece – but it does provide a lot of fun and there is loads of chemistry between Dietrich and Wayne, who were an item in real life at this time. It’s also interesting to see Western hero Scott in a less than sympathetic role.
Drawing on his own memories of his days as a pilot, William A. Wellman made aviation films right through his career, from silent masterpiece Wings right through to his deeply personal final film, Lafayette Escadrille. The Second World War film Thunder Birds: Soldiers of the Air is one of his lesser-known movies on this theme. This is really a slice of propaganda, looking at the training of young pilots and the close working together of the US and British forces. However, aside from a long voice-over intro and another voice-over at the end, where the Chinese pilots training at the field are also spotlighted, most of the movie is focused on a buddy story which turns into a love triangle, bringing back memories of Wings.
This film is admittedly far from being one of Wellman’s greatest – but, in purely visual terms, it might just be the most gorgeous spectacle that he ever made. The Technicolor is truly glorious, showing off the locations around Thunderbird Field in Glendale, Arizona, where Allied pilots gained their wings before going to war. Cinematographer Ernest Palmer’s colour footage of aircraft spiralling through a vivid blue sky in a series of daring stunt flights is the film’s most striking element, while the sweeping shots of desert scenery would grace any Western. Costume designer Dolly Tree also clearly decided to make the most of the opportunities presented by Technicolor. Leading lady Gene Tierney – who gets top billing despite fairly limited screen time – wears a succession of dazzlingly colourful outfits.
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.
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.
There’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 Gaslightare among the best.
Here are my thoughts on the two films – and the 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.