This is my contribution to the Joan Crawford Blogathon, hosted by Crystal at In the Good Old Days of Classic Hollywood. Please do visit and read the other postings, covering a great range of films.
In her mid-40s when The Damned Don’t Cry was made, Joan Crawford was just a little too old for the part of a gangster’s moll. Yet that’s just what makes this movie so compelling, as she pours herself one more time into the kind of working girl role she had made her own earlier in her career. Although the film is often described as a noir, in some ways it is a successor of pre-Codes like Baby Face. Just like Barbara Stanwyck’s character in that film, Crawford here has nothing but her looks and her wits, and uses them to climb from one man to another, taking revenge on a world which has wronged her.
At the start of the film, a gangster’s body is thrown out of a car. Police start to search for a missing socialite linked with the dead man, Lorna Hansen Forbes, only to discover that her name and her whole lifestyle appear to be fake. Where did she come from? As they try to find out, Lorna (Crawford) turns up at the poor shack where her parents live. Her mother greets her as “Ethel”, but her father coldly ignores her.
I’m still on the blogathon trail! This is my contribution to the Animals in Film Blogathon, which is being hosted by Crystal of In the Good Old Days of Classic Hollywood. Please do go along and look at the other postings.
Horse-racing tale Broadway Bill was clearly a story which meant a lot to Frank Capra. After being dissatisfied with the film first time around, he remade it 16 years on as Riding High. The original film was then thought to be lost for many years, before resurfacing in the 1990s. I thought it would be fun to compare the two for the blogathon, as I’ve already done with another Capra film that he remade, Lady for a Day and Pocketful of Miracles. However, I hadn’t quite realised just how similar the two versions of Broadway Bill would be!
Broadway Bill is available on DVD in both region 1 and the UK/region 2. The print on the region 2 DVD I watched is grainy and doesn’t look very good, although it’s said to be restored. Riding High is available from Warner Archive in region 1 and there is also a Spanish region 2 DVD, but I watched it via streaming at Amazon.co.uk, where the picture and sound quality were good.
The story, scripted by Robert Riskin, centres on a charming drifter, Dan Brooks (Warner Baxter). He has married an heiress and uneasily settled down in her small home town, Higginsville, where every business in sight is owned by her dad, overbearing banker J.L. Higgins (Walter Connolly). Shades of Pottersville in It’s a Wonderful Life – though Higgins doesn’t quite have Potter’s evil glee!
Graham Greene’s short novel The End of the Affair is a tale of love, jealousy, pain and Catholic guilt, set against the background of the London Blitz. I’ve read the book many times over the years, since first falling in love with it as a teenager, and have never failed to be gripped by Greene’s haunting prose – but for some reason I’d never seen a film adaptation until now. I decided to watch the British 1955 film starring Van Johnson, Deborah Kerr and Peter Cushing, and found it captures quite a lot of the novel’s disturbing power, even though the censors of the day watered down some elements. Greene later described it in a 1984 Guardian film lecture, included in The Graham Greene Film Reader, as the “least unsatisfactory” adaptation of one of his religious novels.
The film is available on DVD from Columbia Classics in both region 1 and region 2/UK, with different covers. The UK sleeve captures the dark and brooding atmosphere of the film far better than the sweet colour photo on the US sleeve. The UK disc is a barebones presentation, but does have a good quality print. There is also a region 1 double DVD which combines this film with the 1999 remake starring Ralph Fiennes and Julianne Moore. I’m hoping to see and compare that version soon. The movie can also be streamed via Amazon in the US.
This posting is my contribution to the Marathon Stars Blogathon hosted by Virginie at The Wonderful World of Cinema and Crystal at The Good Old Days of Classic Hollywood blogs. Please do visit and read the other postings!
The challenge for the Marathon Stars Blogathon was to watch 5 films featuring a star whom I’d only seen in up to 3 movies previously. I found it quite difficult to pick someone, since often as soon as I notice an actor I rush to see as many of their films as possible, promptly ruling them out for this particular blogathon!
However, I realised I had seen just two films starring Hedy Lamarr, and that she had made a favourable impression on me in both. She is on something of a hiding to nothing in Algiers (John Cromwell, 1938), which is almost a frame by frame remake of the great French drama Pépé le Moko, made only a year earlier – but she still gives a good performance. However, the film I had really liked her in wasCome Live With Me (Clarence Brown, 1941), a bitter-sweet romantic comedy where she plays a Viennese exile in the US who gradually falls for awkward young writer James Stewart. That’s still probably my favourite of hers even after seeing the 5 new-to-me films that I’ve watched for this marathon, which covered a range of genres and were all highly enjoyable.
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 is my contribution to the Remembering Barbara Stanwyck Blogathon, being organised by Crystal at The Good Old Days of Classic Hollywood. Please do visit and look at the other pieces about one of the all-time greatest film stars.
It’s a black and white film full of shadows, with Barbara Stanwyck as the woman tempting Fred MacMurray to abandon his virtuous life. Another leading noir actress, Joan Bennett, also stars. But Douglas Sirk’s domestic melodrama There’s Always Tomorrow is worlds away from Double Indemnity, and Stanwyck’s character here is no femme fatale – or not consciously so. However, her effect on the life of MacMurray’s character could prove to be nearly as devastating as it was in the earlier film.
I have some problems with attitudes woven into this film, which will become clear during my review, but I still find it compelling, as with all the “emotion pictures” by Sirk that I’ve seen so far. And Stanwyck is just as riveting to watch as always, giving depth to a character whose motivation isn’t always clear. This is the second time she had played an outsider returning home in a Sirk film, after the earlier All I Desire, also in black and white.
It’s also one of four films she and MacMurray made together, all very different. After enjoying Double Indemnity, the great Christmas romantic comedy Remember the Night and this one, I’ve only got The Moonlighter still to go. There’s Always Tomorrow was their last time together, though, and that gives an extra poignancy to the film, since they are cast as a couple reunited after years apart.
This is my second contribution to the Sinatra Centennial Blogathon, which I’m hosting together with Emily from The Vintage Cameo. Emily is hosting the last two days of this event, so please head over to her site to see the latest postings. My first contribution was Frank Sinatra and Bing Crosby.
It’s not one of Frank Sinatra’s better-known films, and was released as his career was heading for the rocks in the early 1950s. Yet Meet Danny Wilson, an uneven melodrama laced with music and comedy,contains some of his finest singing, and also gives hints of the acting triumphs which were to come. Made in black-and-white, this film was produced on a low budget and is admittedly no masterpiece, but all the same I really enjoyed it and found it a great way to celebrate his centennial.
In particular, he gives an absolutely spellbinding performance of She’s Funny That Way. The film is also interesting to watch because there are quite a few echoes of Sinatra’s real life, something which was commented on at the time. The film is available on DVD in the UK/region 2, from Eureka, but looks as if it is harder to get hold of for those of you in the US. The UK DVD, which I own, has pretty good picture quality, but no extras except for the original trailer.