Lady for a Day (1933) and Pocketful of Miracles (1961) (Frank Capra)

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.

Lady for a Day 2Pocketful of Miracles 7Frank 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?

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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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The Bad Sister (1931)

As my movie-watching is increasingly outstripping my limited blogging time, I’m going to do a few shorter reviews of films I’ve seen recently, before they completely fade in my memory! This is also an excuse to post the pictures I’ve gathered together.  This melodramatic pre-Code directed by the little-known Hobart Henley is no masterpiece, putting it mildly. Based on Booth Tarkington’s novel The Flirt,  it is very static and soapy, with awkward, stilted dialogue, and has dated far more than many other films from the same era – but it’s interesting mainly because of its cast. 

It was Bette Davis’ first film and also stars Humphrey Bogart – both are cast completely against what later became their types, with Davis as the “good” and dowdy sister, Laura, and Bogart as a smooth and charming young conman, Valentine. Looking at him in this you can glimpse why one early review of a stage performance said he was “as handsome as Valentino”. Zasu Pitts, star of silent classic Greed, also features as the family maid, Minnie, an added bonus – while Bert Roach, who plays a kindly, bumbling character in another silent classic, King Vidor’s The Crowd, is similarly kind and bumbling here.  

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So Big! (1932)

Barbara Stanwyck in So Big!

After thoroughly enjoying William Wellman’s pre-Code comedy-drama The Purchase Price,  I was delighted to get the chance to watch So Big!, another film he made the same year, just a couple of months earlier, also starring Barbara Stanwyck as a farmer’s wife. Based on a Pulitzer Prize-winning novel by Edna Ferber, this is an even bleaker portrayal of rural life than the one given in The Purchase Price, portraying a back-breaking existence which makes the people living on farms old and exhausted before their time – although there is still a lot of humour mixed up with the melodramatic elements.  This book was filmed three times, first as a silent with Colleen Moore and then again in the 1950s starring Jane Wyman, but this middle version is the only one I’ve seen.

I enjoyed this film, but, at just 81 minutes, it is very short for the large span of time it tries to cover, and there are some abrupt jumps. It looks from the list of characters at the imdb, which includes several who are not in the finished film, as if some of the story must have been deleted – I’d love to see the sections which were cut out before release and find out if they would have made the film flow any better.

Stanwyck has a luminous, indomitable quality in this film, just as she does in The Purchase Price and the other films she made with Wellman – he seemed to like casting her as someone who can’t be defeated, however dire her situation might seem, but carries on working tirelessly and hoping against hope.  She also has another self-sacrificing role in this film, as in The Great Man’s Lady, a later film she made with Wellman, which I hope to write about here soon (I have a terrible backlog of films I’ve watched but haven’t written about!)

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Happy Christmas

Just to wish everyone who visits my blog a happy and restful break over the holidays. Here are a couple of Christmas stills from films I like but haven’t written about here yet – The Sisters (1938), directed by Anatole Litvak and starring Bette Davis and Errol Flynn, and Pride of the Marines (1945), directed by Delmer Daves and starring John Garfield and Eleanor Parker (a lovely still from the Life collection). Both these films feature rather sad Christmas holidays – however, I hope yours will be anything but!

Bette Davis and Errol Flynn in 'The Sisters' (1938)

John Garfield and Eleanor Parker in 'Pride of the Marines' (1945)

Mr Skeffington (1944)

I wanted to see Mr Skeffington because it stars Bette Davis, who is one of my favourite actresses. However, I ended up feeling that Claude Rains gives by far the stronger performance in this movie, which saw them both receiving Oscar nominations.


Bette Davis and Claude Rains

I was also interested to see it because I’d read that it is one of Hollywood’s first films to tackle anti-Semitism, and I’ve recently seen a couple of other films which look at this – but there isn’t as much about this theme as I’d expected. There are some brief, painful scenes where the Jewish hero, Job Skeffington (Rains) is shown being cruelly snubbed by members of society – and towards the end of the film there is some limited suggestion of what the Nazis were doing in Europe, leading to a shocking climax. However, most of the movie in fact focuses on Mrs rather than Mr Skeffington and on her struggle to come to terms with growing old and losing her looks – something which is unfortunately  portrayed by Bette Davis wearing unconvincing wigs and  inch-thick make-up.

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The Old Maid (1939)

After thoroughly enjoying Old Acquaintance, which teamed Bette Davis with Miriam Hopkins, I was keen to see their earlier film together, The Old Maid. I’d seen this movie described somewhere as a “soap opera”, but I think that’s very misleading. In fact, it is an adaptation of a stage play based on a novella by Edith Wharton, in her collection Old New York. While it does have elements of melodrama, it also has complicated characters, painted in shades of grey, neither impossibly good nor impossibly bad.   

Bette Davis and Miriam Hopkins

Bette Davis and Miriam Hopkins

Once I’d seen the movie for the first time, I got hold of Wharton’s novella and read it and then watched the film again. If anything, I was even more impressed the second time round.  There are some changes to Wharton’s plot, notably moving the story to the period of the American Civil War and stepping up the character of Clem Spender, played by George Brent – but to me the portrayal of the two central women seems essentially true to the original story.

Hopkins stars as the beautiful, spoilt Delia Lovell, with Davis as her cousin,  Charlotte, who is somewhat under her shadow and later becomes the embittered “old maid” of the film’s title. Davis originally wanted to play both main female roles but in a way she is already playing two parts, since Charlotte later in the film is so different from the lively young girl in the opening scenes. I’m glad the dual role was decided against, since there is so much chemistry between her and Hopkins. Watching the two portray lifelong friends, it’s hard to believe that they disliked one another so much in real life.    

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