This is my contribution to the CinemaScope blogathon, running from March 13 to 16, which is being organised by Classic Becky’s Brain Food and Wide Screen World – please visit and take a look at the other postings!
I’m a fan of Frank Sinatra, so in his centenary year I couldn’t resist choosing Three Coins in the Fountain to write up for the blogathon. While Sinatra doesn’t appear – and isn’t even credited! – his singing of the great title song is probably the first thing that comes to mind for most people when thinking of this film. My mum tells me that everyone came out of the cinema singing it when the film was released in 1954. The lyrics of the Jule Styne/Sammy Cahn number don’t have a great deal to do with the plot, but it really doesn’t matter. This is a movie where you definitely wouldn’t want to miss the first few minutes, with the song swelling out over stunning footage of the Trevi Fountain, followed by sweeping shots of Rome.
Of course, another reason for visiting this film this year is in tribute to French star Louis Jourdan, who died a few weeks ago aged 93. Sadly he doesn’t get a chance to sing here, as he did in Gigi a few years later, but he does play the piccolo – and gives an amusing performance as a conceited prince. There’s no explanation as to why an Italian prince has a French accent!
This is my contribution to the Russia in Classic Film blogathon, being organised by Movies Silently. Please take a look at the great range of posts on films, stars and directors with Russian links.
Anna Sten in Nana, from the Doctor Macro website
She’s known as ‘Goldwyn’s Folly’ – if she gets a mention at all, that is. But, after seeing a few of her films, I feel that actress Anna Sten deserves more recognition. The Russian star was a victim of over-hype by the studio – with failed attempts to turn her into the “new” Garbo or Dietrich, rather than creating an image around her own screen personality. She was also advertised as the “Passionate Peasant”, which didn’t sit well with the glamorous photos used to celebrate her beauty.
Either because of too much publicity, the studio’s choice of roles or for some other reason, Sten failed to set the box office alight. That’s not in doubt… but I do get fed up with the claims in reviews of some of her films that she “couldn’t act” or “lacked talent”. Her success before arriving in the US surely proves the opposite – and her acting ability also shines through in the films she did make in Hollywood.
Born in Kiev, probably in 1908 though records vary, Anna was half Ukrainian and half-Swedish. She attended theatre school and, after being discovered by legendary theatre director Stanislavsky, appeared on stage and in a number of Russian and German silent films. She went on to star in German talkies, including an acclaimed production of The Brothers Karamazov made in 1931 – I’ve just seen this and it’s a forgotten gem.
A blogathon in honour of actress Madeleine Carroll is currently running, to mark what would have been her 99th birthday. I’ve posted a review of her little-known British film Fascination from 1931, which has just been released on DVD in the UK, over at my other blog, British Film Classics, as my contribution. Please do take a look, and also visit the other websites taking part!
I’ve been watching a few 1950s Westerns lately, and enjoyed this gorgeously-filmed Technicolor offering from the start of the decade, starring Gary Cooper. It’s one of his lesser films, and rather uneven, with some unbelievable plot twists, but still a good role for him. Cooper plays a haunted man – a former Confederate officer, Blayde “Reb” Hollister, who has lost everything in the war. For Reb, the conflict is still going on, as he turns outlaw and has a price on his head. Ruth Roman stars opposite Cooper, with Leif Erickson, Raymond Massey and Steve Cochran also featuring in a fine cast.
Cooper was pushing 50 when he made this, and his leading-man looks are noticeably fading. But his weary, melancholy features make his role as a lonely outsider all the more poignant. His character is someone who has been left behind, and is trying to make his way in a world which has moved on without him. This reminded me of Bogart’s character in a film director Stuart Heisler made the previous year, Tokyo Joe, who is also emotionally stranded after a war, though in his case it is the Second World War. (Both films also have a strong focus on love triangles, as does Blue Skies, the only other Heisler film I’ve seen, which, as a Bing Crosby and Fred Astaire musical, is otherwise worlds away from this one, )
This is my contribution to the Miriam Hopkins Blogathon, which is running from January 22 to 25. Please do visit and read the other postings!
I’ll admit I expected a lot from Becky Sharp. It has a great star, Miriam Hopkins, in a powerful role giving her plenty of scope, and a great director – Mamoulian, who made such classic pre-Codes as Dr Jekyll and Mr Hyde and Love Me Tonight. It’s adapted from one of the best-known Victorian novels, Thackeray’s glittering satire Vanity Fair, set around the Battle of Waterloo. And, what’s more, it was the first full-length feature ever made in glorious three-strip Technicolor. What’s not to love?
The movie didn’t quite live up to my expectations, though it certainly has its moments and I’m very glad to have seen it. One problem is that it seems to be hard to get hold of a decent print. This film has fallen into the public domain, so many versions around on the net and on DVD are almost unwatchable – very sad, since early Technicolor can look fantastic if properly restored. There is a version restored by UCLA, but this isn’t available on DVD, although it is sometimes shown on TCM in the US.
A Happy New Year to all readers of my blog, and thanks very much for your support, visits, comments and ‘likes’ during 2014. I’m hoping to post a bit more regularly here over the coming 12 months, so watch this space.
A while back, I launched a series of mini-reviews mentioning 5 films on a particular theme – I’m now resurrecting the idea for a quick look at some movies about New Year, in no particular order.
1. Cavalcade (Frank Lloyd, 1933): I’ve just got round to watching this pre-Code, an adaptation of a stage play by Noel Coward which revolves around a series of tableaux centred on momentous events in British life. It begins with New Year’s Eve at the dawn of the 20th century, and runs through to New Year’s Eve 1933. The way it blends together the story of two families above and below stairs clearly shows the way forward to TV series such as Downton Abbey and Upstairs Downstairs, while the intensely-felt central performance of Diana Wynyard as an aristocratic mother at times reminded me of Celia Johnson in Coward’s later classic, Brief Encounter. I really enjoyed it, despite the fact that many people don’t. Anyway, yes, it is episodic, but what great episodes. Also, the music is excellent, especially Ursula Jeans’ performance of Coward’s song Twentieth Century Blues - even if you don’t want to see the whole film, just treat yourself to this clip!
As usual with films which have dates in the title, Gold Diggers of 1937 was actually made the previous year. It stars Joan Blondell, one of my favourite actresses, opposite her real-life husband of the time, Dick Powell. There is a lot of chemistry between them, not surprisingly, and I found that I warmed to Powell in this more than usual. Maybe I’m starting to get his appeal, which had previously been a mystery to me, or maybe it’s because his character in this one is easy to like – a bored, hard-up insurance salesman who dreams of making it as a singer.
Up to now, the only Busby Berkeley musicals I’d seen were his famous three from 1933. Coming to this later offering, I wondered if it would feel insipid compared to his pre-Code work. However, despite bearing that certificate at the start, the film still packs quite a punch – as well as being fun much of the time. It’s just a shame that it only has one massive musical number worked up in Berkeley’s trademark lavish style, with the film’s other songs being staged in a more modest way. (The subject matter of that one number, All’s Fair in Love and War, is pretty jaw-dropping, even by Berkeley’s own standards.) The songs themselves are great – written by the top teams Harry Warren and Al Dubin and Harold Arlen and E Y Harburg.