This is my very belated contribution to the Barrymore Trilogy blogathon – many apologies for being so late (I forgot the blogathon’s date), but please do visit Crystal’s blog, In the Good Old Days of Classic Hollywood, to read the other entries.
This smash hit romantic melodrama is dominated by Greta Garbo, playing the woman whose name has become a byword for seductive spying. However, Lionel Barrymore also gives a powerful performance as a General who falls under her spell. Although Ramon Novarro is ostensibly the male lead, Barrymore has a more interesting role and manages to steal a large number of scenes.
The film is only loosely based on the life of the real Mata Hari, a Dutch exotic dancer living in Paris who was executed for spying for the Germans in the First World War. A recent biographer argues that she wasn’t a spy at all and says there was little evidence against her. Be that as it may, Mata was around 40 during the war and her career as a dancer was on the wane. By contrast, Garbo was only 26 when she made the film and at the height of her beauty – so the character doesn’t quite have the desperation which Mata would have had in real life. Another difference is that the real Mata was Eurasian, but fortunately, although Garbo is seen performing a sexy Oriental dance, the studio didn’t try to alter her appearance.
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?
How exciting that the William A. Wellman blogathon starts today! I’ll be contributing a posting about one of his lesser-known films, the Second World War propaganda drama Thunder Birds – the reason I’ve chosen that one is that I’ve been trying to review his films in vaguely chronological order and that is the one I’ve got up to (though there are still a few earlier rarities I haven’t caught up with as yet). My main love is his pre-Code work but I do want to get back into writing about his later films too.
Here’s a list of all those I’ve reviewed here so far in this intermittent project, with links:
If anyone wants more, my Wellman page (which I haven’t kept up very well, sorry) also has mini-reviews of The Great Man’s Lady (1942), Lady of Burlesque (1943), The Ox-Bow Incident (1943), Buffalo Bill (1944), The Story of G.I. Joe (1945), Magic Town (1947), Yellow Sky (1948), Battleground (1949), The Happy Years (1950), Across the Wide Missouri (1951), Westward the Women (1951), Island in the Sky (1953), The High and the Mighty (1954), Blood Alley (1955) and Darby’s Rangers (1958).
Not that I’m obsessed, or anything…
Anyway, I hope to have my posting for the blogathon up soon, and am looking forward to reading everyone’s postings!
“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 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.
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 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!