William A. Wellman films I’ve reviewed so far…

William A. Wellman
William A. Wellman

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:

I also reviewed a later film, his great Western Track of the Cat (1954) for the Western countdown at the Wonders in the Dark website, and I recently contributed a piece about Wild Boys of the Road to the childhood films countdown there (not the same as my piece on this blog).

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!

Dinner at Eight (George Cukor, 1933)

This is my contribution to the Barrymore Trilogy Blogathon. Please do look at the great range of postings.

Dinner at Eight 5“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.

Continue reading “Dinner at Eight (George Cukor, 1933)”

The Song of Songs (1933)

Poster - Song of Songs, The (1933)_03This 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.

Continue reading “The Song of Songs (1933)”

Anna Sten

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
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.

Continue reading “Anna Sten”

Take Five: Happy New Year!

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.

Cavalcade 81. 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!

Continue reading “Take Five: Happy New Year!”

Busby Berkeley musicals

Joan Blondell and James Cagney in Footlight Parade
Joan Blondell and James Cagney in Footlight Parade

Hi to all those visiting my blog! I haven’t been around here much lately, and I’m afraid my projected themes fell by the wayside… though I might still resurrect them. But, anyway, I intend to get the show back on the road with some postings about musicals and then see where the spirit takes me. I’ve been enjoying the great Busby Berkeley movies in recent months, especially as I had the opportunity to see Footlight Parade during the pre-Code festival at the BFI in London earlier this year. This was also the first opportunity I’ve ever had to see a James Cagney film on the big screen – I’ve seen just about all his films, bar a couple of TV productions. but only on the small screen ( in many cases on Youtube). It was a revelation to see those spectacular Berkeley numbers as they should be seen – and I have more big-screen joy coming up next month, when Ipswich Film Society plans a screening of Gold Diggers of 1933. 

In the meantime, I’ve been lucky enough to get my hands on an imported TCM mini set in their Greatest Classic Films series, thanks to my daughter who gave it to me for my birthday. On two double-sided discs, it contains the aforementioned Footlight Parade, 42nd Street, and two lesser-known Berkeley films, Dames and Gold Diggers of 1937.  Some films in this TCM series are coded for region 1 only, while others are region free – but luckily, although I’m in the UK, I do have the ability to watch multi-region. A big bonus is that these DVDs have lots of special features, including trailers and featurettes. too. Just wondering, what are anyone’s favourite Berkeley musicals? I especially love 42nd Street, but am looking forward to discovering some of his lesser-known offerings. Watch this space for a review of Gold Diggers of 1937 coming up in the next couple of days.

Young Bride (William A. Seiter, 1932)

Helen Twelvetrees and Eric Linden
Helen Twelvetrees and Eric Linden

I’m back in the Pre-Code groove after seeing quite a few of them in recent weeks – including this rather slight but enjoyable melodrama. I was attracted to Young Bride because it stars Helen Twelvetrees and Eric Linden, who are both now sadly forgotten, but  were talented actors of the era. It also has a good director, William A. Seiter, who directed the Astaire and Rogers musical Roberta, as well as Laurel and Hardy’s Sons of the Desert. What’s more, it was one of the first films executive produced by David O. Selznick.

Helen Twelvetrees gets top billing here for what is essentially a woman’s emotion picture, centred on a lonely young girl who falls in love with Mr Wrong. The original working title of this film was ‘Love Starved’, and that’s a good description of Twelvetrees’ character, Allie Smith, who has recently lost her beloved mother and now leads an isolated existence in the flat they shared. What’s more, Allie has a job as… wait for it… a librarian. Continue reading “Young Bride (William A. Seiter, 1932)”