Still on the subject of Wellman, who is one of my favourite directors, I was excited to hear that a blogathon is being organised about his work, from September 10 to 13. Now Voyaging is hosting The William Wellman Blogathon, and has had the honour of receiving a comment from Wellman’s son and biographer, William Wellman Jr. I will be taking part and contributing a piece about his Second World War aviation drama Thunder Birds.
I’m going to take a break from posting about Wellman after this one and turn to other directors for a while… but first just wanted to say something about his movie focusing on aviation pioneers, Men with Wings, which stars Fred MacMurray, Ray Milland and Louise Campbell. Sadly this is another one of his that hardly anybody gets the chance to see, though it is hard to know quite why it has fallen into such obscurity. Made the year after A Star Is Born and Nothing Sacred, it was another lavish early Technicolor production – but, where both of those famous films are available on a host of public domain DVDs and now also in properly restored prints on Blu-ray and DVD, Men with Wings has almost disappeared. I know it was recently shown during the Wellman festival at the Film Forum in New York, but I believe it is rarely if ever shown on TV, and it is only available to buy on bootleg DVDs, possibly of varying quality – the one I bought is fairly ropey, with badly washed out colour and a lot of noise on the soundtrack, but someone has posted the first 20 minutes or so on Youtube in a much more watchable print, where you can get a sense of what the colour should be like. Maybe the problem with its availability is that it was made by Paramount rather than Selznick’s company.
This will just be a fairly quick posting, as I don’t seem to have much time at the moment, but want to keep my blog alive! One reason I have picked William A Wellman to write about so much is that I tend to find his films are enjoyable to watch time and again. This is certainly true of Roxie Hart, which was actually the second of three movie versions of the Chicago story, based on the stage play by Maurine Dallas Watkins. Fans of the smash hit musical should be interested to see this earlier version of the same story, starring Ginger Rogers as showgirl turned celebrity criminal Roxie Hart. Interestingly it already feels like a musical, with a great scene where Rogers and the press corps tap dance around the prison.
Made the same year as Wellman’s great Beau Geste, this lesser-known drama, sadly not on DVD as yet, is another wildly noble and compelling period melodrama adapted from a novel by an imperialist author, Kipling. There was clearly a demand for such films in 1939, in the early days of the Second World War. Once again, the story ranges between England and wars in deserts, in this case the Sudan. However, in this film much of the drama takes place within the four walls of an 1880s London flat, framed by battle sequences at the start and end.
Anybody watching in search of war scenes might be surprised by just how much of the film is made up of Ronald Colman fighting his own private battle behind closed doors. Colman stars as Dick Heldar, an artist tormented by unrequited love for a fellow-painter, and struggling to hold on to his failing sight long enough to complete his masterpiece, a portrait of poor Cockney girl Bessie Broke (Ida Lupino). I don’t think the film stands up as well as Beau Geste, but it does have powerful performances by both Colman and Ida Lupino, as well as atmospheric, shadowy black-and-white cinematography by Theodor Sparkuhl, with the pictures flickering in and out of focus as Heldar’s sight fades.
Even more good news on Wellman DVD/Blu-ray releases. Kino Classics recently announced it would be releasing a restored print of Nothing Sacred (1937) this month, and it is now doing the same for another great Wellman film from the same year, A Star Is Born, starring Janet Gaynor and Fredric March, which will be released in February. The artwork for this one looks great, and, as with Nothing Sacred, it is being advertised as an “authorized edition from the estate of David O Selznick from the collection of George Eastman House”. Both these films were previously only available in a whole variety of cheap DVDs with badly faded Technicolor, so it will be great to see them restored to their full glory. There won’t be any special features apart from the trailer, though, and there seems to be no definite information on whether these are just region 1 releases or whether they will play in other regions’ DVD/Blu-ray players .
In the interests of obsessive completism, I thought I’d mention that I’ve just watched another rare 1930s William Wellman film. Sadly, however, if I’m honest, on this occasion the thrill of anticipation was greater than the pleasure of seeing the movie, The President Vanishes, which I think is by far the weakest offering I’ve seen from this director. I can’t really review it properly as I’ve only seen it once in a dire print, but will just make a few brief comments and post a few pictures.
I’d hoped for a lot from this film, which was made in late 1934, a few months after the enforcement of the Hays code, and released at the start of 1935. It has a good cast, headed by Edward Arnold, with a small part for a very young Rosalind Russell. It also has a plot which sounds intriguing on the face of it, adapted from a novel by Rex Stout. It’s about industrialists and businessmen trying to get America involved in a European war in order to boost the economy and the arms trade. The businessmen bankroll a shady Fascist organisation, known as the Grey Shirts, in order to stoke up public opinion, but, when the peace-loving President (Arthur Byron) is apparently abducted, the pro-war bandwagon is abruptly derailed. You don’t exactly have to be Sherlock Holmes to work out very early on in the 80-minute movie that the President engineered his own abduction.
Countless movies from the 1930s feature fast-talking, fast-living journalists, armed with battered old typewriters, phones and bottles of whiskey. Some of these reporters are fearlessly determined to expose corruption at any cost. Others, however, are quite the opposite, and the (anti)hero of Wellman’s quirky romantic comedy-melodrama Love Is a Racket is a case in point. Gossip columnist Jimmy Russell, played by a very young and handsome Douglas Fairbanks Jr, isn’t interested in putting his neck on the line. When he hears about a juicy story involving New York mobsters fixing the price of milk, he can’t get to the phone fast enough… to keep it out of the paper!
This is one of six movies made by Wellman in 1932, during his amazingly prolific pre-Code days. Made under contract at Warner, it has the studio’s gritty style, but is also stamped with the director’s personality, as it lurches from witty dialogue to black humour, practical jokes and slapstick. Also, about half the film seems to take place in torrential rain, Wellman’s favourite type of weather. There’s a great cast, with Lee Tracy, the original stage star of The Front Page, as Fairbanks’ best buddy and newspaper colleague, Frances Dee as our hero’s on-off girlfriend, and Ann Dvorak, one of my favourite 1930s actresses, in a sadly small role as his pal who wants to be something more. Even with all this going for it, this film isn’t on DVD as yet and is one of the director’s more obscure early works. But it has recently been shown on TCM in the US, so there must be a chance it will soon get released on Warner Archive.