This posting is really a follow-up to the excellent John Garfield centenary blogathon. In the last few days I’ve been lucky enough to see one of Garfield’s rarer films, Saturday’s Children, and was surprised to realise just how many other versions of the same story have been made. The film was reviewed during the blogathon, but I can’t resist giving my own take on it too. Anyway, after talking about the film itself, I’ll then go on to mention the other versions which have been staged or filmed, ranging from the original Broadway stage play – starring a very young Humphrey Bogart! – right through to a stage revival in the last couple of years. I’ll also post some pictures of some of the other versions. Although I do like discussing endings, I’ve resisted the temptation on this occasion, so there are no serious spoilers in this posting – but, if you just want to know about the other versions, scroll down to the bottom!
The 1940 film starring Garfield, directed by Vincent Sherman, was the third screen adaptation of Maxwell Anderson’s play. It is often described as a romantic comedy – but perhaps a more accurate description is that it’s a tragicomedy. The way it moves from sweet early scenes to increasingly painful/bitter ones, and eventually lurches into near-melodrama, reminded me of one of my favourite James Cagney films, The Strawberry Blonde, made the following year,which I will be writing about soon for the forthcoming James Cagney blogathon. Both films have scripts by Casablanca writers Julius J. and Philip G. Epstein, reworked from stage plays, and both see Warner Brothers ‘tough guys’ cast somewhat against type, in roles which bring out their more vulnerable qualities.
In interviews with William Wellman included in the Forbidden Hollywood Collection Volume 3 box set, he suggests that he sometimes had problems working with actresses, recalling arguments with some of his leading ladies when he refused to let them look glamorous. (To be fair, he also mentions falling out with male actors for similar reasons – he always wanted people to look as real as possible, rather than being smothered in make-up, and he didn’t go in for his stars wearing designer gowns and smart suits in unlikely contexts, as happens in some other directors’ movies!)
However, from the early movies of his I’ve watched so far, one of the main things that strikes me is what strong lead roles he had for women – from Clara Bow as an ambulance driver in Wings and Louise Brooks as a teenage runaway in Beggars of Life through to Barbara Stanwyck and Joan Blondell as nurses in Night Nurse. The Purchase Price, made the year after Night Nurse, has another strong role for Stanwyck, this time as a torch singer who decides to get away from it all by taking a friend’s place as a mail order bride.
Adapted from the story The Mud Lark by Arthur Stringer, with a screenplay by Robert Lord, this is is a lighter film than the others by Wellman I’ve written about here so far. There are many comic scenes, though there is some melodrama too. Also the whole film has an early Warner grittiness to it, though set in the country rather than the city. I’m amused by how misleading the sexy advertising poster with Stanwyck and George Brent is – the words are just about true, I suppose, but give a completely false idea of the film, especially when combined with the glamorous picture. You’d never think from this poster that most of the movie is set on a freezing cold farm in the wilds of North Dakota, with Brent in an overall and Stanwyck in an apron!