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!
Thanks to all those who took part in my poll about your favourite Astaire and Rogers film – ‘Swing Time’, pictured, was the winner, although my own favourite is ‘Top Hat’, which came second. Nearly all their films had some love in the poll.
This is my contribution to the Dynamic Duos in Classic Film Blogathon hosted by Once Upon a Screen and Classic Movie Hub. Do check out the other postings, which cover a wide range of artists.
Facing the music and dancing
If there is any one dance number which sums up the appeal of Fred Astaire and Ginger Rogers, perhaps it’s Let’s Face the Music and Dance, as it serves up glamour, romance and laughter in the face of despair. At the start of the number, Astaire plays an elegant gambler on board a ship. He loses all he has left at the tables and is about to shoot himself – but that’s when Rogers appears at the side of the deck, trying to throw herself off. Somehow she indicates with her eyes alone that the reason is a broken love affair. They save each other, as he pulls her back from the brink and she snatches his gun, which he then throws into the sea, followed by his empty wallet. Next Fred starts to sing Irving Berlin’s song, with those opening lines which are almost like an Astaire-Rogers movie in miniature: “There may be trouble ahead/ But while there’s moonlight and music/ And love and romance/ Let’s face the music and dance.”
And theydo dance, of course, fitting into each other’s movements with an apparently effortless perfection that takes your breath away, however many times you’ve seen it. Fred is in his famous tails (after wearing a sailor’s uniform for much of the movie in question, Follow the Fleet) and Ginger wears an evening dress with a fur stole draped around her shoulders. The cruise ship and casino are a world away from most people’s reality – and yet the whole number is informed by the experience of the Great Depression which the audience was still living through in 1936. Dance now, pay later.
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.