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.
I already knew Frank Sinatra was a good actor, after seeing his impressive supporting performance in From Here to Eternity. However, I didn’t realise quite how good until seeing him in this little-known noir thriller, directed by Lewis Allen, where he just burns up the screen as a hired assassin out to kill the US President.
I’ve read on various websites that Sinatra had the movie withdrawn from circulation after the assassination of JFK because it was reported that Lee Harvey Oswald had watched the film just days before carrying out the killing. However, there’s a comment at the imdb saying that Sinatra in fact had nothing to do with the decision to withdraw the movie. In any case, there are one or two chilling similarities, especially in the scenes with a sniper standing at a window – and it’s easy to see why there might have been little appetite for watching the movie after the real-life tragedy.
After thoroughly enjoying Old Acquaintance, which teamed Bette Davis with Miriam Hopkins, I was keen to see their earlier film together, The Old Maid. I’d seen this movie described somewhere as a “soap opera”, but I think that’s very misleading. In fact, it is an adaptation of a stage play based on a novella by Edith Wharton, in her collection Old New York. While it does have elements of melodrama, it also has complicated characters, painted in shades of grey, neither impossibly good nor impossibly bad.
Bette Davis and Miriam Hopkins
Once I’d seen the movie for the first time, I got hold of Wharton’s novella and read it and then watched the film again. If anything, I was even more impressed the second time round. There are some changes to Wharton’s plot, notably moving the story to the period of the American Civil War and stepping up the character of Clem Spender, played by George Brent – but to me the portrayal of the two central women seems essentially true to the original story.
Hopkins stars as the beautiful, spoilt Delia Lovell, with Davis as her cousin, Charlotte, who is somewhat under her shadow and later becomes the embittered “old maid” of the film’s title. Davis originally wanted to play both main female roles but in a way she is already playing two parts, since Charlotte later in the film is so different from the lively young girl in the opening scenes. I’m glad the dual role was decided against, since there is so much chemistry between her and Hopkins. Watching the two portray lifelong friends, it’s hard to believe that they disliked one another so much in real life.
I had heard of The Petrified Forest as a gangster film, so was surprised to find that it is really a stage play, largely set in one room (a remote cafe at an Arizona petrol station) – and has a static, talky quality. Although this is known as a star-making performance for Humphrey Bogart, in fact the male lead is Leslie Howard.
He plays a failed writer turned failed drifter, who lands up at this restaurant in the middle of nowhere and strikes up a tentative relationship with waitress Gabby (Bette Davis), the daughter of the owner – who is desperate to get away and discover the outside world. I was intrigued to discover how literary a lot of the conversation between Howard and Davis is, with them both reading poems aloud – everything from Francois Villon to TS Eliot. I like Davis’ performance as the ambitious young dreamer frustrated by her surroundings Continue reading →