I’m still on the blogathon trail! This is my contribution to the Animals in Film Blogathon, which is being hosted by Crystal of In the Good Old Days of Classic Hollywood. Please do go along and look at the other postings.
Horse-racing tale Broadway Bill was clearly a story which meant a lot to Frank Capra. After being dissatisfied with the film first time around, he remade it 16 years on as Riding High. The original film was then thought to be lost for many years, before resurfacing in the 1990s. I thought it would be fun to compare the two for the blogathon, as I’ve already done with another Capra film that he remade, Lady for a Day and Pocketful of Miracles. However, I hadn’t quite realised just how similar the two versions of Broadway Bill would be!
Broadway Bill is available on DVD in both region 1 and the UK/region 2. The print on the region 2 DVD I watched is grainy and doesn’t look very good, although it’s said to be restored. Riding High is available from Warner Archive in region 1 and there is also a Spanish region 2 DVD, but I watched it via streaming at Amazon.co.uk, where the picture and sound quality were good.
The story, scripted by Robert Riskin, centres on a charming drifter, Dan Brooks (Warner Baxter). He has married an heiress and uneasily settled down in her small home town, Higginsville, where every business in sight is owned by her dad, overbearing banker J.L. Higgins (Walter Connolly). Shades of Pottersville in It’s a Wonderful Life – though Higgins doesn’t quite have Potter’s evil glee!
This is my contribution to the They Remade What ?! blogathon being organised by Phyllis Loves Classic Movies. Please do visit and read the other postings.
Frank Capra first made his fairy tale of New York in black and white in the early 1930s. Then he returned to it 28 years later for a more light-hearted, star-studded Technicolor remake – which turned out to be his last full-scale film. As a fan of movies from the pre-Code era, I fully expected to prefer the 1933 version of this story, starring May Robson in the lead role. And I did, yet I also really enjoyed much of the 1961 version, where Bette Davis steps into Robson’s shoes. I watched the two more or less straight after each other – but did see the 1933 version first. I was surprised to learn that there has actually been a second remake, Miracles (1989), directed by and starring Jackie Chan, which moved the story to 1930s Hong Kong – but I haven’t had a chance to see that one.
So what’s the story? Street seller “Apple Annie” ekes out a living selling fruit to passers-by on the streets of New York. But she’s embarrassed about her poverty and doesn’t want her daughter, who has been educated abroad since early childhood, to know the truth about her life. So Annie “borrows” notepaper from a swanky hotel and writes letters describing a lovely society lifestyle for herself, to delight young Louise.
It all seems to be going well, until Louise writes to say that she is engaged to the son of a Spanish Count – and the couple are about to pay a visit. Annie is in despair, until gangster Dave “the Dude”, who regards her apples as his personal lucky charm, comes to the rescue. He arranges for her to borrow a flat in the hotel and pose as a society lady for the period of Louise’s stay. But can Annie carry off such a daring deception?
It was a film made in just four weeks, and on a shoestring. Clark Gable was forced to star in it as a punishment, according to some accounts, and turned up drunk and angry to meet director Frank Capra. At the end of filming, Claudette Colbert said “I just finished the worst picture in the world.” Yet, somehow, It Happened One Night, the tale of a runaway heiress who joins forces with an unemployed journalist on a long-distance bus trip, ended up as a smash hit and multi-Oscar winner. It touched a nerve in the Great Depression – and still does so now, in our own hard times nearly 80 years on. I was lucky enough to see it on the big screen during a rerelease in the UK, and the audience’s reaction showed just how well this early screwball tale of a couple travelling on a late-night bus has worn.
Actress Barbara Stanwyck is probably best-known for her roles in films noir like Double Indemnity, where she plays a cold-hearted femme fatale. But, great as she undoubtedly is in this kind of part, I tend to prefer her earlier films when she plays characters with more warmth – as she does in The Miracle Woman, one of Capra’s great pre-Codes. Her character, young bogus evangelist Sister Florence Fallon, must be the sweetest conwoman ever. Indeed, she casts her spell over the audience just as she does over her swooning congregations within the movie.
This early Capra movie is one of many of his works centring on a charismatic figure who is taken up by cynical business interests and used to manipulate the public. Capra and his regular writer Robert Riskin, who adapted this film from his own play Bless You Sister, were not the only film-makers in the 1930s to be interested in this kind of story. (A similar scam is also the theme of William A Wellman’s Nothing Sacred, a film I wrote about here recently and which John Greco has just written a great review of at his blog.) But it does seem to be a Depression-era theme that had a particular appeal for Capra, an idea that he returned to time and again.