36 Hours (1965)

 

Prisoners of war are interrogated and tortured for their secrets. But what happens when they're tricked out of them?

Directed and adapted for the screen by George Seaton, 36 Hours (1965) is a fascinating WWII film about a major in the US Navy whose drugged and captured by the Germans. When he comes to he's made to believe that it's 6 years later and the war is over opening up the opportunity for the Germans to learn crucial information about the imminent invasion of Normandy, also known as D-Day.

James Garner stars as Major Jefferson Pike. The US Navy has sent him to Lisbon, Portugal on an intelligence mission. However before he's able to execute his assignment, a German spy slips something into his coffee which knocks him out and he's taken prisoner. While he's unconscious a team of Nazis work to execute an elaborate plan that's been months in the making. Led by psychiatrist Major Walter Gerber (Rod Taylor), the team has studied Pike for months. Their plan is to make him think it's 1950 and he's recovering in an American Navy hospital. He's recruited fellow Germans who speak impeccable English to play Americans. Also part of his team is Anna Hedler (Eva Marie Saint), a concentration camp victim who spoke good English, was a trained nurse and saw this as an opportunity out of her situation. Anna plays his wife and nurse and Gerber plays a sympathetic American major and psychiatrist. A team of doctors perform plastic surgery on Pike to make him look like he's aged by 6 years. Gerber gets word from his higher ups that he only has 36 hours to finish his project and get important battle details out of Pike. His superior Otto Schack (Werner Peters) is visiting and anxious to interrogate the prisoner all the while doubting Gerber's plan. Will Pike figure out what's going on before he reveals too much?

Rod Taylor, James Garner and Eva Marie Saint in 36 Hours (1965)

36 Hours is based on an original story by writers Luis Vance and Carl K. Hittleman. However, Roald Dahl, popular writer and WWII veteran, had written a story in 1944 called Beware of the Dog that was very similar to Vance and Hittleman's story. Dahl's wife actress Patricia Neal was considering the part of Anna and noticed the similarities. In order to avoid a lawsuit, MGM bought the rights to Dahl's story and he received credit. Roald Dahl's biographer Jeremy Treglown confirms that Dahl was paid $30k for the film rights to Beware of the Dog. Most sources say the movie was adapted from Dahl's story but his is quite different. The two stories share in common the concept of tricking someone into think they are in a different place and time. I couldn't find any corroboration to this information other than IMDb. If you see any information please let me know because it makes for a very interesting back story!

James Garner's company Cherokee Productions co-produced 36 Hours along with William Perlberg and George Seaton. It was filmed on location in Yosemite National Park which was meant to represent the German countryside where Pike was isolated. I was delighted to see real footage of Lisbon, Portugal in the early 1960s. My father was from Portugal and I spent quite a bit of time visiting family there. At the time of filming my dad would have already been living in the US but it was still so fun to see my dad's country on film.

36 Hours is a taut war drama that kept me enthralled. I enjoyed the performances by the three leads James Garner, Eva Marie Saint and Rod Taylor. Saint's Anna is a very dark character. She's become numb because of her experiences in a concentration camp and is purely in survival mode. Saint is roughed up a bit in the movie and the plot line about her not being able to cry felt a bit over done. However I think her character was very interesting and it was great to see Saint in a role like this. Taylor's performance as Gerber was nuanced and brilliant. His character is probably the most complex of the bunch. Garner is great as Pike but I don't feel like the role was all that challenging for him. Pike is kind of a one-note character and he's confused when he comes to but I didn't quite believe it when he starts to realize what's going on. Garner is one of my favorite actors so it was still great to see him in this. And I also admire the fact that he was heavily involved behind the scenes too. I really enjoyed John Banner's performance as the Ernst. He plays an important character in the final part of the film. Describing his story line would be a major spoiler because he helps the plot come to its final conclusion.

I thoroughly enjoyed 36 Hours. I loved it's unusual story line and seeing a different take on WWII. The ending is predictable because it's based on real events but it's still so much fun to watch. Hat tip to writer Andy Ross who convinced me that I had to watch this one. You can check out his article on the movie here.

36 Hours (1965) is available on DVD-MOD and Blu-Ray from the Warner Archive Collection. It's also streaming on Warner Archive Instant. I watched the Blu-Ray version and highly recommend it.

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Thank you to Warner Archive for sending me a Blu-Ray copy of 36 Hours to review!

On the Making of Out of the Past (1947)

Today marks the 100th anniversary of Robert Mitchum's birth. Mitchum and his classic film noir Out of the Past (1947) have been such a part of my classic film journey. It seems fitting that for my blog's 10th anniversary and Mitchum's 100th that I dedicate today's post to this movie.

Robert Mitchum and Jane Greer on the set of Out of the Past (1947)

Out of the Past (1947) was based on the 1946 novel Build My Gallows High by Geoffrey Homes, a pen name for author Daniel Mainwaring. The film rights were up for auction before the novel was even published. RKO's William Dozier beat out Warner Bros. with the winning bid. Although the book was released as Build My Gallows High, that title wasn't quite right for the movie. A Gallup poll conducted by RKO confirmed that such a morbid title would scare off potential viewers. The name change to Out of the Past happened after filming was wrapped up.

RKO brought Mainwaring on board to work on the screenplay. He took a crack at it but it proved to be too complicated a story and the flashback structure just wasn't working. Various sources say that author James M. Cain (Postman Always Rings Twice) also attempted to write the screenplay by making numerous changes to Mainwaring's story and characters. Director Jacques Tourneur read both screenplays and requested his own changes. A third writer, Frank Fenton, solidified the structure and added some colorful dialogue. Although multiple screenwriters worked on the adaptation, only Mainwaring (as Geoffrey Homes) received credit. In the end Tourneur still thought the final product was confusing but went ahead with the production anyways.

Originally Edward Dmytryk was announced as director but a scheduling conflict with the filming of So Well Remembered (1947) caused him to drop out. Jacques Tourneur recently had some success at RKO making pictures with Val Lewton and came on board as director bringing cinematographer Nicholas Musuraca with him. They had previously collaborated on the RKO film Cat People (1942).

Jacques Tourneur and Nicholas Musuraca meeting with Jane Greer and Robert Mitchum. Out of the Past (1947)

Mainwaring first envisioned Humphrey Bogart for the part of Jeff Bailey. He even went so far as to meet with Bogart and present him with the script. Bogart might have been interested but his studio Warner Bros. wouldn't loan him out with RKO. Was Warner Bros. bitter because they lost the auction? Perhaps. However, the story from Warner Bros. was that Bogart was far too busy with other projects and they couldn't possibly loan him out. Other actors were considered including Dick Powell, Pat O'Brien and John Garfield. RKO finally settled on Robert Mitchum, their contract up-and-comer who could work on the cheap. Mitchum had potential as a leading man; he just needed a opportunity to show his worth. The role of Jeff Bailey matched Mitchum's personality. It was a natural fit.

RKO built a cast of relative newcomers to round out of the film. These included Kirk Douglas, Jane Greer, Virginia Huston, Rhonda Fleming, and Paul Valentine. Former child actor Dickie Moore, who'd recently recovered from a crippling virus that put his acting career on hold, was signed on for the part of the deaf-mute "kid". He spent four weeks learning sign language for the part. Mitchum was paid around $10k for over 10 weeks of work in comparison to Kirk Douglas who was on loan from Paramount and received $25k for a much smaller role. Jane Greer, who was Howard Hughes' discovery, was just 22 when she landed the femme fatale role of Kathie. It was a great part for her and boosted her confidence in her acting abilities.

The crew set out to Bridgeport, California, a small town in the Sierra Mountains to scout out locations and start filming. Out of the Past was shot in Bridgeport, Upper Twin Lake, Lake Tahoe and even San Francisco. (Check out Laura's awesome post about the different Bridgeport locations featured in Out of the Past.)

A week later Mitchum flew out to Bridgeport in what turned out to be one of the most dramatic entrances and proves sometimes the truth is stranger than fiction. Mitchum biographer Lee Server recounts that RKO's Warren Duff and Robert Mitchum took a four-seater plane out to Bridgeport. As they landed, the wheels hit the runway but plane wouldn't slow down because the brakes had failed. The pilot tried with all his might to stop the plane. Server says "the aircraft smashed through a fence, hopped a ditch, and knocked over an outhouse before it came to a complete stop." Mitchum and Duff were knocked unconscious but no one was seriously injured. Who else can say they arrived for a film shoot by way of a crash landing?

Once settled, the cast and crew would film in Bridgeport for three weeks. There wasn't much to do in town. During their free time, they'd hang out at a local tavern. According to Server, "RKO sent up a projector and some spare prints, so in the evening people would gather around and watch Tom Conway as The Falcon..." RKO's publicist arranged for Mitchum to be involved in a publicity stunt. Mitchum, who was part Native American, was initiated into the Shoshone Indian tribe complete with headdress and photo op. When he wasn't at the beck and call of RKO, he'd write poetry and share it some of his fellow cast members including Dickie Moore. Newcomer Virginia Huston developed a massive crush on Mitchum and I can't say I blame her.

Robert Mitchum and Jane Greer - Out of the Past (1947)

After the location shooting wrapped up, the whole unit traveled back to Los Angeles to film the remaining scenes at the RKO lot. That's when the rest of the cast including Jane Greer and Kirk Douglas, started working. Mitchum and Jane Greer got a long really well on set and soon became fast friends. Their friendship would last for decades. According to a few sources, Mitchum and Kirk Douglas got along fine but there was a professional rivalry between the two. They both played to the camera in an effort to steal a scene or two. This rivalry would continue for years but on a low-key basis with both figures being dismissive of the other. But it's not like Mitchum would admit to this. In an interview with Jerry Roberts, Mitchum was asked about tensions on set and his response was, "Hell no. We had just seen him in The Strange Love of Martha Ivers and were all delighted that he was in the picture." Director Tourneur and Mitchum were a match made in heaven. Tourneur found in Mitchum what he was looking for: an actor who was charismatic yet reserved and whose good looks and personality would bring a dreamy sensuality to Jeff Bailey.

Kirk Douglas and Robert Mitchum in Out of the Past (1947)

Production wrapped up in January of 1947 but Out of the Past wasn't released until November of that year. In the midst of filming, RKO had hired Dore Shary as head of production. He dismissed basically every project RKO was working on before he was hired and Out of the Past suffered as a result. The film was released with little to no publicity. It made a modest profit for the studio but it wasn't considered the great classic it is today. In fact, it wasn't until decades later when Film Noir was defined and studied as a genre that Out of the Past was truly appreciated.

Out of the Past has had various home video releases over the years. It's currently available in a stunning blu-ray edition available from the Warner Archive Collection.

Sources
Baby I Don't Care: Robert Mitchum by Lee Server
Robert Mitchum In His Own Words edited by Jerry Roberts
TCMDB Article Laura of Laura's Miscellaneous Musings

The Beloved Brat (1938)

 

The Beloved Brat (1938) could just be a story of a spoiled brat who learns the error of her ways and transforms into a well-behaved child. This Warner Bros. film is much more than that. In its mere 62 minutes of screen time it packs a wallop with two big takeaways: 1) there are big consequences to suffer when you neglect your child and 2) you should find it in your heart to be inclusive of others.

The Beloved Brat is based on an original story by Jean Negulesco, who was on loan to Warner Bros. as a writer in 1938 and soon transitioned into a career as a director. Directed by Arthur Lubin, the film stars Bonita Granville as Roberta Morgan, the only child of a wealthy couple. She's been primarily raised by the household servants and her governess because her mother Mrs. Morgan (Natalie Moorhead) and her father Mr. Morgan (Donald Crisp) are far too busy with their careers and travels to pay much attention to their daughter. This results in Roberta acting out. A lot. The more Roberta feels stifled, the more she acts out and the more they try to repress her. It's a vicious cycle. The one person who seems to be emotionally invested in her is her father's secretary Williams (Donald Briggs). He's also the only person to remember her on her birthday which turns ends with a sad little party only attended by the servants and with cake she doesn't even get to eat.

Bonita Granville and Donald Crisp in The Beloved Brat (1938)

 When Roberta discovers a young boy playing her front lawn she befriends him. Pinkie (Matthew Stymie Beard) and his sister Arabella (Meredith White) include her in their adventures. It turns out Roberta could care less about the fact that they're black. (Side note: Leo Gorcey has a small role as a bully in one of their scenes.) When Roberta brings Pinkie home to have dinner, Roberta's story takes a turn for the worse. Jenkins (Emmet Vogan), the butler, unceremoniously throws Pinkie out of the house and  locks Roberta in her room. She fakes a house fire in order to run away but this starts a series of events which lands her in a reform school for girls run by Helen Cosgrove (Dolores Costello) and Miss Brewster (Lucille Gleason). Roberta is in a completely new and foreign environment and the schoolgirls take a disliking to her almost immediately. With the help of Cosgrove and the indirect help of her friend Williams, Roberta blossoms into a well-behaved young woman. And now it's time for her parents to learn their lesson.

Roberta (Bonita Granville) smashing plates as her fellow school girls look on.The Beloved Brat (1938)

The Beloved Brat is a film ahead of its time. In an era when racial mixing was looked down upon, the underlying message of inclusiveness in the film is quite bold. I let out a yelp and began to cry when I saw that Roberta finally got the birthday party she deserved, one filled with friends, including Pinkie and Meredith, and lots of cake. And in a time when it was the norm that children should be seen and not heard, Roberta boldly makes herself known. I wonder how audiences in 1938 reacted to this film. Were they receptive to the film's messages or did they just dismiss it as another poor rich girl story?

Bonita Granville is one of my favorite actresses but not all of her characters are likable. She made a career out of playing spoiled brats. Don't tell me you watched Now, Voyager (1942) and didn't feel the urge to smack her across the face. Granville's Roberta is lovable though. You know she's acting out because of her awful parents. I felt an emotional tie to her character and cheered her on and even wanted to see her throw a tantrum or two.

Granville made a minor splash in Hollywood playing a brat in These Three (1936). A few months after The Beloved Brat, Granville would start in the first of the four Nancy Drew movies, Nancy Drew Detective (1938). I have watched all four Nancy Drew films countless times and they're still some of my favorite movies from that era. I love that Granville graduates from brat, to misunderstood brat and then to headstrong independent girl in just a couple of years. But her bratty roles would still be synonymous with her name.

The Beloved Brat (1938) aired recently on TCM but it's not available on DVD. I hope the Warner Archive Collection will release it sometime in the future. It's worth seeing especially if you love films from this era and if you have a soft spot for Bonita Granville like I do.