Into the Dark by Mark A. Vieira

Into the Dark: The Hidden World of Film Noir, 1941-1950
by Mark A. Vieira
336 pages - 9780762455232
May 2016
Running Press and TCM
Amazon - Barnes and Noble - Powell's


“When I walk onto a set, I never have the slightest idea what I’m going to shoot. Then I sit in a chair for a few minutes and I see it all before me.” – Edmund Goulding

If you’re looking for a book on film noir, your options are endless. Much has been written about this beloved and still impossible to nail down genre of film. When author Mark A. Vieira sought out to create Into the Dark: The Hidden World of Film Noir 1941-1950 he needed a different approach. This book is not a primer on film noir nor is it a scholary work. It isn’t even your standard coffee table book. It’s a pictorial history told through archival documents. The author is renowned as a great researcher with access to materials, documents and photographs that few others have. Into the Dark is your armchair as you dig through the film noir archives alongside Vieira.

Before you even consider picking up this book, it’s important you know what’s contained inside and how it’s structured. If you don’t have a full appreciation for this you’ll be disappointed. The book explores a wide variety of films noir starting with Citizen Kane (1941) and ending with Sunset Blvd. (1950). All the major film noir classics Out of the Past (1947), Gun Crazy (1950), The Asphalt Jungle (1950), Murder My Sweet (1944), Double Indemnity (1944), Laura (1944), Mildred Pierce (1945), etc. and lesser known gems as well make up the space in between. Some films get one spread (2 pages) and some get up to four spreads (8 pages). There are large black-and-white publicity stills and a designed layout for the archival information. Each section will include some or all of the following:

Film name and credits
One line description of plot
Production quotes
Reviews
Box Office Numbers
Letters from Regional Theaters
Artist Comments
Detailed photo captions
Asides and explanations from the author

Below is what the layout for Out of the Past (1947) looks like:

The films are presented chronologically and divided into different time periods. Each of these sections is introduced with some more archival documentation which serves to demonstrate how the genre was evolving over time.

I remember as a little girl I once had a book about the presidents of the United States. It was a reference guide from Funk & Wagnalls and was laid out in a similar way to Into the Dark. Each president had his own section with his official presidential portrait, some stats, some photographs/paintings and one article from the archives. It was not a true reference book about presidents in that it didn’t give me a sense of the president’s life and career or the milestones of his presidency. The archival material was a mixed bag with some interesting details and some fluff. Woodrow Wilson’s section included his wedding menu. I wanted more out of that book but in those pre-internet days this was all I had. Eventually I got a full encyclopedia set and could look up the presidents individually and was content with that. Into the Dark reminds me of that book but this time I was more prepared. I could appreciate it for what it was not what I wanted it to be. And lucky for me this book was richer in contextual and relevant detail.

Into the Dark is an excellent pictorial history of film noir with the context that only archival documents can give. While we love these films noir now, many were neglected back in the day. We see some shocking reactions from theater owners and from film critics (Bosley Crowther of The New York Times is heavily referenced in the book). We also see that many of these films returned a nice profit and went on to have a better appreciation in the decades that would follow. For example, my favorite film noir Out of the Past (1947) wasn’t fully appreciated until the 1970s when repertory houses started showing the film regularly. There was little publicity for it the year it came out because Dore Schary, who recently arrived at RKO, decided to only focus on films he’d been working on. There are lots of great trivia bits to be gathered from the book. For example Raymond Chandler’s Farewell My Lovely was adapted into Murder My Sweet (1944) starring Dick Powell because the book title would have confused patrons expecting another Powell musical. Crossfire (1947)’s original plot dealt with homophobia but it was changed to anti-Semitism for the film. Impact (1949) included product placement from brands like Pabst Blue Ribbon Beer and Coca-Cola. Ever watch The Big Sleep (1947) and wonder what the heck was going on? After they finished filming they added more Lauren Bacall scenes which threw off the plot. Nuggets of information like these are why I read classic film books.

There are some problems with Into the Dark. There are a handful of grammatical errors and typesetting flaws. These could have easily been caught if the publisher took more care with copyediting and proofreading. The book itself is gorgeous but the signatures pulled away from the spine as I read it. Stronger glue or better overall binding would have helped hold the heavy pages to the cover a lot better. Also the archival documents can often be frustrating to read. Your beloved classic can be dampened by a ornery theater owner complaints (one called In a Lonely Place “stilted corn”). I much preferred reading the photo captions, asides, artist comments and production quotes which gave more background on the films, actors and actresses. Bosley Crowther and the various film critic insights were interesting to read but also showed how these films were not fully appreciated during their time.

When I originally discussed Into the Dark I pegged it as a book for film noir newbies. That is not the case. It’s really for film noir enthusiasts who want to study their favorite films in a new and different way. The book gets a stamp of approval from the Czar of Noir Eddie Muller of the Film Noir Foundation who contributed a preface.

I bought this book from Larry Edmunds Bookshop at the 2016 TCM Classic Film Festival. Read more details on how I got to meet author Mark A. Vieira here.

Mark A. Vieira

This is my second review for the 2016 Summer Reading Classic Film Book Challenge.

Johnny Doesn't Live Here Anymore (1944) and the Gold Key Scandal

Johnny Doesn't Live Here Anymore (1944)

The sub-genre of WWII housing shortage films has a following among classic movie enthusiasts. Add Johnny Doesn't Live Here Anymore (1944) to The More the Merrier (1943),  Government Girl (1944) and Standing Room Only (1944). You'll find this film is the most unusual out of the bunch. Sure it's a comedy about the housing shortage situation but it's also part fantasy and part sex comedy. I could have said romantic comedy but I didn't and you'll see why.

Simone Simon plays Kathie Aumont, a young Quebecoise on her way to Washington D.C. to stay with her friend Sally and take a government job. A fantastical incident on the train puts her face-to-face with a bad luck gremlin (played by Jerry Maren, voiced by Mel Blanc) who follows her around for 7 weeks.

Her first stroke of bad luck comes when she discovers Sally (Gladys Blake) recently eloped with a new guy George (Grady Sutton) and Kathie is no longer welcome. Kathie finds a vacancy with a marine named Johnny (William Terry). He gives her the key to his place so she can stay there while he's on duty. But he's too besotted with the pouty ingenue and forgets to tell her that he's also given out keys to her apartment to several men. Kathie thinks she has the place to herself but a string of male visitors prove otherwise. With every new guy comes Kathie's frequent declaration: "Johnny doesn't live her anymore!" The rotating cast includes James Ellison, Chick Chandler, Billy 'Froggy' Laughlin and others.

Kathie's bad luck, with the help of the gremlin, spirals out of control. The neighbors think she's a floozy, some of these male visitors want to get to know her better and in the end she picks one to marry. Who will it be?

I came to this movie because it features a relative unknown Robert Mitchum had a minor role in the film as the married CFO Jeff Daniels who just needs a place to crash while he waits for his wife. He gets more than he bargained, an epic fight scene ensues and everyone winds up in court. When the film was re-released, Mitchum's star was on the rise and he was given top billing despite his small role.

 "Say you're purdy"- Mike

"I'm beautiful" - Kathie

A 1944 review labeled this film "morally unobjectionable". The crux of the story, the fact that Johnny doesn't live here any more, is a plot device to deliver one type of story while seeming to be another. This is really about a young single woman in the city who playfully calls all the fellows Johnny and they all happen to have keys to her apartment. Everyone else within the world of the story thinks she's promiscuous. However, the movie audience knows better. It's all one big misunderstanding. This type of plot device fascinates me. It's one way film makers in the era of Hays Code enforcement titillated audiences while staying "morally unobjectionable".

Simone Simon's Kathie is a strong character in many regards. She's self-assured and understands the power of her beauty. Kathie travels from far away to help the war effort and become a Rosie the Riveter. While Johnny is away, she becomes a veritable handyman and fixes the many problems with the apartment. However, she's a victim of her time and the confines of her story. What I call "the fix" comes when it's necessary for her to fall in love with one of the guys and get married. When the film was re-released four years the title was changed to And So They Were Married further sanitizing the sexy plot.

"I don't want to talk." - Kathie

"Neither do I." - Mike

And this film is sexy. If you don't see it you're blind. Simone Simon's Kathie has incredibly charged interactions with the various men in the film. A sleeping Kathie gets a slap on the rump from the ice man who thought she was Johnny. The confines of a crowded taxi cab forces Kathie to sit on Johnny's lap and their fellow passengers encourage Kathie to give Johnny a kiss because what if she never sees him again?  Kathie plays rough with a sailor, shares a soda with two guys, walks in on a guy taking a bubble bath who then offers to show her his tattoo. Even private things like taking a shower, slathering her face with cold cream, walking around in her pajamas are done around the men. The ending of the film, set five years ahead, strongly suggests Kathie's promiscuity as we try to figure out who is the father of her three kids.

"Don't watch me." - Kathie

"I like to." - Mike

"How did this movie ever get made?" I asked myself many times. And it's not just because of it's sexy plot. It's because of Simone Simon and the Gold Key Scandal of 1938.

"When I saw all those men with those keys…" Mr. Collins

In 1944 Simone Simon was enjoying the height of her Hollywood career. Cat People (1942) was a success and The Curse of the Cat People would follow a couple years later. Simon hadn’t always been successful in Hollywood. She's made a crack at it before. In the 1930s, Simon was new to the US and didn’t speak much English. Ralph Baum of 20th Century Fox took pity on her and assigned his secretary Sandra Martin to be Simon’s full-time assistant.

Nicknamed the “Tender Savage” in Europe and marketed as Europe’s sweetheart in Hollywood, Fox tried to make Simon a star but proved unsuccessful. Simon’s bad luck continued. She took her assistant Sandra Martin to court charging her with embezzling money, forging checks and stealing luxury items from Simon’s home. Martin fought back claiming that Simone Simon had a promiscuous lifestyle that involved scandalous parties and that she favored lovers two 18 karat gold keys to her home. When the defense attorney asked Simon to name one of the lovers she proclaimed “you’ll never know!”.

Martin proved to be a shady character. Her real name was Athena Alexandroff and she had a criminal record that included check fraud. She was found guilty and sentenced to nine months in jail. Fox ended Simon’s contract and she fled to Paris to work with Jean Renoir only to come back at the start of WWII.

“She was like a cat... as long as you smoothed her, she purred; when you stopped... she scratched.”  - Sandra Martin on Simone Simon

The gold key scandal became part of Simone Simon’s reputation and eventually her legend. I’m sure producers Frank and Maurice King of the King Brothers were well aware of this when they hired her for Johnny Doesn’t Live Here Anymore. Maybe Val Lewton remembered Sandra Martin's observation of Simon's cat-like nature she was cast in Cat People (1942).

(Further reading and sources: book, article, article)

Johnny Doesn't Live Here Anymore (1944) is a fun film, a bit bizarre and a nice curio from the past. It's essentially a promiscuity tale disguised as a chaste romantic comedy. It's made chaste with the circumstances and contemporary audiences will have fun with the not so subtle suggestiveness.

Johnny Doesn't Live Here Anymore (1944) is available from the Warner Archive on DVD-MOD.

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection.

On honoring my father's wishes and The Miracle of the Bells (1948)

Timing is everything.

My father passed away in August and since that time I have been in charge of his settling his affairs. Recently I took a day off to get a few errands done including delivering my parents' tax forms and paperwork to their lawyer. He's been in the business for 52 years and still does everything with pen and paper. When I entered his office I was struck by the lack of technology. He had a simple fold out desk, a basic chair, and paperwork scattered everywhere. There was no computer. He did everything the same way he had been doing it for the last half century. I delivered my parents' paperwork knowing that this is what my father would have wanted. He would have wanted his taxes to be done by the same lawyer who had been doing them for the family since the 1980s. He would have wanted them to be done with pen and paper. He would have wanted a paper check for his tax return. As my father's daughter I saw to it that his final tax forms were done the way he would have wanted because honoring the wishes of the dead is the responsibility of the living.

Later that same day I watched the RKO film The Miracle of the Bells (1948). It had been recorded on my DVR in December when TCM had their Frank Sinatra month and I forgot about it. I picked a film at random from my DVR and wouldn't you know it it's a film about carrying out the wishes of someone who has passed away. It's like the universe was waiting for this exact day for me to watch this movie.

It's a bizarre little film. Fred MacMurray plays press agent Bill Dunnigan. He brings the body of deceased actress Olga Treskovna (Alida Valli) to her hometown. She left him very specific instructions on what to do after she died. Olga wanted a funeral service held at St. Michael's church, 6 girls dressed as angels surrounding her casket, ringing of church bells and a burial at the top of a hill where her parents were laid to rest. Coaltown is aptly named because of the thriving mining business. The town is also the reason why Olga's parents died and why she died, the coal dust weakened her lungs and tuberculosis set in. Dunnigan's first encounters with the people of Coaltown is disheartening. No one remembers Olga, they speak ill of her father who was known as a town drunk and the funeral director (Harold Vermilyea) wants to squeeze every penny out of Dunnigan. His faith in humanity is restored when he meets Father Paul (Frank Sinatra, yes that Frank Sinatra) of St. Michael's church. Father Paul's humility, patience and willingness to listen allows Dunnigan to open up about Olga's story which the audience see through flashbacks.

Publicity photo of Fred MacMurray, Alida Valli and Frank Sinatra from The Miracle of the Bells (1948).

She's determined to become a star and knows she has very little time to achieve her goal. Dunnigan steps in as her savior in more ways than one.  As it turns out Dunnigan has discovered a wonderful new talent in Olga and works to get her the role of Joan of Arc in a film produced by Marcus Harris (Lee J. Cobb). Olga turns out a marvelous performance only to die the day after the film is finished. Harris threatens to shelve the film and reshoot it with another star. Dunnigan is determined to save Olga's legacy. He wants to make her funeral a national story. How does he do it? He pays 5 churches of Coaltown to ring their bells continuously for 72 hours hoping this will bring national attention to Olga and change Harris' mind about shelving the film. In order to make a difference Dunnigan will have to go big or go home.

The Miracle of the Bells (1948) might have an odd plot but this quirk film will draw you in and hold your attention. You can't help but root for the main characters even while you're scratching your head with confusion. The first scenes of the film show Dunnigan (MacMurray) bringing Olga's body to Coaltown and this sets a morbid tone to the film. It's not a weepy nor is the film overly sentimental. Which is odd because I think that was the intention in the first place. Because this film is so strange its quirks make it seem more genuine despite of itself. There are religious overtones but it's not heavy handed. Flashback scenes give us plenty of time to learn about Olga and to watch as her relationship with Dunnigan develops. They also give us a respite from the somber tone of the present day's situation.

This movie did not fare well despite it being based on the best-selling novel by Russell Janney. It suffered a financial loss at the box office and it was released when Frank Sinatra's career was on a downward spiral. Most people give this film unfavorable reviews however I liked it despite its flaws. Maybe you just have to be in the right mood to enjoy it.

The Miracle of the Bells (1948) is available on DVD and Blu-Ray from Olive Films.

The Big Shot (1942)

“He was a big shot once.”

The 1930s saw Humphrey Bogart in countless crime dramas playing every different variation on the gangster character. It wasn’t until the early 1940s, thanks to some poor decisions made by fellow actor George Raft, that Bogart’s career would do an about face. Raft turned down High Sierra and The Maltese Falcon (1941) and these two films launched Bogart into mega stardom. George Raft also bailed out on another film, the lesser known Warner Bros. movie The Big Shot (1942) which would serve as Bogie’s goodbye to the gangster film genre. It would the last vestige of that former career.

“You can’t be a crook anymore because you used up your chances. And you can’t be honest because nobody’ll let you.” – Bogie as Duke Berne

Bogart stars as Duke Berne, a career criminal who just got out of prison for the third time. One more strike and he’ll be in the hoosegow for life. He’s determined to make an honest go at things but the police have a close eye on him and his old cronies are back to rope him into another heist. This time it’s an armored car they’re after and District Attorney Fleming (Stanley Ridges) is the brains behind the operation. Turns out Fleming is married to Duke’s old flame Lorna, played the dazzling singer turned actress Irene Manning. Lorna convinces Duke to bail on the heist and spend the night with her instead.

“This armored car is no can of corn.” – Bogie as Duke Berne

The heist goes terribly wrong and Duke is misidentified by a witness, thanks to police coercion, and sent to prison for life. Lorna is his only alibi but neither can reveal that they were together that night. Salesman George Anderson (Richard Travis), desperate for money so he can marry his girlfriend Ruth Carter (Susan Peters), is hired as a fake alibi but things go terribly wrong for everyone involved. We know from the onset that things won’t turn out well for Duke. The first scene of the film shows Duke in the hospital ward of a prison dying with George and Ruth by his side. The majority of film is a flashback revealing Duke’s tragic story.

Directed by Lewis Seiler, The Big Shot (1942) is part film noir, part gangster flick, part courtroom drama and part prison film. This is a rare Bogart film which is an odd thing to say considering how easy it is to access the majority of Bogart’s film work. It was unavailable for a long time, I always missed it when it was on TCM and I was very happy to see Warner Archive made it available on DVD. I was particularly interested in this film because of Susan Peters, a favorite actress of mine who was at the height of her career in 1942. That same year she would land a plum role in Random Harvest and she would be nominated for an Oscar for that performance. 1942 also saw Bogart in the mega classic Casablanca so needless to say it was a really good year for him too.

This film is very flawed but still enjoyable to watch. There is a lot of fantastic dialogue delivered expertly by Bogart and even though Bogart and Manning didn’t get along on set they do make an electric pair on screen. Some of the cinematography in the film is delightful. There is one scene in which Bogart reveals himself from behind a curtain and he is lit to perfection. Some of the editing is not that great and while I don’t have a fine tuned eye for this sort of thing it was quite noticeable in this film which is a bad sign. There are several plot lines which makes this film more a series of vignettes than one continuous story.

The biggest problem with the film is the black face. Isn’t that always a problem when it appears in old movies? Not to reveal too much about the plot but one of the pivotal scenes towards the end of the film involves a fellow prisoner of Duke’s donning black face for a prison talent show. The black face itself is not really a plot element, just something this character did, but it does date the movie for contemporary audiences. It may also be one of the many reasons this film remains relatively unknown.

Bogart completists need to watch The Big Shot (1942). And who isn’t a Bogart completist? I know I am! The Big Shot is an oddity and an entertaining one at that.

The Big Shot (1942) on DVD is available from Warner Archive.

 

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. I received The Big Shot (1942) from Warner Archive for review. 

Reign of Terror (1949) with Norman Lloyd and Eddie Muller

Press photo of Norman Lloyd and Eddie Muller

Norman Lloyd is a treasure. This is a sentiment echoed by many including Eddie Muller of the Film Noir Foundation who was these same words at the end of his interview with Lloyd at the 2015 TCM Classic Film Festival. Norman Lloyd is full of stories he can easily bring forth from his 100 year old brain. But it's not just the clarity of his mind that is a wonder; it's the way he can deliver a story from the distant past with wit, charm and a little bit of mischievousness.

Illeana Douglas introducing Reign of Terror (1949)

A packed house at the Chinese Multiplex had just been treated to a screening of Reign of Terror (1949), also known as The Black Book. Illeana Douglas introduced it as "Film Noir meets the French Revolution" and that's exactly what it was. The "Reign of Terror" was a time period of great violence during the French Revolution and is known for torture, executions and rival factions. The film representation of this era is suspenseful and dark but not without a good dose of humor. Art director William Cameron Menzies was not afraid to get the camera right up to the actor's faces creating some very dynamic shots. My favorite scene in the film is when Charles D'Aubigny (Robert Cummings) meets Tallien (Norman Lloyd) for the first time. Lloyd is in the foreground with his back turned away from Cummings and he's methodically eating cherries one by one out of a jar. The scene is strikingly shot and quite erotic in how Lloyd is devouring those cherries without a care in the world.

Norman Lloyd coming down the 39 Steps (plus a few more)

After the film I got another glimpse at the man who just made me squirm in my seat as the great Norman Lloyd descended the stairs. My seat was in the front row at the far right which was terrible for viewing the movie but perfect for getting very close to the man himself. I was very grateful for this spot because when he left I had the opportunity to say "thank you" to him. And you know what happened? He looked me in the eyes and said "thank YOU". I almost fainted. But enough of that. Let's get to the interview.

Eddie Muller interviews Norman Lloyd

Eddie Muller sat down with Norman Lloyd and first asked him about working with Anthony Mann and William Cameron Menzies. Now let me stop for a moment and preface this by saying that all the interviewers at the TCM film festival always ask legends about other people. Sometimes the entire interview is about other people. I find this a shame. Why ask someone only about other legends when you have a legend right in front of you? But that's a discussion for another time.

About the film Norman Lloyd said:

 “The making of the film is very interesting. David Selznick who had made a picture called Joan of Arc [1948] with Ingrid Bergman... The sets that Selnick had built for the picture remained but the actors took off. Selznick being a very enterprising and smart fellow kept looking at these sets. There was working with Selznick, one of the great men in the history of pictures, as an art director William Cameron Menzies, and he proposed one day to David Selznick that they make use of these sets and just find a script for which we can use the sets. Now you talk about a creative project. Here was all this wood and canvas sitting around and someone had to accomodate it.” 

Norman Lloyd has us all enraptured with his fantastic stories.

Muller interjected to call Reign of Terror "a set-driven movie". This seemed to please Norman Lloyd because it encapsulated exactly what he was trying to say. Writer Aeneas MacKenzie was hired to write for the film and Lloyd pointed out that MacKenzie specialized in period pieces.

Lloyd continued:

"[MacKenzie] was hired to develop this story… And the story was put into the sets. So if any of you have ideas about crashing motion pictures and how you do it: build a good set. One is often asked “what is your impetus?” “what was your inspiration?”... You say to the “sets”. “I had an inspiration with the most beautiful piece of wood you have ever seen and the canvas is untouched." 

Someone banged out the idea that we should behead somebody. And they thought of the French Revolution… Very very brilliantly directed by Tony Mann. And one of my favorite actors Robert Cummings with whom I made Saboteur for Hitchcock. A gentleman if there ever was one. Wonderful fellow. They had a very interesting cast. Somehow I stumbled into it. We made the picture and Cameron Menzies’ perception was justified. The sets did work very well. I think the actors came off pretty well. And there was this picture."

Reign of Terror was cobbled together in bits and pieces in a way that only made sense for this era. What resulted was this curio of a film which is as entertaining as it is dark.

The conversation between Eddie Muller and Norman Lloyd drifted away from Reign of Terror and to other things. Lloyd told us about a writer who went up to Louis B. Mayer with an idea for a film. Lloyd recounts the story like this:

“LB I have an idea for a picture.” “And what is it?” “Gable, Tracy, Jeannette MacDonald, San Francisco, the Earthquake.” Mayer said “make it”. True story. Which no one believes.”

Norman Lloyd first worked with Anthony Mann on the very early TV movie The Streets of New York (1939). Yes, you read the year correctly. 1939!

You can tell Lloyd was having some fun telling this story:

“At your urging I shall share it. Though I’m very embarrassed. Which is just a big lie. If any of you are so moved, and I know none of you will be, you would attend the museum here in Beverly Hills of TV and Radio. Does anyone remember there was a thing called Radio? They have archives of various television shows and they made the big mistake of doing an archive of a television show that I was in that Tony Mann directed. It was based on the Dion Boucicault play “The Streets of New York”… When I got finished with it, it was over. And we made this in the days when they would keep a record of it called a “Kinny/Kine”; a Kinescope of what you shot on film... George Coulouris and Johnny Call and myself and actress named Phyllis Isley, she changed her name to Jennifer Jones. And we made this “thing.” All that exists is a 5 minute piece, that is the oldest piece of Kinescope on record of television. Five minutes of me. The worst piece of acting you have ever seen. It is so bad that it could be good. I mean there’s a reason for looking at it... because it’s so bad. I look at it with wonder. I think 'Norman you’ve gone the wrong way.' You try to give a good performances, okay. But you are that bad you are great! It’s there. I could give you one or two gestures from it.”  [He then proceeds to do those gestures.]

The audience was cracking up at Lloyd, the great storyteller, as he charmed us with wit and humor. One of the things I noticed while transcribing Lloyd's interview is that he never says "movie" or film"; he always calls them "pictures". Very old school.

Muller and Lloyd had been discussing Spartacus (1960) earlier in the green room. For those of you who are not aware, the world premiere restoration of Spartacus was to be a top event at this year's festival but it wasn't completed in time. Instead, we got a behind-the-scenes story about the picture.

Lloyd shared this story about Anthony Mann, Charles Laughton and Laurence Olivier as told by Peter Ustinov:

“They were involved in rewrites. And they were sitting around a table for what they call, a latter day phrase, a table read... And a rewrite was brought in of a single page for Charles Laughton. Laughton reads aloud. Tony Mann at this point, if not him it would have been Stanley Kubrick who replaced him. Because Tony Mann had to resign. He resigned because he said “I can’t work with these actors they pay no attention to me.” 

But apparently Olivier used to assume the role of director. I hope I’m not telling tales out of school ... but I’ll tell it anyways! So Laughton read this page aloud that was to go into the script. And as I say this was a rehearsal. When he finished reading the page he said “I don’t understand. I just barely understand what this is all about.” He didn’t understand it. Olivier spoke up. He said “Charles, I think it is perfectly clear. Do you mind if I read it for you?” That’s like putting your head in a noose. Laughton said “by all means”. So Olivier read the speech. When he was finished Laughton said “if I just barely understood it before... I understand it not at all!” I’m giving you a behind-the-scenes. I don’t want you to think I make up these stories. This story was told to me by Peter Ustinov who had a great humor... Actors tend to be uncooperative.”

Bless Muller for sneaking in one last question before time ran out. In fact, time had already run out but everyone in the audience wanted to stretch the experience as far as it would go. Muller asked Lloyd who his favorite actors to work with were. Lloyd replied "Chaplin, an unbelievable genius", Pierre Fresnay who starred in Le Grand Illusion (1937) and Louis Calhern, who played King Lear in a production Lloyd was once in.

Norman Lloyd receiving a standing ovation

I've had the privilege of hearing Norman Lloyd speak on three different occasions, including a 90-minute interview with Ben Mankiewicz at the Montalban Theatre. I cannot express how much of an impact these events have had on me as a classic film fan and as a person. Norman Lloyd is a treasure.

Charles Walters: The Director Who Made Hollywood Dance by Brent Phillips

Charles Walters: The Director Who Made Hollywood Dance
by Brent Phillips
Hardcover, 368 pages
ISBN: 9780813147215
November 2014
University Press of Kentucky

Barnes and Noble
Powell's
IndieBound

“He was born to dance.” – Brent Phillips on Chuck Walters

When I started my classic film education I spent very little time learning about the people behind-the-scenes: the directors, producers, costume designers, make-up artists, etc. It left a gaping hole in my film knowledge, one I’ve been trying to fill up ever since. I had never heard of director Charles Walters until I acquired Brent Phillip’s biography. This is an utter shame because Walters directed and choreographed my favorite musical of all time: Good News (1947). I was happy to have an opportunity to correct this egregious error and I dived right into the book.

Charles Walters: The Director Who Made Hollywood Dance is an honest yet celebratory look at the life and career of a lesser known yet very important figure from film history. Walters was a born dancer and although he wasn’t classically trained, he came to the film industry with years of experience performing on stage. His background in dance and choreography made him the perfect director for musicals. He also directed numerous non-musical films and choreographed the movement of the camera and the actors. Walters’ had varied style. He was a veritable chameleon and could adapt himself to different scenarios.

“These prized celluloid moments, capturing nonpareil performers at their unqualified best, possess one thing in common each spring from the imaginative mind of Charles “Chuck “ Walters – dancer, choreographer, director.” – Brent Phillips (preface)

Charles Walters & Lena Horne - Photo Source Brent Phillips & WSJ

I was particularly struck by how Walters was a “teach-by-example” type of director. He would demonstrate the movements to the actor or actress right before they filmed a scene or sometimes even during the scenes as it was being shot. This fascinates me! There is a wonderful photo in the book of Charles Walters and Tony Martin filming a scene for Easy to Love (1953). Mirroring each other, Walters and Martin simultaneously do an open armed gesture as Martin sings and performs for the camera. This style of directing was definitely influenced by Walters’ background as a dancer. He was also a master of pacing and clever camera shots.

“Timing and pace are important in any film, whether it be comedy or drama. And how better to learn the fundamentals of these show show business ingredients than by dancing?” – Charles Walters

I very much admired Charles Walters’ work ethic. He was a very efficient filmmaker, often finishing a film on time and under budget. I was particularly inspired by this quote:

“I had to work harder. I couldn’t do the social thing, and play the game the others were playing. I had to work that much harder and handle the ‘evils’ by doing good work.” – Charles Walters

Walters was gay and while he didn't try to hide it he was discreet about it. He had a long romantic relationship with John Darrow, actor-turned-agent whose greatest success was Gene Kelly.

Relationships, both personal ones and working ones, really drove Walters' career. He collaborated with Helen Deutsch, Busby Berkeley, Vilma Ebsen (Buddy Ebsen’s sister) and Arthur Freed. If he worked well with someone he always tried to make sure he worked with them again in the near future. For example, Walters got along so well with assistant director Al Jennings that they worked on a total of 11 films together.

Many actresses found Walters a delight to work with. He had a long and fruitful creative partnership with troubled actress Judy Garland and had a good rapport with her. One could say he brought the best out of her performances. He worked with and became close friends with Gloria Swanson. Walters’ leading ladies included Grace Kelly, Joan Crawford, June Allyson, Doris Day, Leslie Caron, Esther Williams and Debbie Reynolds.

Phillips includes several quotes from different actresses praising Walters:

“For me Chuck was – besides Astaire – the best dancer in the world world. He was fantastic [and] knew exactly what to do with young people. He knew how to put them together and work with them, because he was so kind.” – June Allyson

“He was the greatest male dancer I had seen since Fred Astaire.” – Gloria Swanson

“He’s the first director who has ever helped me with my acting. It’s a whole new world. We rehearse, and then I do it in one take. Working with him is like going to drama school. It’s wonderful!” – Esther Williams

The book is filled with on-the-set anecdotes. Films discussed include:

Good News (1947) , his directorial debut
Easter Parade (1948)
Summer Stock (1950)
Torch Song (1953)
Lili (1953) , nominated for Best Director Oscar
Dangerous When Wet (1953)
Easy to Love (1953)
The Tender Trap (1955)
High Society (1956)
Please Don’t Eat the Daisies (1960)
Billy Rose’s Jumbo (1962)
The Unsinkable Molly Brown (1964) , last film for MGM
Walk Don’t Run (1966)

This biography is full of fun facts. Did you know Charles Walters taught Ingrid Bergman how to waltz for Gaslight? He also directed the famous trolley scene in Meet Me in St. Louis. About the scene John Fricke said “everything seems simple, but it’s constant, pure storytelling – and an audience gets caught up in that.” Walters was good friends with Tyrone Power. They both got their start in Hollywood around the same time and were even roommates.


Worked with MGM for many years and Phillips noted that “he was a genuine company man” (p 76). His career at MGM was very successful and he made numerous box office hits. His track record wouldn't last for long.

“It’s an awful burden. You want the fame and fortune and you have this awful load to carry.” – Charles Walters

The end of his career is rather sad. His last films for MGM were flops and he missed an important resurgence of musicals in the mid 1960s. However in his last years he was appreciated and had a chance to teach and give lectures at a university.
It is clear that author Brent Phillips, a dancer himself, has a lot of admiration and appreciation for the life, work and legacy of Charles Walters. The book is beautifully assembled, filled with interesting facts and stories and is clear and concise in a way that makes the book approachable and informative. I really appreciated the book's structure, Phillips sticks to a strict chronological narrative. There is an insert of black-and-white photos in the center, many of the pictures are from the author's personal collection.

I used to dance so I have much appreciation for the art form and how Walters applied his skills as a dancer to his work as a director. I really enjoyed learning about Charles Walters and am glad to know a lot more about his work.

Classic film buffs, dancers and musical enthusiasts alike will enjoy this book! If you enjoyed the recent TCM Friday Night Spotlight series with the author introducing Walters films, then this book will be a must-read for you if you haven't checked it out already.

Thank you to University Press of Kentucky for sending me a copy of this book for review. I had so much fun reading it. It was a wonderful learning experience.

Government Girl (1943)

Washington, D.C. during WWII was a hectic place. The new jobs created to support the war effort drove many to the nation’s capital. The influx of people caused a housing shortage that had workers and hotels scrambling. And with so many men away on duty, D.C. became a 10-women-to-every-man kind of a town leaving single gals with few options. The “government girls”, who took on a variety of important roles, were crucial to war effort’s success.

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What better way to examine chaos than with a screwball comedy? The film Government Girl (1943) is a humorous look at this moment in history. It was directed by Dudley Nichols, produced by RKO and adapted by Nichols and Budd Schulberg from a short story written by Adela Rogers St. John. Olivia de Havilland stars as Ms. Elizabeth Allard, AKA "Smokey", a “government girl” living and working in D.C. She’s booked a honeymoon suite at a hotel for her best friend May (Anne Shirley) and her soon-to-be-husband Sgt. Joe Blake (James Dunn). Joe only has 24 hours to get married, have quick honeymoon and be back on duty, so they are on a time crunch.

Anne Shirley and Olivia de Havilland in Government Girl (1943)

Unbeknownst to Smokey, the hotel gave their suite to Ed Browne (Sonny Tufts) a mechanic who has been hired by the government to do important work for the Air Force. When Smokey finds out the gentleman who lent her his ring so that her friend May could get married with one has the suite, they begin to butt heads.

Sonny Tufts in Government Girl (1943)

And they keep butting heads when they eventually find out Smokey, or Ms. Allard, is really Ed Browne’s new secretary. He thinks she’s the one who was getting married. But really she’s a single government gal who already has two suitors, which is virtually a miracle in a town with an imbalanced ratio of men to women. Ms. Allard becomes Browne’s Girl Friday, helping him with important government work and championing for him when crooked government types try to screw him over.

Olivia de Havilland, Sonny Tufts and FDR.

This movie had a lot of potential but never quite realizes it. I read that Olivia de Havilland got stuck doing this film for RKO because of an arranged loan out from Warner Bros. What would follow was a difficult battle with Warner Bros. over her contract. Would the film have been better if circumstances for de Havilland were different? Male lead Sonny Tufts was being groomed during WWII to be a replacement star. With so many actors on duty and away from Hollywood, film studios needed more leading men. Tufts didn’t quite make the splash they were hoping for.

Government Girl is a quirky and funny movie but ultimately falls flat. The More the Merrier (1943), a Columbia picture starring Jean Arthur, Joel McCrea and Charles Coburn, is from the same year, deals with the same topic but is much more entertaining. If you are interested in the topic of American life during WWII, I suggest you watch Government Girl and then The More the Merrier to achieve a better experience. 

Agnes Moorehead and Jess Barker in Government Girl (1943)

Notable appearances in the film include Agnes Moorehead as the villain Mrs. Right, Harry Davenport as Senator MacVickers and Una O'Connor as the honeymoon-wrecker-landlady. I love Anne Shirley but I thought her role as the daft but loveable May was a little too similar to Joan Fontaine’s portrayal of Peggy in The Women (1939). I’m not sure why I made that comparison while I was watching the film but perhaps it has something to do with Fontaine and de Havilland being sisters.

The main reason I watched the film is because I’m interested in the D.C. housing shortage during WWII. I’ve lived in cramped quarters all my life so I enjoy watching films about similar situations. The More the Merrier (1943), it’s remake Walk, Don’t Run (1966), Mr. Blandings Builds His Dream House (1948) and Buster Keaton’s Scarecrow (1920) are some of my top favorite movies partly for that reason.

One final note: fans of 1940s fashion will want to watch this for the excellent outfits worn by Olivia de Havilland, Anne Shirley and Agnes Moorehead.

Government Girl (1943) is available from Warner Archive on DVD-MOD.

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. I received Government Girl (1943) from Warner Archive for review.

Meet Me in St. Louis (1944) and Margaret O'Brien at the 2014 TCM Classic Film Festival

I had the pleasure of attending a very special screening of Meet Me in St. Louis (1944). It took place in the TCL Chinese Theatre (Grauman's Chinese) and actress Margaret O'Brien was in attendance. Seeing O'Brien at the TCM Classic Film Festival was an experience I'll never forget. In fact, I saw her on three separate occasions, once at this screening and twice at the Hollywood Roosevelt Hotel. She was probably the most approachable of all the special guests because she was very comfortable taking photos with fans, giving them autographs or even chatting with them. I get so star struck whenever I see any of the special guests. I clam up and have no clue what to do or say and I usually forget crucial information like my name and where I am. I saw O'Brien twice before I had the courage of saying something to her. I complimented her on her outfit, she has a very funky and hip style, and that was the first time I had ever spoken to a classic film star. After that experience I hope I'll be more brave and a lot more calm on my next encounter with someone famous.

Richard Corliss, author of Mom in the Movies: The Iconic Screen Mothers You Love (and a Few You Love to Hate), interviewed Margaret O'Brien at this festival screening.

Corliss introduced Margaret O'Brien calling her "the greatest child actress the screen has ever seen." He  pointed out that Deanna Durbin, Shirley Temple and Mickey Rooney were child performers but O'Brien is different because she was a child actress. He went on to note her ability to live inside her characters.

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O'Brien was so sweet. The first thing she did when she sat down for the interview was ask the audience how they were doing and if they were having a good time at the festival. O'Brien had nothing but nice things to say about Mickey Rooney and Meet Me in St. Louis star Judy Garland.

Margaret O'Brien's first ever screen appearance was at the age of two in Babes on Broadway (1941) with Mickey Rooney and Judy Garland. It was the first time she worked with Mickey Rooney. Many years later they would work together again for one last time on the movie Dr. Jekyll and Mr. Hyde (2014) . In fact, they had just wrapped up filming three weeks before the festival and shortly before Rooney passed away. O'Brien says that Rooney loved being on the set and was very happy to be working again. She was impressed that he knew all his lines at the age of 93. 

Journey for Margaret (1942) was O'Brien's first credited screen role. O'Brien says that she loved the character in that movie so much she willingly had her stage name changed to Margaret. She had a dog named Maggie who appeared with her in some of her early roles and even credits her dog for helping her get her start in Hollywood.

O'Brien's mother was a famous flamenco dancer and part of Rita Hayworth's father's company. Her mother was having some photos taken and because she didn't have a sitter she brought along Margaret (Angela at the time) and her dog Maggie. When they all walked into the shoot, the photographer exclaimed "what a beautiful face!". O'Brien's mother thought he meant her but the photographer was referring to the dog. Because of O'Brien's name change she could have easily been referred to as "Maggie" but refused to let anyone call her that with the notable exception of Mickey Rooney.

O'Brien's next story revealed a lot about studio era machinations and manipulation. Her mother had asked Louis B. Mayer to raise her salary to $5k a week unless they could guarantee that little Margaret would be protected. Otherwise she wanted to be on the set with her daughter. $5k was a lot during that time and Mayer refused. O'Brien's mother told him they would be moving to New York to find work elsewhere. In those days studios had look-a-likes on hand to fill in for roles that were intended for other actors or actresses. For example James Craig was Clark Gable's look-a-like.

James Craig

Without naming names, O'Brien told us that MGM had a look-a-like for her under contract. The studio gave that young actress the role of Tootie in Meet Me in St. Louis much to the excitement of the actress and her family. But as we all know that didn't happen. The salary negotiations for O'Brien finally went in her favor and she got her $5k a week plus the role in the movie. The rejected actress' father worked on lighting for the film and O'Brien remembers that he had a nervous breakdown on the set and almost dropped a light on her. O'Brien was very sympathetic and doesn't speak negatively of the other actress' father. If you look at sources elsewhere it says that he intentionally tried to drop the light on her and was admitted to a mental institution shortly afterwards. O'Brien felt terrible about what happened to that family and believes that studio bait-and-switch practice was stopped after that incident. 

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Here is what O'Brien had to say about Judy Garland, crying on screen and the song Have Yourself a Merry Little Christmas.

This was my favorite interview of the festival. O'Brien was so generous with her stories and her praise for those she worked with. I always get irked when interviews consist of more questions about who the person has worked with than about the actual person being interviewed. I understand that we all want to hear stories about the people who have passed on from the people who remember them but I think we should appreciate who we have left too! Corliss's interview with O'Brien had a great balance of stories about O'Brien as well as details about other stars including Judy Garland.

After the interview we were all treated to a screening of Meet Me in St. Louis (1944). I sat very close to the screen, which in Grauman's Chinese theatre is enormous. I felt enveloped in the film and transported to another time and era. I have seen the film several times before but this viewing was so special. My hands hurt from all the clapping. And there was a lot of clapping before, during and after the interview and with every screen credit, first appearance of a star and every musical number. The audience was really appreciative of the film and it showed in how much we all applauded. You don't get this kind of positive response anywhere other than at the TCM Classic Film Festival.

Here is a photo of O'Brien posing for pictures at the Hollywood Roosevelt Hotel. To be only a few feet away from her was a true delight!

How Green Was My Valley (1941) screening and Maureen O'Hara at the 2014 TCM Classic Film Festival

The screening of How Green Was My Valley (1941) at the TCM Classic Film Festival was such a spectacular event.  It was worth waiting in line for almost two hours to make sure that I not only got in but that I got a good seat as well. I waited in line with K.C. of A Classic Movie Blog, Jessica of Comet Over Hollywood and Dan of Celebrity Cafe. We had a blast chatting that the 2 hours flew by. I got sick during the festival and was at my worst point right before the screening. However, there was absolutely nothing that was going to get in my way. I was going to see Maureen O'Hara!

Once we settled into our seats at the historic El Capitan theatre, we were treated to some music before the event commenced. Robert Osborne came out onto the stage to introduce the film and Maureen O'Hara. How Green Was My Valley won Academy Awards for Best Picture, Best Supporting Actor (Donald Crisp), Best Director (John Ford), Best Cinematography and Best Art Direction. Some people harbor resentment towards this film because they feel that Citizen Kane (1941) deserved to win the Oscar that year. Osborne reminded us that Citizen Kane wasn't as well understood or appreciated as it is today and How Green Was My Valley was a great film in its own right.

Then it was the moment we were all waiting for! Maureen O'Hara, escorted by her grandson Conor Beau, made her grand entrance.

There was a roar of applause and O'Hara received a standing ovation. She seemed overcome with emotion and was seen wiping away tears. O'Hara motioned to us to sit down which I thought was very sweet. She seemed to be very humble but also very sassy too.

The audience listened with rapt attention. O'Hara was a bit hindered by her advanced age and at one point got very religious and philosophical. It might have been awkward if she wasn't the MAUREEN O'HARA! I'm sure I speak for all of us in attendance that it was such a blessing to have her there. O'Hara could have just wielded insults at us for an hour and we'd all be grateful for every word. And believe you me, we hung on to every word she said.

I loved the moment when O'Hara told the audience not to think that she does magical things. Osborne replied that she does do magical things on the screen. With the help of directors who are magicians themselves, actors and actress do incredible, magical things on screen that make us feel a gamut of emotions. We are all captivated by the magic of the movies.

Before the film started we were treated to a video tribute to Maureen O'Hara's career. I believe this came before the interview. It was a wonderful tribute and I really wish the video lived somewhere online so I could share it. It was so well done and I also really loved the one shown in tribute of Charlton Heston at another event. Whoever writes the copy for those tributes is absolutely brilliant.

I had never seen How Green Was My Valley (1941) so this screening was a very special way to be introduced to a film. Of all the movies screened at the festival, I think this one fit the theme Family in the Movies: The Ties That Bind the best. I was already very emotional from seeing Maureen O'Hara in person that the film's ending just destroyed my already fragile emotional state. Theaters should extend the courtesy to patrons by leaving the lights off a little longer when a film has a particularly sad ending. That way we'd all have a few moments to wipe away our tears and compose ourselves.

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It wasn't enough for me to see Maureen O'Hara once at the TCM Classic Film Festival. When Robert Osborne announced that he would be interviewing O'Hara at ClubTCM the following day it became imperative that I go to that too. Several folks camped out in front of the screening area in the Hollywood Roosevelt Hotel early so they could get up close to Maureen O'Hara. I was too sick to do that so I had to wait until around the time it started. I didn't get the best view but it was still glorious to catch little glimpses of O'Hara and to listen to a more in-depth interview with her. The interview will be airing on TCM some time in the future so watch for it!

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At the end of the interview, Osborne and O'Hara posed for pictures. She also took a few questions from the audience. Her grandson Conor Beau was escorting her out when he was stopped by O'Hara so she could say one last thing to the audience. She recited a rhyme and was then whisked away. I think the rhyme was "Love is like a lizard; it winds itself around your heart and penetrates your gizzard."

I thought it was really interesting that Maureen O'Hara was not scheduled to appear at the screening of The Quiet Man (1952). O'Hara has said in the past that it's her favorite of her films. Perhaps she was added too late to the festival's roster that their original plans for that screening could not be changed.

Seeing O'Hara and watching How Green Was My Valley on the big screen are experiences I'll never forget and I'm infinitely grateful to TCM for making this all happen at the festival.

Here's a little video I shot of Maureen O'Hara's exit from the How Green Was My Valley screening. Enjoy!