Podcast: Going My Way and The Bells of St. Mary's

 

Here's a holiday treat! Listen to the latest episode of The Movie Palace Podcast where host Carl Sweeney and I discuss two classics: Going My Way (1944) and The Bells of St. Mary's (1945).

Happy holidays!

Listen to "Going My Way/The Bells of St. Mary's" on Spreaker.

Whisky Galore (1949): Review by Kate Gabrielle

It’s 1943 in wartime Scotland and the residents of the small island of Todday are fighting a battle far worse than anything they could have ever imagined when World War II began — they are plumb out of whisky! In Whisky Galore, a colorful group of characters band together to salvage cases of alcohol from a sinking supply ship that ran aground near the island, while the daughters of the town’s postmaster (and most fervent admirer of whisky) contemplate marriage to their respective suitors. After the initial comical scenes depicting the moment when the "water of life" went dry, the film drags a bit, spending a little too much time on exposition for storylines that don't pay off until the end.

But once the townspeople concoct their plan to plunder the ship full of whisky, things really pick up the pace and all of the exposition starts coming together. In what is perhaps the most rewarding payoff, a mild-mannered man who lives under the roof - and thumb - of his overzealous fire-and-brimstone mother finally works up the nerve to speak up for himself once he's poured several glasses of pilfered whisky down the hatch. And an early scene on the effectiveness of roadblocks on an island with only one main thoroughfare finally comes full circle during a thrilling car chase!

A cast of regular Ealing players combined with local extras from the on-location island of Barra makes for a realistic, vibrant, and distinctive bunch that's reminiscent of Ballykissangel (1996-2001) and Waking Ned Devine (1998). The star of the film is definitely the town as a whole, but top-billed actors Basil Radford and Joan Greenwood (ironically the only non-Scottish members of the cast) pull their weight as the Home Guard commander and one of the postmaster's daughters.

Greenwood doesn't have very much to work with here -- her scenes consist of pretty much a loop of applying lipstick, answering the telephone in her father's shop and gazing lovingly at her fiance -- but, as was her custom, she takes those small scenes and turns them into works of art. Exuding composure and calm indifference, every line that she utters in her signature gravely voice elevates the script beyond the written words.

Radford - who you may recognize as one half of the popular Charters and Caldicott duo - transitions throughout the film from a somewhat bumbling Home Guard commander into something of a Javert character, determined to sabotage the whisky theft and hold accountable any and all townspeople who had anything to do with the heist. It is a small saving grace that his wife seems to be rooting for him to fail, and finds great pleasure in the moment he gets his comeuppance!

Despite the lag in pace in the first quarter of the film, this was a very pleasant and delightful film! Once it found its footing it was so lively and cheeky! And there are so many small moments that feel like they could only come from a British film of this era. An elderly man storing whisky in his hot water bottle; the sound of bagpipes being used to drown out the ranting and raving of a stuffy old woman; a man agreeing to allow his daughter's betrothal on the condition that his future son-in-law procure him whisky for the rèiteach. And I'd be remiss if I didn't mention my favorite scene in the film, a montage of villagers hiding their whisky in the most inventive and creative places in their homes. It's reminiscent of scenes from other wartime movies where people banded together for the good of the country - or in this case, for the sake of whisky!

The Film Movement Blu-Ray is a beautiful print with crystal-clear sound, something that I appreciate all the more in movies like this one that take place in a seaside setting, where the sound of the waves and seagulls are an essential part of the experience. Bonus features include an audio commentary by John Ellis, a documentary about the film, a featurette about the real life events that inspired the movie, and a 16-page booklet. You also get the 1954 film The Maggie, starring Paul Douglas.

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Whisky Galore is available on Blu-Ray from Film Movement.

Thank you to Film Movement for providing a copy for review.

Kate Gabrielle is an illustrator and classic film fan. You can find her classic movie inspired artwork on her website, kategabrielle.com, and 10 years of film musings on her blog The Films in My Life.

The Great McGinty (1940)

Dan McGinty's (Brian Donlevy) life had a meteoric rise and fall and now he finds himself on the other side of things. Working as a bartender in a banana republic he entertains a drunk American banker Tommy (Louis Jean Heydt) and his gal pal (Steffi Duna) with his life story. Told in a flashback, we follow McGinty has goes from being a hobo to the governor of his state. At first he's hired by Skeeters (William Demarest), the right hand man to crooked mobster known as The Boss (Akim Tamiroff), to vote under assumed names in a rigged election. McGinty, wanting to make an extra buck, votes a whopping 37 times impressing The Boss who takes him under his wing. McGinty is transformed into a mayoral candidate complete with a new wife Catherine (Muriel Angelus) and her two children. McGinty is along for the ride until things get complicated. He finds himself falling for Catherine despite their strictly business arrangement, for family life and pushes back when The Boss makes certain demands of McGinty once he's governor.

The Great McGinty (1940) is Preston Sturges directorial debut. Up until this point he had been a screenwriter working on dialogue and adapting screenplays. Sturges wrote The Great McGinty, originally entitled The Story of a Man. The story goes that Paramount offered him $10 for his original script but Sturges refused to sell it unless he could direct the film as well. This was a brilliant career move. The film went on to be a box office hit and won Sturges an Academy Award for Best Writing, Original Screenplay. He went on to direct a dozen more films including The Lady Eve (1941), Sullivan's Travels (1941), The Palm Beach Story (1942) and Unfaithfully Yours (1948). In his film The Miracle of Morgan's Creek (1943), Brian Donlevy and Akim Tamiroff reprise their roles as McGinty and The Boss.

The Great McGinty is a charming picture. It's lighthearted approach to the rather heavy topic of political corruption and morality makes this a big spoonful of medicine you want to take. Donlevy is fantastic as the stubborn vagabond with a heart of gold. If you know me, you know that I simply adore Akim Tamiroff and will watch him in anything. The Boss is a plum role for Tamiroff and he gets a lot more screen time than he usually does in a film and he has some great conflicts with Donlevy that are just fun to watch. And of course William Demarest is at his best as The Boss's sidekick schemer. I was sad to read that this was Muriel Angelus's final film. She plays Catherine McGinty with grace and charm and left Hollywood after that to return to the theater. The wardrobe in this film especially McGinty's flamboyant suits and Catherine's fabulous gowns were designed by the great Edith Head.

Kino Lorber Classics recently released The Great McGinty (1940) on Blu-ray. This edition includes a brand new 4K master restoration which looks fantastic. It also includes English subtitles (which I mention because I use these all the time), audio commentary by film historian Samm Deighan and Kino Lorber Classics movie trailers.

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Thank you to Kino Lorber for sending me a copy of this set for review.

Ida Lupino: Filmmaker Collection

Now available from the good folks at Kino Lorber Studio Classics is Ida Lupino: Filmmaker Collection, a Blu-ray boxed set featuring four films directed by Ida Lupino: Not Wanted (1949), Never Fear (1950), The Hitch-Hiker (1953) and The Bigamist (1953). Each of the four films has been beautifully restored and the discs includes a selection of special features. The Blu-rays are available individually too but the boxed set comes with a stylish slipcase and an exclusive booklet which republishes former Variety film critic Ronnie Scheib's article Ida Lupino: Auteuress.

I was particularly excited for this boxed set because I'm very interested in Ida Lupino's work and with bad copies of these films have been making the rounds it was high time they be presented at their very best.

Not Wanted (1949)

Ida Lupino's directorial debut came without an onscreen credit. She had taken over for Elmer Clifton when he suffered a serious heart attack and was too ill to continue. He died shortly after the film was released. Not Wanted stars Sally Forrest as Sally Kelton, a wide-eyed and naive young woman who falls for an older man, a piano player named Steve (Leo Penn). Much to her parents dismay, Sally runs away from home and follows Steve who only has a passing interest in her. Drew Baxter (Keefe Brasselle), a gas station attendant with an injured leg, falls for Sally only to have her runaway again. Turns out Sally is pregnant with Steve's child and hides out at a home for unwed mothers to decide her future. Lupino co-wrote and co-produced the film. This is a fantastic little drama that doesn't cast judgment on its protagonist. Rather it beckons the audience for some sympathy. Lupino's sister Rita has a small role as Joan, a fellow unwed mother who bonds with Sally.

Special features:
New 4k restoration in conjunction with the Academy Film Archive
Audio commentary by Barbara Scharres, Director of Programming at the Gene Siskel Film Center and filmmaker/historian Greg Ford
English subtitles
The Wrong Rut - hygiene reel
Various Kino Lorber Classics movie trailers

Never Fear (1950)

Lupino's next picture Never Fear was a personal one. The film reunites Sally Forrest and Keefe Brasselle as Carol and Guy, a pair of dancers on the brink of success. Just as Guy proposes to Carol and they book their next big job, Carol comes down with a case of polio which partially paralyzes her legs. She's sent to a rehabilitation center, Kabat-Kaiser, where she struggles with feelings of self-pity and despair. There she meets fellow polio patient Len (Hugh O'Brian) who has a much better attitude about his condition. Lupino's sister also appears in the film in a similar role to that she played in Now Wanted as one of the protagonist's peers who offers some perspective with her experience. At the age of 16, Lupino herself suffered from the disease which paralyzed her right hand. This was during one of the major polio outbreaks in California. The polio vaccine was still a few years away and this film was one major way Lupino brought awareness to the disease. Never Fear is a taut and compelling drama that feels authentic even if you didn't know the backstory. It was filmed at the Kabat-Kaiser facility in Santa Monica and the extras were real patients.

Special features:
New 2k restoration in conjunction with the BFI
Audio commentary by film historian Alexandra Heller-Nicholas
English subtitles
Various Kino Lorber Classics movie trailers

The Hitch-Hiker (1953)

Perhaps Lupino's best known and most acclaimed work, The Hitch-Hiker proves that a female director could work beyond the scope of what would be considered women's pictures. Lupino not only directs but she also co-wrote the screenplay with ex-husband and frequent collaborator Collier Young. The story revolves around three male characters. Roy (Edmond O'Brien) and Gilbert (Frank Lovejoy) are best buds out on a fishing trip in Mexico. They pick up a hitch-hiker Emmett (William Talman) who unbeknownst to them is a deranged serial killer who is targeting unsuspecting motorists. What ensues is a frightening road trip that keeps audiences at the edge of their seats. The dynamic between the three actors is palpable and Talman is absolutely terrifying as Emmett.

Special features:
New 2K restoration in conjunction with the Library of Congress
Audio commentary by film historian Imogen Sara Smith
English subtitles
Various Kino Lorber Classics movie trailers

The Bigamist (1953)

For Lupino to have worked on The Bigamist to me meant she was the ultimate professional. Why? Not only was she the director, she also directs herself as one of the stars. Also she collaborates again with her ex-husband, writer/producer Collier Young who was at the time married to the film's other star Joan Fontaine. I'm not sure I would have been capable of all that but Lupino did so and the end result was this fine drama. Edmond O'Brien stars as Harry Graham, a salesman who travels back and forth from San Francisco and Los Angeles. It turns out he has two different women in each city, his wife Eve (Joan Fontaine) at home and his girlfriend Phyllis (Ida Lupino) in L.A. His secret comes to light when Mr. Jordan (Edmund Gwenn), an adoption coordinator, investigates Harry. The conceit could have lent itself to melodrama but instead Lupino and her crew offer a sensitive portrayal of a man in love with two women. We know how it will all end but we enjoy the journey anyways.

Special features:
New 4k restoration in conjunction with Paramount Pictures
Audio commentary by film historian Kat Ellinger
English subtitles

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Kino Lorber Studio Classics Ida Lupino: Filmmaker Collection will make a fine addition to your home library of classic films. This is a must-have for any Ida Lupino fan or anyone who enjoys 1940s/1950s dramas and film noir. My one complaint about the set is the formatting of the booklet which makes it difficult to read. I wish some more effort to design it as a proper book had been taken.

Thank you to Kino Lorber for sending me a copy of this set for review.

Desert Fury (1947)

"I'm a big girl now. I'm allowed to play with matches."

Director Lewis Allen's Desert Fury (1947) stars Lizabeth Scott as Paula Haller, the daughter of a wealthy gambling magnate, Fritzi Haller (Mary Astor), who returns home to the fictional town of Chuckawalla, Nevada. Paula brings home with her a defiant spirit and a determination to live her life by her own rules. Mother and daughter have a complicated relationship. Fritzi has a strange fixation on Paula which leads to her to want to control every aspect of her daughter's life, including her romantic attachments. But Paula rebels. As Paula crosses the bridge back to Chuckawalla, two men come into her life. First there's the straight-laced and responsible Tom Hanson (Burt Lancaster), who left behind a career in rodeo for the sake of his health and now works as a deputy sheriff. He's the safe bet. Then there's the mysterious Eddie Bendix (John Hodiak), the racketeer who travels the country with his partner Johnny Ryan (Wendell Corey) looking for their next money making scheme. Eddie's got some serious baggage. He's been kicked out of Vegas, his wife died under mysterious circumstances and he's got a contentious history with Fritzi. Eddie's all wrong for Paula but she wants him. Will Paula make the wise decision or will she make the wrong one?

Based on the novel Desert Town by Ramona Stewart, Desert Fury was produced by Hal Wallis for Paramount and adapted to the screen by Robert Rossen. It was filmed in Cottonwood and Sedona, AZ, Palmdale, CA and Paramount studios. The film makes great use of Technicolor with the beautiful scenic shots, the gorgeous Edith Head costumes and fantastic sets. Adding to the dramatic atmosphere in the film is a score by Miklos Rozsa.

The film features fresh young faces. It's Wendell Corey's film debut, Lizabeth Scott's fourth film and it was intended to be Burt Lancaster's debut but he made two films prior to this one, including his notable debut in The Killers (1946). According to Hal Wallis biographer Bernard F. Dick , "Lancaster truly despised [the film] along with the critics and the public." Wallis and Lancaster had a 'contentious working relationship" and "Lancaster wanted to break his contract with Wallis, but he stayed on with the understanding that he be allowed at least two outside pictures a year."

Desert Fury is delightful melodramatic confection. It's not a good film by any means but boy is it enjoyable. It's worth watching alone for the fantastic cast and the envy-inducing wardrobe worn by Lizabeth Scott and Mary Astor. Scott, Hodiak, Astor, Lancaster all play to their strengths and Corey is superb as the reserved bad guy.

There's a strong sexual subtext with Johnny and Eddie's relationship mirroring that of a married couple. The two are inseparable and Paula poses a real threat to their partnership. Johnny refers to himself as Eddie's nursemaid and when Eddie recounts to Paula how he met Johnny he says, "I went home with that night... we were together from then on." The relationship between Paula and her mom Fritzi is fraught with tension. Fritzi's a bit too fixated on her daughter and Paula refers to her mom by her first name. There is a strong theme of the delineation between present and past lives and the bridge featured in the film almost becomes another character as it functions not only as a meeting point and passage way but also becomes a place where tragedy occurs.

For years Desert Fury was locked up in the Paramount-Universal distribution jail. It is now available on Blu-ray and DVD for the very first time (at least in North America!).

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Desert Fury (1947) is available on Blu-ray and DVD from Kino Lorber Studio Classics. When you use my buy links you help support this site. Thanks!

The Blu-Ray includes audio commentary by Imogen Sara Smith, subtitles and trailers of other Kino Lorber releases.

Thank you to Kino Lorber for sending me a copy of Desert Fury (1947) for review.

Assignment in Brittany (1943)

Jean-Pierre Aumont and Susan Peters in Assignment in Brittany (1943)

After completing a dangerous mission in North Africa, Captain Pierre Metard (Jean-Pierre Aumont) is sent back to France for a new assignment. And this one is a doozy. Pierre happens to bear a striking resemblance to one Bertrand Corlay, a French Nazi collaborator who was injured and imprisoned by the British. Pierre receives a makeover to look exactly like Bertrand, complete with a fake birthmark on his back. His goal is to uncover the secret German submarine port before the Germans attack the French/British forces guarding the shore. When Pierre goes to Bertrand's home and assumes his identity he fools everyone except Bertrand's mother Mme. Corlay (Margaret Wycherly). She's on to him but allows him to proceed with his mission. Pierre meets with Bertrand's fiancee Anne Pinot (Susan Peters) a deeply religious woman who was never in love with Bertrand but was still upset to find out he had a mistress. And that woman is Elise (Signe Hasso), a woman of questionable morals and a participant in Bertrand's political exploits. Pierre falls in love with Anne and she returns the sentiment when Pierre saves her from an attack. In order for Pierre to infiltrate the underground Nazi network in this region of France and to keep up appearances to fool everyone into thinking he's Bertrand, he must go through an elaborate series of performances and escapes. Will Pierre as Bertrand be able to save the French forces from the Nazis before it's too late? What will happen when Anne finds out who Pierre truly is?

Assignment in Brittany (1943) was directed by Jack Conway for MGM. The story is based on the novel Cross Channel by Helen MacInness, serialized in The Saturday Evening Post in 1942. MGM snapped up the rights fairly quick and the film was shot later that year. MacInness' story was adapted to screen by film writing team Anthony Veiller, William H. Wright and Howard Emmett Rogers.

The story requires a leap of faith for plausibility. Pierre fooling everyone because he looks like Bertrand seems very unlikely and if you don't suspend your disbelief you might scoff at the idea like Wycherly's character does. However, the viewer never sees the real Bertrand so as far as we know they could be identical twins!

Like many other WWII films, Assignment in Brittany is a tale of wartime resistance and espionage with a tender love story at its center. It marked the American film debut of French actor Jean-Pierre Aumont (simply billed as Pierre Aumont) and Swedish actress Signe Hasso. Aumont is charming as the conniving yet soft-hearted Pierre. The plot was not a stretch from Aumont's own military experience. According to a TCM article by Frank Miller, "Aumont had served heroically in North Africa during the war and received the Legion of Honor and the Croix de Guerre. Even in Hollywood, he supported the war effort, appearing at special screenings of Assignment in Brittany, to help raise funds for the Resistance. "

If you know me, you'll know that I've been excited for Assignment in Brittany for two reasons: Susan Peters and Darryl Hickman. Studying Peters' life and filmography has always been a pet project of mine and I was thrilled to see her in another starring role. The character of Anne Pinot fit Peters like a glove. The reserved Anne who comes out of her shell to fall in love with Pierre and help with the resistance just suited Peters sensibilities as a person. Anne plays off the polar opposite character of Signe Hasso's Elise in a Madonna/Whore dynamic. Elise is the femme fatale who breaks men's hearts, including that of Richard Whorf's character Jean, and whose Nazi activities threaten to bring harm to the community. Anne on the other hand has a sense of purity and nobility helps saves Pierre and France, for the time being.

Darryl Hickman in Assignment in Brittany (1943)

A few years ago I had the pleasure of meeting Darryl Hickman at the TCM Classic Film Festival and I asked him about this film. Hickman plays Etienne, a child who serves as a political messenger for his restaurateur uncle played by William Edmunds.

Spoiler alert: Hickman plays the hero of the film! At first he betrays Pierre but only to keep a secret that is vital information later on. It's a delightful role and I absolutely adored the scene between Aumont, Peters and Hickman toward the end of the film. Hickman is a highly underrated actor. He's always delivered wonderful performances as a child, teen and adult. Seek out his work (and his book about acting!). You won't be disappointed.

I'd also be remiss not ti point out child actress Juanita Quigley who has a terrific part as Jeannine, a young girl who fights back against the Nazis and makes a big sacrifice in the name of freedom. I found out recently that Quigley, who was very private in her final years, lived three towns away from me up until her death in 2017.

Jean-Pierre Aumont, Susan Peters and Darryl Hickman in Assignment in Brittany (1943)

Assignment in Brittany (1943) is a WWII curio that hasn't been available on home video until now. It pairs nicely with another WWII film starring Susan Peters, also featuring a young Darryl Hickman, Song of Russia (1944). Both of these are available from the Warner Archive Collection and for that I'm truly grateful.

Assignment in Brittany (1943) is available on DVD-MOD from the Warner Archive Collection. When you use my buy link you help support this site. Thanks!


Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Thank you to Warner Archive for sending me a copy of Assignment in Brittany (1943) on DVD for review!

Wallflower (1948)

Robert Hutton, Joyce Reynolds and Janis Paige in Wallflower (1948)

Sisters Jackie (Joyce Reynolds) and Joy (Janis Paige) are polar opposites. Joy is the flirtatious fun-loving one, always getting attention from the opposite sex. Jackie is the sensible one. A bit too sensible. She scares all the guys away with her straightforward demeanor. While on leave from college, Jackie and Joy are back home with their rather ditzy but well-meaning parents Mr. Linnett (Edward Arnold) and Mrs. Linnett (Barbara Brown). Jackie is excited to see her old pal Warren James (Robert Hutton). Warren is smitten with Jackie and the feeling is mutual. After having not seen each other in 5 years they both are surprised and pleased to see each other again. However, the voluptuous Jo, clad in a scintillating bathing suit, catches Warren's eye. Much to Jackie's chagrin those two start dating. When Mr. and Mrs. Linnett sponsor a local country club dance, everyone's got a date except for Jackie. Will Jackie be able to come out of her shell and blossom from wallflower to desirable match for Warren? Will Warren realize that Jackie, not Joy, is the girl for him?

Released by Warner Bros. Wallflower (1948) is a whacky screwball comedy. Just the sort of light fare needed for a post-WWII generation. It's directed by Frederick De Cordova who is best known as the longtime executive of The Tonight Show with Johnny Carson. He worked on the show for 22 years and stayed on in an advisory capacity when Jay Leno took over and did so until his death in 2001. In the mid-to-late 1940s De Cordova was mostly working on romantic comedies. Wallflower was based on a play by Reginald Denham and Mary Orr. It was adapted to the screen by husband and wife team Henry and Phoebe Ephron. The Ephrons worked together on numerous films including There's No Business Like Show Business (1954), Daddy Long Legs (1955), and Captain Newman M.D. (1963). They're also the parents of one of my favorite directors/writers Nora Ephron.

The story starts off as a sweet family comedy about two very close sisters, as different as can be, and their meddling yet clueless parents. When Hutton's Warren steps into the picture it escalates into a screwball comedy complete with a drunken attempt at elopement. Several scenes in the film reminded me of Good News (1947) and It's a Wonderful Life (1946). There's nothing earth shattering here. This is light 1940s fluff for people who love 1940s fluff. And if that's not your thing then this movie is not for you.

As of the publication of this article, female leads Joyce Reynolds and Janis Paige are still with us. This is quite remarkable for a film from the 1940s! Reynolds had a very short lived career with Warner Bros. Just as she was getting more starring roles in films, she abruptly retired from the film industry after making her final movie Girl's School (1950). Paige went on to have a long career in TV and film. Reynolds and Paige are a delight in Wallflower. I love that their characters are not pitted against each other even with their differences and competition for the same man. There's no real animosity between the two.

Wallflower (1948) is new to DVD and available from the Warner Archive Collection. When you use my buy links you help support this site. Thanks!

George, Matt and D.W. discuss Wallflower on the Warner Archive Podcast's October Sweet Horror episode (about 18 minutes). George Feltenstein calls the film "buoyant and charming".

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Thank you to Warner Archive for sending me a copy of Wallflower (1948) for review!

Christmas in the Movies: 30 Classics to Celebrate the Season by Jeremy Arnold

Christmas in the Movies
30 Classics to Celebrate the Season
by Jeremy Arnold
Turner Classic Movies/Running Press
Hardcover ISBN: 97807624924801
October 2018
208 pages

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You can’t watch 30 Christmas movies in one day. But you can experience them all in one afternoon with Jeremy Arnold’s new book Christmas in the Movies: 30 Classics to Celebrate the Season. Starting with Miracle on Main Street (1939) and ending with Love, Actually (2003), this new genre book from Turner Classic Movies’ joint imprint with Running Press captures the spirit of the holiday with the most beloved of the beloved Christmas classics.

Each of the 30 films gets a 5-6 page treatment with photos, credits, an overview of the plot, and information on how the movie came to be made and how it uses the holiday to tell its story. There is also a Holiday Moment aside which describes a particularly Christmassy scene from the film. All the classics are here including Remember the Night (1940), Holiday Inn (1942), Meet Me In St. Louis (1944), It’s a Wonderful Life (1946), The Bishop’s Wife (1947), White Christmas (1954), etc . And my personal favorites Christmas in Connecticut (1945) and Holiday Affair (1949) are in here too. Arnold spotlights films that either completely framed within the holiday or they feature Christmas in a significant way. Some of the latter include The Apartment (1960), Gremlins (1984), and Die Hard (1988) (which people love to proclaim is or is not a Christmas movie). Modern classics featured in the book include Little Women (1994), Elf (2003) and Love, Actually (2003) among others.

Why are Christmas movies so enduring? Arnold explains that they conjure up feelings of nostalgia, they focus on family dynamics, they lend themselves to the rituals of the holiday and their feel-good vibes and happy endings make them utterly enjoyable to movie going audiences.

Reading about each of these movies taps into the pleasure that the films themselves. I really enjoyed Arnold’s narrative voice which is very welcoming. The book goes down easy like a cup of hot cocoa with extra marshmallows. While the articles featured are not ground-breaking, I found some nugget of information to take away from almost every single one. You may know everything there is to know about Christmas movies (or can easily Google the information you need) but I don’t think that will hamper your appreciation of this book. I learned the most from the Love, Actually article, a film I used to adore but have grown to dislike over the years and have been meaning to revisit, and was interested in the background of how the story came to be. And there are a few films I had never seen before, including Miracle on Main Street and The Holly and the Ivy (1952) that I bookmarked for future viewing.

Some interesting tidbits include:

• The original and final lyrics for “Have Yourself a Merry Little Christmas", the song written for Meet Me In St. Louis, are presented side by side in the book. I’m glad they were changed because the original song was quite dark.
• There was a backlash against Alastair Sim starring as Ebenezer Scrooge in the 1951 adaptation of A Christmas Carol, Scrooge. 
• Warner Bros. threw a parade in Norwalk, CT for the premiere of Christmas in Connecticut.
• I got a newfound appreciation for how TV was instrumental in making so many overlooked Christmas movies into widely appreciated classics.
• The idea for The Apartment came to Billy Wilder after he saw one particular scene in Brief Encounter (1945)

Christmas in the Movies is a keepsake treasure perfect for gift giving. And it’s very likely that if your loved one doesn’t watch classic movies that they’ve seen several of the classic Christmas films listed in the book. It’s beautifully designed and I particularly liked its more compact size. If you’re looking for a coffee table type book this is not it. It’s better suited on your mantle next to your Elf on the shelf and above your Christmas stocking.

Thank you to Jeremy Arnold and Running Press for sending me a copy of Christmas in the Movies for review.

The Big Steal (1949)

This post is sponsored by DVD Netflix.

In 1949 RKO found themselves in a bit of a bind. Their latest project, The Big Steal, was already in the works when their star, Robert Mitchum, found himself in the clink for possession of narcotics. A couple of years earlier RKO had purchased Richard Worsmer’s short story from Columbia Pictures. They had planned to make the film with their star Chester Morris. When RKO bought the rights they turned to Daniel Mainwaring (aka Geoffrey Homes) to adapt the screenplay. They needed a leading lady and RKO made a deal with Hal Wallis for him to loan out Lizabeth Scott. But with Mitchum’s headline making scandal Scott and Wallis wanted nothing more to do with the project. No one knew exactly what effect Mitchum’s incarceration would have on his career. RKO chief Howard Hughes wasn’t about to his star Jane Russell be associated with Mitchum. At least not for a few more years when Mitchum and Russell made His Kind of Woman (1951) and Macao (1952). Hughes and his team needed what The Washington Post called “a bankable last-minute casting replacement.” And that replacement was Jane Greer.

Mitchum and Greer had starred together in the film noir Out of the Past (1947). It was a natural fit to reunite them for The Big Steal. “The woman with the Mona Lisa smile” had fond memories of working for RKO and would tell stories of the family atmosphere of the studio. They groomed their stars and had an active role in training them and building their careers from the ground up. In the early days of her career she auditioned for several studios and moguls but it was independent producer Howard Hughes who signed her up for a contract. Hughes was obsessed with Greer and would deny her work when she didn’t return his affection. She managed to get out of that contract and sign up with RKO. However Hughes bought RKO a few years later and was back in control of Greer’s acting career. In an interview with journalist James Bawden, Greer said,

“He had bought RKO and I figured I was through. But he was still fixated with me. When I was well enough to work, he simply stopped sending scripts. Had to pay me or the contract would have blown up. But just to get at me, he sent the checks and no work offers. Refused to loan me out. He was going to punish me for marrying someone else. He was going to make me suffer.”

It’s sad that we can’t discuss Jane Greer’s work without talking about all the times Hughes tried to sabotage it. In the case of The Big Steal, Hughes placed in a precarious position of starring alongside an actor with a potentially tarnished reputation. But little did Hughes know that Mitchum’s arrest would have the opposite affect on his career and that audiences would embrace seeing Greer and Mitchum on screen once again.

“Never mind where you’ve been just worry where you’re going.”

The Big Steal stars Robert Mitchum as Duke Halliday, an army lieutenant on the run from his captain Vincent Blake (William Bendix) who thinks Duke stole $300,000 cash from the Army. Blake follows Halliday to Mexico where Halliday is on the chase for the person who actually stole the money, Jim Fiske (Patric Knowles). Along the way Halliday meets Joan Graham (Jane Greer), Fiske’s girlfriend and another victim of Fiske’s double-crossing schemes. Halliday and Graham do not get along. It’s a battle of wits between these two. Just as Halliday has Fiske in his grasp, he’s thwarted by police inspector General Ortega (Ramon Novarro). Halliday hitches a ride with Graham, much to her dismay, and the two set off on a wild goose chase through the Mexican countryside in search of Fiske. With Blake on their tail and a lot of obstacles in their way, this unlikely pair are about to find out that not everything is as it seems.

Film historian James Ursini refers to The Big Steal as “screwball comedy meets film noir.” You may watch this film and wonder what’s so noir about it. It’s truly a hybrid film, much lighter fare than Mitchum and Greer’s Out of the Past (1947). This was an opportunity for the two to tap into their comedic talents. Greer’s lost a bit of her youthful glow and not as soft and deceptively innocent looking as she was in the role of Kathie Moffat. Greer’s Joan Graham is wise and world-weary. She has the ingenuity to keep things moving along especially when Duke stalls. Their scenes together are playful. Halliday calls her “Chiquita”, Spanish for small. He makes fun of Graham’s driving only to discover that his sexist remark is completely unfounded: she’s a more than competent driver and can tackle the winding roads at great speed. She's the sidekick he needed. They don’t trust each other at first but soon develop a sweet affection for each other that blossoms into a romance but also makes them protective of each other. Theirs is a hate-love relationship whereas in Out of the Past it was very much love-hate.

Shot on location in Mexico, relative newcomer, director Don Siegel, had to keep production going while Mitchum served his time in the LA County jail. In an interview, Greer remembers, “We all sat around for two months getting paid and waiting for our leading man to reappear.” Any scene that could be shot without Mitchum or with a stand-in was filmed. Mitchum was released from jail in March 1949 and it was full speed ahead for production. There was another time crunch to deal with. Greer was pregnant with her second child and starting to show. What resulted was a taut little 71 minute movie, a non-stop chase movie with some continuity errors but no room for needless lingering. One notable aspect of the film is the depiction of Mexicans in the film. They are wary of tourists, especially American ones. Graham chastises Halliday for treating various Mexican characters in an abrupt manner. It’s clear that Graham and Halliday have to work with the locals rather than have the locals work for them. As a Latina, I look for the representation of Latino characters in film and I found these scenes kind of refreshing.

For fans of Out of the Past (1947), seeing Mitchum and Greer together again, albeit in a very different type of movie, is a treat. It’s not a great film but it’s enjoyable viewing for Noirvember. Stay tuned because I have an in-depth article on Jane Greer and Robert Mitchum coming up in the annual "giant" issue of The Dark Pages newsletter.

Disclaimer: As a DVD Nation director, I earn rewards from DVD Netflix. You can rent The Big Steal on DVD.com.

Tender Comrade (1943)

"Teacher, Tender Comrade, Wife. A fellow farer true through life. Heart-whole and soul-free. The August Father gave to me." – Robert Louis Stevenson

Tender Comrade (1943) is a sentimental WWII drama much in the style of Since You Went Away (1944). It follows the story of Jo Jones (Ginger Rogers) a fiesty and strong-willed woman married to mild-mannered soldier Chris (Robert Ryan). After Chris’ 24 hour leave, the two say their goodbyes at a train station as he travels overseas for battle. Doing her part for the war effort, Jo works at a local aircraft factory as a welder. She becomes friendly with a trio of women who've also been left behind. There’s Barbara (Ruth Hussey), an embittered woman who harbors bad feelings for her sailor husband. She openly dates other men and is the voice of discontent among the group. Then there is Doris (Kim Hunter), a sweet and starry-eyed newlywed. A proposal and quickie marriage left her in a suspended virginal state. Then there's Helen (Patricia Collinge), the matriarch and most level-headed of the bunch. Both her husband and son are away at war. All the women struggle to make ends meet and Jo comes up with an idea: they’ll all move in together and share the expenses equally. They add a fifth, Manya (Mady Christians), a German refugee whose husband is fighting the good fight against the Nazis. She takes on a job as a housekeeper. We follow their stories as they adjust to this new arrangement. The film is broken up with flashbacks of scenes from Jo and Chris’ courtship and marriage. It’s equal parts touching and tragic, just as you’d expect a WWII movie to be.

Written by Dalton Trumbo and directed by Edward Dmytryk, Tender Comrade was produced by RKO. Several endings were filmed in order to get just the right tone for the end product. According to Robert Ryan biographer Frank Jarlett, “the picture did well financially, earning $843,00 in profits for RKO, mainly because its tone of patriotic righteous indignation registered in the public’s mind at a peak emotional time.”

Ginger Rogers was on a high point in her career. She had won an Academy Award for her performance in Kitty Foyle (which was also written by Dalton Trumbo). That film did well for RKO and Tender Comrade was a psuedo follow-up to that success. For Tender Comrade, Rogers was billed as the “chin-up girl”, a role model for women embodying the ideal of strength and resilience during wartime. The film premiered in Los Angeles on December 29, 1943, just under the wire to have Rogers’ performance qualify for Academy Award submission. In the end, she didn’t receive a nomination and the film was released to the general public in June 1944. I’ve always been partial to Ginger Rogers and her performances but I felt her role as Jo was overbearing. Perhaps it was the long speeches and the constant bickering, but I found her character not as sympathetic as I wanted her to be.

On the other hand, Chris Jones was an exceptionally good part for Robert Ryan, who was still in the early days of his long acting career. Playing a leading romantic part with a major movie star helped put him on the map. Ryan is incredibly charming in this film. It’s a shame Hollywood relegated him to roles as heavies and villains because there was a “tender” side to him that really shone through.

A few years after its release, Tender Comrade developed a reputation for its perceived Communist agenda. During the HUAC investigations, the film singled out for subversive propaganda and for the term “Comrade” and its connection to Communist Russia. Although the phrase "tender comrade" is a reference to Robert Louis Stevenson’s poem The Wife and is quoted at the very start of the film, its reasonable to consider an intended dual meaning.

Trumbo is one of my favorite writers and a huge influence in my life. Reading his novel Johnny Got His Gun completely altered my perspective on the world and I tend to gravitate towards his works. I enjoyed the social commentary and the political subtext of the film even though I thought it to be overly sentimental.

Trumbo was singled out by Lela Rogers, Ginger Rogers mother, during a HUAC hearing. During the filming of Tender Comrade, Rogers started to take issue with some of the dialogue and this was a very dialogue-driven film. In one scene, the German housekeeper receives her husband medal of honor in the mail. Its decided that the medal belongs to all of them and not just Manya. Rogers was supposed to deliver the line “share and share alike, that’s democracy” but instead it was given to Kim Hunter. The film has a bit of a socialist agenda: the give women split their profits evenly, Manya becomes upset at perceived excess and Doris confesses hoarding lipsticks. However I felt the movie as had some strong patriotic messaging. There is Ginger Rogers’ grand speech about the sacrifice needed to live in a better world. And there are various references to being patriotic through rationing and also anti-German and Japanese sentiment. But in the end Dmytryk and Trumbo were both blacklisted by the HUAC and Hollywood. Dmytryk went into exile only to return to the US and give testimony which eventually cleared him from the blacklist. Trumbo was more defiant. After being jailed, he continued to work in Hollywood under pseudonyms. It wasn’t until both Otto Preminger (Exodus) and Kirk Douglas (Spartacus) publicly listed Trumbo as screenwriter in their respective films that the blacklist officially ended.

Tender Comrade holds an important place in the history of WWII films and the Hollywood Blacklist. This film makes its DVD debut thanks to the good folks at the Warner Archive Collection.

Tender Comrade (1943) is available on DVD-MOD from the Warner Archive Collection.When you use my buy links you help support this site. Thanks!

The Warner Archive trio George, D.W. and Matt discuss the film (about 25 minutes in) on the A Colossal Collection episode of their podcast.

 Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Thank you to Warner Archive for sending me Tender Comrade (1943) to review!

The Woman in the Window (1944)

"Trouble starts from little things. Often from some forgotten natural tendency."

It's impossible to talk about Fritz Lang's The Woman in the Window (1944) without talking about its famous ending. I'm not going to even try. You've been warned.

Years ago I taped this film off of TCM and watched it with my mother. We were completely engrossed in the film and developed a growing concern for Edward G. Robinson's character. As the movie progressed we knew there was no way out for him and panic started to set in. He was getting deeper and deeper into a bad situation. What was going to happen to this poor sweet man? All he did was admire a portrait in the window. How did he get into this mess? Just as the film reached its climax we held our breath. When the ending came and we saw it was all just a dream, we breathed out a huge sigh of relief. My mother still talks about the film to this day. Sometimes she doesn't remember the title or the particulars of the story. But the ending, she'll always remember that. It's the one instance where a movie becomes its own hero and saves the audience from falling off the precipice into heart ache. And we're grateful for it.

The Woman in the Window stars Edward G. Robinson as Richard Wanley, a professor of criminal psychology. With his wife and kids away on vacation, Professor Wanley spends time with his professional peers, including district attorney (Raymond Massey) and Dr. Barkstane (Edmund Breon). All three men are going through a mid-life crisis of sorts. They all have one thing in common: the admiration of a beautiful woman whose portrait is displayed in a shop window. One evening Wanley, as he stares at the portrait, sees a reflection. It's the portrait's subject, Alice Reed (Joan Bennett). What starts as an innocent flirtation ends with Wanley at Reed's apartment and a dead body. Reed's rich boyfriend tries to kill Wanley and an act of self-defense, with the help of Reed passing a pair of scissors to Wanley, will easily be misinterpreted as murder. The two plot to dispose of the body but they've gotten more than they bargained for. Reed must face her beaut Heidt (Dan Duryea) who catches wind of what happens and wants to be paid in return for his silence. And Wanley is implicating himself more and more as his district attorney friend handles the investigation. Wanley only sees one way out but luckily wakes up in time to discover it was all just a dream.

Based on the novel Once Off Guard by J.H. Wallis, The Woman in the Window was adapted to screen by Nunnally Johnson. Johnson had become a successful script writer at 20th Century Fox. Wanting to expand his business opportunities into both writing and producing, he founded International Pictures, Inc. Johnson's first project was adapting Wallis' novel onto film. He had both Fritz Lang and Edward G. Robinson in mind for the project. After Marlene Dietrich and other actresses turned down the female lead, Bennett was offered the part. Johnson's daughter Marjorie Fowler, then Marjorie Johnson, worked as an editor on the film.

Some major changes were in store for Wallis' story. According to Fritz Lang biographer Patrick McGilligan, "the novel had hinted that the female lead was a prostitute; Johnson made the character more ambiguous, but still obviously a rich man's mistress." Then there was that ending. In the novel, the protagonist, a professor of English not criminal psychology, deems all hope to be lost and commits suicide. This just wouldn't do for the movie version. Johnson wanted the original ending but got push back from studio execs. According to Johnson biographer Tom Stempel, suicide was a "story solution discouraged by the Production Code. [William] Goetz insisted that the story be revealed at the end to be a dream. Johnson felt that kind of ending was a cheat but Goetz was insistent..."

And wouldn't you know it, the ending worked. The Woman in the Window was a hit at the box office. While critics complained about the ending, they praised the film overall. According to McGilligan, quoting Fritz Lang, "the happier ending 'made a difference of a million dollars more in receipts."

Upon the success of The Woman in the Window, Fritz Lang, Joan Bennett and Bennett's husband, producer Walter Wanger, teamed up to start Diana Productions named after Bennett's daughter from her first marriage. Their first production was Scarlet Street (1945) which reunites Woman's three main stars Edward G. Robinson, Joan Bennett and Dan Duryea in what proved to be an eerily similar story. Many classic film fans like to joke that Scarlet and Woman are essentially the same movie.

Bennett and Lang collaborated on a total of 5 films which also include Confirm or Deny (1941), Man Hunt (1941) and the Diana Productions film Secret Beyond the Door (1947). This is notable because Fritz Lang was notoriously bad with his actors and many would give up working with him after one or two films. Stars like Brigitte Helm, Spencer Tracy and Henry Fonda wrote off working with Lang. Sylvia Sidney, who collaborated on three films with Lang, and Bennett seemed to be the only ones who were willing to endure working with the director.

The Woman in the Window is a marvelous film. A taught film noir that tugs at your heartstrings. I love that Bennett's Alice Reed isn't a femme fatale caricature. There's more complexity than usual. Bennett really shines in this part which reminded me a bit of Jane Greer's character in Out of the Past (1947) but with more heart. Robinson does a fine job drawing out the audience's sympathy for his character. He's sweet and pathetic and we want to protect him like a baby bird that's fallen out of the nest. And Dan Duryea. Nice man in real life and pure evil on screen. A sign of true talent that he could so effectively play the opposite of himself. Robinson, Bennett and Duryea make for a dynamic trio on screen and are just as enjoyable in the next installment.

And for the record, I loved the ending. Sure it's a stereotype of an old Hollywood cop-out but I bought it hook, line, and sinker.

The Woman in the Window (1944) is available on Blu-Ray and DVD from Kino Lorber Studio Classics. The disc includes subtitles, audio commentary by film historian and film noir expert Imogen Sara Smith, and a variety of noir trailers. The film has been newly mastered in high definition and looks great on Blu-Ray. The package contains a reversible jacket with another poster design on the reverse side.

Amazon — Barnes and Noble — Best Buy — Kino Lorber

Thank you to Kino Lorber for sending me a copy of the Blu-Ray for review.

Hollywood Beach Beauties by David Wills

Hollywood Beach Beauties
Sea Sirens, Sun Goddesses, and Summer Style 1930-1970 
by David Wills
Dey Street Books
May 2018
Hardcover ISBN:978008284255
224 pages

Amazon — Barnes and Noble — Powells

"The women, and some of the men, were painstakingly lit and strictly posed for maximum star-power effect." - David Wills

Hollywood Beach Beauties is a hybrid: part coffee table book boasting highly quality images of classic actresses donning swimwear and part history of the evolution of the bathing suit, more notably the bikini, and how it intersected with Hollywood history.

Davis Wills' book covers the scope of Hollywood actress and swimwear over the decades. The book is divided into 4 sections: 1930s, 1940s, 1950s and 1960s. Each section starts with a historical evaluation on swimwear for that decade. Then the text is followed by a collection of images, a mix of studio and magazine portraits, film stills, ads and movie posters. Throughout the book we learn about the cheesecake portraits that helped fuel the Hollywood publicity machine, the evolution of the bikini, and how beach culture became an important part of 1960s movies, from beach movies to James Bond. All while enjoying full-color images of glamorous movie stars clad in shapely swimwear. Key figures highlighted in the book include Raquel Welch, Ava Gardner, Marilyn Monroe, Brigitte Bardot and others.

I really wanted to like this book but it was a hot mess. The text was overly serious and didn't match the fun visual content of the book. However, Wills writing was very good. The text could be extracted and expanded upon to become a full-length book on the history on swimwear. For example the information on WWII textile rationing and the societal fear of exposed navels could make for some very interesting chapters/articles on their own. Overall, the text was interesting but just didn't fit this particular format.

Hollywood Beach Beauties is technically a coffee table book but the size is fairly small which makes it easy to read but not as nice as a larger format book. It's paper over board hardcover with fairly sharp corners (I scratched myself a few times). The text was presented in a large font which was awkward to read. And the subtitle is just unfortunate. Instead of 1930-1970 it should have read 1930s to 1960s which would not only have been more accurate it would have also highlighted the 1960s which is a key decade featured in the book.

I appreciated the quality of the images. While a few of the film stills were a bit fuzzy, all the other photographs and artwork were nice and sharp. I didn't care for the few images that were colorized and not listed as such (one Marilyn Monroe photo was listed as colorized in the backmatter, the image appears inside the book and on the back cover). At one point the 1960s was listed as the 60's not the '60s and then I was done.

I'm reviewing this book with a critical eye because I read a lot of classic film books and have high expectations. But if you don't expect much and just want a fun book filled with pictures of Hollywood actresses in bikinis, then Hollywood Beach Beauties is for you.

Many thanks  to Dey Street Books for sending me a copy of this book to review.

This is my third review for the Summer Reading Challenge.