Trapeze (1956)

“You really fly high” - Mike

“Because I’m not afraid of anything.” - Lola

As one of the few trapeze artists to ever perform a triple somersault, one of the most dangerous and highly skilled moves, Mike Ribble (Burt Lancaster) seems unstoppable. That is until a fall leaves him crippled and puts an end to his career as a flier. Years later Ribble is working as a stage hand at a Paris circus run by famous Bouglione (Thomas Gomez), a tyrant who cares little about his performers and a lot about making a profit. Ribble meets Tino Orsini (Tony Curtis), a talented young trapeze artist who idolizes Ribble and dreams of becoming a flier in the circus. With a little push from his old flame and fellow circus performer Rosa (Katy Jurado), Ribble takes Tino under his wing. The two work on a new act with Ribble as catcher and Tino as flier, with the intention of getting Tino to the ultimate goal of perfecting the triple. Working with Tino breathes new life into Ribble. But one woman stands in their way: Lola (Gina Lollobrigida). She’s a headstrong acrobat, who came from a particularly dire situation in her native Italy. Lola will do anything and step over anyone to succeed. When Bouglione puts this unlikely trio together for the act, the opportunist, the dreamer and the fallen star must come together to put on the performance of a lifetime. When both Ribble and Tino fall for the tempestuous Lola, will their act fall apart? Will Ribble finally be able to help Tino master that triple?

Trapeze (1956) was based on Max Catto's 1950 novel The Killing Frost by Max Catto. It was adapted to screen by Liam O’Brien (brother of actor Edmond O’Brien) and James R. Webb with uncredited help by writers Ben Hecht and Wolf Mankowitz. The film was plagued with legal troubles as other authors came forward claiming that the film’s plot was stolen from their own original stories. Author Badia Jacobs filed a lawsuit in 1962 claiming that her unpublished manuscript entitled “No Alternative” was plagiarized by Catto for his novel. In 1948, Jacobs gave her manuscript to agent Ben Medford and claims Medford subsequently plotted with Catto to steal the story and publish it as The Killing Frost. Jacobs did not find out about Catto’s novel until she saw the film adaptation years later. The two stories were vastly different and the judge eventually dismissed the case. Screenwriter Daniel Fuchs also filed suit. Fuchs’ story The Daring Young Man was published in Collier’s magazine in 1940 and he adapted it into a screenplay which he claims he gave to producer Harold Hecht who then stole it for the movie. After two years of litigation, both parties settled out of court for $50k.

Burt Lancaster’s production company, one he co-owned with Harold Hecht and James Hill, produced the film. At the time it was called Joanna Productions but was eventually was renamed Hill-Hecht-Lancaster Productions. Before becoming an actor, Lancaster was a skilled acrobat and trapeze artist. He performed in circuses, carnivals and nightclubs until an injury ended his career, much like character Mike Ribble in the film. Lancaster was eager to make a movie about the circus and relive his acrobat days. He partnered with his childhood friend Nick Cravat who became an adviser and body double in the film. Lancaster does the majority of his own stunts as a trapeze catcher in the film. Other stuntmen and women were used in the film. Eddie Ward of the Ringling Bros. Circus was a technical consultant. Tragically, Lollobrigida’s stuntwoman died during the filming of one of the scenes when she fell 40 feet and broke her back.

In the mid 1950s, Lancaster was on top of his game and his clout was enough to get an independent film like Trapeze under way. It was a big production shot entirely at the Cirque d’Hiver and the Billancourt Studios in Paris. Montgomery Clift was under consideration for the part of Tino. The role eventually went to Tony Curtis who was borrowed from Universal. Trapeze was director Carol Reed’s first American film. It was also Gina Lollobrigida’s first film with an American production company (an arrangement with Howard Hughes prevented her from making films in Hollywood). Trapeze was shot in CinemaScope and released through United Artists in July 1956. It was a huge hit earning $4.1 million in the first week and was screened in over 400 theaters in the United States. It broke United Artists’ record for highest grossing film both domestically and internationally.

Trapeze (1956) is an enjoyable film with lots of great aerial stunts and a love triangle drama to boot. Lancaster and Curtis proved to be a great onscreen duo and would later re-team for Sweet Smell of Success (1957). They play off of each other so well. Gina Lollobrigida plays a terribly unlikable character but she does it so well. I enjoyed Katy Jurado’s role as Rosa. She’s basically the polar opposite of Lollobrigida’s Lola. I would have liked a bit more backstory about Rosa and her relationship with Ribble. Jurado’s role is understated but key to giving the film a sense of balance. Otherwise you have three very headstrong characters (four if you want to add Gomez’ Bouglione) causing chaos in the story. In Catto’s novel, the love triangle becomes murderous and Tino and Ribble’s relationship turns out to be more than just mentor and apprentice. I'd love to see a modern remake take on Catto's LGBT love story and tragic ending.

Trapeze (1956) is available on Blu-Ray and DVD as part of the Studio Classics line. The disc includes subtitles, audio commentary by film historian Kat Ellinger, the original theatrical trailer and other Kino Lorber related trailers.

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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

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"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.

Odds Against Tomorrow (1959)

Dave Burke (Ed Begley) has a plan. The disgraced former New York City cop, disillusioned with the system, has been dreaming of the perfect bank heist. He's been keeping an eye on a small town bank and Burke knows exactly when to strike. He enlists two friends to help him pull off the heist. First there's Earle Slater (Robert Ryan), an ex-con who is trying to make things right with his live-in girlfriend Lorry (Shelley Winters). Unable to support her financially, he takes Burke up on his offer to make a quick $50k with the robbery. Then there's Johnny Ingram (Harry Belafonte), a jazz singer who is deep in debt with his local bookies. He's separated from his wife Ruth (Kim Hamilton) and their daughter Eadie and knows he won't be able to come back to old life unless he gets himself out of this mess. But Burke has two problems. Slater is a terrible racist and unwilling to work with Johnny. And Burke has to seek out the head bookie and his team of thugs to put the pressure on Ingram. Burke's plan is solid but can Slater and Ingram stop butting heads long enough to execute the robbery?

Directed by Robert Wise, Odds Against Tomorrow (1959) is a film noir with a social agenda. The story of racial tension in 1950s America is effectively told through the lens of a bank heist drama.

***SPOILER STARTS***

The final scene of Odds Against Tomorrow delivers a poignant message: in the end we're all the same. After botching the bank heist because Slater (Robert Ryan) wouldn't trust Ingram (Harry Belafonte) with a key, they chase each other to fuel storage center. They meet their demise when a shoot out causes a massive explosion. The police discover their charred remains and any identifier of race or status is completely gone.

***SPOILER ENDS***

Shot on location in Manhattan and upstate New York, the film is gritty and real. Harry Belafonte, who was at the height of his music career, has the lead role and top billing. The movie was produced by his company HarBel Productions, Inc. and released through United Artists. It was remarkable for its time for having an African-American lead actor in a film noir. HarBel Productions was in negotiations with Richard Widmark for the role of Slater but eventually the part went to Robert Ryan. Widmark and Ryan were both perfect for the role so it was no loss either way. Ryan, who was a champion for civil rights, was at first hesitant to play Slater. According to Ryan biographer J.R. Jones, he said "a great many people realize that the characters they see on the screen are fictional or created but there is a substantial group that does not make that distinction." Recognizing the quality of the script and the significance of the movie, Ryan eventually agreed.

Ryan who played an anti-semitic character in Crossfire (1947) is reunited with his co-star in that film Gloria Grahame. Grahame has a small role in Odds Against Tomorrow as the next-door neighbor turned temptress Helen. Her part doesn't quite make sense for the movie except to inject the film with a bit of sex. Grahame and Ryan have a steamy scene when Helen's attempts to flirt with Slater get her more than she bargained for. In one racy shot, Ryan rips open Grahame's robe. According to the AFI,

"Gloria Grahame threatened a $100,000 lawsuit against United Artists, demanding they refrain from using certain photos of her in publicity for the film on the grounds that they were candid and taken without her knowledge. The photographs were taken by co-star Robert Ryan. The outcome of Grahame's demand has not been determined." 

I'd be remiss not to point out some of the fine performances in this film. Beyond Belafonte and Ryan, Ed Begley is adept at playing a character that is equal parts dark and sympathetic. I wanted more from Shelley Winters who is always a delight to watch on screen. I felt like her part was lacking. I was particularly fascinated with Richard Bright's Coco, one of Bacco's bookie thugs who antagonizes Johnny Ingram. There is a sadistic homoerotic tension between the two characters. His character reminded me a bit of Neville Brand's part in D.O.A. (1950). Robert Earl Jones and Cicely Tyson have bit parts as employees of the underground jazz club.

Odds Against Tomorrow was based on William P. McGivern's novel by the same name. It was adapted to screen by screenwriter Abraham Polonsky and Nelson Gidding. Polonsky, an unabashed Marxist and former member of the Communist Party, was blacklisted in 1951. He was named by actor Sterling Hayden and when brought to the HUAC  Polonsky refused to testify. For Odds Against Tomorrow, he used the name of left-wing African-American author John O. Killens as a front. It wasn't until 1996 that the WGA finally gave Polonsky credit for his work on this film. Before being blacklisted, Polonsky had written and directed Force of Evil (1948).

Fans of French cinema need to watch Odds Against Tomorrow particularly for the impact it had on director Jean-Pierre Melville. He was heavily influenced by Wise's film, watched it over 80 times and kept his own 35mm copy. Throughout his career, Melville would make references to Odds Against Tomorrow in his own movies.

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Odds Against Tomorrow (1959) is available on Blu-Ray from Olive Films. Many thanks to Olive Films for sending me a copy to review.

Seven Brides for Seven Brothers (1954) Blu-Ray from Warner Archive

"The film is magic and still astounds today." - Howard Keel, 1996

How does one accidentally produce one of the greatest musicals ever made? MGM managed to do just that with Seven Brides for Seven Brothers (1954). Intended to be a B-movie musical, MGM threw more of their time and money into another musical, Brigadoon, slashed the budget for Seven Brides and left director Stanley Donen with the task of creating a backwoods period piece musical on the MGM lot with painted backdrops and no on location shooting. Thank goodness they at least kept the Cinemascope and Ansco Color! It's not that MGM wanted Seven Brides to be a failure. Even a B-musical was going to be a quality production. This film included songs by Johnny Mercer, an original score, choreography by Michael Kidd, two established leading stars Howard Keel and Jane Powell and a stable of up-and-coming talent as well as expert dancers and acrobats. All the ingredients came together to make a powerhouse musical that would entertain generations to come. The original title for Seven Brides was Sobbin' Women, a reference to a musical number and key plot point. But who would go see a musical about crying women? Pass. Then the unintentionally suggestive A Bride for Seven Brothers was considered then wisely scrapped. A simple tweak and Seven Brides for Seven Brothers was born. MGM released Seven Brides just as the current wave of musicals was reaching its end. It went on to receive 5 Academy Award nominations and won the Oscar for Best Music, Scoring of a Musical Picture in 1955.

Seven Brides is often given a bad rap by contemporary audiences for poor gender politics. As a woman and a feminist, I wholeheartedly disagree. Yes Milly (Jane Powell) is basically tricked into taking care of 7 men when she only bargained for one. And yes the six brothers kidnap their six future brides. And yes Adam (Howard Keel) is backwards in his opinions about women and their roles in society. But if you focus on just those points then you miss the entire plot of the movie. The whole story is about how these seven brothers learn how to respect women. Their transformation is led by Milly. She's feisty, opinionated, and strong-willed. She never backs down. Disgusted by how the seven brothers keep house and keep themselves, she whips them into shape. After a disastrous trip into town, she teaches them how to properly court women and mind their manners. Milly's lessons are taken into account by all the brothers only to be sabotaged later when Adam, in the Sobbin' Women number, convinces the younger Pontipees to kidnap their women. When they do, Milly casts them out of the house to sleep in the barn. She's not afraid to tell them straight to their faces that their actions are abhorrent. She refers to them as animals and brutes. The women are separated from the men until Spring time and basically until they can figure out how to appreciate women. And for stubborn Adam it takes the birth of his daughter and the influence of his youngest brother, played by Russ Tamblyn, to see the error of his ways.

Six years ago, I watched Seven Brides for Seven Brothers and wrote about it as part of my Weddings in Film series. One of the biggest takeaways for me was how this movie conveyed the importance of communication in relationships. In that piece I wrote:

The disappointment in Milly and Adam's newlywed life stems from two major faults in their courtship: lack of communication and lack of time to get to know each other. But even a misunderstanding like that can be worked on with lots of future communication, patience, understanding, compromise and love.

Seven Brides for Seven Brothers (1954) is now available on Blu-Ray for the very first time thanks to the good folks at the Warner Archive Collection. The two disc set includes a bunch of extras which I have listed below:

Disc One:

• Song Menu
• Captions
• Audio Commentary by Stanley Donen (2004)
• MGM Jubilee Overture (1954) (aka the best dressed orchestra you'll ever see in your life). With MGM Symphony Orchestra led by Johnny Green and featuring songs from MGM musicals. (Remastered in 1080p HD, 16x9 2.55 anamorphic aspect ratio with 5.1 DTS HD Master Audio)
• 43 minute documentary "Sobbin' Women: The Making of Seven Brides for Seven Brothers, hosted by Howard Keel (1996, updated 2004 to include more interviews) - features Howard Keel, Jane Powell, Russ Tamblyn, Stanley Donen, Julie Newmar, Jacques d'Amboise, Ruta Lee and more. 
• Radio City Music Hall Premiere - July 22, 1954
• MGM's 30th Anniversary (1954 MGM Newsreel) 

Disc Two:

• Rarely-seen 1.77:1 alternate Widescreen Version (1080p HD)
• Song Menu
• Captions

According to George Feltenstein, Seven Brides was one of 5 MGM movies shot twice. Once in Cinemascope and shot again in Widescreen. All of the scenes were shot twice and staged slightly differently each time. A sharp eye will spot the differences especially in the barn raising sequence. This version was shelved for years and even though it would have worked beautifully for television, a pan-and-scan version of the Cinemascope was used instead. A true injustice!

On the Warner Archive podcast, Feltenstein goes on to say that in the process of developing a 70mm print of Seven Brides for distribution in England, the original negative was damaged. Also Ansco color tends to turn green as it ages. Felteinstein referred to the restoration of Seven Brides for Blu-Ray as one of the most ambitious projects ever taken on by the Warner Archive.

I've seen Seven Brides for Seven Brothers in many formats over the years. At home with my DVD, on TCM, streaming on Filmstruck and on the big screen at a local repertory house. The Warner Archive Blu-Ray is the most stunning presentation of this movie I've seen so far. If you are a fan of this wonderful musical, run, don't walk, to add this new Blu-Ray set to your movie library.

Further reading: Check out my post on Ruta Lee on the Inside the Envelope DVD Netflix blog and find out what she had to say about working on Seven Brides for Seven Brothers!

Seven Brides for Seven Brothers (1954) is available on Blu-Ray from the Warner Archive Collection. When you use my buy links 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 the Blu-Ray of Seven Brides for Seven Brothers (1954) to review!

Highway Dragnet (1954)

"First guy who moves gets a belly full of lead."

Jim Henry (Richard Conte) was simply in the wrong place at the wrong time. Jim meets with a fellow Marine in Las Vegas to discuss fixing up his seaside home that's been flooded by rising waters. While in Sin City he meets temperamental model Terry Smith (Mary Beth Hughes). The night after their confrontation at a bar, she winds up dead in her hotel room, the result of strangulation with a strap. The police, led by Det. Lt. Eagle (Reed Hadley) are led to Jim who has an alibi with his Marine friend whom he plans to meet back in California. He's the only one who can prove Jim's innocence. After escaping the police, Jim finds two women stranded on the desert highway: photographer Mrs. Cummings (Joan Bennett) and model Susan Willis (Wanda Hendrix). After helping these two with their broken down car, he rides off with them hoping to get back home to find his friend. The two women quickly realize this mysterious hitchhiker is on the run from the cops. Can Jim make it back home in time to prove that he's not the strap killer? Or will the cops catch up with him before he gets the chance?

Released by Allied Artists, Highway Dragnet (1954) is a short B-movie thriller directed by Nathan Juran. It clocks in at 1 hour and 10 minutes and while that may seem rather short the story is fairly simple and straightforward and the time frame worked perfectly for the plot. It's low budget, a bit cheesy but has a great cast in the form of Richard Conte, Joan Bennett, Wanda Hendrix and supporting players like Reed Hadley and Mary Beth Hughes. Fans of Christmas in Connecticut (1945) will recognize Frank Jenks who plays a Marine suspected of being the runaway convict.

This film came out at a time of transition for the three main stars. This was a few years after Joan Bennett's infamous career halting scandal. A love triangle resulted in her husband, producer Walter Wanger, shooting her agent, Jennings Lang, in the groin. Lang survived and Wanger was convicted and sentenced to four months in jail. Highway Dragnet was her return to movies. Richard Conte had recently lost his contract with Fox and the 1950s brought him many B-movie roles. In the following decade his career would take a turn with some small parts in better movies including some of my favorites like Ocean's 11 (1960) and The Godfather (1972). The year Highway Dragnet was released was the same year actress Wanda Hendrix briefly retired from films. After her disastrous marriage to actor Audie Murphy, she decided to step back from acting when she married James Langford Stack Jr., brother of actor Robert Stack. When that marriage fell apart she returned to acting with a handful of parts on TV and a few more movies in the 1960s and 1970s.

Highway Dragnet is famed producer/director/writer Roger Corman's first credited screen role. He wrote a screenplay entitled House by the Sea, a reference to the protagonist's beloved home, and sold it to Allied Artists. Corman didn't realize the transformation his screenplay would undertake at the hands of the filmmakers. Several writers worked on the script including Herb Meadow, Jerome Odlum, Tom Hubbard and Fred Eggers. The end result was far different from Corman's original vision. According to biographer Pawel Aleksandrowicz,

"Corman was so appalled at the difference between the original version and the final product that he decided to produce his films by himself in order to have full control over them." 

He used the funds he earned from Highway Dragnet to produce The Monster from the Ocean Floor (1954). Corman mastered the art of making low-budget movies that entertained audiences and turned a profit. And the rest is history. I would love to read Corman's original screenplay to compare with the final movie. I have some ideas about what was left out or changed.

The relationship between the two female leads played by Joan Bennett (Mrs. Cummings) and Wanda Hendrix (Susan) suggest something more going on in the background. Perhaps this was intended in Corman's screenplay but played down in the final script? Their relationship hints at a romance between the two and they switch gender roles throughout the film. Susan is dressed in a crop top and pants and covered in grease from trying to fix their car, something Jim points out when he meets Susan for the first time. In contrast, Mrs. Cummings is full on glam in a white dress, heels and sunglasses. We learn that Mrs. Cummings is a photographer and Susan is her model. The two have a close relationship that extends beyond their business partnership. When they arrive at the hotel for their poolside photo shoot, the dynamic shifts with Mrs. Cummings taking the lead and Susan being the object of her attention for both good and bad. When Susan develops an affection for Jim, this threatens their relationship. Perhaps romantically but the story focuses more on the dark secret Mrs. Cummings is hiding from everyone except for Susan. The hotel scenes reminded me greatly of the film Carol (2015) starring Cate Blanchett and Rooney Mara which also involves women, traveling down a highway on a road trip and a fellow traveler, male, threatens their happiness.

Highway Dragnet (1954) is available on Blu-Ray from Kino Lorber. They've been releasing DVDs and Blu-Rays of a variety of independently produced/released films from mid-century Hollywood. I encourage you to check out their growing catalog of Kino Lorber Studio Classics, many of which I've reviewed on this blog.

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Many thanks to Kino Lorber for sending me a copy of Highway Dragnet (1954) on Blu-Ray to review!

Fritz Lang's While the City Sleeps (1956)

Ida Lupino and Dana Andrews with director Fritz Lang

After two decades of making films in America, director Fritz Lang was at his wits end. The 1950s was difficult time in the film industry. Television was a major rival for audience’s time and attention. For Lang, good opportunities were fewer and far between. It also didn't help that Lang had developed a reputation for being cruel to his actors. In an effort to salvage his Hollywood career, Lang met with producer Bert Friedlob. Friedlob was quite a character. He had dabbled in many different businesses, (he was a liquor salesman and even managed circus acts) and became a film producer while he was married to his third wife actress Eleanor Parker. His films included A Millionaire for Christy (1951), The Steel Trap (1952), The Star (1952) and others. Lang needed a producer and Friedlob was ready and available. According to Lang biographer Patrick McGilligan, after Lang signed with Friedlob, the producer wasn’t interested in any of the directors ideas however the two agreed on one project in particular. Friedlob owned the rights to the novel The Bloody Spur by Charles Einstein. The former  journalist's book was based on the true story of William Heirens, a Chicago based serial killer who targeted women and left messages behind scrawled in lipstick. Lang was familiar with the “lipstick killer” case and agreed to direct the movie. According to McGilligan, the killer in this story reminded Lang of Peter Kurten from his German film M. When William Friedkin interviewed Lang in 1973, they discussed Lang’s interest particularly in films about murderers and criminals. Lang didn’t want to admit it but he did agree that his interests did lie in “social evils.”

While the City Sleeps (1956) follows a cast of characters at the Kyne newsroom at a time when the company as at the brink of major change. Amos Kyne (Robert Warwick), head of the Kyne empire, died just at the time when his newsroom was working on their biggest scoop. A lipstick killer is on the loose. On the story is Edward Mobley (Dana Andrews), the head of the Kyne telecast, Mark Loving (George Sanders), head of the Kyne newswire and Jon Day Griffth (Thomas Mitchell), the Kyne Newspaper’s chief editor. They are in competition for the top spot along with resident newspaper artist Harry Kirtzer (James Craig) to take over where Amos Kyne left off. Unfortunately they're faced with Kyne’s son Walter Kyne (Vincent Price), the spoiled rich brat who has no newsroom experience but likes the power his new position gives him. While the team battles for the top spot by trying to solve the lipstick killer case, the women of the newsroom are also making their mark. Mobley’s girlfriend Nancy Liggett (Sally Forrest) is Loving’s secretary and also Mobley’s pawn to lure the lipstick killer. Women’s story report Mildred Donner (Ida Lupino) isn’t afraid to manipulate her coworkers to play office politics with the big boys. And then there is Kyne’s wife Dorothy (Rhonda Fleming), who is having a secret affair with Harry. Dorothy and Nancy catch the eye of the lipstick killer (John Drew Barrymore, billed as John Barrymore, Jr.). Will Mobley and his police detective friend Burt Kaufmann (Howard Duff) get to them in time before the killer does?

Dana Andrews, Sally Forrest, Thomas Mitchell and Ida Lupino

Producer Friedlob's screenwriter Casey Robinson adapted Einstein’s novel to screen. According to Lang biographer McGilligan, "Robinson had no journalism experience; and the script would lack the real-life verisimilitude the director usually boasted." It did seem unrealistic to me that Andrews’ Edward Mobley was more instrumental in solving the mystery than Howard Duff’s Lt. Burt Kaufman. Friedlob and Robinson also injected an anti-comic book message into the story which did not age well. According to the AFI, “Friedlob announced that the film would address one of the concerns currently publicized by Senator Estes Kefauver, that of the effect of comic books on "juvenile delinquency’" and how the film would be a "weapon in the growing battle against the corrupting force of comic books on young minds." Comic book publisher Tony London pushed back saying that the film's message cast a bad light on an entire genre when only a few bad apples were to blame. Fast forward to 2018 and comic book franchises drive the current film industry. What would have Friedlob thought of that?

Rhonda Fleming and Vincent Price

In a publicity piece for the film, Fritz Lang said the following regarding Rhonda Fleming, "She amuses all the male instinct and she displays her physical assets to great advantage in the picture." Fleming often played such roles which were the complete opposite of what she was like in real life. In an interview with George Feltenstein for the Warner Archive Collection podcast, Fleming said,

“We went on to do While the City Sleeps with Fritz Lang. Which is one I really didn’t want to do because it was what my moral values didn’t stand for. A cheating wife, betraying her husband and lying. I almost turned it down but I guess I wanted to work with Fritz Lang and a great cast. But some of those naughty and not so nice roles were actually wonderful opportunities to play a wider variety of roles and not be mixed up in nice and sweet roles. It’s a favorite of many of my fans, these films.”

Independently produced, United Artists was originally going to distribute the film but in a last minute effort to get the film out on the market quickly Friedlob sold the completed film to RKO. Released in May 1956, While the City Sleeps was well-received. McGilligan said "it was considered a taut, well-made suspense film” and got good reviews in the trades. Friedlob and Lang went on to make Beyond a Reasonable Doubt released that same year (a review of that title coming soon!). Unfortunately, Friedlob died suddenly, just a month after the release of their second film together.

Fritz Lang is my favorite director and that’s because I’ve come to enjoy all the movies I’ve seen of his, even the not so great ones. (To date I’ve seen all but four, his two lost silents and his last two films made in Germany). In While the City Sleeps, the serial killer storyline is besides the point. This movie is really a suspenseful newsroom drama. It’s more about the social politics of an office than it is the hunt for a murderer. Everyone in the film plays to their strengths. And what a cast! Andrews, Lupino, Sanders, Mitchell, Fleming, Forrest, Craig, Price, they are all superb in this picture. Even Barrymore is convincingly frightening as the blood-thirsty Robert Manners. One thing I love about Lang’s films is how the female characters are portrayed. In a male-driven office, the three principal women are not simply pawns in their game. When Sanders tries to manipulate Lupino to get ahead, she manipulates him right back. Forrest isn’t content being the spurned fiancee who Andrews cheats on. A brief moment of defiance helps save her life. Fleming’s part is probably the weakest of the three but she also has her strengths including fighting off the killer. The film has some editing problems. There were some loops added for dramatics that were too noticeable to be taken seriously. A few shots seemed to be sped up or shot in reverse for a similar effect.

While the City Sleeps (1956) is available on Blu-Ray from the Warner Archive Collection.

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Thank you to Warner Archive for sending me a Blu-Ray copy of While the City Sleeps (1956) to review!

Not as a Stranger (1955)

"It isn't enough for you to have a brain. You have to have a heart."

Producer Stanley Kramer had staked his claim in Hollywood. After a string of successful films, he was ready to tackle being a director. For his directorial debut, he set his sights on Morton Tompson's bestselling novel Not as a Stranger. A huge hit with the public, the almost 1,000 page novel explored the work and social lives of doctors and nurses with a focus on its main character Lucas Marsh. Kramer was excited to adapt the story that took the nation by storm and he wanted to go big. He needed big stars and a big production. Little did Kramer know what he was getting into.

Medical student Lucas Marsh (Robert Mitchum) will do anything to be a doctor. His best friend Al (Frank Sinatra) and buddy Brundage (Lee Marvin) know it. When Marsh goes home to get some of the money he inherited from his mother, he finds that his drunken father Joe (Lon Chaney Jr.) has spent it all. After hearing some harsh words from Joe, Lucas goes back to school with a major dilemma. If he doesn't pay the rest of his tuition bill in 30 days he's out. Even the lab gig his professor Dr. Aarons (Broderick Crawford) and the check he forked over isn't enough. Lucas has been chatting with the talented Swedish nurse Kristina Hedgivson (Olivia de Havilland). At a family dinner Kristina's sister Bruni (Virginia Christine) and brother-in-law Oley (Harry Morgan), Lucas discovers that Kristina has several thousand dollars stashed away. He speeds up their romance and marries Kristina for the money and the chance to be a doctor, even though his buddy Al warns him that it's not a good idea. Eventually the couple moves to a small town where Lucas will replace the resident doctor (Charles Bickford) but he encounters the gorgeous and seductive widow Harriet Lang (Gloria Grahame). With his marriage in jeopardy, Lucas is also faced with a major operation that will test his skills as a doctor.

Not as a Stranger (1955) is a medical melodrama. To prepare for their parts, Mitchum, Sinatra and Crawford attended an autopsy in a hospital theater much like one in the beginning of the film and Mitchum and de Havilland had extensive training for the different surgery scenes. While Not as a Stranger an interesting look at hospital dynamics and the science of medicine circa the 1950s, this movie has some serious problems. At first I was annoyed by the over-the-top music and the fake Swedish accents and the sluggish pacing. But then I was frustrated by the fact that Mitchum, my favorite actor of all time, who could save pretty much any film, was terribly miscast. Perhaps it was a combination of various factors but Mitchum's Lucas is a very flat character. We don't get to learn enough about him or to connect with him for him to be fully dimensional. Olivia de Havilland serves well as the moral center of the film. Frank Sinatra is absolutely necessary to keep this film going. He's not only the voice of reason but he gives the movie some levity that it so desperately needs. The movie is overly long and at least 30-40 minutes could have been easily cut. What saves it is the wonderful cast and interesting subject matter.

Stanley Kramer, Olivia de Havilland, Frank Sinatra and Robert Mitchum on the set.

Kramer wanted to go big or go home. But perhaps he should have gone home. According to Don Lochte, in later years Kramer called the making of this movie "ten weeks of hell." Robert Mitchum told Lochte that "Stanley stays in his own way as a director." It wouldn't be fair to say this is all Kramer's fault. According to Mitchum biographer Lee Server, "Kramer had unwittingly loaded the picture with a number of Hollywood's most ferocious drinkers". Putting Mitchum, Chaney, Sinatra, Marvin, McCormick and Crawford in one movie might not have been the best idea. But Kramer believed in this cast. Lee Server in his book Baby I Don't Care wrote that there was a lot of hype for the movie adaptation. When news broke that Robert Mitchum would play Lucas Marsh, fans of the book were outraged. They didn't think he could pull off such a sensitive part. Kramer stood by Mitchum and proceeded.

It didn't turn out to be a total disaster. Not as a Stranger cost $2 million and made over $7 million at the box office. According to Frank Sinatra biographer James Kaplan, Sinatra was in the midst of a comeback and needed to keep working so accepting third billing and a smaller part was just something he had to do. Coming off of From Here to Eternity, Frank Sinatra still had something to prove if he wanted to be a big leading star in the movies. Not as a Stranger got him in front of audiences and kept that momentum going he desperately needed.

Olivia de Havilland and Gloria Grahame play polar opposites in a love triangle with Robert Mitchum. Their roles suited their particular strengths well. I wish De Havilland wasn't made to have that Swedish accent but I enjoyed her performance and for a while there she convinced me she was a trained nurse. Grahame was at this point becoming self-conscious about her appearance and was stuffing tissue underneath her front lip which makes her scenes kind of unbearable to watch.

During the making of this film, Mitchum, Sinatra and Crawford had some drinks with Joe DiMaggio and set after to break into Marilyn Monroe's apartment to get the couple back together. They broke into the wrong apartment in what was then called the "Wrong Door Raid."

I can't tell you not to watch Not as a Stranger. This film has such a fantastic cast and such an interesting backstory it would be a shame to ignore it.

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Not as a Stranger (1955) is available on Blu-Ray from Kino Lorber. Besides a few issues in the beginning of the film, the Blu-Ray looks great. The extras include captions, various trailers and film commentary by Troy Howarth.

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

Hell on Frisco Bay (1955)

Steve Rollins (Alan Ladd) is a man who's been wronged. After serving a 5 year sentence at San Quentin for a crime he didn't commit, the former cop is now free. Waiting for him at the gate is his old partner Dan (William Demarest) who sticks with him through thick and thin, and his wife Marcia (Joanne Dru), a lounge singer who gave into temptation while her husband was away. But Steve can't be bothered with dealing with his failed marriage. He's on a mission to track down the one man responsible for putting him in the slammer: Vic Damato (Edward G. Robinson). He got a hot tip from Frank Ragoni about who set him up and now Ragoni is missing. All fingers point to Damato who leads a mob syndicate that terrorizes the Italian fishing community of San Francisco. He's drunk with power and will kill anyone who gets in his way, even one of his own. He rules his team with an iron fist. First there's his number one man, Joe (Paul Stewart), who will do anything Damato tells him to but pulls away when he starts a romance with former screen star Kay (Fay Wray). Then there's Hammy (Stanley Adams), a blood thirsty mobster who is a little too eager to please, Damato's naive nephew Mario (Perry Lopez) and his man on the inside, dirty cop Detective Connors (Peter Hansen). Steve must make his way through web of shady characters to uncover the truth and to bring down Damato once and for all.

Hell on Frisco Bay (1955) is a fascinating noir, filmed in Cinemascope and Warner Color by with plenty of on-location shooting in the city by the bay. San Francisco serves as the beautiful backdrop for a dark tale of disturbed characters. Viewers will see shots of the Golden Gate Bridge, the Bay Bridge, Fisherman's Wharf and the San Francisco, Ghirardelli Square, the Embarcadero and the iconic hills of San Francisco. Anyone familiar with the city will find plenty of recognizable scenery.

Based on the novel The Darkest Hour by William P. McGivern, Hell on Frisco Bay was adapted by screenwriters Sydney Boehm and Martin Rackin for Warner Bros. McGivern also wrote The Big Heat which is one of my favorite Noirs and one of the best films Fritz Lang made during his time in Hollywood. It was directed by Frank Tuttle who worked with Alan Ladd on This Gun for Hire (1942). Ladd, who also served as an uncredited producer through his company Jaguar Productions, hired Tuttle and other colleagues from his Paramount days including William Demarest, Paul Stewart and Anthony Caruso.

This Noir boasts a cast of characters portrayed by some of the best in the business. Edward G. Robinson playing a heartless mobster is no stretch as he had been playing such characters for many years. Alan Ladd looks worse for wear but his performance as Steve begs for the audience's sympathy but also holds them at a distance. I was quite taken with Paul Stewart's nuanced performance as Damato's reluctant sidekick Joe. He's not an actor I'm all that familiar with but this film definitely brought him to my attention. Fay Wray has an important but small role as a former actress who tries to protect her gangster boyfriend. I wish Joanne Dru and William Demarest had more to do in the film. They really just serve as the protagonist's counter parts. Starlet Jayne Mansfield has a bit role as the girl Perry Lopez dances with at Damato's night club. A young Rod Taylor, billed as Rodney Taylor, has a small role as one of Damato's thugs. His fight seen with Alan Ladd isn't quite believable but it's still fun to see Taylor in what was his fourth movie. In fact Ladd and Robinson have a big action-packed scene in San Francisco Bay that is also not quite believable. But with the help of stunt men and some studio footage, it works.

Hell on Frisco Bay is a gorgeous movie. Where it lacks in story telling it makes up for in stunning visuals and dramatic music by Max Steiner. This movie makes me long for a time when you could dress up, go to a classy lounge, have a drink and hear a good song or two. I always forget how richly visual 1950s movies are until I watch a good one and am reminded of this fact. Because of the gorgeous color cinematography, the film felt less like a Noir and more like a 1950s drama. I don't think this hurts the film at all. It makes it more of a hybrid.

Hell on Frisco Bay is available on Blu-Ray and DVD-MOD from the Warner Archive Collection. According to their recent podcast Hard Lessons this is the first time this film has been available either on DVD or Blu-Ray format. The film has been remastered from the original camera negative at 4k. You can buy the DVD and Blu-Ray at the WB Shop. Using my buy links helps support this site. Thanks!

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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 Hell on Frisco Bay (1955) to review!

On the Making of River of No Return (1954)

Tommy Rettig and Robert Mitchum in River of No Return (1954)

River of No Return (1954) was supposed to be a small picture; a simple B Western shot on the cheap in Idaho with a small cast and a skeleton crew. Writer Louis Lantz had the idea of taking Vittorio De Sica's The Bicycle Thief and turning it into a Western. Producer Stanley Rubin worked with Lantz and writer Frank Fenton on developing the story for Darryl F. Zanuck at 20th Century Fox. Production was moving forward until Zanuck decided to up the ante and add Fox's biggest star Marilyn Monroe to the mix. Everything had to be brought up a notch. Robert Mitchum and Rory Calhoun were added to the cast as was child actor Tommy Rettig. It would be shot in color with Cinemascope, a new technology Fox had invested a lot of money in. And Otto Preminger, who was under contract to the studio, would be directing the film whether he liked it or not.

Preminger was an interesting choice for the film. He had enjoyed some artistic freedom and independence with previous projects. In this case the script was ready to go when Preminger got on board. Producer Stanley Rubin didn't like Zanuck's choice of director. According to Preminger biography Chris Fujiwara, Stanley Rubin said "I thought of River of No Return as a piece of Americana, and I thought it needed a director who had worked in that area, which Preminger had not done... I was thinking of somebody like Raoul Walsh."

The production moved from Idaho up into Canada. The film got an upgrade with on-location shooting in Jasper and Banff, Alberta. There were the Banff Springs, Bow River, Lake Louise and the Rocky Mountains. This region of the world is simply stunning as anyone who's ever been there, myself included, will tell you.

The setting was perfect for visuals but treacherous for filming. Monroe, Mitchum and Rettig had stunt doubles and stand-ins. Three of the stunt actors almost lost their lives on the Bow River during the shooting of the escape scene on a raft. Monroe injured her leg on set and had to take it easy at the Banff Springs Hotel. Her publicist made a big spectacle of the event. Monroe was photographed around Banff limping around with a wrapped ankle. Her soon-to-be husband Joe DiMaggio came to visit. (Check out this collection of photos from the shoot.) Monroe's good friend Shelley Winters claims Monroe faked the whole thing. Producer Stanley Rubin claims the injury was real but that it might have been exaggerated.

Stanley Rubin, Marilyn Monroe, Otto Preminger and the crew on the set of River of No Return (1954)

The cast of characters Zanuck threw together proved to be a volatile mix. Otto Preminger and Robert Mitchum butted heads on their previous film together Angel Face (1952). Mitchum joked that he thought Preminger was a funny guy and a great producer but "not a very good director". According to producer Stanley Rubin, Mitchum played it cool but behind-the-scenes did a lot of digging into the production and was invested in making the film turn out well. Preminger and Monroe clashed almost instantly. He was an overbearing director and Monroe was sensitive to this sort of treatment. Her acting coach Natasha Lytess proved to be a thorn in the side of the cast and crew. Her coaching style included teaching Monroe how to over-enunciate her words. When Monroe put this into practice it drove Preminger mad. Lytess convinced Tommy Rettig that he'd reached the age when child actors lose their natural talents. The otherwise self-assured and prepared Rettig was now a blubbering mess and couldn't remember his lines. Preminger had enough and barred Lytess. Zanuck had to step in because without Lytess there was no Monroe and with no Monroe there would be no big box office draw. Everyone would just have to put up with each other.

Marilyn Monroe and Robert Mitchum on the set of River of No Return (1954)

Let's quickly dispel the myth that Mitchum and Monroe did not get along while making this film. This couldn't be further from the truth. Mitchum took pity on Monroe and tried to help her on more than one occasion. Mitchum biographer Lee Server says, "Monroe's peccadilloes seemed never to bother Mitchum. He thought she was an essentially sweet and funny but often sad and confused person." He enjoyed her "sly humor". After filming Monroe said to the press, "Mitch is one of the most interesting, fascinating men I have ever known."

The cast was quite a draw for locals. Lee Server says, "a special train brought the cast and Preminger the eighty miles were from Calgary to Banff, a publicized event that brought out curious ogling Canadians all along the route." Due to the province's liquor laws, the only place for the actors to drink was the Banff Springs Hotel. Mitchum especially spent most of his free time there.

Marilyn Monroe, Tommy Rettig and Robert Mitchum get hosed in preparation for their studio scenes. River of No Return (1954)

The crew returned to Los Angeles to film the remaining scenes at the studio. According to Lee Server, this is "where Mitchum and Monroe would do their white-water rafting indoors on a hydraulic platform in front of a giant process screen, while men stood to the sides and splashed them with buckets of water and shot steel-headed arrows into the solid oak logs at their feet." At one point Otto Preminger abandoned the project and left for Europe. Director Jean Negulescu was recruited to pick up where Preminger left off. He did not receive a credit for his work.

River of No Return was a box office hit and earned Fox $2 million in profits. Zanuck was right. Marilyn Monroe was the film's biggest draw and the reason for it's success. The reason why River of No Return has enjoyed decades worth of screenings, home video releases, interviews, discussions and even Tumblr fandom is mostly because of Marilyn Monroe. If another actress had starred in the film it might have been another Western relegated to the vaults.

August 6th is the 100th anniversary of Robert Mitchum's birth. River of No Return is available on DVD and Blu-Ray. TCM will be screening this movie as part of the Marilyn Monroe day for their Summer Under the Stars series starting tomorrow.

Sources:
Robert Mitchum: Baby I Don't Care by Lee Server
Robert Mitchum: In His Own Words edited by Jerry Roberts
The World and Its Double: The Life and Work of Otto Preminger by Chris Fujiwara
Leonard Maltin's interview with Stanley Rubin, TCM Classic Film Festival 2013

Hollywood Divided by Kevin Brianton

Hollywood Divided
The 1950 Screen Directors Guild Meeting and the Impact of the Blacklist
by Kevin Brianton
University Press of Kentucky
October 2016
Hardcover ISBN: 9780813168920
174 pages

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On October 22, 1950, more than 500 directors met at the Beverly Hills Hotel for a Screen Directors Guild meeting. The topic on hand: Cecil B. DeMille's call for the dismissal of SDG's president Joseph L. Mankiewicz. Many big-name directors including John Huston, John Ford, Rouben Mamoulian and many others would deliver speeches either for or against the recall. This meeting occurred during the thick of the Hollywood backlist era and quotes from the speeches would live on for decades sometimes morphing into different variations. It represented what Kevin Brianton, author of Hollywood Divided, calls "one of the bitterest chapters in American cinema history."

It's easy for us to put the people involved in this meeting into two distinct camps: liberals and conservatives. And depending on your political views these two camps would also carry the label of good people and bad people. It's true that liberals were eyed as potentially dangerous because they were most likely to have ties to Communism. And it's also true that conservatives led the charge to seek and oust industry members who they thought were clearly Communist. However, as Brianton explores in his book, the divide between liberals and conservatives wasn't always very clear. Some directors attending the meeting identified as Republican yet made very liberal movies. Others considered liberal sometimes leaned conservative. On DeMille, Brianton explains "it would seem that his rigid conservative ideology drove him one direction, while his personal afflictions tugged him another way." In this book, Brianton breaks down the different motivations and ideologies of many of the top directors involved in this infamous SDG meeting and we discover that not everyone, even the two big players in all of this DeMille and Mankiewicz were as clear cut in their two political camps as most people like to think.

Brianton's book is incredibly detailed. Everything you could possibly want to know about SDG's 1950 meeting can be found within its pages. Its meticulously researched and told in a very unbiased way. The first part of the book explores the events that lead up to the meeting. The second part breaks down almost minute by minute the events of the gathering. And the third part explores the meeting's legacy and the myths that came out of the oral history of that important moment in film history.

I was interested in learning about DeMille's background and how he lead the charge of many conservative movements in the industry even as early as WWI. Directors Mankiewicz and Ford and their motivations and actions are explored closely as well. I'd love to read some additional books exploring the Hollywood Blacklist. Actor Robert Vaughn wrote a book called Only Victims: A Study of Show Business Blacklisting which I have my eye on. If anyone were to write a book about how films before, during and after the blacklist era both had an effect on the blacklist and were affected by it, that would be a book I'd pick up immediately. If anything this slim volume on one aspect of a dark moment in Hollywood history whet my appetite for more reading.

If you're researching the Hollywood blacklist, Kevin Brianton's Hollywood Divided is a invaluable resource. If you're looking for an overall history of this era, this book would only be a supplement to your reading but still worth your time.

Thank you to University Press of Kentucky for sending me a copy of this book to review.