I Wouldn’t Be in Your Shoes Directed by William Nigh
Written by Steve Fisher; story by Cornell Woolrich
1948/US
Monogram Studios IMDb page
First viewing/Criterion Channel
Inspector Stevens: I’ve been on the police force for twenty-five years. I’ve turned in some honeys for indictment, but never in all that time have I had such an unbeatable, airtight case as I’ve got against you.
This was the next in line for holiday noirs. The story of this Poverty-Row B movie’s sole connection to the holidays is that a key development occurs on Christmas Eve.
Tom (Don Castle) and Ann (Elyse Knox) are married and perform as a dance team when they have work. Castle is currently unemployed and Knox works at a dance studio which seems more like a dime a dance place. When Tom foolishly throws his only shoes at a cat, he becomes embroiled in a murder investigation. Ann starts a private investigation of her own. With Regis Toomey as a detective.
This movie is my definition of meh. With the exception of Toomey the acting is bad, the plot is predictable, and the melodramatic music is annoying.
The Search Directed by Fred Zinnemann Written by Richard Schweizer, David Weschler, and Paul Jarrico 1948/US Praesens-Film for Metro-Goldwyn-Mayer IMDb page
First viewing/Amazon Prime rental
“Today, as yesterday, a nation is judged by its attitude towards refugees. – Elie Wiesel”
This was made in the American-occupied sector of Germany shortly after the end of WWII and explores the sad lot of displaced people in Europe at the time of production. It is a moving story and I liked it very much.
The first half of the film is devoted to a general overview of the lot of refugee children who have been separated from their parents. Mrs. Murray (Aline MacMahon) is the head the child division of a UN Relief and Rehabilitation Center somewhere in Germany. She narrates the stories of many of her charges including that of Karel Malik (Ivan Jandl), a Czech child who after being separated from his mother survived internment at Auschwitz. He wandered far and wide in search of his mother. When he is finally gathered up by the UNRRA, he is so traumatized he refuses to speak. The authorities don’t know his nationality much less his name. He is being sent to a special center where he can receive treatment. The journey by trucks and ambulances throws the children into a panic and Karel escapes. His fellow escapee is drowned but Karel continues his travels.
In the second half of the movie, GI Ralph “Steve” Stevenson (Montgomery Clift) spots the starving child hiding in the rubble of Berlin. He more or less adopts him and starts teaching him English. In the meantime, his mother has been scouring all the camps of Europe looking for her son.
The film has an uplifting ending and, while sad, is more gentle than many Holocaust films (there are no graphic scenes from the camps). This was the first film starring Montgomery Clift to be released and he earned a well-deserved Oscar nomination for it. Ivan Jandl, who won the Juvenile Oscar for 1948, has to be one of the most natural and appealing child actors in cinema history. The film was also nominated for Best Director and Best Writing, Screenplay. Highly recommended.
I, Jane Doe Directed by John H. Auer Written by Lawrence Kimball 1948/US Republic Pictures IMDb page
First viewing/Amazon Prime rental
Bigamy, n. A mistake in taste for which the wisdom of the future will adjudge a punishment called trigamy. — Ambrose Bierce.
Kind of fun to see a courtroom drama with an all female defense team.
Jane Doe (Vera Ralson) shot and killed Eve Meredith Curtis’s (Ruth Hussey) husband Stephen (John Carroll). She has refused to reveal her name or talk about the crime in any way. She is swiftly convicted and given the death sentence. She gets a brief reprieve to give birth to a baby.
Eve, a successful attorney, takes an interest in her and gets the full story. Stephen met Annette Du Bois in France during WWII after his plane crashed. She sheltered him and he married her even though he was already married to Eve. We learn that he is a serial philanderer.
Eve manages to get her a new trial and the story continues to play out through the testimony and flashbacks. With Gene Lockhart as the bombastic prosecutor.
I don’t know that I have seen Vera Ralston before. She is an appealing actress with a delicate beauty. Ruth Hussey was also quite good. John Carroll is the weak link. It’s an entertaining movie but nothing I would go out of my way to see again.
Louisiana Story Directed by Robert J. Flaherty Written by Robert J. Flaherty and Frances H. Flaherty 1948/USA Robert Flaherty Productions Inc.
First viewing/Netflix rental
#224 of 1001 Movies You Must See Before You Die
[box] There’s a saying among prospectors: ‘Go out looking for one thing, and that’s all you’ll ever find.’ Robert J. Flaherty [/box]
A beautiful look at a bygone place and time on the edge of modernity.
This is an almost wordless look at a boy’s adventures in the backwaters of the Louisiana bayou. He hunts and fishes from a canoe accompanied by his pet raccoon. All is peaceful until he is forced to do battle with a huge alligator.
The bigger threat may be an oil rig that has just arrived to drill. The boy seems to welcome the incredibly noisy contraption however. He forms a silent bond with the crew on the rig and even tries to help out using the talisman of salt he carries as insurance against “them”.
UCLA did an incredible job restoring this film. It is an lovely, meditative work. Nowadays it would be a “message” film. Then it was a poem. I had to slow way down to appreciate it.
Louisiana Story was nominated for an Academy Award for Best Writing, Motion Picture Story.
The Pirate Directed by Vicente Minnelli Written by Albert Hackett and Frances Goodrich from a play by S.N. Behrman 1948/USA Metro-Goldwyn-Mayer
First viewing/Netflix rental
[box] Manuela: Someday Macoco is going to swoop down upon me like a chicken hawk and carry me away.[/box]
Minnelli’s 1948 musical with wife Judy Garland was a notorious flop. There were reasons for this but there are also real pleasures to be found here.
Manuela (Garland) is a sheltered lass living in a quiet village. Her aunt (Gladys Cooper) has arranged her marriage to the much-older town mayor (Walter Slezak) but Manuela dreams of being swept of her feet by the notorious pirate “Black Mack” Macoco. She talks her aunt into letting her go on one last trip to a nearby port city. There she spots actor Serafin (Gene Kelly). Initially she mistakes him for Macoco. When she finds out his true identity, she wants nothing to do with him. She sneaks into see his show anyway and he takes advantage of the opportunity to hypnotize her into revealing her true feelings. They are for Macoco, not him. In a trance, Manuela breaks into song to the wild applause of the audience Now Serafin needs her as the headliner for his show.
Serafin follows Manuela back to her village. He pretends to be Macoco and threatens to burn down the place unless Manuela is given to him unmarried. Her fiance objects but it turns out Serafin is possession of a secret that allows him to carry on the charade. For the time being … With George Zucco as the viceroy.
The characters of Kelly and Garland are comically overacting for most of the film. This was not what 1948 audiences wanted to see no matter how clever some of the dialogue might be. The film also bogs down in places and the Cole Porter tunes, with one exception, are not his catchiest. The movie is worth seeing, however, just for the number in which Gene Kelly dances with the Nicholas Brothers to “Be a Clown” and the song’s reprise with Garland.
The DVD includes an interesting commentary by a film historian outlining the film’s troubled and protracted production history. Garland was about ready to implode at this time. Honestly, none of it shows up on the screen.
Lennie Hayton was nominated for an Oscar for Best Music, Scoring of a Musical Picture.
Trailer
https://www.youtube.com/watch?v=7NVTFnmav4s
Clip – “Be a Clown” – Cole Porter was sure a good sport when Freed ripped this off for “Make ‘Em Laugh’ in Singin’ in the Rain
Mr. Blandings Builds His Dream House Directed by H.C. Potter Written by Norman Panama and Melvin Frank from a novel by Eric Hodgins 1948/USA RKO Radio Pictures
Repeat viewing/Amazon Instant Video
[box] Muriel Blandings: I want it to be a soft green, not as blue-green as a robin’s egg, but not as yellow-green as daffodil buds. … Now, the dining room. I’d like yellow. Not just yellow; a very gay yellow…. I tell you, Mr. PeDelford, if you’ll send one of your men to the grocer for a pound of their best butter, and match that exactly, you can’t go wrong! Now, this is the paper we’re going to use in the hall. …. There’s some little dots in the background, and it’s these dots I want you to match. Not the little greenish dot near the hollyhock leaf, but the little bluish dot between the rosebud and the delphinium blossom…. Now the kitchen is to be white. Not a cold, antiseptic hospital white. A little warmer, but still, not to suggest any other color but white. Now for the powder room – in here – I want you to match this thread, and don’t lose it…. As you can see, it’s practically an apple red. Somewhere between a healthy winesap and an unripened Jonathan.
How can you go wrong with Cary Grant, Myrna Loy, and Melvyn Douglas? If you have ever had any remodeling done, you will almost certainly relate to this very funny film.
Jim Blandings (Grant) feels that he is in a rut with his advertising job and his settled life with wife Muriel (Loy) and two kids in their Manhattan apartment. He spots an ad for a farmhouse in Connecticut and decides this is the change they all need. Of course, a few renovations are needed …
And naturally this means or less rebuilding the place from the ground up. The Blandings encounter every inconvenience and expense known to anyone familiar with this game. They are aided by their sense of humor and advice from bachelor attorney and friend Bill Cole (Douglas). With Reginald Denny as the bemused architect.
This is funny stuff. The gags come not only from the chicanery of the contractors but from the fanciful expectations of the clients. Grant and Loy have terrific chemistry. Or maybe its just that Loy makes every man she marries in the movies fall in love with her. Recommended.
Romance on the High Seas Directed by Michael Curtiz Written by Julius J. Epstein and Philip G. Epstein; additional dialogue by I.A.L Diamond 1948/USA Warner Bros./Michael Curtiz Productions
First viewing/Netflix Rental
[box] Georgia Garrett: Oscar! How did you get on this boat?
Oscar Farrar: I lied about my age.[/box]
Given the pedigree of its director and writers, this is surprisingly bland. It is most notable as the screen debut of Doris Day who is characteristically perky but would do better things later.
Michael Kent (Don DeFore) and his jealous wife Elvira (Janis Paige) have been married for several years. The press of his business has prevented them from taking their honeymoon cruise for all that time. Elvira is at the travel agency to get some passport photos taken when she meets Georgia Garrett (Day) who has planned many adventures but never had the money to actually take a trip. Georgia is a nightclub singer. Pianist/MC Oscar Farrar (Oscar Levant) is in love with her in his own quirky way.
Shortly thereafter, Michael says he must postpone yet another trip. Georgia decides to use this as an opportunity to catch him cheating with his new secretary. She offers her ticket to Georgia so she can stay behind in New York and spy. Georgia is to travel under Elvira’s name, send letters home periodically, and keep to herself. But Michael unexpectedly says he will be able to travel later that week. When Elvira insists that she must use the ticket she already has, he becomes suspicious and hires private detective Peter Virgil (Jack Carson) to tail his wife. Once aboard, Peter, of course, believes that Georgia is the wife he is supposed to be following.
Naturally, before too long Peter and Georgia fall in love. Georgia feels she cannot reveal her identity leading to the usual complications. Of course, Oscar joins the cruise as well further complicating matters. A happy ending is guaranteed.
There are zero surprises in the story. I was pleased to see Jack Carson after an absence from my viewing for several “years” and in the lead no less. As usual, Oscar Levant always plays himself and very good he is at it too. But Day carries the picture. Your reaction will inevitably depend on your tolerance for her. Mine is relatively high.
Jule Styne and Sammy Cahn were nominated for the Best Music, Original Song Oscar for “It’s Magic” and Ray Heindorf was nominated for Best Music, Scoring of a Musical Picture.
The Paleface Directed by Norman Z. McLeod Written by Edmund L. Hartmann, Frank Tashlin, and Jack Rose 1948/USA Paramount Pictures Repeat viewing/Netflix rental
#218 of 1001 Movies You Must See Before You Die
[box] Potter: Brave men run in my family. [/box]
This might just be Bob Hope’s best film. Is that enough to require seeing it before you die?
The federal government springs outlaw sharp-shooter Calamity Jane (Jane Russell) from prison to work on a highly secret mission to uncover a gang that is smuggling dynamite to the Indians. She is to meet up with a federal agent and they are to pose as husband and wife. The agent is killed and Jane picks out the closest male as a substitute. The hapless dupe is ‘Painless’ Peter Potter (Hope), a nervous new dentist. He is happy to get out of town, having pulled the wrong tooth of a real brute. To his happy surprise, Jane claims he proposed marriage when was passed out. They marry and set out West with a wagon train.
On the way, they lose track of the rest of the wagons and end up spending their wedding night in an abandoned shack. This is the first of the many times Jane resorts to conking Peter over the head to avoid his amorous advances. In the morning, they are besieged by Indians. Peter defend the cabin with a rifle but it is Jane that actually dispatches their attackers. She credits Peter and his skill with a gun is a running gag.
The pair continues on only to be captured later by Indians. This is a comedy so it should be no surprise that the day is saved and Jane develops a soft spot for her erstwhile husband.
This is really pretty amusing and there are just enough songs to entertain without making the movie a musical. It’s no worse than many of the other comedies on The List but nothing I would want to see more than once or twice. This picture resurrected Jane Russell’s career after the notorious debut of her bosoms in The Outlaw.
Jay Livingston and Ray Evans won the Oscar for Best Music, Original Song for “Buttons and Bows”.
The story was remade in 1968 as The Shakiest Gun in the West starring Don Knotts.
https://www.youtube.com/watch?v=i1e7CIMvD74
Bob Hope sings “Button and Bows”, the second Best Original Song he sang in one of his movies – interestingly, this is better known in versions performed by women
Port of Call (Hamnstad) Directed by Ingmar Bergman Written by Ingmar Bergman; story by Olle Länsberg 1948/Sweden Svensk Filmindustri
First viewing/Hulu Plus
[box] My professor told me when I started in the ’40s that a director should listen and keep his mouth shut. Took me a long time to understand I talked too much. Now I know you should listen with your ears – and your heart. — Ingmar Bergman[/box]
Bergman is still finding his way in this problem picture about troubled youth.
As the film opens, we see Berit jump into the dockside water fully-dressed. She is promptly rescued by a good samaritan and is none too happy about it. Now she is really in trouble. Her mother is out of town but her social worker is immediately on her case. Berit has already spent several years of her young life in a reformatory and is under constant threat of being sent back there. She does not seem to have committed more serious crimes than going off with boys and talking back to her awful, domineering mother.
That night Berit meets Gösta, a recently returned sailor, at a dance. She takes him back to the family’s empty apartment. What starts off on his part as one-night stand turns into a love affair. They go away for a weekend at a hotel and Berit runs into one of her dorm mates from the reformatory. Even though Gösta says he doesn’t need to know anything about her past, she decides to spill everything about her sad life thus far.
Gösta can’t stop thinking about Birgit’s other men and rejects her. Back home, Birgit has loaned her friend money for an illegal abortion. The friend calls her from the abortionist’s house. She is so ill she needs help and can’t go home. Birgit takes her to Gösta’s apartment. Gösta has a mighty struggle with his conscience.
There is nothing special to mark this film as a Bergman piece. It’s not particularly psychologically astute and kind of pulls its last feeble note of optimism out of nowhere. Not terrible by any means though.
Anna Karenina Directed by Julien Duvivier Written by Jean Anouilh, Guy Morgan, and Julien Duvivier UK/1948 London Film Productions
First viewing/Hulu Plus
“I think… if it is true that there are as many minds as there are heads, then there are as many kinds of love as there are hearts.” ― Leo Tolstoy, Anna Karenina
This is an adaptation of one of my favorite novels. Inevitably, a 110-minute movie cannot do justice to Tolstoy’s 800-page book.
Anna (Vivien Leigh) is married to the much-older Count Alexis Karenin (Ralph Richardson), a pedantic bureaucrat. They have a little son who is the light of Anna’s life. Anna’s brother Stepan has been caught in an affair by his wife Dolly. Anna travels from St. Petersburg to Moscow to make peace. She shares a carriage on the train with the mother of Count Alexis Vronsky, a young soldier who has been courting Dolly’s younger sister, Kitty. An old man falls under the train in Moscow, presaging the doom that is awaiting Anna there.
Anna is successful in reconciling her brother and sister-in-law. She goes to a ball where Kitty is expecting a proposal from Vronsky (Kieron Moore). But Vronsky wants only to dance with Anna and the die is cast. He follows her to St. Petersburg. Kitty, who had the same night rejected a proposal from Count Levin, grows ill from humiliation and heartbreak. The Kitty-Levin story, which makes up about half of the novel and provides a needed counterpoint to the Anna-Vronsky affair, is dropped almost entirely by the movie at this point.
The lovers cannot resist temptation. Karenin is remarkably tolerant, seeking only to avoid scandal. But Anna reveals the depth of her feelings in public when Vronsky is thrown from his horse and Karenin seeks a divorce. In revenge, he also asks for sole custody of the son. Although extramarital affairs are common in St. Petersburg high society, they are strictly recreational. By openly defying the rules, Anna becomes an outcast. Things go downhill from there. Then Anna becomes obsessed with the idea that Vronsky is about to abandon her …
Vivien Leigh convinces as a woman who would give up everything for love. Unfortunately, Kieron Moore makes a singularly weak and uncharismatic Vronsky. Richardson is good as the chilly Karenin and manages to give his predicament a hint of subtle pathos. But, although the staging is also good, the film is lacking in fire or depth.
I’ve been a classic movie fan for many years. My original mission was to see as many movies as I could get my hands on for every year from 1929 to 1970. I have completed that mission.
I then carried on with my chronological journey and and stopped midway through 1978. You can find my reviews of 1934-1978 films and “Top 10” lists for the 1929-1936 and 1944-77 films I saw here. For the past several months I have circled back to view the pre-Code films that were never reviewed here.
I’m a retired Foreign Service Officer living in Indio, California. When I’m not watching movies, I’m probably traveling, watching birds, knitting, or reading.
Photographs and videos found in this blog, unless indicated, are not owned by me and are here only for the purpose of education and discussion. Media found here are not intended for any commercial purpose. Copyright infringement is not intended.
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This movie is my definition of meh. With the exception of Toomey the acting is bad, the plot is predictable, and the melodramatic music is annoying.
