Monthly Archives: January 2014

Destry Rides Again (1939)

Destry Rides Again
Directed by George Marshall
Written by Felix Jackson, Gertrude Purcell and Henry Myers
1939/USA
Universal Pictures

Repeat viewing/Netflix rental
#132 of 1001 Films You Must See Before You Die

[box] Frenchy: Get out before I kill you!

Tom Destry Jr.: You mean you haven’t been tryin’?[/box]

This much-lampooned take on the Western has more of a serious side than I remembered.

The Old West town of Bottleneck is run by political boss and card cheat Kent (Brian Donlevy) and his paramour, saloon singer Frenchy (Marlene Dietrich).  When the sherriff objects to Kent’s methods in acquiring an unwilling settler’s ranch, he promptly disappears and is replaced by town drunk Wash (Charles Winninger).  But Wash, who was formerly a deputy, takes the job seriously and calls on Tom Destry (James Stewart), the son of a famous sherriff, to help him out.  He is dismayed when Destry arrives in town without a gun and seems determined to restore law and order without using one.

But Destry, despite his folksy anecdotes, is no fool and no slouch with a pistol either.  His smartest move is eliciting the heart of gold concealed in Frenchy’s rough-and-ready exterior. But can Destry really defeat the ruthless Kent without a gun?  With Una Merkel as a righteous matron and Mischa Auer as her henpecked husband.

This film has a comic tone, including the famous cat fight between Dietrich and Merkel, and several musical numbers.  In fact, it’s hard for me to watch Dietrich in this without thinking of Madeline Kahn in Blazing Saddles.  All that I remembered was the lighter parts so I was surprised at how sad the finale was and how cavalierly the sadness was treated in the end.  Any way, it’s Stewart’s first Western and quite entertaining.

Trailer

 

 

 

 

 

 

Only Angels Have Wings (1939)

Only Angels Have Wings
Directed by Howard Hawks
Written by Jules Furthman
1939/USA
Columbia Pictures Corporation
Repeat viewing/Netflix rental
#131 of 1001 Movies You Must See Before You Die

 

[box] Bonnie Lee: I’m hard to get, Geoff. All you have to do is ask me.[/box]

This is another 1939 example of the Hollywood studio system at its height.

Piano player Bonnie Lee (Jean Arthur) gets off the ship during a port call in a South American town.  There she becomes fascinated by the pilots who make dangerous mail runs over the Andes.  She rapidly falls for no-nonsense Geoff Carter (Cary Grant) who manages the fledging airline.  He has been wounded in love and now “wouldn’t ask any woman” for anything.  For her part, Bonnie has problems coping with Geoff’s ultra-dangerous test flights.

Into this mileu comes pilot Bat MacPherson (Richard Barthelmess) and his wife Judy (Rita Hayworth).  It turns out that Bat bailed out of a plane and left his co-pilot to die.  This co-pilot was the brother of Geoff’s loyal sidekick Kid (Thomas Mitchell) and the other pilots want nothing to do with Bat.  Judy is the woman who broke Geoff’s heart.  The rest of the story is taken up with some dynamite flying sequences, Bat’s attempted redemption, Kid’s problems, and the central love story.    With Sig Ruman as a bar owner and Noah Beery, Jr. as a doomed pilot.

I love this film though on this repeat viewing the plot seemed to be all over the place.  Not so the crackling dialogue by To Have and Have Not co-writer Furthman.  The cinematography is just luscious.

I never thought I would say this but I kept envisioning Clark Gable in the lead and how he would have been better suited to the role than Grant (whom I generally adore).  Thomas Mitchell is so outstanding in this movie it is difficult to believe that he didn’t win his Oscar for this part.  Richard Barthelmess gives an excellent understated performance as the disgraced pilot.

Only Angels Have Wings was nominated for Academy Awards in the categories of Best Black and White Cinematography and Best Special Effects.

Clip – Cary Grant and Jean Arthur at the piano

Midnight (1939)

Midnight
Directed by Mitchell Leisen
Written by Billy Wilder and Charles Brackett based on a story by Edwin Justis Mayer and Franz Schulz
1939/USA
Paramount Pictures

Repeat viewing/Netflix rental

 

[box] Eve Peabody: Listen. Back in New York, whenever I managed to crash a party full of luscious big-hearted millionaires, there was always sure to be some snub-faced kid in the orchestra playing traps. And so at four in the morning, when the wise girls were skipping off to Connecticut to marry those millionaires, I’d be with him in some nightspot learning tricks on the kettledrum. And he always had a nose like yours.[/box]

A sterling cast and the Wilder-Brackett script makes this light-hearted romp a treat.

Eve Peabody (Claudette Colbert) arrives in Paris having lost her last sou in Monte Carlo. She bargains with taxi driver Tibor Czerny (Don Ameche) to take her around to look for jobs.  They quickly fall in love and Eve, who is scouting for a rich husband, flees.  She ends up crashing a society soiree posing as the “Baroness Czerny”.  She is spotted by Georges Flammarion (John Barrymore) whose wife Helene (Mary Astor) is having an affair with a young man. Flammarion pays Eve to lure the wealthy man away from Helene. The scheme is furthered during a weekend in the country.

In the meantime, Tibor has hired his cab driver cronies to scour Paris for Eve.  Just as Eve is about to be found out, Tibor shows up at the country house as the Baron Czerny and saves the day.  Or does he?   With Hedda Hopper as a society lady and Monte Wooley as a judge.

This may be Don Ameche’s best performance as a young man.  The witty dialogue suits him much better than his good guy roles in the Power-Faye films.  Everyone else is clicking on all cylinders – even poor John Barrymore who was actually on his last legs. According to the trivia, he was assisted by his wife and reading from cue cards by this time.  You wouldn’t have known.  The film makers also managed to expertly disguise Astor’s pregnancy.

According to IMDb, Leisen’s constant requests for re-writes on this picture sparked Wilder to campaign to direct his own scripts in self-defense.

http://www.youtube.com/watch?v=vXvfPzBfoDM

Clip – at the hat shop – Colbert and Astor

 

The Hound of the Baskervilles (1939)

The Hound of the Baskervilles
Directed by Sidney Lanfield
Written by Ernest Pascal from the story by Sir Arthur Conan Doyle
1939/USA
Twentieth Century Fox Film Corporation
First viewing/Netflix rental

 

[box] James Mortimer, M.D.: Mr. Holmes, we’ve admired you in the past as does every Englishman. Your record as our greatest detective is known throughout the world. But this – seeing how you work – knowing that there is in England such a man as you gives us all a sense of safety and security. God bless you, Mr. Holmes![/box]

Basil Rathbone is Sherlock Holmes.

The story adheres fairly closely to Conan Doyle’s original.  A doctor (Lionel Atwill) seeks the great detective’s assistance because he fears that the owner of a gloomy English estate has been murdered by a phantom hound which, legend has it, curses the family.  His heir seems ready to meet the same fate.  Holmes is secretly watching in the wings for much of this one with Watson (Nigel Bruce) taking a more prominent role than usual.  With John Carradine as the butler.

1939 was also notable for the first of the fourteen Sherlock Holmes mysteries in which Rathbone and Bruce were paired. This is short in time but fairly lavish on the production values.  The resemblance of the two leads to the illustrations of the original stories is uncanny.

http://www.youtube.com/watch?v=7bNtdkkPWqI

Video promo

What I Did on My Winter Vacation

I had a fine time birding in the Sacramento Valley. I saw –

Thousands and thousands (and thousands) of this guy’s friends and family

Snow Goose

Thousands of these beautiful birds:

Tundra Swans

Several of these

Sandhill Crane

I also learned how to distinguish this guy

Common Goldeneye

from this guy

Barrows Goldeneye

In a few months people will be able to see the funny way the Goldeneyes court

It’s good to be home.

Away again

I’m starting off on my annual trek up to Roseville to visit my birder friend and see the winter waterfowl.  I almost certainly will be looking at something like this tomorrow:

 

Flock of snow geese

 

I’ll be back to pick up where I left off on January 18.

Rebecca (1940)

Rebecca
Directed by Alfred Hitchcock
Written by Robert E. Sherwood et al based on the novel by Daphne Du Maurier
1940/USA
Selznick International Pictures

Repeat viewing; Netflix rental
#143 of 1001 Movies You Must See Before You Die
IMDb users say 8.3/10; I say 9/10

[box] Jack Favell: I say, marriage with Max is not exactly a bed of roses, is it?[/box]

This, Hitchcock’s first American picture, was authored more by Selznick than the Master, but is nonetheless excellent.

An unnamed young paid companion (Joan Fontaine) finds wealthy widower Max De Winter (Laurence Olivier) apparently contemplating suicide on a rocky outcropping on the South of France.  He becomes interested in the awkward naive girl, marries her, and takes her home to Manderly, his palatial estate in England.  There, she finds she is unprepared for her social duties, her husband is moody and reserved, and the creepy housekeeper Mrs. Danvers (Dame Judith Anderson) constantly compares her to the former Mrs. De Winter, glamorous Rebecca.  With George Sanders as Jack Favell, Rebecca’s “favorite cousin”, Reginald Denny as Max’s overseer and friend, Gladys Cooper as Max’s sister, and Nigel Bruce as her husband.

 

The standout of this atmospheric Hitchcock dramatic melodrama is not Hitchcock but Judith Anderson’s admirably restrained performance as the icy Mrs. Danvers.  Joan Fontaine is also pitch perfect as the cowering second Mrs. De Winter, perhaps egged on off-screen by Olivier’s animosity and Hitchcock’s exploitation of the situation.  This is also an ideal role to show off the cynical side of George Sanders, which, of course, he pulls off admirably.  There is remarkably little wit for a Hitchcock film and the melodrama is laid on a bit thick at the end but it remains a beautiful and entertaining movie.  The Franz Waxman score is wonderful.

Rebecca won the Academy Award as Best Picture of 1940 and for its black-and-white cinematography (George Barnes).  It was nominated in the categories of Best Director, Best Actor (Olivier), Best Actress (Fontaine), Best Supporting Actress (Anderson), Best Screenplay, Best Art Direction, Best Editing, Best Special Effects, and Best Original Score (Franz Waxman).

http://www.youtube.com/watch?v=CANjLGLrdak

Re-release trailer

The Women (1939)

The Women
Directed by George Cukor
Anita Loos and Jane Murfin from the play by Claire Booth Luce
1939/USA
Metro-Goldwyn-Mayer/Loew’s Corporation

First viewing/Netflix rental

 

[box] Crystal Allen: There is a name for you, ladies, but it isn’t used in high society… outside of a kennel.[/box]

I’ve been looking forward to seeing this for some time. Although I enjoyed the bitchy one-liners, I was surprised at how misogynistic it was.

Mary (Norma Shearer) thinks she is happily married to Steve until her friends find out about his affair and gleefully tell her about it.  Cousin Sylvia (Rosalind Russell) is the ring-leader of the gang that ferrets out the identity of his paramour Crystal Allen (Joan Crawford).  Despite her mother’s advice to overlook the matter and Steve’s pleading, Mary feels too humiliated to stay in the marriage and heads off to Reno.  With her on the train are Miriam Aarons (Pauline Goddard) who is divorcing to marry her married lover, Peggy (Joan Fontaine) who is leaving because she didn’t get her own way, and the Countess de Lave who is on her fourth divorce.  By the time Mary comes to terms with the fact that she is still in love with Steve, he has married Crystal.  Will justice be meted out to all these characters?

The ladies (there is not a single male in sight) are all sensational and the dialogue is lively. I wasn’t happy about the tone of the movie in some way.  It seemed to me that women were portrayed as spiteful, petty, envious cats with few redeeming characteristics.  Only Mary comes off well and only because she ultimately returns to domesticity.  The fact that it was women doing this hatchet job made little difference to me.  It’s a movie worth seeing, though.  Any one interested in 30’s design should check out the Technicolor fashion show sequence.

http://www.youtube.com/watch?v=dZV0k77ih8Q

Trailer

Of Mice and Men (1939)

Of Mice and Men
Directed by Lewis Milestone
Written by Eugene Solow based on the novel by John Steinbeck
1939/USA
Hal Roach Studios

First viewing/Netflix rental

 

[box] George Milton: You had a cigarette and a drink and a look at a pretty dress, and it cost you fifteen bucks! You just shot a week’s pay to walk on that red carpet!

Candy: A week’s pay? Sure, but I worked weeks all my life. I don’t remember none of them weeks, but this – nearly twenty years ago – I remember that.[/box]

I find the modest dreams of common people to be the most touching and this is a story that breaks the heart.

George (Burgess Meredith) and Lennie (Lon Chaney Jr.) are itinerant workers on their way to a job stacking full bags of barley.  George soothes hulking, half-witted, childlike Lennie with tales of a little farm they will acquire when they save the money. Lennie, who has a sort of fetish for soft things, always wants to hear about how he will get to tend the rabbits. The two had to flee their last job when Lennie started petting the dress of one of the women on the ranch and George has to keep an eye on him at all times.

George and Lennie find their next ranch is not a happy place.  Curley, the owner’s son,.is pathologically jealous of his sensuous and terminally bored wife (Betty Field).  Added to this is the fact that Curley is a pugnacious runt who wants to pick a fight with every man he meets.  Curly is most jealous of mule skinner Slim (Charles Bickford) who, however, could easily lick him.

Candy is an old cook, who is devoted to an equally old, ailing and smelly dog.  The other men goad him until he allows one to shoot the dog.  Crooks is an African-American worker who is segregated off in the barn.  When Candy and Crooks hear of Lennie and George’s dream they are ready to buy in immediately.  But Slim unwittingly sets a tragedy in motion when he gives Lennie a puppy.

The ranch hands dream the sort of American dream that should be easily attainable if they could catch a break, which of course they can’t.  This is a Depression era story of circumstances dashing the most ordinary aspirations.  All this is captured most poetically in the excellent screenplay.  I particularly like the parallels between Lennie and the dog, and indeed between the wife and Lennie.  The acting is mostly fantastic.  Lon Chaney Jr. does not generally shine but here he occupies the character beautifully.

Of Mice and Men was nominated for four Academy Awards:  Best Picture; Best Sound Recording; Best Music, Scoring (Aaron Copeland); and Best Music, Original Score.

Clip – Bunkhouse brawl

Gone with the Wind (1939)

Gone with the Wind
Directed by Victor Fleming
Written by Sidney Howard from the novel by Margaret Mitchell
1939/USA
Selznick International Pictures in association with Metro-Goldwyn-Mayer

Repeat viewing/Netflix rental
#133 of 1001 Films You Must See Before You Die

 

[box] Scarlett: I can’t think about that right now. If I do, I’ll go crazy. I’ll think about that tomorrow.[/box]

The best films are timeless – like this romantic melodrama about various sorts of unrequited love.  I can’t think of a thing that could be changed without hurting the movie. Perfect cast, perfect production, perfect music, etc., etc.   Amazing that all this came out of such a fraught production history and so much micro-management.

Gone with the Wind won an unprecedented eight Academy Awards:  Best Picture, Best Director, Best Actress (Vivien Leigh), Best Supporting Actress (Hattie McDaniel), Best Screenplay, Best Color Cinematography, Best Art Direction and Best Film Editing. William Cameron Menzies won an Honorary Oscar for “outstanding achievement in the use of color for the enhancement of dramatic mood”  and R.D. Musgrave won a Technical Achievement Award for “pioneering in the use of coordinated equipment.” The film was also nominated in the categories of Best Actor, Best Supporting Actress (Olivia de Havilland), Best Sound Recording, Best Special Effects, and Best Original Score.

Clip – Scarlett makes her way through the wounded after the Battle of Atlanta