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Bowery at Midnight (1942)
His Double Life
BOWERY AT MIDNIGHT (Monogram, 1942), a Banner Production directed by Wallace Fox, is not part of the "East Side Kids" franchise starring Leo Gorcey as the title may might indicate. Even with director Fox, and some series regulars as Gorcey's own father, Bernard, having a small but amusing bit as a neighborhood tailor, there's also series semi-regular Dave O'Brien, along with similar settings and stock musical scoring as well. With that said, this is not an "East Side Kids" comedy but a melodrama starring the movie horror legend of Bela Lugosi. Not essentially a fright film but what Lugosi does here might be frightening to some, otherwise coming from Monogram on a slim budget, it's not to be taken seriously.
The story begins at a prison where "Fingers" Dolan (Johnny Berkes), a notable safecracker, makes his escape. Stealing a car on the road and knocking out its driver, Fingers lands himself in the Bowery district of New York City. He overhears a couple of hobos talking about the Bowery Friendly Mission where the homeless get treated for soup and coffee with no questions about their past from its owner. Hiding inside the mission with Judy Malvern (Wanda McKay), one of its workers, serving in the soup kitchen, Dolan is spotted by its founder, Karl Wagner (Bela Lugosi) who keeps records of criminals and their photos in his private office. Inviting Fingers to join his organization with Stranton (Wheeler Oakman), the escaped convict returns to crime by safecracking a jewelry store, only to mysteriously disappear. With a series of robberies and murders taking place, the police are baffled who the ringleader might be. Aside from Wagner having a wife (Anna Hope) he loves and smothers her with expensive jewelry, he is also Frederick Branner, a college professor of criminology by day. Frankie Mills (Tom Neal), a cold-blooded killer wanted by the police, hides inside the mission where his injured wrist is treated by Judy. Wagner soon hires Frankie for a series of "jobs" to do for him. Judy, in love with Richard Dennison (John Archer), one of Branner's students, intends on writing a term paper on the underprivileged and uses Wagner's Friendly Mission for his thesis. Dressed up in tramps clothing, he finds that Wagner looks vaguely familiar. Pete Crawford (Dave O'Brien), a policeman on the Bowery promoted to detective, is set to investigate the crimes hoping to expose this homicidal maniac.
Other cast members include J. Farrell MacDonald (Captain Mitchell); Vince Barnett (Charlie); Lew Kelly (Doc Brooks); George Eldredge (Detective Thompson); and Lucille Vance (Mrs. Malvern). Take note that Pat Costello who plays one of the hobos happens to be look-alike brother of Lou Costello, part of the Abbott and Costello comedy team. Tom Neal, best known for his leading role in DETOUR (PRC Studios,1945) should attract some attention here by his performance alone.
BOWERY AT MIDNIGHT may not be a cinematic masterpiece, but a notch better than some Lugosi/Monogram cheapies as BLACK DRAGONS (1942) or the camp classic THE APE MAN (1943). Briefly clocked at 62 minutes, it should hold interest for anyone looking for some unintentional laughs and thrills.
Available on video cassette and later DVD format, BOWERY AT MIDNIGHT has aired on some cable television stations, notably on Turner Classic Movies since 2007. (**1/2)
The Trail Beyond (1934)
Under Canadian Skies
THE TRAIL BEYOND (Monogram Pictures, 1934), directed by Robert N. Bradbury, stars John Wayne in his ninth western quickie for Lone Star productions. Though titles, story and material seem to be following a similar pattern of outdoor adventure, western scenery, horse chasing and gunplay all told under a 55-minute time frame, THE TRAIL BEYOND is somewhat different and better than most thus far. Rather than an original story by its director (Bradbury) and John Wayne playing a "John" character, the material here is taken from a story "The Wolf Hunters" by James Oliver Curwood. Previously filmed in the silent era under its original title starring Carroll Nye, Virginia Browne Faire and Robert McKim, and later remade in 1949 with Kirby Grant, Jan Clayton and Edward Norris in the cast, it's this edition that's become better known due to availability and the presence of young Duke, better known as John Wayne.
The story opens with Rod Drew (John Wayne) riding to the ranch of Sheriff Ball (James Marcus), his father's best friend, with a letter asking Rod to assist him with a mission. Told that he and his brother, John Ball, had both loved a woman twenty years ago and that John had run off and married Marie, with Marie having died and John disappeared, it's their daughter, reared by another family whom Ball wants found so he can meet his niece who will inherit his ranch. Being too old to travel to Canada, Rod obliges Ball to the venture himself to locate his niece. While train bound, Rod meets up with Wabi (Noah Beery Jr)., his best friend venturing home following his college graduation. Entering a card game in the next compartment, Wabi calls out one of the players for cheating. A gun shot is heard and Wabi is accused of the murder. Rod comes to his aide, both jumping off the train into the river below and traveling a mile by foot to their destination of Fort Winugtaki. After meeting with George Newsome (Noah Beery Sr.) and his daughter, Felice (Verna Hillie) at the Wabinosh House Hudson Bay Company, Rod and Wabi pose themselves as visiting wolf hunters. Rod resumes his mission for Ball while at the same time keeping Wabi from being chased by the sheriff and arrested by Ryan (Edward Parker) of the Northwest Mounted Police. Complications ensue as Jules LaRocque (Robert Frazer), a French gang leader with Benoit (Earl Dwire) and Marie LaFleur (Iris Lancaster) out to get a map leading them to a hidden gold mine hidden in a safe.
THE TRAIL BEYOND is tightly-nit story with surprises in store. Aside from horseback chases leading to cliff jumping to the river below along with some last-minute rescues, there's an authentic ride as Wayne's Rod falls off his horse to start over with his pursuit. It's also interesting having both father and son of Noah Beery Sr, and Jr. In the same movie. Vernie Hillie and Iris Lancaster (no relation to Elsa) make attractive female heroines. With both having few movies to their credit, they are not so well-known in names and faces. Robert Frazer makes a commendable villain, though the likes of Lone Star series regulars of Yakima Canutt or George "Gabby" Hayes might have been interesting casting surprises.
Available on both home video and DVD format, THE TRAIL BEYOND and other early John Wayne westerns began to suffice by the 1980s with broadcasts either on independent or public television stations before cable television viewings on American Movie Classics (1996-2000) and Encore Westerns. THE TRAIL BEYOND is most watchable without either colorization or new but intrusive underscoring that doesn't need to be there. (***)
Jimmy the Gent (1934)
In the Scheme of Things
JIMMY THE GENT (Warner Brothers,1934), directed by Michael Curtiz, marks a fast-paced 67-minute comedy starring James Cagney in another element of surprise story reminiscent to his similar themes of BLONDE CRAZY (1931) and HARD TO HANDLE (1933). Once more a fast-talking, quick thinking wiseacre, Cagney now forms a business racket for personal contacts for lost heirs. Rather than his usual pairing with Joan Blondell or other blonde contract players of either Glenda Farrell or Patricia Ellis, Cagney gets the services of Bette Davis as his female co-star, sporting the long platinum blonde hairstyle in early stages of the story used for her physical appearance in FASHIONS OF 1934 (1934). Cagney, sporting a crew cut as if he were intended to appear in a prison film, also gets the comic support of Allen Jenkins playing his assistant stooge named Louie, whom he slaps around whenever necessary. Then there's the pert and cute Alice White, former blonde leading lady for the studio (1928-1931), now relegated to character types with some amusements for some enjoyment.
Taken from the story "The Heir Chaser" by Laird Doyle and Ray Nazarro, the story opens with a montage of wealthy individuals all meeting with accidental deaths (from speed boats, plane crashes, fall from horse, train wrecks, etc.) through newspaper headlines with them leaving vast fortunes with no known heirs to unclaimed estates. Jimmy Corrigan (James Cagney) has formed a New York City branch hosting a respectable racket with staff workers assigned to search for the missing heirs. Joan Martin (Bette Davis), secretary under Charles J. Wallingham (Alan Dinehart), a genealogist hosting a similar racket, had formerly worked for Jimmy ten months prior only to quit his firm for Wallingham whom she feels him to be more honest than Jimmy's. Joan discovers Jimmy having Ronnie Gatston (Philip Reed) working undercover listening to Dillingham's phone conversations to give classified information over to Jimmy so he can be one step ahead of his rival. With Joan being more dedicated to Wallingham, it would take Jimmy's special tactics to prove her wrong about her employer.
Also in the cast are Hobart Cavanaugh, Mayo Methot, Joseph Sawyer, Barbara Rogers and Merna Kennedy. Look quickly for future star Dennis O'Keefe as Chester Cootes, briefly seen and heard in a speaking part.
Being a James Cagney movie, naturally he gathers most of the attention being in every scene from start to finish. Bette Davis gets little to do as a serious-minded secretary. She and Cagney would reunite years later for another comedy, THE BRIDE CAME C. O. D. (1941) which would make one wonder why these two dynamic stars never teamed together for a heavy drama. Alice White, who comes late into the story, gets the most laughs playing Mabel, a flirtatious girlfriend of Louie (Allen Jenkins)., who finds herself part of Jimmy's scheme of things. Her wedding scene to Joe Rector, alias Monty Barton (Arthur Hohl) followed by a long-winded kiss sure gathers enough attention from the other players sharing that same scene. For a 1934 release, take notice that all the check dates and paperwork reading the year 1933.
Never distributed onto home video, JIMMY THE GENT is available on DVD format or for viewing pleasure whenever it turns up on Turner Classic Movie cable channel. It's not so well known but worth a look for its two unlikely stars of Cagney and Davis. (**1/2)
Fog Over Frisco (1934)
The Heiress Vanishes
FOG OVER FRISCO (First National Pictures, 1934), directed by William Dieterle, stars Bette Davis in one of her many quickly made programmers during her first phase (1932-1936) rise to fame era for the studio. As much as many of her little films are far from outstanding, FOG OVER FRISCO is an exception to the rule for much of its well-scripted old-style mystery that still works after all these years. Based on the story by George Dyer, Bette Davis heads the cast but it's Margaret Lindsay and Donald Woods who are actually the central characters. Regardless of who had the most time frame, FOG OVER FRISCO goes on record more as a Bette Davis movie than anything else.
Starting off at the San Francisco Airport where Bill (Harry Seymour) is driven over to Bello's to pass off $25,000 worth of stolen securities to its night club owner, Jake Bello (Irving Pichel). Also at the nightclub is socialite Val Bradford (Margaret Lindsay) meeting with stepsister Arlene (Bette Davis) and her latest male companion, Spencer Carlton (Lyle Talbot), her fiancé. They are soon joined at their table by Val's old friend, Tony Stirling (Donald Woods), ace reporter of the San Francisco Journal, with his photographing sidekick, Izzy Wright (Hugh Herbert). Returning home that evening, Arlene takes out some of the stolen security bonds placed in her glove department of her car as Val steps away momentarily to close the garage door. Though Val is close to her millionaire father, Everett (Arthur Byron), he disapproves of Arlene's way of life that lands herself and picture of recent escapades in the morning newspaper. In reality, Arlene is a decoy for Bello's corrupt activities. She uses her alluring whim to have Spencer dispose the stolen bonds through a reputable firm, one for which is owned by her stepfather. After leaving a sealed envelope on her bedroom mirror and confidential letter to Val, Arlene suddenly disappears. During her drastic search through San Francisco searching for clues of Arlene's whereabouts, Val receives a mysterious letter about Arlene only to vanish herself.
FOG OVER FRISCO succeeds in both story elements and impressive casting of stock players as Robert Barrat (Thorne, the Butler); Henry O'Neill (Oren Porter); Douglass Dumbrille (Joshua Mayard); Alan Hale (Chief C. B. O'Maxley); Gordon Westcott (Joe Bello); and William Demarest (Spike Smith). It's iconic to easily one can confuse both Irving Pichel and Robert Barrat for physically looking so much alike. FOG OVER FRISCO is fast paced at 67 minutes with enough surprises to make this satisfactory entertainment. Remade by Warners as SPY SHIP (1942) starring Craig Stevens, Irene Manning and Maris Wrixon, which like this 1934 original, is also a satisfactory 62-minute second feature programmer.
Nearly forgotten, FOG OVER FRISCO began to obtain television exposure around 1989 first on public TV, cable channels as Turner Network Television (1989-1991) and since 1994, Turner Classic Movies. Also obtainable for viewing on DVD assuring its rediscovery, Bette Davis or not. (***1/2)
Way for a Sailor (1930)
All Out to Sea
WAY FOR A SAILOR (Metro-Goldwyn-Mayer, 1930), directed by Sam Wood, is not so much a movie about Navy recruits during peacetime, but a comedy-drama dealing with Merchant Marines. Considered to be the worst movie to star John Gilbert, having never seen his entire filmography, silent, talkie or otherwise, it would be hard to determine which films to be his worst. Taken from the book by Albert Richard Wetjen, it's far from masterful as Gilbert's silent war-drama, THE BIG PARADE (1925), yet with Wallace Beery sharing billing over the title with Gilbert, the film did much to establish Beery on the rise to stardom as it did with Gilbert on his way to decline. I give Gilbert credit for trying to reinvent himself with roles that might have given him a career boost. Without the chemistry he had with Greta Garbo, or possibly a super production sound remake of THE BIG PARADE for 1930 to compete with Universal's classic war-drama, ALL QUIET ON THE WESTERN FRONT, it appears WAY FOR A SAILOR would be the best the studio had to offer an actor with a reasonably fine speaking voice to be falling out of favor by this time with both his public and critics.
Opening title: "The Merchant Marine - AFLOAT ... a sweating loyal crew transporting food, machinery, mail, medicines, the very needs of life ... to half of the world. ASHORE: A rollicking pay-spending, 'love 'em and leave em' gang." The story opens with the daily routine of Merchant Marine buddies, Jack Burley (John Gilbert), Tripod (Wallace Beery) and Ginger (Jim Tully) who, after months of hard work afloat, take leave on land. They come to Singapore where the trio and others find themselves in barroom brawls, gambling and women. The same routine follows on ship before taking shore leave in London where more of the same occurs. Jack tries to make an impression with Joan (Leila Hyams), a clerk at a shipping office. She ignores him only to eventually take to Jack now in his civilian clothes and becoming his wife. Believing Jack has given up his Tripod, Ginger and his rollicking sea life to work on land does Joan begin to be aware of Jack having second thoughts. Others in the cast include Polly Moran (Polly); Doris Lloyd (Flossie); and Sojin (Proprietor of Shanghai House). Look quickly for future film star, Ray Milland, playing a Canadian officer. He is more identifiable through his voice than his physical appearance.
WAY FOR A SAILOR may be a bit overlong at 85 minutes, but whether it would have been acceptable at shorter length is uncertain. Playing in the Victor McLaglen and Edmund Lowe mode from their WHAT PRICE GLORY? (Fox, 1926) success and its three sequels, it's a wonder whether WAY FOR A SAILOR might have improved having Chester Morris in the role played by John Gilbert instead. Even in support, Beery gets the best attention down to his amusing conclusion. Leila Hyams is fine as Gilbert's girl, but the Ginger part, played by the unknown Jim Tully, might have added some character has Cliff Edwards was used instead. Though Gilbert (sans mustache here) did improve his stature in latter talkies as DOWNSTAIRS (1932), and a final reunion with his popular co-star, Greta Garbo starring in QUEEN CHRISTINA (1933), it was too late for the magic power Gilbert once established on the silent screen a decade ago to be rectified. Had he lived to assume the John Halliday part in the Marlene Dietrich and Gary Cooper starrer of DESIRE (Paramount, 1936), maybe Gilbert might have proven favorable through his second phase of his career in secondary character parts that would be of more interest to the audience than the leading players. Sadly, it wasn't meant to be.
Being one of the very few John Gilbert movies to play on late night commercial television prior to 1970, WAY FOR A SAILOR's availability for viewing comes either on DVD format or occasional broadcasts on Turner Classic Movies. (**)
The Big House (1930)
State Penitentiary
THE BIG HOUSE (Metro-Goldwyn-Mayer, 1930) directed by George Hill, is not a motion picture about rich people living in a mansion but a gripping drama dealing with convicts and their day-to-day existence behind prison walls. Notably the first prison talkie written especially for the screen, winning an Academy Award for Best Screenplay (Frances Marion), along with nominations for Best Sound Recording (Douglas Shearer), Best Actor (Wallace Beery) and Best Picture, its success naturally paved the way for more prison related themes to follow. Chester Morris heads the cast fourth billed Robert Montgomery (in his first real important role) close to being the central figure, it's Wallace Beery as the shaved headed convict whose stronger performance makes it worthy for his Academy Award nomination.
The story opens with the arrival to an unnamed prison in an unknown state where Kent Marlowe (Robert Montgomery), a 24-year-old playboy sentenced to ten years for manslaughter while driving intoxicated, is escorted inside by an official. Fearful of uncertainties that lie ahead, he's photographed, fingerprinted, placed in prison clothes and goes by the number 48642. After his interview with Warden James Adams (Lewis Stone), Marlowe is sent to his cell where he becomes cellmates with John Morgan (Chester Morris), a forger, and Schmidt (Wallace Beery), better known as "Machine Gun Butch," a murderer. As Marlowe learns his best way of survival is to never squeal on the other prisoners, he befriends one convict who uses him for information only to pass it off to a guard. The day before Morgan is to be paroled, he is framed and sent to the darkness of solitary confinement in separate cell with Butch being punished for rioting. Losing his privilege for freedom, Morgan makes an ingenious escape. While on the outside, he makes the acquaintance with Marlow's sister, Anne (Leila Hyams), a bookstore owner. Upon his capture, Morgan returns with intention on going straight and serve out his time. This doesn't go well with the other convicts who want him to participate in their planned actions for a prison break scheduled for Thanksgiving Day.
Other members of the cast include George Marion, Robert Emmett O'Connor, Matthew Betz and the stuttering Roscoe Ates. Karl Dane, a notable actor of the silent screen, is visible among the other convicts but gets no dialogue. Character actor Tom Kennedy is credited in the opening cast as Uncle Jed but is not seen in the finished print. Chester Morris and Wallace Beery make a great pair of opposites, showing great admiration for one another in spite of their differences. Beery's Butch makes his lies so convincingly to pass as truth. The prison scenes, especially convicts in recreation gambling for cigarettes in place of money, offer more interest than limited scenes set on the outside. As much as other movies include similar passages of escapee trying to keep from being recognized, followed and captured, the build-up for suspense is limited. Fortunately, the dramatic appeal of prison life dominates over limited fugitive sequence.
This 88-minute presentation of THE BIG HOUSE, formerly available on home video and later placed on DVD format, can be seen occasionally on cable television's Turner Classic Movies since 1994. (***)
The Lawless Frontier (1934)
Renegades of the West
THE LAWLESS FRONTIER (Lone Star Production released by Monogram Pictures, 1934), written and directed by Robert N. Bradbury, stars John Wayne in his tenth poverty-row western for the studio. By this time having many of the same stock players and scenery would make these films hard to tell one film from another yet being a John Wayne starrer early in his career, it still earns interest viewing from his fans. In spite of Wayne heading the cast, the scene stealer happens to be Earl Dwire playing a central villain who'll stop at nothing to get what he wants.
The story begins with a view of a wanted poster offering a $5,000 reward for the capture of Pancho Zanti (Earl Dwire), cattle rustler, described as being half white, half Apache Indian, posing as a Mexican who speaks the language fluently. Assisted by henchmen (Yakima Canutt and Buffalo Bill Jr.), he continues his work as cattle rustler on land property and shooting down its ranch owner. Returning home is cowboy John Tobin (John Wayne) finding his father's body on thefloor with vengeance on his mind. Later Zanti, posing as Don Yorba, approaches ranch owner Dusty (George Hayes) asking for water and pretending to be his new neighbor. In reality "Yorba" obtains information he regarding the owner and ranch before doing his cattle rustling by night. Dusty's granddaughter, Ruby, suspects something wrong after noticing a couple of men on horseback on top of the hill waiting for "Yorba." After overhearing their plans of killing her grandfather and abducting her in the process, Ruby warns her grandfather. Padlocking their home, Dusty hides Ruby in a sack on top of the horse, only to be followed at a distance by the Zanti gang. When Ruby still in the sack falls into the water while crossing the river, she is rescued by the passing John. Learning of their plans and hoping to meet Zanti face to face, John and Dusty come to Polk City for assistance by Sheriff Luke Williams (Jack Rockwell). Suspecting John to be connected with the Zanti mob, the sheriff trails after John instead. Also in the cast are George Wood, Gordon DeMaine and Lloyd Whitlock.
Though not the greatest western ever made and lacking any sort of underscoring, THE LAWLESS FRONTIER overall is acceptable time filler with agreeable plot and chase scenes that come across as highlights. Production values are so limited that there's hardly enough plot to make this suitable story satisfying. Reportedly clocked at 55 minutes, circulating prints available are 49 minutes, indicating missing scenes in need to assist with the plot development. Everything happens so fast that there's hardly any time for slow spots. With George Hayes appearing slightly bearded this time around, it would be a matter of time before he'd be more recognizable in future westerns playing with his trademark beard that would turn him into a lovable sidekick known as "Gabby."
Available on video cassette and DVD format, THE LAWLESS FRONTIER, formerly shown on American Movie Classics (1996-2000) can be viewed occasionally on either Encore Westerns or Turner Classic Movies. Beware of prints that offer colorization intrusive underscoring that doesn't make the movie appear any better. (**)
Blues Busters (1950)
The Bowery Boys: The Singing Fool
BLUES BUSTERS (Monogram, 1950), directed by William Beaudine, the 20th entry to the long running 48 film "Bowery Boys" series, is regarded possibly the most entertaining of its entries. If not the best, then the most different from any film thus far or since. Following the earlier patterns of newspaper stories, "film noir" mysteries or even a hillbilly comedy, BLUES BUSTERS comes across as most original for being classified as a musical. Unlike their earlier "East Side Kids" series (1940-1945), the production values are first rate (though not with the MGM gloss) with good comedy, songs and fine story regardless of this not being highly original.
Naturally set in the Bowery district of New York City, the story starts off with the Bowery Boys: Whitey (Billy Benedict), Chuck (David Gorcey), Butch (Bennie Bartlett), and their ringleader, "Slip" Mahoney (Leo Gorcey), accompanied by their closest friend, Louie Dumbrowski (Bernard Gorcey), owner of Louie's Sweet Shop, visiting the hospital room where their goofy pal, Horace Debussy Jones, better known as "Sach" (Huntz Hall) is recovering from the removal of his tonsils. Later back at the suite shop, the Bowery Boys hear some nice vocalizing not from a radio but from Sach. To help pay back Louie for supplying the hospital expenses for Sach, Slip comes up with an idea of quick cast by showcasing Sach to the crooning sensation of a "Bing Crosby" or "Frank Sinatra." Rejected by Rick Martin (Craig Stevens), owner of the Cabana night club near Louie's, Gabe Moreno (Gabriel Dell), Slip's pal now working as a song plugger, assists the gang by reverting Louie's Sweet Shop into Louie's Bowery Palace. Sach's singing and tap-dancing specialty by Sally Dolan (Phyllis Coates), Slip's girlfriend, soon attracts crowds to standing room only. This forces Martin to lose customers and having his own vocalist, Lola Stanton (Adele Jergens) singing to a near empty night club. With the help of Lola, she manages to engage Sach, now known as "The Bowery Thrush," to go under contact with Martin. In spite of his fame and fortune, Sach lives to regret it. Others in the cast include Paul Bryar, Matty King, William Vincent and Alphonse Martel.
Songs include: "Wasn't It You?" "The Battle of Jerricho," "The Blue Birds Keep Singing in the Rain," "Let's Have a Heart-to-Heart Talk," "The Blue Birds Keep Singing in the Rain" (tap dance solo by Phyllis Coates); "You Walked By," "You Better Be Looking Out for Love," "Let's Have a Heart-to-Heart Talk," "Swanee River," "Dixie" and "The Blue Birds Keep Singing in the Rain" (reprise).
For anyone who has ever seen Eddie Bracken singing like Bing Crosby in the seldom televised OUT OF THIS WORLD (Paramount, 1945) may see similarities between this and BLUES BUSTERS. Naturally the singing voice for Huntz Hall is dubbed but not by the similar sounding Bing Crosby. Although a night club story has some rumbles, there's no Slip Mahoney giving out the signal to his Boys for a "Routine Six." Quite different in format yet change is often good for the advancement of a series such as this. Hall is still amusing but not overly goofy or childlike as he would be in the latter entries. Best moments: Slip trying to sing in Sach's place; and good somber moment between Slip and Sach that doesn't make any disturbance to the story. The finish, however, is true classic in the best Bowery Boys tradition. Of the series regulars, this would become Gabriel Dell's farewell performance as Gabe Moreno.
Available on DVD, BLUES BUSTERS, at 67 minutes, can be seen and enjoyed whenever it turns up on Turner Classic Movies (TCM premiere: August 8, 1999). Next installment: BOWERY BATTALION (1951). (***)
State of the Union (1948)
The People's Choice
STATE OF THE UNION (Metro-Goldwyn-Mayer/Liberty Films, 1948), directed by Frank Capra, returns the director to Washington, D. C. and political politics territory in the best Frank Capra tradition. Not quite a rehash to his success of MR. SMITH GOES TO WASHINGTON (Columbia, 1939) starring Jean Arthur and James Stewart, but a story based on the 1945 play starring Ralph Bellamy and Ruth Hussey. Rather than having Bellamy and Hussey reprising their original roles or reteaming Stewart and Arthur for this screen adaptation, Capra united Spencer Tracy and Katharine Hepburn for the fifth time on screen. Best known for light comedies, Tracy and Hepburn show how good they can be working in different genres ranging from the tense drama of KEEPER OF THE FLAME (1942) to the western, SEA OF GRASS (1947). With STATE OF THE UNION offering a grand mix of humor and drama, it sure ranks one of the best collaborations for Tracy and Hepburn under Frank Capra's direction for the only time. With a fine assortment of MGM actors, the biggest scene stealer happens to be Angela Lansbury giving such a powerful performance worthy for Academy Award nomination (Best Supporting Actress) for which she deserved but did not receive.
The story opens with "Spike" McManus (Van Johnson) and other reporters waiting downstairs in the home of the dying Sam Thorndyke (Lewis Stone), a newspaper magnate of the Thorndyke Press. Before he dies, Kay (Angela Lansbury), his ever-powerful daughter visits with him, promising to carry on the Thorndyke dynasty. For the upcoming Republican convention of the Presidential election, Kay chooses Grant Matthews (Spencer Tracy), an honest self-made business tycoon of Mathews Aircraft who has no interest in politics. A family man with a wife and two children, it is decided to have Grant's wife, Mary (Katharine Hepburn) come to Washington, D. C., from their Long Island home to not only be seen with Grant during his forthcoming campaign speeches, but to avoid any rumors connected between Grant and Kay. Though Mary hasn't lived with Grant for four months, she comes to Washington anyway knowing full well he would make a great President. With "Spike" as campaign manager and Jim Conover (Adolphe Menjou) as political adviser, things go well for Grant's chances for the White House until Mary notices Grant is no longer speaking for himself and being told what to say and do under the demands of both Kay and the corrupt politicians.
The long assortment of supporting players includes the nasal speaking Patti Brady (Joyce) and George Nokes (Butch), as the Matthews children; Margaret Hamilton (Norah, the Housekeeper); Raymond Walburn, Charles Dingle, Irving Bacon and Charles Lane, among others.
Regardless of its age, STATE OF THE UNION remains quite timely and extremely watchable during its 124 minutes. With Tracy looking very presidential, Hepburn stands out equally well beside him. With drama taking precedence over comedy, Hepburn gives both a natural and strong performance for her remarkable drunken scene where she laughs and cries almost at the same time along with her very tense confrontation with Lansbury. The State of the Union speech provided by Tracy is not to be missed.
Though a remarkable story, STATE OF THE UNION became one of the Tracy-Hepburn movies to have limited television broadcasts until its return in the 1980s on public television followed by availability on both video cassette and DVD format later on. Formerly shown on cable television's American Movie Classics in the 1990s, and later Turner Classic Movies, circulating prints on both stations eliminate the MGM logo (though the lion's roar can still be heard on blackout frame) with Liberty Films logo in its placed. The Liberty Bell background is substituted with the dome of the Washington Monument along with the misspelling of the first names of both (Katherine) Hepburn and (Adolph) Menjou, names that were properly spelled correctly in the original credit cut. Regardless of errors and length of the story, STATE OF THE UNION is recommended viewing, especially on Election Day. Also recommended: ALL THE KING'S MEN (Columbia, 1949) starring Broderick Crawford, another political drama similar in tone. (**** votes)
Dark Victory (1939)
Live Today for Tomorrow
DARK VICTORY (Warner Brothers, 1939) directed by Edmund Goulding, stars Bette Davis in one of her top movie performances of her career as well as reportedly her personal favorite. The gamble for this production's success or failure relies entirely on Davis. Taken from a short-lived 1934 stage play starring Tallulah Bankhead, the theme connected to this story was unlikely to be passed off as entertainment. The gamble did pay paid off earning an Academy Award nomination for Bette Davis, and other nominations as well. Co-starring George Brent for the eighth time, DARK VICTORY is often hailed as the best of their eleven screen collaborations, with Geraldine Fitzgerald (in American film debut) adding warmth and sincerity to be nominated for Best Supporting Actress. With a well-written screenplay by Casey Robinson, DARK VICTORY remains one of the many great classic releases of 1939.
The plot development revolves around Judith Traherne (Bette Davis), a popular Long Island socialite who lives a carefree life hosting all night parties, smoking and drinking. Michael O'Leary (Humphrey Bogart), an Irish-born horse trainer may get on her nerves, but they actually have great admiration for one another. Ann King (Geraldine Fitzgerald) is not only Judith's personal secretary, but her dearest and best friend. While horse riding, Judith's dizziness forces her to have her horse run through a wooden fence. Her severe headaches and misjudgment have her falling down a flight of stairs. Doctor Parsons (Henry Travers), her family doctor, suggests she visit with Doctor Frederick Steele (George Brent), a brain specialist for an examination. Cancelling his long-awaited trip to Vermont, Steele, after noticing severe symptoms, and discussion with other specialists, suggests she have immediate surgery. With a brain tumor removed and operation successful, Judith resumes to her carefree life. Though she may never suffer these symptoms again, she discovers that the good doctor, with whom she now loves, and Ann, are keeping something very secret from her. Co-starring Ronald Reagan (Alec Hamlin); Cora Witherspoon (Carrie); Dorothy Peterson (Miss Wainwright); and Fay Helm (Miss Dodd). Vocalist Vera Van sings "Oh, Give Me Time for Tenderness."
Essentially a Bette Davis movie, Humphrey Bogart, who has not yet reached his super-star status, was, to many Bogart devotees, miscast. Though his role might have gone to Pat O'Brien, Bogart does what he can to make his performance worth viewing, especially with his Irish brogue. He does have one memorable scene set in the barn by which he tells Judith how he feels about her. Davis tends to overact at times but makes up for it after showing time for tenderness. The musical scoring by Max Steiner helps set the mood to the crucial scenes while the finished 106 minutes product leaves one wondering if the movie would have been more beneficial had it been done differently or followed by a sequel? That question will never be known.
Aside from being nominated for Best Picture, DARK VICTORY inspired future remakes: STOLEN HOURS (United Artists, 1963) starring Susan Hayward set in England; and DARK VICTORY (1976 made-for-television movie) starring Elizabeth Montgomery, but none captured the emotion and popularity to the 1939 original. Available for viewing on video cassette, DVD and cable television, notably Turner Classic Movies. (***1/2)
The Sisters (1938)
Daughters Courageous
THE SISTERS (Warner Brothers, 1938), directed by Anatole Litvak, is not a story about nuns, though featuring Bette Davis as a Mother Superior would have been interesting. Scripted from a bestselling novel by Myron Brinig, THE SISTERS has the distinction for being the first of two movies in which Davis appears opposite Errol Flynn. No, Davis doesn't play Maid Marion to his Robin Hood. Olivia DeHavilland had that honor opposite Flynn in THE ADVENURES OF ROBIN HOOD (1938). With Flynn (who assumes star billing over Davis) being best admired for his swashbuckling adventures, THE SISTERS offers him a chance in not only working opposite Davis, but in playing a character against type. With the plot revolving around three sisters, hence the title, the plot summary revolves more on one than the others. Being essentially Bette Davis formula, it's one of her most underrated ones, sandwiched between JEZEBEL (1938) for which she won her second Academy Award as Best Actress, and DARK VICTORY (1939), being her most admired roles. Regardless of its starring performances given by both Flynn and Davis, the supporting players of studio stock players is just as impressive as the finished product itself.
Starting at Silver Bow, Montana, in 1904, the story introduces the Elliott family: Ned (Henry Travers), a pharmacist; Rose (Beulah Bondi), his wife; and their three daughters, Louise (Bette Davis), Helen (Anita Louise) and Grace (Jane Bryan) preparing themselves in attending the election ball of Theodore Roosevelt, the next President of the United States. Though Louise is involved with Tom Knivel (Dick Foran), a banker's son, she soon wins the admiration of Frank Medlin (Errol Flynn), a newspaper photographer visiting from San Francisco. After a short courtship, she marries and leaves with him for San Francisco. After losing Louise, Tom wins the love interest of Grace, whom she marries, followed by Helen's marriage to Sam Johnson (Alan Hale), a middle-aged millionaire who happens to have a grown daughter, Stella (Janet Shaw) from a previous marriage who disapproves of their union. Though Louise encourages Frank to fulfill his ambition as a writer, he fails in selling his stories, causing him to drinking liquor and losing his job. To help support themselves, Louise acquires a secretarial job against Frank's wishes under William Benson (Ian Hunter) in a department store. As much as Louise tries to salvage her marriage, her other sisters have troubles of their own. Co-starring Donald Crisp (Tim Hazelton); Patric Knowles (Norman French); Lee Patrick (Flora Gibbon); Laura Hope Crews (Mrs. Gibbon) and Harry Davenport (Doctor Moore).
With the plot told in four years' time, the most interesting montage includes the historic 1906 San Francisco earthquake. Not as long nor colossal as the one depicted in the classic SAN FRANCISCO (Metro-Goldwyn-Mayer, 1936) starring Clark Gable, THE SISTERS gets by on its own merits. Of the supporting players, Lee Patrick (almost unrecognizable) stands out as a floozy neighbor who becomes Louise's only and closest friend during her stay in San Francisco.
Released the same year as the studios own FOUR DAUGHTERS (1938), it can be forgiven for anyone to confuse that with the Flynn-Davis union. Flynn and Davis would unite again for THE PRIVATE LIFE OF ELIZABETH AND ESSEX (1939), a Historical Technicolor drama that is better suited for these two stars, even with Davis's name this time placed over Flynn's in the casting credits. Regardless of which is better, the smooth 99 minutes direction by Litvak makes THE SISTERS recommended viewing.
Available on both video cassette and DVD format, THE SISTERS can be seen and rediscovered whenever shown on cable television's Turner Classic Movies (***1/2)
Kid Galahad (1937)
Good to the Last Punch
KID GALAHAD (Warner Brothers, 1937) directed by Michael Curtiz, is a grand mix of gangster and prizefighting melodrama that teams Edward G, Robinson and Humphrey Bogart for the second time. It also became Bette Davis's sole venture opposite Robinson and her fifth shared production with Bogart. Having co-starred opposite Bette Davis in MARKED WOMAN (1937), Bogart reverts back to secondary menacing bad guy type to Robinson's tough guy lead. It also reunites Davis and Bogart with MARKED WOMAN co-stars of Jane Bryan and Ben Weldon, which makes this a worthy follow-up. Although Wayne Morris, in the title role of "Kid Galahad," has been reported a new find, he previously appeared in minor parts for the studio before being given his first break here. With the exception of the comedy BROTHER RAT (1938), Morris failed to live up to his potential in major film roles for the studio.
The story introduces Nick Donati (Edward G. Robinson), a fight promoter who gets double-crossed by his rival, "Turkey" Morgan (Humphrey Bogart) during one of the recent fights set in Florida. Nick's girl, Louise Phillips, better known as "Fluff" (Bette Davis), does all she could to keep Nick in neutral corners against odds with Morgan. During one of Nick's hotel parties, Morgan arrives uninvited with Chuck McGraw (William Haade), his prizefight champion who appears a bit drunk. Teasing Ward Guisenberry (Wayne Morris), a naive bellhop serving drinks, leads to him knocking out McGraw in only one punch after pushing Fluff aside. Making a great impression, Nick chooses Ward and develops him into a championship fighter with the assistance of his trainer, "Silver" Jackson (Harry Carey). Arriving in New York City, Ward, now called "Kid Galahad" is approached by Morgan wanting Ward to sign up with him. Dedicated to Nick, Ward knocks him out with one punch. To avoid any further trouble, Fluff suggests Jackson hide Galahad from Turkey's mob at the country farm of Nick's mother (Soledad Jimenez), unaware that Nick's kid sister, Marie (Jane Bryan), has been home from school for two months. Not wanting his family involved in any of his activities, Nick comes to the farm to take "Galahad" back with him for further training. After Fluff leaves, for reasons of her own, Nick resumes training the kid for the championship while avoiding any further trouble with Morgan, if that's at all possible. Aside from Joseph Crehan, Veda Ann Borg and Joyce Compton in supporting cast, Bette Davis gets to vocalize (singing dubbed) one tune, "The Moon is in Tears Tonight."
The success of KID GALAHAD spawned two remakes: THE WAGONS ROLL AT NIGHT (1941) with circus background featuring Humphrey Bogart, Sylvia Sidney, Eddie Albert and Joan Leslie in the Robinson, Davis, Morris and Bryan roles; followed by a recycled 1961 update of KID GALAHAD starring Elvis Presley. Due to the 1962 edition, the 1937 original was broadcast on commercial television in the 1970s and 80s as THE BATTLING BELLHOP to avoid confusion between this and the Presley title. Of the three editions, naturally it's the original 101-minute edition that wins the title due to its fine casting chemistry and fast-paced direction. With this being Robinson's film, and a showcase for young Morris, Bette Davis as the good-natured Fluff is essential to the story and holds her own among these acting pros. Prizefighting sequences are well-staged with satisfying climax.
Available with restored original title on home video and DVD, KID GALAHAD, which is good to the last punch, can be seen occasionally on cable television's Turner Classic Movies main events. (***1/2 boxing gloves)
Marked Woman (1937)
On Dangerous Ground
MARKED WOMAN (Warner Brothers, 1937), directed by Lloyd Bacon, is a powerful crime story revolving around a controlling racketeer's takeover of a clip joint and the hostesses working under him. Taken from an original screenplay, it stars Bette Davis in her first in a series of succession major movie roles that would elevate her to top box-office attraction for the studio. Though she showed great promise in OF HUMAN BONDAGE (RKO Radio, 1934), winning an Academy Award as Best Actress for DANGEROUS (1935), and appearing from a stage to screen adaptation of THE PETRIFIED FOREST (1936), the studio always managed to revert her back to forgettable second feature productions. From this point on, it would be only top movie roles for her, with Davis making her mark in movie history starting with MARKED WOMAN.
Set in New York where the city never sleeps, the story introduces Johnny Vanning (Eduardo Cianelli), a notorious racketeer reverting the cocktail bar, Club Intimate, into a gambling casino (or better known as a "clip joint"). Aside from changing things to the way he wants it, Vanning informs his "hostesses" about his new operating policy. Among them are Mary Dwight (Bette Davis), Dorothy "Gabby" Marvin (Lola Lane), Emmy Lou Egan (Isabel Jewell), Florrie Loggett (Rosalind Marquis) and Estelle Porter (Mayo Methot). Of the five girls who share an apartment together, Mary is not afraid to stand up to Vanning who finds her very smart, so long as she doesn't get smart with him. When Mary's younger sister, Betty Strauber (Jane Bryan) takes vacation time away from college for a visit, she becomes part of the arrest of the girls involving Mary's written address on a business card found on the murdered Ralph Krawford (Damian O'Flynn). Because Mary might know more about Vanning's activities, David Graham (Humphrey Bogart), a special prosecutor, uses her to expose his crime racket. Advised by one of Vanning's lawyers, Mary agrees to testify but her "testimony" frees Vanning instead. Disappointed in her sister's activities, Betty unwittingly accompanies Emmy Lou to the Club Intimate where her good time with one of the patrons leads to trouble and her mysterious disappearance. Learning about her murder, Mary threatens to expose Vanning, but Graham, knowing how foolish she made of him, doesn't trust her. Because of her threatened exposure, Vanning and his thugs decide Mary needs further convincing.
The supporting cast includes Allen Jenkins (Louie); John Litel (Lawyer Gordon); Ben Weldon (Charley); Henry O'Neill (Arthur Sheldon) and William B. Davidson (Bob Crandall). Nightclub tunes include "My Silver Dollar Man" and "Mr. And Mrs. Doakes."
Of the seven movies shared by Bette Davis and Humphrey Bogart, MARKED WOMAN is the only one for which they are of equal status. For its full 97 minutes, MARKED WOMAN is Davis's movie throughout. With Bogart's reputation usually playing a mobster, interestingly he didn't get to enact the Johnny Vanning character, but that of an honest crime fighter instead, which he did remarkably well. Unlike Davis, Bogart would have to wait a few more years before his super stardom would emerge starting with such classics as HIGH SIERRA and THE MALTEST FALCON (both 1941). Jane Bryan, early in her career, gives an unforgettable performance that should not go unmentioned. She is not only attractive but talented. Davis, Bogart and Bryan would team up again supporting Edward G. Robinson in a prizefighting/gangster classic, KID GALAHAD (1937).
Available on video cassette and later DVD, MARKED WOMAN is one of the many permanent fixtures of Bette Davis movies often found on cable television's Turner Classic Movies. (***1/2)
The Big Shakedown (1934)
Something in Common
THE BIG SHAKEDOWN (First National Pictures, 1934), directed by John Francis Dillon, is not a story about the San Francisco earthquake. It's a minor crime drama taken from a story "Cut Rate" by Sam Engels dealing with a couple of business partners from opposite sides. Not as famous as other films of this nature, but notable for an early screen appearance of Bette Davis, going on three years as a contract player with another three years to go for super stardom status and out of movie quickies such as this. Second billed under Charles Farrell, best known for his twelve movies opposite Janet Gaynor for Fox Films (1927-1934), with career declining as quickly as it had risen, having much more to do here than Davis.
Opening with character introduction, the story begins with the daily routine inside a neighborhood drug store: Norma Nelson (Bette Davis), a druggist copes with customers along with its owner, Jimmy Morrell (Charles Farrell), a chemist whom she loves and hopes to marry. Though Jimmy is satisfied with his drug store business, it's Norma who feels he could do a whole lot better. Things start to improve for Jimmy with the arrival of "Dutch" Barnes (Ricardo Cortez), a racketeer who had made a fortune bootlegging beer, finding himself out of business after the repeal of Prohibition. Coming to the drug store for a headache power which he does not have, Barnes is given a substitute Jimmy has made himself that is just as good. After Barnes tests toothpaste products against those made by Jimmy with his mob, "Lefty" (Allen Jenkins); "Slim" (Dewey Robinson); "Trigger" (Adrian Morris) and "Shorty" (George Cooper), not being able to tell the difference, both Barnes and Jimmy go into business for a better career. Once Jimmy discovers he's actually selling counterfeit patent medicines and putting manufacturers out of business, he finds that Barnes refuses to release Jimmy from his obligation to him.
The supporting cast includes Glenda Farrell (Lil Durand); Henry O'Neill (Sheffner); Renee Whitney (May LaRue); Robert Emmett O'Connor (Regan, the Bartender) and Samuel S. Hinds (Mr. Kophlsadt). Though a straight dramatic story, Sidney Miller adds some humor as a Jewish boy taking notes of all his drug store expenses.
Although THE BIG SHAKEDOWN crams many situations into its brief 61 minutes, results are somewhat satisfying. With Farrell and Cortez carrying on much of the plot, it offers Davis nothing in regards of challenging range. Ricardo Cortez is good yet typical as the bad guy, a role in which he excels, though never ranged in the high degree of a Humphrey Bogart. Like Bogey, Cortez could excel in playing a good-natured hero just as well (check out his underrated performance in 1932s SYMPHONY OF SIX MILLION). Glenda Farrell (no relation to Charles) breaks away from her wisecracking character as Cortez's girl, only to face some consequences for her actions.
Never distributed on video cassette, THE BIG SHAKEDOWN began to gain some cable television recognition starting on Turner Network Television (TNT) in 1989 before becoming a permanent fixture on Turner Classic Movies starting in 1994 and availability on DVD. Although the drama offers no great shakes, THE BIG SHAKEDOWN is worthy viewing more for its Warner Brothers stock players, especially a young Bette Davis. (**1/2)
Craig's Wife (1936)
Lady of the House
CRAIG'S WIFE (Columbia, 1936), directed by Dorothy Arzner, from the Pulitzer Prize play by George Kelly, marked the turning point for Rosalind Russell career, taking a loan-out assignment from MGM where she had been under contract since 1934, in her first starring role. Previously filmed by Pathe in the silent era (1928) featuring Irene Rich and Warner Baxter, and given a third carnation by Columbia as HARRIET CRAIG (1950) with Joan Crawford and Wendall Corey, this second installment ranks one of the finer domestic dramas produced in the 1930s, though the Crawford version comes close to being an improvement through its fine acting in the Crawford tradition and its frankness hint about abortion. And who is Craig's wife? Let's learn more about her through this brief synopsis.
Walter (John Boles) and Harriet Craig (Rosalind Russell), married two years, live in a luxurious home in Rye, New York, with Mrs. Harold (Jane Darwell) and Maisie (Nydia Westman) as their housekeepers, and Walter's Aunt Ethel, Mrs. Austin (Alma Kruger). Next door to them is Mrs. Frazier (Billie Burke), a humble woman who enjoys both her garden and the company of her little grandson, Timothy. As the plot develops, Harriet is revealed to be an obsessed woman who thinks more of her home than her husband. Walter is a kind and loving man who cares deeply for his wife. He unwittingly takes second place in the domestic scheme of things but slowly begins to realize the reality of his marriage through the actions of others. Co-starring Elisabeth Risdon (Lillian); Dorothy Wilson (Ethel); Robert Allen (Eugene Fredericks); Thomas Mitchell (Fergus); Kathleen Burke (Adelaide) and John Hamilton (The Detective).
A reproduction of the stage play, this second edition to CRAIG'S WIFE is a powerful story with a timely message posted on the screen before the fadeout. Although MGM's own Joan Crawford might have excelled in the part had she been loaned out to Columbia (which she did years later), it's Rosalind Russell whose performance carries the film, in fact, makes the film. While she's quite unsympathetic, she gathers some sympathy after discovering why she is the way she is. Acting, production values and musical score are excellent through much of its 75 minutes. CRAIG'S WIFE may not have earned Russell an Academy Award nomination as best actress, but it's certainly a step into the right direction in regard to recognition, major stardom and further challenging movie roles to follow. As for John Boles, he's always been a likable screen personality though he gets little recognition for his work. He is best recognized through his work opposite Shirley Temple in CURLY TOP (Fox, 1935) and Barbara Stanwyck in STELLA DALLAS (United Artists, 1937), though a fine singer in some early musicals (1929-1931).
Slowly fazed out of commercial television by the late 1970s, it's only availability since 1985 was through home video. Thanks to cable television's Turner Classic Movies for offering CRAIG'S WIFE a chance for recognition which took place on the evening of July 8, 2008, as its "Star of the Month" tribute to Rosalind Russell. (***)
Elmer, the Great (1933)
Home Run Story
ELMER, THE GREAT (First National Pictures, 1933), directed by Mervyn LeRoy, stars Joe E. Brown in one of his top movie comedies of his career. Quite original in a predictable manner, the material is based on the 1928 Ring Lardner stage play that starred Walter Huston, that was soon adapted to the talking screen as FAST COMPANY (Paramount, 1929) starring Jack Oakie, and redone again as THE COWBOY QUARTERBACK (Warner Brothers, 1939) starring Bert Wheeler. Due to frequent television revivals over the years, it's this 1933 screen treatment that remains the best known of the three.
The story begins in Gentryville, Indiana, where Elmer Kane (Joe E. Brown), a small-town character with a great talent for sports, especially baseball, still living under the roof of his mother (Emma Dunn) and brother, Nick (Sterling Holloway). Elmer is a loafer who rises at 2 p,m. Followed by a big load of breakfast prepared for him by Sarah (Jessie Ralph) eaten by 4:30 p.m. A wagon driver by reputation, he finds time to play baseball between deliveries. Because of his reputation for his unique style for hitting home runs, Mr. Wade (Charles C. Wilson), a baseball representative now owning his contract sold to him, comes to the smalltown where Elmer is to return with him as a new member of the Chicago Cubs. It comes as a surprise by brother Nick that Elmer is not interested in playing with the big league. Aside from his enjoyment of oversleeping and being pampered by his mother, his sole reason for not joining is his secret love for Nellie Poole (Patricia Ellis), owner of a local grocery store whom he affectionately calls "Boss." Not wanting Elmer to throw away his chance of a lifetime, Nellie gets Elmer to sign the contract and leave for Chicago with Wade. At first Elmer is teased by his fellow ballplayers but wins their respect for his expert batting at the Chicago Cubs Training Grounds to his winning a series of games for the team. Problems arise when Nellie comes to Chicago to catch Elmer embracing Evelyn Corey (Claire Dodd). Elmer later risks his big chance playing for the "World Serious" (as he calls it) when he and roommate, "High Hips" Healy (Frank McHugh) come to The Gold Coast Grotto Club nly to end up $5,000 in debt at the gambling tables. Casino owner Stillman (Douglass Dumbrille) is willing to forget the debt if Elmer would do him a very special favor.
The supporting players include Preston S. Foster (Dave Walker, Manager of the Cubs); Russell Hopton ("Whitey"); Berton Churchill (Colonel Moffitt); J. Carroll Naish (Jerry); and Maurice Black (The Roulette Dealer).
A fast-paced comedy by which Joe E. Brown's performance fits him like a baseball glove. Reportedly claimed to be Brown's favorite movie role, it's been said FAST COMPANY starring Jack Oakie as Elmer was also his personal favorite of his as well. Due to the unavailability of the original, it's hard to compare this with the Brown retelling. The 1939 remake, however, being basically a scene-by-scene remake, happens to be 20 minutes shorter to this 72-minute edition. It would have been interesting had ELMER, THE GREAT saw future remakes featuring Red Skelton in the 1940s or Jerry Lewis in the 1950s, which might have worked. With that said, Joe E. Brown is the whole show. He makes his egotistical character likeable. What he does with his performance is a delight. Regardless of its age, ELMER THE GREAT still holds up for its amusements. The baseball game sequences should be of interest for sports fans as well.
Available on DVD, ELMER, THE GREAT can be seen occasionally on Turner Classic Movies cable channel. (*** bases)
Susannah of the Mounties (1939)
Mounties and Indians
SUSANNAH OF THE MOUNTIES (20th Century-Fox, 1939), directed by William A. Seiter, stars Shirley Temple, now 11-years-old, trying new ground so not to repeat herself. No songs or dance numbers here, just plain outdoors adventure between white men and Indians.
Set in the Canaadian mounties of the 1880s, the story revolves around Susannah Sheldon (Shirley Temple), a young girl who is orphaned after her family is killed in an Indian massacre, thus, becoming the sole survivor found and taken in by a Canadian Mountie, Angus Montagu (Randolph Scott). She soon bonds with the Mountie who assists she overcome her fear of Indians by living in peace among them.
Not as memorable as some of her earlier outings, but watchable. Temple has her moments with Scott in a scene in which she tries to teach him how to dance in order to impress an attractive visitor, Vicky Standing (Margaret Lockwood). Margaret Lockwood, an English actress, is best known for her performance in the Alfred Hitchcock's suspenser, THE LADY VANISHES (1938). She also worked in another Hollywood produced feature, RULERS OF THE SEA (Paramount, 1939) before returning to England where her roles surpassed those made in Hollywood. As for Shirley, she is even given some screen time opposite an Indian boy, Little Chief (Martin Good Rider), who calls her "papoose," which is Indian for "baby." Also featured in the cast are J. Farrell MacDonald, Moroni Olson and Victor Jory. As mentioned during the opening credits, scenes were filmed on location in the Canadian Mounties. With plenty of background scenery, one wonders why it wasn't done in Technicolor. Otherwise, it's convincing actioner.
SUSANNAH OF THE MOUNTIES, which can be found on video cassette from Playhouse Video, formerly played in the colorized context on the Disney Channel in the early 1990s, later on American Movie Classics (1996-2001), the Fox Movie Channel, where it's presented either in its original black and white format or colorization, and later on Turner Classic Movies (TCM premiere: August 4, 2019). (***)
Sporting Blood (1931)
Once Upon a Horse
SPORTING BLOOD (Metro-Goldwyn-Mayer, 1931) directed by Charles Brabin, is a horseracing story, one of many produced at that time since and beyond. Taken from the story "Horseflesh" by Frederick Hazlitt Brennan, rather than concentrating on a story about a jockey and his horse, for example, the opening credits claims this to be a biography about a horse. Of the twelve film releases featuring Clark Gable, SPORTING BLOOD is relatively known for being his first starring role. Even though he comes 42 minutes into the story, it's the second billed Ernest Torrence who's very much the leading human character and thoroughbred Tommy Boy both its subject matter and main focus.
The story begins with Jim Rellence (Ernest Torrence), a horse breeder in Lexington, Kentucky, showing off his many horses to his friend, Maguire (J. Farrell MacDonald). During a heavy rainstorm, Southern Queen is reported missing only to be found injured with a broken leg resting in a puddle of mud where she has given birth. Unable to save the horse, with the help of Uncle Ben (John Larkin) and Sammy (Eugene Jackson), Jim and Maguire return the colt they name Tommy Boy to the farm where he's milk fed and later placed under the care of a new mother horse. From pony to full-grown horse, Rellence, very much attached to Tommy Boy, finds himself having to sell the thoroughbred to Jerry Hartwick (Harry Holman) in order to keep his horse-trading business. Hartwick enters Tommy Boy to the races at Latonia where the horse wins the race, attracting the attention of Angela (Marie Prevost), who insists her husband, Bill Lideking (Hallam Cooley) buy him for her. He offers Hartwick $40,000 for Tommy Boy, only to have the thoroughbred purchased by gambler "Tip" Scanlon (Lew Cody) only after Mrs. Lideking loses interest in him. Hoping to earn some big wages from his gambling friends, Scanlon drugs Tommy Boy to win. Losing the race and unable to pay off his debts, Scanlon attempts to leave town and fails in the process. With Tommy Boy now under the ownership of Ruby (Madge Evans), Scanlon's mistress of three years, she and her new love interest, "Rid" Riddell (Clark Gable), former gambling table dealer under Scanlon, must decide what's to happen to this poor animal used only as a "reward for past favors.
Although the story is well-paced through much of its 82 minutes, its presentation with "My Old Kentucky Home" theme song has more to its Fox Films/20th Century-Fox (where many horse racing themed stories were produced) feel to it. There are some cute elements involving animals. One that stands in memory is of a little dog imitating the horse's gallop. While Madge Evans has more to do than Gable, Gable one scene of merit is grabbing on to Evans and saying, "Come here, woman!" Evans' introduction to the story as a tough-looking cigarette smoking mistress may be placed against type but is well-played. Ernest Torrence, a fine actor with a rough exterior, is quite believable as a man showing his love and affection for his many horses, especially Tommy Boy.
With this being Clark Gable (sans mustache) on his way up to super star status, the supporting players benefit well in their assigned roles that keep this from being just another horseracing story. Though MGM produced another SPORTING BLOOD (1940) with Robert Young and Maureen O'Sullivan, that latter edition is not a remake.
Other than some limited broadcasts on Turner Classic Movies cable channel, SPORTING BLOOD is available for viewing on DVD. (***)
White Woman (1933)
Outcast of the Islands
WHITE WOMAN (Paramount, 1933), directed by Stuart Walker, is a largely forgotten melodrama marking the unlikely pairing of Carole Lombard and Charles Laughton. Following the pattern of related isolated island themes as Dorothy MacKaill's SAFE IN HELL (First National, 1931); Virginia Bruce on KONGO (Metro-Goldwyn-Mayer) or even Charles Laughton's earlier horror screen adaption of ISLAND OF LOST SOULS (Paramount, 1933), WHITE WOMAN stands out on its own merits taken from the play "The Hangman's Whip" by Norman Reilly Raine and Frank Butler, and made more interesting for its star players than its story.
The plot introduces Judith Denning (Carole Lombard), a cafe singer in a native cafe who receives a letter from C. M. Chisholm (Claude King), a law officer, that she is to be deported. Because of a scandal involving the suicide of her planter working husband, it is Chisholm's wife (Ethel Griffies) who really demands she leave. Fired from her job and no place else to go, Judith encounters Horace H. Prin (Charles Laughton), an Britisher merchant who holds a monopoly on trade on the islands of Malaya. He takes an interest in her beauty regardless of her snubbing him. Having been deported before from other islands, Judith accepts Prin's security of marriage and leaves with him on a ten-day journey to his island of exile. Arriving on his plantation, Judith meets his workers who happen to be criminals working in slave labor: Hambley (James Bell), a forger; Fenton (Charles Middleton), a murderer; Connors (Marc Lawrence), a drug dealer, and Jakey (Percy Kilbride), a close to being bank robber with his pet monkey, Duke, as his companion. Being the first white woman he's seen in ten years, David Von Elst (Kent Taylor), a regiment deserter who has spent ten years under Prin, becomes interested in her. Though Prin is insanely jealous, he knows leaving his island would be totally impossible without meeting death by spear throwing natives and crocodile attacks. Judith's life becomes virtually impossible living with the arrival of Ballister (Charles Bickford), an American having served time on the chain gang hired as Prin's new assistant.
Following Laughton's Academy Award winning performance in THE PRIVATE LIFE OF HENRY VIII (1933), Laughton plays another king, sort of, that as "king of the river," addressing his wife (Lombard) as "his ladyship." Aside from Laughton's physical appearance of a cockney Britisher with droopy mustache, WHITE WOMAN showcases a rarely seen Lombard doing some vocalization of "A Gentleman and a Scholar" and "Yes, My Dear" by Harry Revel and Mack Gordon. She also benefits the title role dressed mostly in white clothes. Laughton and Lombard would reteam again in THEY KNEW WHAT THEY WANTED (RKO Radio, 1940), but like WHITE WOMAN, are both seldom seen and largely forgotten. Charles Bickford, billed third in the cast, coming 38 minutes into this 68-minute production, adds that certain spark of attention upon his late arrival.
Although WHITE WOMAN is no great masterpiece, Paramount redid it again as ISLAND OF LOST MEN (1939) starring Anna May Wong, J. Carrol Naish and Broderick Crawford. Interestingly both films had been out of television circulation since the early 1970s, and to date have never seen distributed either on video cassette or cable television. Because of either the Laughton or Lombard or both did WHITE WOMAN finally get is DVD due in 2015, which for now happens to be the only way to view this very rare find. (**1/2)
Lilac Time (1928)
Passion Flower
LILAC TIME (First National Pictures, 1928), a John McCormick Presentation under the direction by George Fitzmaurice, became the studio's contribution to current trend of war related themes that rebirth the cycle with THE BIG PARADE (MGM, 1925). Borrowing the aerial battle used heavily from Paramount's WINGS (1927) and the romantic angle highlighted from either WHAT PRICE GLORY (Fox, 1926) or SEVENTH HEAVEN (Fox, 1927), LILAC TIME benefits from the aforementioned titles right down from borrowing Gary Cooper from his few minutes in WINGS to co-starring status opposite Colleen Moore, then one of the most popular actresses of the silent screen. Though Moore is remembered most as a flapper hair-styled comedienne, she demonstrates her great ability in heavy dramatics as proven in LILAC TIME. Coming late into the silent era that would soon end with the new medium of talkies, LILAC TIME, regardless of its age, holds up remarkably well today, in spite of how forgotten it has become through the passage of time.
Taken from the popular 1917 stage play by Jane Cowl and Jane Murfin, the story, set during the Great War in 1918, opens in a Lilac farm near a French village where lives Jeannine Berthelot (Colleen Moore) and her Aunt Marie (Eugenie Besserer). British fliers land their airplanes nearby to use their farmhouse for rest and relaxation until orders are given for them to fly out the next day. Jeannine is a young French girl with her love for lilacs and passion for Joan of Arc. Her biggest fear is seeing the lives of seven British fliers diminish with few returning from their dangerous air battle. After a crashlanding that puts the "Unlucky One" (Arthur Lake) out of commission, he is soon substituted by Captain Philip Blythe (Gary Cooper). Because Jeannine accidentally caused him to crash land on her farm, Philip, not knowing she's a girl dressed in mechanic's clothes, gives her a swift kick. Forming a strong dislike for one another, Philip, who happens to be engaged to Lady Iris Rankin (Kathryn McGuire) begins to have second thoughts about Jeannine. As the pilots receive orders to fly a suicide mission where they are not to return until all enemies are killed, Jeannine promises to wait on the farm for Philip. During his absence however, Jeannine and the other villagers are forced to evacuate with no means of knowing where they are going and whether she'll ever see Philip again. Co-starring Burr McIntosh (General Blythe); George Cooper (The Mechanic's Helper); Cleve Moore (Captain Russell); Emile Chautard (The Burgomaster) and Paul Hurst.
Although a straight drama with well-acted love scenes, LILAC TIME includes some amusements, including that from George Cooper (no relation to Gary) as a mechanic's helper, to Colleen Moore lifting the spirits of the fliers by dressing herself as a mustached soldier juggling champagne bottles.
Reportedly released with original musical scoring, sound effects and theme song to "Jeannine, I Dream of Lilac Time," circulating prints, either accompanied by organ (90 minutes) or piano scoring (110 minutes) bearing different length times are currently available either on Youtube or DVD from a private collector. To date, LILAC TIME has never been televised. It had been scheduled to show on Turner Classic Movies in 2016 only to be cancelled and substituted by another movie instead. If LILAC TIME should ever be televised, be sure not to miss it. (***)
A Fool There Was (1915)
Her Cardboard Lovers
A FOOL THERE WAS (Fox Films, 1915), directed by Frank Powell, subtitled "a psychological drama," is vintage silent melodrama dealing with the life and destruction of a respectable family man. Suggested on the poem by Rudyard Kipling, it made an overnight success of a young unknown named Theda Bara. With so few of her movies in existence today, and a handful of them (all for Fox Films) from 1915 to 1919, A FOOL THERE WAS not only became the movie for which Bara is most remembered but the only one to date to become available for viewing, either on cable television (American Movie Classics in 1997) or on DVD format.
The predictable story by today's standards introduces John Schuyler (Edward Jose), a wealthy lawyer, statesman and happily married man to Kate (Mabel Framyear) with daughter (Runa Hodges) he adores. During the course of plot development and introduction to other characters, namely Kate's sister (May Allison), his best friend, Tom (Clifford Bruce); family doctor (Frank Powell) and doctor's fiancee (Minna Gale), John receives a telegram offering him a position as representative of the United States Government stationed in England. Due to an accident involving her sister, Kate is unable to accompany John and allows him to board ship to England alone and accompany him later. In the meantime, a woman known solely as "The Vamp" (Theda Bara) who had driven many past lovers to destruction, having earlier noticed Schuyler in the park with his family and reading a newspaper clipping of his venture to England board the Gigantic, decides to board passage on the same boat to make her presence known. When Paramalee (Victor Benoit), her latest plaything learns of this, learns of this, he intends to follow her with the intent to kill, but kills himself instead. By the time Schuyler comes to England, he becomes the Vamp's latest victim. Forgetting his job position, he ventures to Italy with her only to be noticed secretly by his doctor and wife on their honeymoon. After their silence is broken to Kate, things become quite complicated for John upon his return home to Larchmont, New York.
Though the legacy of Theda Bara rests on A FOOL THERE WAS, along with her catch phrase, "Kiss me, you fool" being the most famous title card line in silent film history, it's hard to determine Bara's additional film roles considering how the majority of them no longer exist today. How fortunate this 1915 edition is still available while its 1922 remake bearing the same title starring Estelle Taylor and Lewis Stone, according to sources, no longer exists for comparison viewing. As much as Theda Bara never starred in a talkie, how interesting had she appeared in just one, possibly a remake of A FOOL THERE WAS. Possibly by 1930 this particular story and characters would have been totally out of date but what a great opportunity to get to see as well as hear Theda Bara's voice recorded on film. One could simply feel it wasn't meant to be.
A FOOL THERE WAS at 65 minutes, accompanied by Phil Calli piano score, is available for viewing on video cassette, DVD or on demand through MGM Plus cable channel. Considering the lack of close-up shots and limited camera movement, the film is worth viewing for the rediscovery of the Theda Bara name. (***)
The Dark Corner (1946)
Intruder in the Night
THE DARK CORNER (20th Century-Fox, 1946), directed by Henry Hathaway, became the studio's attempt for another "film noir" mystery success, following the pattern of earlier classics as I WAKE UP SCREAMING (1941) and LAURA (1944). As much as this edition might have reteamed Gene Tierney and Dana Andrews from LAURA, only Clifton Webb was brought back to enact basically the same type of character he did previously. Interestingly, this tense mystery stars Lucille Ball, best known for comedy, in a rare dramatic role. However, the formula belongs to the fourth billed Mark Stevens, a young actor who started in films under his real name of Stephen Richards before using his professional name. Though THE DARK CORNER was star making material for Stevens, he didn't become a new movie tough guy as Paramount's own Alan Ladd. Acting in a similar style of Ladd, Stevens could have become the studio's answer to Alan Ladd - but didn't. He appeared in other "film noir" mysteries along with other genres as comedy and musicals, but none with that impact to success as THE DARK CORNER.
Following the opening credits to the underscoring to Max Steiner's classic "Street Scene Theme," the story gets underway in the Third Avenue district of New York City where Bradford Galt (Mark Stevens), formerly of San Francisco, is introduced as a private investigator opening his new office. He has a loyal secretary, Kathleen Stuart (Lucille Ball), who knows nothing about his background, namely having served two years in prison for manslaughter. Though innocent, Brad intends on not having the presence of Lieutenant Frank Reeves (Reed Hadley) prevent him from succeeding in his legitimate business. Taking Kathleen out for the evening at an arcade, she tells Brad they're being stalked by a man in a white suit (William Bendix). Arranging for Kathleen to take a taxi and have the cabbie await in front of his office building to later follow the stalker's whereabouts, Brad confronts "White Suit," takes him to his office and forces him to expose private information as to who hired him to have him followed. His reply is Anthony Jardine (Kurt Kreuger), Brad's former San Francisco partner for whom he served his prison sentence. Things become more complexed when Brad nearly getting run over by a speeding car to later be knocked unconscious at a meeting place to awaken next to the dead body of Jardine. After discovering Jardine was having an affair with Mari (Cathy Downs), wife to art gallery owner, Hardy Cathcart (Clifton Webb), Brad's dark corner of mystery is wondering why he's being set up for murder by someone he knows nothing about. The supporting players include Constance Collier (Mrs. Kingsley); Molly Lamont (Lucy Wilding) and Eddie Heywood and his Orchestra.
Dark, moody and scoreless, THE DARK CORNER ranks one of the finer mysteries of its time but not as well known as THE MALTESE FALCON (1941) or THE BIG SLEEP (1946). The sole interest today for watching THE DARK CORNER is not so much in watching Mark Stevens finest role but Lucille Ball years before achieving immortality as a television comedienne that began with "I Love Lucy: (1951-1957). Clifton Webb, better known for straightforward comedic roles starting with SITTING PRETTY (1948), comes second best as the husband obsessed by his wife along with the scene stealing William Bendix playing the fall guy. While Stevens character name of Bradford Galt may not fit into the class of other movie detectives as Sam Spade or Phillip Marlowe, at least THE DARK CORNER benefits for Mark Stevens' career in his Alan Ladd-type performance.
Overlooked at times among the countless film noir/detective mysteries of the 1940s, THE DARK CORNER, which has become available on both video cassette and DVD, did have cable television broadcasts over the years, including American Movie Classics, Fox Movie Channel and Turner Classic Movies. (****)
Dark Passage (1947)
The Man with Bogart's Face
DARK PASSAGE (Warner Brothers, 1947), directed by Delmar Daves, marked the third pairing of Humphrey Bogart and Lauren Bacall, who were already married in real life. Following their earlier successes of TO HAVE AND HAVE NOT (1944) and THE BIG SLEEP (1946), DARK PASSAGE is often hailed as their weakest collaboration yet their most revived on television. The story follows the pattern used in LADY IN THE LAKE (Metro-Goldwyn-Mayer, 1946) starring Robert Montgomery using the camera as the subject matter where the leading character is heard but out of view, with others looking and talking to the camera being the subject matter. This time, the subject matter is Humphrey Bogart, at least during the first half of the story anyway. Though this camera method was regarded something new at that time, it's a little-known fact that the subjective camera was used years ago, notably in Paramount's DR. JEKYLL AND MR. HYDE (1931) and A FAREWELL TO ARMS (1932). Another bonus besides Bogart and Bacall is the on-location filming of San Francisco and how it looked in the 1940s.
The story begins with a truck leaving San Quentin Prison. Vincent Parry (Humphrey Bogart), having served three years to a life sentence for the murder of his wife, makes his daring escape hiding inside one of the garbage cans. With the sirens roaring and motorcycle policemen hot in pursuit, Parry breaks away and hitches a ride. After his pick-up driver (Clifton Young) hears the radio news about an escaped convict, Parry knocks him out and switches clothes. In the meantime, Irene Jansen (Lauren Bacall), an amateur landscape painter, stops her car to give him a ride. Managing to get past a roadblock, Irene, who has followed Vincent's trial and believes him innocent, offers her San Francisco apartment to stay. Buying him a new set of clothes, Parry, fearing he would be recognized by Irene's friend, Madge Rapf (Agnes Moorehead), who had testified against Parry, and Bob (Bruce Bennett), her ex-husband now interested in Irene, decides to go on his way that night, using the money for food and lodging given to him by Irene. Recognized by Sam (Tom D'Andrea), a taxi driver, rather than taking Parry to the police, he takes him to Walter Coley (Houseley Stevenson), his plastic surgeon friend. Now with a new face so he wouldn't be recognized, Parry discovers his best friend, George Fellsinger (Rory Mallinson), who offered to take him in during his healing process, has been murdered. Returning to Irene for further support and the removal of the surgical bandages on his face, Parry leaves her once again. Going under the name of Alan Lynell, he finds himself being hounded on suspicion by a detective (Douglas Kennedy) and being blackmailed by an unexpected presence at his hotel room.
An interesting concept with interesting characters, the best being the plastic surgeon and the blackmailer, but none as meatier and meaner than Madge, memorably played by Agnes Moorehead. She gives the story a real added interest. Though this is a Bogart-Bacall union, DARK PASSAGE is Bogart's film for its full 107 minutes from unseen face to off-screen narration. Even though Bacall is gone for long stretches, her character remains in memory throughout. As much as there could have been an original theme song used for DARK PASSAGE, an older one, "Too Marvelous for Words" introduced in READY, WILLING AND ABLE (1937) is used instead. Of the minor players, John Arledge and Mary Field stand out as a lonely couple with two children sitting in a bus depot.
Though some may not find DARK PASSAGE too marvelous for words for being somewhat slow and contrived with a series of coincidences, it's one of those movies that with repeated viewings make this now regarded a film noir classic. Available on both video cassette and DVD format, DARK PASSAGE often shows on Turner Classic Movies cable channel. (**1/2)
The Great Lie (1941)
Between Two Women
THE GREAT LIE (Warner Brothers, 1941) directed by Edmund Goulding, teams Bette Davis and George Brent for the tenth time. Though DARK VICTORY (1939) is often hailed as their finest achievement on film, THE GREAT LIE is most memorable not so much for their fine chemistry, but for Mary Astor, whose performance not only steals it from her leading performers but won the Academy Award as Best Supporting Actress for her fine achievement playing the other woman to her husband.
The story opens with Peter Van Allen (George Brent), an aviator and wealthy playboy, married to Sandra Kovak (Mary Astor), a famous concert pianist. Called by his attorney, Jeffrey H. Thompson (Jerome Cowan), Peter is given the news he's not legally married to Sandra. Her divorce from her previous husband has not been finalized at the time of their wedding. Though Peter is willing to wed her all over again, Sandra refuses to marry the day of her upcoming concert in Philadelphia and insists their wedding will have to be postponed to another date. Finding her career more important than their lives together, Peter, who earlier had taken his plane to Maryland to visit with his former fiancée, Maggie Patterson (Bette Davis), her outbursts prevent him from giving her the news of his freedom. Eventually Maggie learns of the matter and becomes his wife after all. Later Peter is called away on an assignment to Brazil. During his absence, Maggie meets with Sandra in New York with startling news she's pregnant with Pete's child and intends on getting him back. Receiving news of Peter being killed in an airplane crash in the jungle, Maggie comes to Sandra with a cash settlement allowing her to have her baby in a secluded Arizona ranch on the condition she can return to Maryland and raise the child as her own. Time passes. Maggie is now the "mother" of little Pete while Sandra is free to go on her world concert tours. With the surprise news of Pete having survived the crash and returning home to her, their lives together are happy until Sandra returns. Also in the supporting cast are Lucile Watson (Aunt Ada); Hattie McDaniel (Violet); Grant Mitchell (Joshua Mason); J. Farrell MacDonald (Doctor Ferguson) and Sam McDaniel (Jefferson).
Though an interesting concept, THE GREAT LIE might have failed had it not been for its three veteran performers making the story better for what it is. George Brent plays his usual caught between two women husband while Bette Davis and Mary Astor are equally matched as "friendly" rivals out for the affection of the man they both love. The year 1941 proved to be a turning point for Mary Astor's career with this and her outstanding role opposite Humphrey Bogart in THE MALTESE FALCON being the two movies she is best remembered. As much as I always felt Astor should have at least been nominated as Best Supporting Actress for her wonderful performance in DODSWORTH (United Artists, 1936), at least the award she won for THE GREAT LIE makes up for that oversight. The truth about THE GREAT LIE is how Mary Astor makes her self-centered role so likable. Along with her shorter hair-cut to appear older yet appealing to her character without losing her attractiveness, her high point is not so much her piano playing to Tchaikowski's Piano Concerto # 1 in B Flat Minor, but how her tense and slightly amusing confrontation with her rival and former husband, good enough for that well-deserved Academy Award win.
Available on both video cassette and DVD format, THE GREAT LIE can be seen occasionally on Turner Classic Movies cable channel. (***)
Bullets or Ballots (1936)
Unholy Partners
BULLETS OR BALLOTS (Warner Brothers, 1936), directed by William Keighley, stars Edward G. Robinson in a crime drama by which he plays a man on both sides of law and disorder. Following James Cagney's lead for 'G' MEN (1935), by which movie tough guy becomes a man against crime, Robinson breaks away from his usual gangster image to see how it goes facing mobsters rather than playing one. Either way, Robinson portrays his role effectively and believably, keeping his tough guy image intact. Being his first role opposite Joan Blondell (they didn't share the same film again until 1965's THE CINCINNATI KID starring Steve McQueen), BULLETS OR BALLOTS is known mostly as a Robinson crime caper more than anything else. It also marked his first of five pairings opposite Humphrey Bogart, whose previous breakthrough performance in THE PETRIFIED FOREST (1936) made a lasting impression playing a wanted killer, Duke Mantee. Not yet the leading man or major super star he was to become in the 1940s, Bogart's name, billed under Robinson, Blondell and Barton MacLane, it's MacLane, another movie tough guy, who gets more to do here, following his impressive gangster parody though not as intense as in Cagney's 'G' MEN.
Set in New York City, the story begins with Nick "Bugs" Fenner (Humphrey Bogart) and his mob boss, Al Kruger (Barton MacLane) attending the movie house to watch a newsreel,"Syndicate of Crime," where Kruger, a notorious gangster arrested eleven times but always set free, is exposed by Ward Bryant, a vice crusader. Though warned to stay away from Bryant, Fenner goes against orders from Kruger, tracks down Bryant and guns him down. Johnny Bryant (Edward G. Robinson), a demoted detective working under his friend, Captain Dan McLaren (Joseph King) waits for McLaren's job following his promotion. Having been asked numerous times by Kruger, whom he likes and respects, to join his outfit, Johnny refuses. Unable to acquire the name of the head crime boss, McLaren gets his promotion from the force. His first assignment is a police department cleanup, with Johnny one of the first to be dismissed. Lee Morgan (Joan Blondell), a night club operator and good friend of Johnny's, offers to help by having him become her partner in the numbers game. Even though it's doing well in both the Bronx and Harlem, Johnny refuses. While attending the fights at Madison Square Garden, Johnny shows his "appreciation" to McLaren by socking him publicly in the jaw. Kruger witnesses this. After the police escort Johnny to the streets, Kruger offers Johnny a position to become his right-hand man. This time Johnny accepts. Problems arise with Johnny convincing Kruger's mob he's now in with them. They soon win his confidence except from Fenner ("One a cop, always a cop."), who has him personally investigated against Kruger's orders. Johnny's other problem is losing his friendship and respect from Lee, believing him responsible for having Fenner taking control of her numbers game. Tensions build with Johnny's promotion in a position much wanted by Fenner. Others in the cast include Frank McHugh (Herman, the forgetful one); George E. Stone ("Wires"); Louise Beavers (Nellie LeFleur); with Henry Kolker, Gilbert Emery and Herbert Rawlinson among others.
Though not in the same class as some of the other crime classics of its 1930s, BULLETS OR BALLOTS is a pleasing addition to the crime genre. Leisurely paced and lacking underscoring of mood music but makes up for it through its tense climax. Robinson and Bogart have little to do together, but when they're together, chemistry builds. Blondell (with darker hair color this time around) makes a good screen presence. Her involvement with Robinson is more friendship than romantic. Reportedly suggested on an actual incident, the formula provided makes this a very watchable 81-minute crime drama.
Available on home video and DVD, BULLETS OR BALLOTS can be seen occasionally on Turner Classic Movies cable channel. (***1/2)