April 2021 Round-Up
TOTAL FILMS SEEN IN APRIL: 50
| Please Don’t Eat the Daisies with Doris Day and David Niven |
Another uneventful month has passed where I did nothing more than working from home and watching films. Yet I'm happy to report that I watched a staggering amount of 50 films this April (not a day passed by without having watched a film, at least one), the second-highest amount I have ever reached in a month's time, only surpassed in April last year (55 films) while being in lockdown in my home country Spain.
This month I went in without a preconceived film plan and decided to watch random films. But as I realised at the start of the month that on the 3th of April Doris Day (who sadly passed away two years ago) would have celebrated her 99th birthday, I decided to catch up on her filmography, since there are many of her films I haven't seen yet. Ultimately I ended up watching only five DD films: Please Don't Eat the Daisies, Storm Warning, The Pajama Game, The Tunnel of Love and With Six You Get Eggroll. Furthermore my whim-watching films resulted in watching multiple films from some other actors as well, as one film led to another.
My most watched actor is Conrad Veidt with 4 films seen (The Passing of the Third Floor Back, Contraband, The Spy in Black and Rome Express). There are also two actresses with 4 films watched in total: Jane Wyman (A Kiss in the Dark, Cheyenne, Bad Men of Missouri and The Yearling) and Gloria Stuart (Sweepings, Island in the Sky, The Prisoner of Shark Island and The Whistler). Furthermore I watched 3 films of Spencer Tracy (Bad Day at Black Rock, San Francisco and Whipsaw) and Guy Kibbee (Mary Jane's Pa, Power of the Press and Mountain Justice). I watched 2 films of the following actors: David Niven, Helen Mack, Bette Davis, Harold Lloyd, Jobyna Ralston, Kent Taylor, George Brent, Valerie Hobson, Myrna Loy, Dennis Morgan, Wayne Morris, Paul Kelly, Arthur Kennedy, Lionel Barrymore, Robert Ryan and James Cagney.
My most watched director is William A. Wellman, 6 films in total: Wild Boys of the Road, Westward the Women, You Never Know Women, Frisco Jenny, The Public Enemy and The High and the Mighty. I wanted to explore his filmography further after having seen Wings last month. The only aviation film I watched this month was The High and the Mighty.
I watched three silent films: Wellman's You Never Know Women and two films starring Harold Lloyd and Jobyna Ralston, Girl Shy and The Kid Brother.
The Kid Brother was my highest rated film of the month, followed closely by Bad Day at Black Rock, Wild Boys of the Road and The Yearling. There were a lot of worthy mentions too: Storm Warning, Day of the Outlaw, Westward the Women, Cheyenne, Station West, You Never Know Women, Riding High, Frisco Jenny, San Francisco, The Unsuspected, The Prisoner of Shark Island, Whipsaw, The Spy in Black, Girl Shy and Another Man's Poison.
The lowest rated films of the month are Three Sons, The Tunnel of Love and The Man Who Played God.
My favourite screen couples of this month are Doris Day and David Niven (Please Don't Eat the Daisies), Dennis Morgan and Jane Wyman (Cheyenne), Humphrey Bogart and Mary Astor (Across the Pacific), Myrna Loy and Spencer Tracy (Whipsaw), Conrad Veidt and Valerie Hobson (Contraband and The Spy in Black), Doris Day and Brian Keith (With Six You Get Eggroll) and Harold Lloyd and Jobyna Ralston (Girl Shy and The Kid Brother).
There were no visits to the Filmoteca, my favourite film theater in Barcelona, and therefore no rewatches (normally I don't rewatch films at home).
Breaking the 50 watched films down in decades:
1910s - 0
1920s - 3
1930s - 22
1940s - 14
1950s - 9
1960s - 2
From this April post on, I'm going to do these round-up posts slightly different. I'm going to list the films in the order I watched them with ratings and added notes.
NOW LET'S MOVE ON TO THE FILMS!
(read notes with caution as they might contain spoilers; ratings go from ½ to ★★★★★)
MARY JANE'S PA (1935) ★★★
Watched: 01.04.2021
Sought this out for Guy Kibbee and Aline MacMahon who have great chemistry and made several films together. Kibbee portrays his character as a likeable man, even though it wasn't very nice of him to abandon his wife and two daughters, leaving them to fend for themselves while he was responding to his wanderlust urge. He comes home after more than 10 years, finding his wife managing a successful newspaper business and his daughters grown up. The actress playing his youngest girl, Betty Jean Hainey, has a substantial role and is cutesy (perhaps a tad too), and Nan Grey (whom I've never seen this young) is the other daughter finding romance with Tom Brown. It's a pleasant little film, with the leads rescuing the newspaper from ruin, and with MacMahon delivering a great performance again. She's especially amazing in those quiet hurtful moments where the expression in her eyes says it all. (Photo: Guy Kibbee and Aline MacMahon)
PLEASE DON'T EAT THE DAISIES (1960) ★★★
Watched: 02.04.2021
Decided to watch some DD films this month, in celebration of her 99th birthday on the 3th of April. This is a fun watch, with Doris playing a mother to four boys and wife to David Niven, a professor turned theater critic. (What's up with the baby kid being locked up in a cage and the bad dubbing sounds?!!) Day and Niven have great chemistry and I really liked their scenes together. It always amazes me what a remarkable actress Doris was, with such a unique style of her own. There was no one like her. She could handle comedy and drama effortlessly, and her facial expressions while playing comedy are priceless. Spring Byington plays Doris' mother here and they seem a likely mother/daughter couple. I also loved the dog and the sets but didn't care much for Janis Paige. With two songs thrown in (including the title song where Doris plays the ukelele) and Doris being as lovely as ever (she looked really good — I loved the hair and the clothes), this is thoroughly entertaining and just brought a smile to my face. There's also one fun remark (with the intent to make husband Niven jealous) where Doris says she had a rendezvous with Rock Hudson. (At this time Day and Hudson had only made Pillow Talk together.) (Screenshots by me: Doris Day and David Niven / Doris Day, David Niven and Richard Haydn / Doris Day and David Niven)
STRANGE CONFESSION (1945) ★★★
Watched: 03.04.2021
Watched this because I saw it recommended. Inner Sanctum Mystery was a popular old-time radio program to which Universal purchased the screen rights. 6 films were made, all starring Lon Chaney Jr., with Strange Confession being the 5th in the series. Its plot is interesting considering these pandemic days of ours because it concerns a vaccine. Chaney Jr. plays a scientist who finds a cure for influenza but it's still in the testing phase. His boss J. Carrol Naish already sees financial gain, steals the formula and manufactures the vaccine before it's properly tested, resulting in the death of Chaney's young son. The film is slowly paced and it feels more like a drama than a murder mystery but wait till you come to the last act which is filled with action. I raised my rating instantly. Solid performances all around with Naish probably giving the best one, he's truly one sneaky bastard. Small and likeable part for Lloyd Bridges as Chaney's colleague. (Photo: Lon Chaney Jr., Brenda Joyce and J. Carrol Naish)
STORM WARNING (1951) ★★★½
Watched: 03.04.2021
Watched this drama about the KKK for Doris Day and it has a terrific performance from Ginger Rogers. The film opens very strong with a great shot of an approaching bus and there's immediately a lot of tension when Ginger encounters unfriendly and uncooperative townspeople. When she witnesses a murder by the Klan and we see Steve Cochran among the KKK, evidently it's going to get worse. The middle section of the film loses a bit of steam, I think a lot has to do with a bland Ronald Reagan, but from the moment Cochran tries to rape Rogers it gets incredibly intense and unsettling and also pretty brutal. Doris Day doesn't have a big part but she's good in her dramatic role. Cochran is great as the sleazy louse, he portrays his unstable character well. The film has a beautiful noir look, the cinematography by Carl E. Guthrie really elevates this to a higher level. (Photos: Doris Day, Steve Cochran and Ginger Rogers / behind the scenes with Doris Day and Ginger Rogers / Ronald Reagan and Ginger Rogers)
Watched: 04.04.2021
A real slow-burn of a movie, which is elevated by the performances of the excellent cast, especially Spencer Tracy and Walter Brennan. There is a lot of underlying tension that moves the plot forward, with the proceedings happening over the course of one day in a deserted town in the middle of nowhere. Tracy visits the town to deliver a posthumous war medal to the Japanese father of the American soldier who saved Tracy's life in battle in Italy. This modern-day western with traces of film noir — filmed in CinemaScope (the gorgeous photography is by William C. Mellor) — was one of Hollywood's first productions to tackle the topic of postwar racism towards the Japanese. Probably the most memorable scene is the one where Tracy executes some karate moves on Ernest Borgnine. (Photos: Spencer Tracy / behind the scenes with Robert Ryan, Spencer Tracy and director John Sturges)
DAY OF THE OUTLAW (1959) ★★★½
Watched: 04.04.2021
"You've got a big mouth, farmer. You got big eyes too. You came here a year ago in your broken down wagon looking for a choice spot to settle. And you think you found it, but you never stop to think what made it such a good place. When Dan and I came here, Bitters was a nesting spot for every thief and killer in the territory. A man's life wasn't worth the price of a bullet. No woman was safe on the streets, let alone in a lonely farmhouse. It took more than a big mouth to get rid of the lice who infested every bend of the road you ride so safely on. I'm not saying Dan and I did it alone, but we did more than our share. We hunted them down in the freezing cold while you sat back in the East hugging your pot-bellied stoves. Nobody thanked us. Nobody paid us. We did it because we felt we belonged. We earned the right to belong. And all you've done is ride in here and put down your stinking roots. And now you tell us that you belong and we don't. Mr. Crane, you said you'd fight to keep what you want. Well, I've been doing that for twenty years and I intend to keep doing it, and no pig-belly farmer is going to stop me!"
The winner here is the outstanding photography by Russell Harlan, especially the snow scenes are breathtakingly beautiful. As for the film itself ... it took me some time to get into this bleak noir western, mainly because I couldn't find sympathy for any of its characters. Robert Ryan (who gives a great performance, by the way) gets more likeable once Burl Ives and his outlaw gang arrive on the scene, and I sided with Ryan. The outlaws Lance Fuller and Jack Lambert are increasingly annoying as they act like morons and hit on the women. Their performances are so over the top and their characters are depicted as caricatures, too one-dimensional. The dance party sequence is quite chilling with sexual tension being extremely palpable. I didn't really like Tina Louise but Venetia Stevenson made a cute couple with David Nelson. The final half hour or so, when Ryan leads the outlaw gang through a treacherous mountain pass, is the best part of the film. It's tense and exhilarating, with another enemy presenting itself: the cutting cold. (Screenshots by me: Robert Ryan, Venetia Stevenson, Tina Louise and others / Robert Ryan and Tina Louise / the cutting cold)
Watched: 04.04.2021
"You read in the papers about giving people help. The banks get it. The soldiers get it. The breweries get it. And they're always yelling about giving it to the farmers. What about us? We're kids!" (Edwin Phillips as Tommy Gordon)
Hard-hitting social drama, directed by the great William A. Wellman, dealing with the Depression and youths, hopping on and off freight trains in the hope to reach a place where they can find a job and a better life. Frankie Darro is great in the lead and his character is very likeable. I especially liked his scene with Grant Mitchell as his father saying he'd never be more proud of his son, after Darro reluctantly sold his beloved car to help out his jobless dad. There are some impressive scenes where we see the youngsters in large numbers together on their journey and they make the impact of the Depression palpable. The most dramatic scene is when Edwin Phillips falls on the train tracks and loses his leg because of an approaching train. I liked Dorothy Coonan as one of the girls on the road and director Wellman must have liked her too because he married her a year later. (She became his fourth wife and they were married from 1934 until Wellman's death in 1975.) Ward Bond can be seen in a small unlikeable part, as the rapist who meets his death at the hands of the angry kids. The happy ending is disappointing, clearly tacked on by the studio, and I read that the original ending was — not so surprisingly — more realistic. Still, this is a great film and I loved the friendship between the kids and their tender moments. (Photos: Frankie Darro, Edwin Phillips and Dorothy Coonan / behind the scenes with director William A. Wellman and Dorothy Coonan)
WESTWARD THE WOMEN (1951) ★★★½
Watched: 05.04.2021
Been meaning to see this William Wellman women-orientated western for a while and glad I finally did. It's very entertaining, with a good role for Robert Taylor. There are some brutal scenes here, no sugarcoating when it comes to the hardships the women encounter on their trail to the west. But I had still expected it to be bleaker. Maybe it didn't come off quite as bleak because the romance between Taylor and Denise Darcel seemed pretty much like the average romance and there's an uplifting happy ending. Some nice photography by William C. Mellor. His is not a name I'm familiar with but he was also the DP for Bad Day at Black Rock, Too Late for Tears, Giant, A Place in the Sun and The Diary of Anne Frank, winning Oscars for the two last mentioned films. (Photo: Robert Taylor, Denise Darcel and others)
THREE SONS (1939) ★★
Watched: 05.04.2021
Came across this while browsing for something short to watch. The story of a merchant with a successful department store, disappointed that his children don't want to continue the business, appealed to me. I also like William Gargan and Kent Taylor. But this was a fairly dull affair, probably the most exciting scene was when Gargan was accidentally shot to death. Edward Ellis is not a strong leading presence and the film would have fared better with a more dynamic actor. Apparently this is a remake of Sweepings with Lionel Barrymore, pretty sure I'll like that one better. (Photo: film poster)
SWEEPINGS (1933) ★★½
Watched: 06.04.2021
Better than the remake Three Sons. Everything has to do with the cast because the story (of a department store owner hoping his spoilt children will take over the business eventually, only to realise that his hard work has been in vain and his children are selfish and thankless) is basically told in the same way with just a couple of minor changes in the remake. Lionel Barrymore gives a great performance, as can be expected, and he's even believable when playing his character at a young age. I read that Barrymore was sick during filming but wanted to carry on anyway, and I was wondering whether his own health was failing him in the last scenes, because he really looks sick and frail. Gloria Stuart has close to nothing to do, but Helen Mack (whom I love) has a small but impressive part as the tough salesgirl seduced by the youngest son Eric Linden and bought off generously by Barrymore. Linden is good too, by the way, and looks handsome as a bum when he's unshaven. William Gargan plays the oldest good-for-nothing son while in the remake he played uncle Thane. I liked the score by Max Steiner. (Photo: Lionel Barrymore and Ninetta Sunderland)
Watched: 07.04.2021
Sought this out for Lionel Barrymore and because the story also deals with a department store. It's set in Depression-era London and very recognisable in light of the current economic situation during Covid, where a lot of enterprises have to close down or let go of their employees. Lewis Stone has the bigger role here as the shop owner who has to deal with his business suffering from the Depression (having to fire his faithful staff, among others Barrymore) and his wife's cheating ways. I love Elizabeth Allan as Stone's daughter and Colin Clive as the rather timid secretary of Stone, obviously in love with Allan. I would have loved to see some more of Allan and Clive together. Also Barrymore's part is way too small. Fortunately I liked the scenes he's in, especially the ones with Lewis Stone. By the way, Benita Hume reminded me a bit of Mary Astor. (Photos: Elizabeth Allan and Colin Clive / Lionel Barrymore and Lewis Stone)
SHE (1935) ★★★
Watched: 08.04.2021
Wanted to watch another Helen Mack film and found a colourised version of She. It's an Indiana Jones type of adventure film, based on the 1887 novel of the same name by H. Rider Haggard, about the well-loved topic of the search for eternal youth. It's an entertaining watch with Randolph Scott as a likeable hero, and he looks good. He makes a nice pair with Mack, I really like her. The production values are good, even though some of the backgrounds look pretty fake and painted, and there are also great art deco sets and some nice special effects, especially during the climactic scene with the flame and the She character losing her youth. She is being played by Helen Gahagan, Mrs. Melvyn Douglas in real life, and this was her only film. She ventured into politics under the name Helen Gahagan Douglas. Reportedly Gahagan's portrayal of She was an inspiration for Disney's Evil Queen in Snow White and the Seven Dwarfs. (Screenshots by me: Randolph Scott and Helen Mack / Helen Mack / Randolph Scott and Helen Mack)
POWER OF THE PRESS (1943) ★★½
Watched: 08.04.2021
A bit heavy on the propaganda but overall very watchable. I really like Gloria Dickson and fortunately she has a meaty role here. I also like Guy Kibbee in a serious part, he handles drama well. Lee Tracy, here a bit older and more puffy in the face, has slowed down his speech considerably and I was glad his character joined the good guys in the end. Also with Otto Kruger and Victor Jory as the villains. (Photos: Guy Kibbee and Gloria Dickson / Lee Tracy and Otto Kruger)
FRISCO KID (1935) ★★½
Watched: 09.04.2021
Watched this for James Cagney who plays a sailor turned saloon owner. His character is ambiguous and not entirely likeable. I don't think Cagney is well suited for costume drama and he looks awkward wearing the clothes that come with the period. I thought he looked handsome in the beginning with the sailor cap. His wealthier clothes, like the long tuxedo jacket, make him look even smaller and he also sports a weird hairdo. He makes a good couple with Margaret Lindsay, she has actually a more substantial role here as the newspaper owner than just playing the dull love interest. Enjoyable, with a good action scene where Cagney fights with a man with a hook for a hand, but it's definitely one of Cagney's lesser vehicles. Also with Ricardo Cortez (in a wasted part), Donald Woods and Barton MacLane. (Gif: James Cagney)
A KISS IN THE DARK (1949) ★★½
Watched: 10.04.2021
Well, I learned a new word: propinquity. Meaning: the state of being close to someone or something; proximity. The scene where Jane Wyman and David Niven are talking about this is really lovely. I chose to watch this film on a recommendation from a fellow film blogger but I had reservations about this myself and kept my expectations low. It's indeed a fairly average comedy, with a lot of forced humour, but there were also some funny bits, albeit silly. The best thing this film has going for it is Jane Wyman. I like her in comedy roles when she's spunky and she's very cute here. She makes a nice couple with Niven, who's doing alright, but he will never match his comedy role in Bachelor Mother. I liked the ending and of course it was a happy one (and Wyman looked adorable in that huge towel). With some overbearing Max Steiner tunes and supporting parts by Victor Moore, Wayne Morris (with a horrible moustache), Broderick Crawford and Maria Ouspenskaya, there are worse ways to spend 87 minutes. (Photos (2): David Niven and Jane Wyman)
THE PAJAMA GAME (1957) ★★½
Watched: 11.04.2021
Watched this for Doris Day and it was nice to see a musical again. It's not going to be one of my favourites, that much is clear. There were things to like here but overall it was disappointing and it was mainly due to the male lead John Raitt. He has no charisma whatsoever, I thought he was very unremarkable. I was wondering why he got the lead and figured he must have been a good singer, and then he opened his mouth and sang Hey There. And he did it beautifully! I didn't know that this song (which I love and know from Rosemary Clooney) was from this musical and apparently it was Raitt who first sang it in 1954 in the original stage production. The musical's origin is apparent because the film felt very stagy. Apart from Hey There there are two songs performed by Carol Haney (Steam Heat and Hernando's Hideaway) that sounded familiar to me and these three mentioned songs are the only memorable ones. When I saw Carol and Bob Fosse's names in the opening credits I had hoped for a lot of great dance sequences but unfortunately there was only Steam Heat that left an impression. Despite the fact that I wasn't too enthusiastic about the rest of the songs, the musical numbers are still the most enjoyable part of this film and Doris Day is the major reason to watch this. The romance between Day and Raitt wasn't very appealing, though, and the union side of the story didn't really grab me. The sets were nice, I especially liked Doris' kitchen, and I loved the colourful 1950s fashion. Still, I prefer Doris in her later films, and I also didn't like her haircut. Her rendition of Hey There was very touching. Will not likely watch this again but I'm glad I can tick it off my DD watchlist. (Screenshots by me: Doris Day and John Raitt / Doris Day and ensemble / Doris Day)
CHEYENNE (1947) ★★★½
Watched: 11.04.2021
Very enjoyable noirish western directed by Raoul Walsh. I like the fact that it was no ordinary western, for there was a mystery element. Dennis Morgan and Jane Wyman have great chemistry and I loved their scenes together. I also love Wyman, she's so feisty. This time I didn't mind Janis Paige, she was actually funny. I have to say the Max Steiner score was a bit too much, it never lets up, and the uplifting stagecoach tune gets quite annoying. Also with Bruce Bennett, Alan Hale, Arthur Kennedy and Barton MacLane. (Photos: Dennis Morgan, Jane Wyman and Janis Paige / publicity shot with Dennis Morgan and Jane Wyman / Dennis Morgan and Jane Wyman)
BAD MEN OF MISSOURI (1941) ★★½
Watched: 11.04.2021
Sought this out because of the cast. Like in Cheyenne Dennis Morgan teams up with Jane Wyman and Arthur Kennedy, in this fast-paced and enjoyable western about the Younger brothers. I had never even heard of the Younger brothers and I believe the film took some liberties with history. I liked Morgan, Kennedy and Wayne Morris as brothers and they looked good together. Morris was funny as the brother who's always hungry. This time Wyman isn't Morgan's love interest but Kennedy's. Faye Emerson plays a small part as Morgan's dying girlfriend. Further support by Victor Jory as the villain, Alan Baxter as a lifeless Jesse James, and Walter Catlett providing (annoying) comic relief. (Photos: Dennis Morgan, Wayne Morris and Arthur Kennedy / Jane Wyman and Arthur Kennedy)
THE YEARLING (1946) ★★★★
Watched: 12.04.2021
At times too saccharine (I could also do without the heavenly music with the choirs and all) and Claude Jarman Jr. overacts a bit in various scenes (he's good, though), but this is a truly memorable film and I really enjoyed it. The star of the show is the top-notch colour photography (I loved all those brownish hues and nature shots), deservedly winning the Oscar for Best Cinematography (a joint effort by DPs Charles Rosher, Leonard Smith and Arthur E. Arling), together with the Academy Award for Best Art Direction. Though I prefer Jane Wyman in her early films, playing feisty women in comedies, she's good in dramatic roles and excels here. She carries her hurt with her, caused by the loss of her three children, and it's felt throughout the film. Gregory Peck gives a fine performance too, but I have to say he looks too beautiful, a more rugged look would have been more fitting. Also very touching at times, and okay, I cried twice ... so what of it? (Screenshots by me: Jane Wyman / Gregory Peck / Jane Wyman and Gregory Peck)
THE MASK OF FU MANCHU (1932) ★★★
Watched: 13.04.2021
Very silly yet enjoyable pulp adventure film. With photography by Tony Gaudio and art direction by Cedric Gibbons, this film looks visually great. Boris Karloff plays the villain Dr. Fu Manchu and Myrna Loy is his ugly and insignificant daughter. Loy is great in the scene where she gets excited while observing Charles Starrett being tortured with whiplashes. I found the other torture sequences, the ones with the bell and the crocodiles, quite thrilling as well. I actually watched this for Karen Morley, who wasn't giving her best performance. At times she was pretty bad. (Photos: Lewis Stone, Karen Morley and Charles Starrett / Boris Karloff, Myrna Loy and Charles Starrett)
Watched: 13.04.2021
Rick Leland: "You certainly are a girl of many colors. First, your legs get blue. Then, your face turns green. And, now, you're red all over."
Alberta Marlow: "I never knew what suffering was until I came on this pleasure trip."
A bit of a convoluted plot that I didn't even try to understand but I was here for the banter between Humphrey Bogart and Mary Astor. They have great chemistry and I loved their scenes together. The film becomes more suspenseful towards the end with a lot of action taking place. Not one of John Huston's best films but enjoyable because of the leads. It looks like they had fun making this. (Screenshot by me: Humphrey Bogart and Mary Astor / Photo: Humphrey Bogart and Mary Astor)
DOUBLE DANGER (1938) ★★½
Watched: 13.04.2021
Not as bad as I thought it would be, considering some bad ratings and reviews on Letterboxd. In fact, this mystery B-film about a gentleman thief (reminiscent of Raffles) was quite enjoyable. I liked the pairing of Preston Foster and Whitney Bourne and the cat-and-mouse game between their characters. Fine support by Samuel S. Hinds, Cecil Kellaway and Donald Meek. Nothing really special but still good fun. (Photo: film poster)
THE TUNNEL OF LOVE (1958) ★★
Watched: 14.04.2021
Watched this comedy for Doris Day and it's not one of her better ones. To see her leading man Richard Widmark in a comedy role is a rare experience but I actually enjoyed his performance. His character is a bit pathetic, a quality Widmark at times also displays in his villainous roles. The story is truly silly and stupid and I didn't like the supporting characters (Gig Young and Gia Scala). Even Doris doesn't get to shine in this unfunny comedy directed by Gene Kelly. I've always loved the title song, though. (Screenshots by me (3): Doris Day)
THE ACCUSING FINGER (1936) ★★½
Watched: 15.04.2021
Watched this for Marsha Hunt and the short runtime of an hour. I had expected it to be pretty bad and was pleasantly surprised it wasn't. While Harry Carey as the senator tries to get a bill approved to end capital punishment, DA Paul Kelly is accused of murdering his wife and sentenced to death. He is incarcerated in the same prison where he sent several suspects to their deaths, including Robert Cummings (who gives a good performance, by the way). Hunt is cute this young — yet hasn't enough screen time — and serves as the love interest for both Kelly and Kent Taylor. Fast-paced and entertaining but gets a bit mawkish at the end. (Photo: Paul Kelly and Marsha Hunt)
STATION WEST (1948) ★★★½
Watched: 16.04.2021
Charlie: "Did you ever tell a woman you loved her?"
John Haven: "All of them!"
Charlie: "How'd you get away?"
John Haven: "Uhhh ... I was always in the doorway when I said it."
Charlie: "Never said it to me."
John Haven: "Let's get over to the doorway!"
This is an entertaining western noir with a bit of a convoluted plot, elevated by the great performance by Dick Powell and the snappy dialogue. Some great one-liners here ("You gonna correct me or just bleed at the mouth?"). I love Jane Greer and she's good in the femme fatale role. Also with Burl Ives as the likeable hotel clerk singing and playing the guitar (almost unrecognisable this young), Raymond Burr as the cowardly lawyer and Agnes Moorehead as the owner of the goldmine. Not the most compelling of stories but overall I really enjoyed this. (Screenshots by me: Jane Greer / Dick Powell and Jane Greer / Jane Greer)
Watched: 17.04.2021
Though truly entertaining, I had expected a bit more of this film, having seen the good ratings on Letterboxd. The viewer understands early on what the story is trying to tell and what the role of the stranger is, but it just didn't come off that powerful and I even feared it was going to get too melodramatic. Fortunately it takes a dark turn at the end. No doubt Conrad Veidt is the best thing about this film, aptly supported by a strong cast, with Rene Ray in particular being memorable. I might check out more of her films and also of Veidt. With some nice photography by Curt Courant. (Photo: Conrad Veidt, Rene Ray and Beatrix Lehmann)
YOU NEVER KNOW WOMEN (1926) ★★★½
Watched: 17.04.2021
First silent of the month. Really enjoyable film with a satisfying ending, though the circus sequences are a bit too long. I wasn't too impressed with Florence Vidor despite liking her. But Lowell Sherman was really good as the sleazy millionaire. Funny to see director William Wellman appear in a cameo. I loved the magical butterfly scene and also liked the goose with the spectacles. Beautiful photography by Victor Milner. (Screenshots by me: Florence Vidor and Clive Brook (2) / beautiful set)
RIDING HIGH (1950) ★★★½
Watched: 17.04.2021
I read that director Frank Capra was unhappy with his original film Broadway Bill (1934). Apparently lead actor Warner Baxter was no horseman and it showed on screen. For the remake Capra chose horse lover Bing Crosby in the lead and a bunch of supporting actors who reprised their roles from the original film: Raymond Walburn, Ward Bond, Clarence Muse, Douglass Dumbrille, Margaret Hamilton and Frankie Darro, all 16 years older now. Crosby has great chemistry with Clarence Muse, something which was lacking in the original pairing of Muse and Baxter. Crosby is good, pretty animated here, and I don't mind him singing (I can understand it can be a nuisance for some). Coleen Gray is no Myrna Loy (nobody is!) but she's okay and I liked her energy. I prefer this to Broadway Bill, really enjoyed this. (Screenshots by me: Bing Crosby and Coleen Gray / Coleen Gray / Coleen Gray and Charles Bickford)
Watched: 18.04.2021
No doubt the best part of this pre-code film is the last act where Ruth Chatterton — playing a brothel madam — is imprisoned and looks great with unkempt hair and without makeup. She's so good in her emotional moments. The story premise of a mother being sent to prison by her DA son (who doesn't know she's his mother) doesn't sound original but it makes for some great melodrama. Also with Louis Calhern, Donald Cook (as the son) and James Murray (from The Crowd). (Screenshots by me (2): Ruth Chatterton)
THEY MET IN A TAXI (1936) ★★★
Watched: 18.04.2021
B-mystery with a nice role for Chester Morris. I liked his character and he's a good match with Fay Wray. Fortunately Raymond Walburn and Lionel Stander were bearable here, normally I think they are overbearing and annoying. Nothing special but a lot of fun. (Photo: Chester Morris, Fay Wray, Raymond Walburn and Lionel Stander)
SAN FRANCISCO (1936) ★★★½
Watched: 19.04.2021
Well-made MGM film with good production values and impressive earthquake scenes. Clark Gable is a good fit for the role of a saloon owner. He plays a bit of a scoundrel but at the same time he manages to elicit some sympathy by being nice to the cleaner of his establishment and to kids. At the end he gets more sympathetic realising what he could have lost. I love Gable when he gets emotional. I had to fight tears when Jeanette MacDonald and others were singing Nearer, My God, to Thee. I also love Spencer Tracy who suits his clergyman role well. Cinematography by Oliver T. Marsh and costumes by Adrian. (Screenshots by me: Clark Gable and Jeanette MacDonald / Jeanette MacDonald / Clark Gable and Jeanette MacDonald)
Watched: 19.04.2021
Tonally uneven because of George Brent's performance. There are some truly brutal scenes, even surprisingly so, with Robert Barrat as Josephine Hutchinson's abusive father giving the stand-out performance here. He's great and very menacing. DP Ernest Haller treats us to beautiful visuals with long shadows. But leading man George Brent is awful, as much as I love him. His play is too lighthearted and he seems to be in a different film, also ill-suited for the role. I loved Elisabeth Risdon and Marcia Mae Jones as Hutchinson's mother and sister, though. I also like Hutchinson but it seemed a bit unbelievable that she didn't show any difficulty in her movements after having received a severe beating with a whip. Also with Guy Kibbee. (Photo: Josephine Hutchinson and George Brent)
Watched: 20.04.2021
Chose this B-film for its short runtime and I like Helen Vinson. It's about two people (Alan Marshal and Vinson), once sweethearts, meeting after ten years, both married to other people (Barbara Read and Patric Knowles). Unhappy with her own marriage, it is evident Vinson wants to rekindle the love she and Marshal once shared. The film is predictable but it was a pleasant watch (even though I kept falling asleep while watching this in bed late at night). The ending was awfully rushed and the sudden change of heart of the main characters was a bit hard to believe. I especially enjoyed Barbara Read's sweet performance. (Photo: Helen Vinson, Patric Knowles, Hattie Noel, Barbara Read and Alan Marshal)
Watched: 21.04.2021
Watched this for Bette Davis who is lovely this young and blond. Her character is also rather sweet. Unfortunately she doesn't have enough screen time because this is George Arliss' film. He plays a famous pianist turning deaf and then finding meaning in life by spying on people in the park with opera glasses. He can read their lips and helps them with their problems. Arliss is an acquired taste, I've only seen two of his films before this one (A Successful Calamity and The Working Man). I don't dislike him but I'm nowhere close to being a fan either. His lipstick is also very distracting. Look out for a young Ray Milland in an uncredited part. (Screenshots by me: George Arliss and Bette Davis / Donald Cook and Bette Davis / Bette Davis)
ISLAND IN THE SKY (1938) ★★★
Watched: 21.04.2021
Enjoyable fast-paced B-mystery. I've seen films with Gloria Stuart before but I don't think I've ever seen her this lively and energetic. I really liked her here and her character. I'm not familiar with Michael Whalen and I didn't like him right away but he had grown on me towards the end of the film, though his role was significantly smaller than Stuart's. Leon Ames can be seen in a villaneous role, I've never seen him this young. Also with Paul Kelly. (Photos: Gloria Stuart / Michael Whalen and Gloria Stuart)
THE UNSUSPECTED (1947) ★★★½
Watched: 22.04.2021
Victor Grandison (Claude Rains): "You know, it's a sort of throbbing in the air — a feeling of inevitability, like, like, uh, falling in love — a vibration. Oh, you probably wouldn't remember."
Jane Moynihan (Constance Bennett): "I'll have you know I've vibrated in my time! Once in Kansas City I ... Oh well, no use living in the past. But for six months I vibrated like a musical saw!"
Solid thriller noir directed by Michael Curtiz, boasting a good cast headed by the inimitable Claude Rains. The mystery story holds one's attention, though it is pretty straightforward and not very suspenseful. Yet it has a great moody atmosphere, created by the beautiful cinematography from Elwood Bredell. Audrey Totter delivers the stand-out performance, she's really great. I also love Constance Bennett in an Eve Arden type of role, cracking the best lines, together with Totter. The weak link here is Joan Caulfield who got first-billed, so also over Rains. Caulfield has little charisma, and with a character that's underwritten, her part in the film is not very exciting. Still, I had a good time with this. (Watched this with my sister.) (Photos: Claude Rains and Joan Caulfield / Claude Rains and Constance Bennett / Audrey Totter)
THE PRISONER OF SHARK ISLAND (1936) ★★★½
Watched: 22.04.2021
The story of Dr. Samuel Mudd, who treated the broken leg of President Lincoln's assassin, John Wilkes Booth, in 1865. John Ford's film shows Mudd's conviction as a conspirator to the assassination, his subsequent life imprisonment on Dry Tortugas, where he's treated with hostility by the guards and his fellow prisoners, his unsuccessful escape attempt, his work as a doctor in prison during a yellow fever epidemic, and his ultimate pardon by the President and his release. Whether all of this is an accurate reflection of history, I don't know, in any case Mudd is portrayed as a likeable man and a victim of circumstance. I really enjoyed this film and Warner Baxter is excellent in a demanding role. Gloria Stuart (I actually sought this film out for her, though it had been on my watchlist for some time now) plays Baxter's wife and her performance is good too. With beautiful photography by Bert Glennon who also shot Stagecoach. (Screenshots by me: Warner Baxter and Gloria Stuart / Warner Baxter / Warner Baxter and Gloria Stuart)
THE WHISTLER (1944) ★★★
Watched: 22.04.2021
Another film I chose to watch for Gloria Stuart ánd its short runtime. I also like Richard Dix a lot. This is the first instalment in The Whistler series from Columbia Pictures and it's based on the radio show of the same name. Dix starred in 7 of the 8 films in the series and they were actually the last films of his career. I'd only seen one Whistler film before this one (Mysterious Intruder) and thought Dix would be playing the same character in all films but he's not. The only constant factor is The Whistler narrator (he's a bit spooky) but each film has a different lead character, all living on the edge of society. This noirish episode has an exciting story premise of Dix's character grieving over the death of his wife and hiring a hitman because he wants to die and can't bring himself to commit suicide. Well, the wife turns out to be alive and Dix doesn't want the job to be executed. Dix is good and believable, especially in his dishevelled state. I also liked Gloria Stuart playing Dix's secretary (in love with her boss) and J. Carrol Naish as the hitman. What a great way to spend an hour! (Photo: J. Carrol Naish, Richard Dix and Gloria Stuart)
WHIPSAW (1935) ★★★½
Watched: 23.04.2021
Watched this while working from home, so with interruptions, and will definitely watch it again, since I really enjoyed it. Myrna Loy as a jewel thief and Spencer Tracy as an undercover G-man have great and sizzling chemistry and I loved all their scenes together. The most enjoyable and memorable part of the film is the one at the farmhouse of John Qualen where the lead characters are trapped during a thunderstorm and help with the birth of Qualen's twins. And that baby is totally adorable! (Photos (2): Myrna Loy and Spencer Tracy)
CONTRABAND (1940) ★★★
Watched: 24.04.2021
Watched this Powell/Pressburger collaboration for Conrad Veidt. He plays the captain of a Danish freighter getting involved with a German spy ring. He's seen in a rare romantic leading role and he has wonderful chemistry with Valerie Hobson. Their interaction is playful and a bit naughty (there's actually a bondage scene!). Ever since I saw the film Q Planes where Hobson stars with Laurence Olivier I like her. I have to say that despite the fact that Veidt convinces in a heroic role his distinctive voice and appearance still harbour a bit of a villainous streak and you almost expect him to be up to no good. I had really fun watching this. (Screenshots by me (2): Conrad Veidt and Valerie Hobson)
THE SPY IN BLACK (1939) ★★★½
Watched: 24.04.2021
Watched this for both Conrad Veidt and Valerie Hobson, because I enjoyed them together in the previously watched Contraband. Well, they are even better in this film about spies and counterspies, even though their possible romance has a different outcome here. Veidt plays a German officer in charge of an U-boat, sent on a mission to destroy the British fleet, and he portrays his character almost in a likeable way. He is such a charismatic actor, standing tall and handsome in his uniform, and he clearly carries this film. His chemistry with Hobson is unmistakable and it's a shame they didn't make more movies together. (Screenshots by me: Conrad Veidt and Valerie Hobson / Conrad Veidt / Conrad Veidt and Valerie Hobson)
ROME EXPRESS (1932) ★★★
Watched: 25.04.2021
Watched this thriller about the theft of a famous painting for Conrad Veidt, here playing the villain once more. Unfortunately there's not enough screen time for him. Instead we're getting acquainted with a bunch of other passengers (some of them rather annoying) but the action is low and it never gets really suspenseful. I loved the train setting, though, and the nice camera moves and those tracking shots. Not as enjoyable as Veidt's films with Valerie Hobson but still fun. (Screenshot by me: Conrad Veidt and Esther Ralston)
WITH SIX YOU GET EGGROLL (1968) ★★★
Watched: 25.04.2021
Watched this for Doris Day. I chose this because I was looking for a DD comedy from the 1960s I hadn't seen yet, with an appealing leading man. And I like Brian Keith. This was Doris' last film before she ventured into television with her own show. It's really a shame she didn't make more comedies because she still hadn't lost her touch. She's as good as ever. The story about two widowed people falling in love and getting married and thus blending their families together is a familiar one. It's all very predictable but made enjoyable by the leading couple. Day and Keith have great and natural chemistry. There's a goofy final act including a band of hippies coming to Day's aid, yet it was fun. It's a bit of a bummer that Doris didn't get to sing any songs and I didn't like the modernish music score. (Screenshots by me: Doris Day and Brian Keith / Doris Day and hippies / Doris Day and Brian Keith)
Watched: 26.04.2021
Been meaning to see this Jacques Tourneur film for some time now. Too bad it was such a let-down. It starts promising with a great opening set on a train, but it goes downhill pretty fast and gets rather boring. I love George Brent, mostly because of his charm, yet I'm aware of his shortcomings in acting. This isn't his worst performance, though, and in the beginning I thought he was doing okay. Where it all fails is in his scenes with Hedy Lamarr because there is no chemistry to speak of and the love story between the two characters isn't developed at all. You know, of course, they will end up together. Lamarr looks beautiful (though I didn't like the adornments in her hair and some of her dresses weren't pretty either) but her role is fairly dull. I hadn't realised the story premise is reminiscent of the one of Gaslight until I read reviews about this film. It's a shame the story here isn't fully developed and it all stays pretty lame with little suspense. I did like the atmosphere and photography by Tony Gaudio. (Photos: George Brent and Hedy Lamarr / Hedy Lamarr)
Watched: 27.04.2021
Totally disappointing. Couldn't connect with this gangster film at all. The first part was pretty boring and I was happy with the arrival of the female support (Joan Blondell, Mae Clarke and Jean Harlow) after about thirty minutes, but they have little screen time and their characters felt unnecessary and were nothing more than pretty props. James Cagney is wearing too much lipstick, yet he is well cast as the gangster. The film gets more compelling as it gets more brutal and Cagney more ruthless. (So I upped my rating by a half.) Fortunately it has a thrilling and memorable ending. It was quite shocking. Famous for the scene where Cagney shoves a grapefruit into Mae Clarke's face. And I love the opening credits! (Gifs by me: James Cagney and Mae Clarke / James Cagney)
THE HIGH AND THE MIGHTY (1954) ★★★
Watched: 28.04.2021
Overly long aviation disaster film by William A. Wellman. It's not one of his better films, yet still manages to entertain plenty and hold my attention for most of its runtime. The ensemble cast is full of famous/well-known names who make up the crew and passenger list. The snippets shown of some passengers outside of the aircraft were uninteresting and superfluous. As the film progressed some of the characters gained depth (like Jan Sterling) and there were also some heartfelt moments between the passengers. Beforehand I had hoped for a romance between John Wayne and Claire Trevor but they only had one verbal exchange so it was not going to happen. Since there were so many characters, naturally screen time was divided and my fave person Trevor had very little. Of the female characters the stewardess Doe Avedon had probably the most screen time. Apart from heading the opening credits, Wayne has a couple of lengthy scenes and dialogue. What I loved: how glamorous all women looked aboard that plane. Also, with strict security regulations in place nowadays, it feels almost alien to see how people boarded airplanes decades ago. It was fun to watch the passengers approach the check-in desk, say their age and name, and board the plane without even showing any documents. I initially liked the score by Dimitri Tiomkin but it becomes quite overbearing. This is thé film that kickstarted the genre of plane disaster movies. (Screenshots by me: Claire Trevor / John Wayne, Doe Avedon, William Campbell and Robert Stack / John Howard and Laraine Day)
GIRL SHY (1924) ★★★½
Watched: 29.04.2021
Really enjoyed this silent romantic comedy, my third Harold Lloyd film and the second one with Jobyna Ralston. What I loved: the romance and the meet-cute on the train, the couple meeting again at the bridge, Lloyd sitting on a big moving turtle, and the scene where Lloyd gives Ralston the brush-off and walks off with another girl. I liked the plot element with the novel a little less. The final chase sequence of 15 minutes or so is exhilarating but a bit too long, with Lloyd changing means of transport (cars, tram, motorbike and horses) and doing stunts. I haven't seen The Graduate yet, but apparently this ending was an inspiration for the ending of The Graduate. Also love the music, reminiscent of a Chaplin score. (Photo: Harold Lloyd and Jobyna Ralston)
THE KID BROTHER (1927) ★★★★½
Watched: 30.04.2021
Craved another Harold Lloyd/Jobyna Ralston collaboration and liked this better than Girl Shy. There aren't any scenes I didn't like. The story is simple but compelling, and it's impossible not to root for our hero to be accepted by his father and find happiness with the girl he loves. It almost felt like the Cinderella story, with the father and two brothers siding against the protagonist sibling (here Lloyd is also tasked with household chores). So many nice scenes and funny gags: the opening sequence with the laundry and the father's shirt; the scene with Lloyd's brothers where they try to hide from Ralston so she won't see them in their sleepwear, and the breakfast-in-bed-moment. I especially loved the scene where Lloyd climbs higher and higher up the tree to catch a glimpse of Ralston (moving away in the distance) in order to communicate with her one last time before she disappears from view. With the comedy greats Keaton, Chaplin and Lloyd you don't really talk about their acting abilities, the focus is on the film itself and the gags and stunts. But it really struck me here what a good performance Lloyd gives. This is an excellent and balanced mix of comedy, romance and action and I'm definitely going to watch more of Lloyd and Ralston together. I absolutely love Ralston, she has such an endearing quality, almost Gish-like. A new favourite silent! (Screenshots by me: Jobyna Ralston / Harold Lloyd and Jobyna Ralston)
THE RED HOUSE (1947) ★★★
Watched: 30.04.2021
Enjoyable gothic-like mystery with noirish undertones with a solid performance from Edward G. Robinson. I wouldn't have minded, though, if this would have been more eerie and darker. Also, we know from the beginning that the big secret has something to do with the deceased parents of the adopted girl, so the pay-off at the end is a bit weak. I had hoped for a big reveal with surprising elements. Judith Anderson doesn't have much to do, unfortunately, and the film focuses for the main part on the teenagers Lon McCallister, Allene Roberts, Rory Calhoun and Julie London. I liked Roberts as Robinson's adopted daughter and she is photographed beautifully. Great shot of Robinson drowning in his car. (Photo: Lon McCallister, Allene Roberts and Edward G. Robinson)
ANOTHER MAN'S POISON (1951) ★★★½
Watched: 30.04.2021
Surprisingly good thriller starring Bette Davis with then-real-life-husband Gary Merrill. They play off one another really well and I liked their scenes together. It feels a bit stagy, so I checked whether it's based on a play and it is (Deadlock by Leslie Sands). The cinematography is beautiful — no wonder when Robert Krasker is the DP (from The Third Man) — creating a great mood filled with suspense and tension. The film has twists up its sleeve until the very end, so pay attention. Bette gives one of her better performances here, yet looking older than her 43 years. Oh ... Merrill's dark chest hair is quite distracting. And the vet played by Emlyn Williams was highly annoying! (Screenshots by me: Bette Davis and Gary Merrill / Bette Davis / Bette Davis and Gary Merrill)
Coming to the end of this round-up post new style with a total of 50 films seen, I hope I can match that number in May or even surpass it. In any case I'm well on my way to break my yearly record. See you next time!
