July 2021 Round-Up
TOTAL FILMS SEEN IN JULY: 40
(see the film posters at the bottom of the post, arranged in watching order)
NEW-TO-ME: 39 (37 features & 2 shorts)
REWATCHES: 1
SEEN ON THE BIG SCREEN: 1
MOST WATCHED ACTOR: Lloyd Nolan (8 in total)
Elizabeth Taylor in National Velvet, My Most Loved Film of the Month
I cannot believe August has arrived already! This means July has passed and I finally got my first shot of Pfizer. I also went on a short holiday to Rojales (to our family house), my sister got sick and I had to take care of her, and because of the rising Covid cases a night curfew had been reinstalled in Barcelona (which a lot of people don't respect so we still have nights with little sleep).
Susan Peters, Centennial Girl of July
I had no preconceived plan what classic films to watch this month. I did mean to see a bunch of Susan Peters films in celebration of the centennial of her birth on the 3rd of July but I only watched The Sign of the Ram. My resolution to dedicate a centennial post to her also failed.
I watched a total of 40 films this month, so I was very happy to have seen at least one film a day on average!
Like I said, I went on a little holiday, and I watched Green Grass of Wyoming on the return train journey from Alicante to Barcelona. All of a sudden I was reminded of the horse films I still had on my watchlist (Home in Indiana, National Velvet and The Red Pony) and decided to watch these too. I also discovered that Green Grass of Wyoming was the last instalment in a trilogy and I watched part one and two as well (My Friend Flicka and Thunderhead, Son of Flicka). In addition I chose to watch two other horse films, Black Beauty and The Story of Seabiscuit. In total I saw 8 horse films, totally unplanned. I enjoyed most of them, they're just very pleasant, mostly with a feel-good quality.
Magnificent Obsession (1935) with Irene Dunne
The Filmoteca had a melodrama special planned this month, also throughout August, but I only managed to watch one film of the program (the 1935 version of Magnificent Obsession). I was very sorry to miss out on the screenings of All That Heaven Allows, Written on the Wind, Douglas Sirk's version of Magnificent Obsession and City Lights (either because of work, holiday or just not feeling well). Greed and Sunrise: A Song of Two Humans were also playing, but the latter I had already seen on the big screen and I wasn't particularly keen on seeing Greed, due to its long running time.
Magnificent Obsession (1954) with Jane Wyman (screenshot by me)
My most watched actor is Lloyd Nolan with 8 films seen in total (Buy Me That Town, Atlantic Adventure, Lady of Secrets, Manila Calling, Green Grass of Wyoming, Sleepers West, Pier 13 and Blue, White and Perfect). I like his distinctive voice and accent, his down-to-earth demeanour, and I always enjoy his performances. My most watched actress is Lynn Bari with 4 films seen in total (Sleepers West, Secret Agent of Japan, The Perfect Snob and Pier 13). Lloyd Nolan and Lynn Bari co-starred in two films seen this month (Sleepers West and Pier 13).
Actors with 3 films seen: Robert Young, Florence Rice and Preston Foster. Actors with 2 films seen: Melvyn Douglas, Rosalind Russell, Paul Lukas, Harold Lloyd, Joan Bennett, Irene Dunne, Mona Freeman, Otto Kruger, Cornel Wilde, Lon McCallister, Roddy McDowall and Rita Johnson.
My highest rated film of the month is National Velvet with Elizabeth Taylor (absolutely loved it and young Liz is wonderful). The Guilt of Janet Ames and Douglas Sirk's Magnificent Obsession follow closely. A lot of the other films were really enjoyable, but two films found themselves at the bottom of the list and are the worst rated films of the month: I Met My Love Again and Symphony of Six Million.
I'm also happy to report that I've seen two silent films this month, both with Harold Lloyd (Bashful and From Hand to Mouth). I have to admit they were both short (Bashful was supershort, only 10 minutes) and I feel a bit sorry I didn't spend more time with the silents, but I'll try to make up for it next month.
Screen couples I really enjoyed this month are: Spencer Tracy and Joan Bennett in Me and My Gal, Lloyd Nolan and Carole Landis in Manila Calling, Lloyd Nolan and Lynn Bari in Sleepers West, Preston Foster and Lynn Bari in Secret Agent of Japan, Robert Young and Florence Rice in Married Before Breakfast, Melvyn Douglas and Florence Rice in Fast Company, Robert Montgomery and Rosalind Russell in Fast and Loose, Lloyd Nolan and Lynn Bari in Pier 13, and Rosalind Russell and Melvyn Douglas in The Guilt of Janet Ames.
Breaking the 40 watched films down in decades:
1910s - 2
1920s - 0
1930s - 15
1940s - 21
1950s - 2
1960s - 0
NOW LET'S MOVE ON TO THE FILMS!
(read notes with caution as they might contain spoilers; ratings go from ½ to ★★★★★)
I MET MY LOVE AGAIN (1938) ★½
Watched: 02.07.2021
Feel bad rating this so low, also since it's my first movie of the new month. But this isn't very good. Henry Fonda and Joan Bennett make an okay couple but their romance isn't very appealing. Fonda doesn't want to commit to marriage until he's made a career for himself. In the meantime Bennett falls for Alan Marshal who seems like a nice guy but then turns into a drunken jerk and accidentally gets himself killed. Of course Fonda and Bennett get together but that final scene in the car with Bennett and Louise Platt (and Bennett going crazy) is so ludicrous that I immediately lowered my rating. Actually, the whole film is a bit of an inconsistent mess. The only redeeming factor here is Dame May Whitty. I really liked her. I also thought Platt (as Fonda's student in love with him) was quite good. (Photo: Henry Fonda and Joan Bennett / Screenshots by me: Joan Bennett / Joan Bennett and Henry Fonda)
ME AND MY GAL (1932) ★★★
Watched: 03.07.2021
The big attraction of this film is its leading couple Spencer Tracy and Joan Bennett. They have such great chemistry and their banter and snappy dialogue is so much fun and well scripted. I could listen to them wisecrack forever. Tracy plays a cop falling for feisty waitress Bennett whose sister is in love with a gangster, whom Tracy must track down. As a whole this film feels pretty uneven. The proceedings in the beginning are slow-paced and not much seems to be happening except for tedious lengthy scenes with a drunk (though the actor's drunk acting is quite good, I have to say). But the Tracy/Bennett screwball romance makes this worth your while. (Photos (2): Spencer Tracy and Joan Bennett)
SYMPHONY OF SIX MILLION (1932) ★½
Watched: 04.07.2021
A total bore, excuse me for saying this. The story premise of a country doctor with ideals working for the poor and turning into a society doctor earning good money has undoubtedly been done before with a much better result. The plot here is cliché and predictable. Lots of films that aren't any good have some redeeming qualities but this is one of the rare occasions that I just wished to be finished with a film. Richard Cortez' parents are very annoying and especially the scenes with his father drag on, notably the chess scene in the beginning. These initial scenes do nothing to move the story forward. This film also clearly suffers from a lack of screen time for Irene Dunne and from a weak leading role and unconvincing performance by Cortez. The ending had me rolling my eyes. Apparently this film has the first full original orchestral score by Max Steiner, with some segments easy on the ears but it also became quite overbearing. (Photos (2): Irene Dunne and Ricardo Cortez)
THE GREEN PROMISE (1949) ★★★
Watched: 04.07.2021
Admittedly this film is pretty saccharine but Natalie Wood holds so much appeal. I love her as a child actress. Despite Marguerite Chapman being top-billed (why?), this is clearly Wood's film. She's adorable but also feisty and she's great in displaying her emotions. I read a reviewer remarking that Wood seems to be understanding her character and motivations and I really get that feeling too while watching her. She's not just a child actress playing a role but she really tries to embody her character. Walter Brennan is good but Chapman and love interest Robert Paige are pretty bland. I liked the romance element, though, and also the sight of Chapman in jeans. (Photos: Walter Brennan and Natalie Wood / Robert Paige, Marguerite Chapman and Natalie Wood / Robert Paige and Marguerite Chapman)
THE GREAT MR. NOBODY (1941) ★★½
Watched: 05.07.2021
Unremarkable B-film with Eddie Albert and Joan Leslie but still entertaining and not outstaying its welcome. Albert plays a gullible newspaperman who comes up with good ideas, spills them to his editor (John Litel) who then steals them and presents them as his own. I liked Leslie as Albert's girlfriend who gets exasperated with him for letting others take advantage of him. Also with Dickie Moore, Alan Hale and William Lundigan in supporting roles. (Photos: Eddie Albert / Eddie Albert and Joan Leslie)
BUY ME THAT TOWN (1941) ★★★
Watched: 06.07.2021
Maybe rating this too high but this comedy is an enjoyable affair and has a feel-good quality. I admit the plot of a gang of racketeers buying a bankrupt town and then using the jail as a hiding place for their crime buddies is a bit silly and incredible but Lloyd Nolan and a fine cast of character actors make this a fun watch. I'm not familiar with Nolan's leading lady Constance Moore but they made a nice pair and I liked their romance. Nothing too exciting but still worth a watch. (Photos: Albert Dekker, Lloyd Nolan and Constance Moore / Lloyd Nolan and Constance Moore)
MILLION DOLLAR WEEKEND (1948) ★★½
Watched: 08.07.2021
Watched this on a train ride from Barcelona to Alicante. It's a rather tepid noirish film, starring Gene Raymond who also directed ánd co-wrote the story. Although the mood is fine and there's some nice photography by Paul Ivano, the film itself is pretty lackluster. Raymond plays a stock broker who embezzles a million dollars and intends to take a flight to Shanghai, with a stopover in Honolulu. He meets a woman (Stephanie Paull) on the plane who is being blackmailed by slimy Francis Lederer (who's rather obnoxious). The plot development is not really exciting and I was also a bit sidetracked by the leading lady, credited as Stephanie Paull, a name unfamiliar to me, while I was certain that I had seen her before. Turned out she's the same actress known as Osa Massen whom I've seen in A Woman’s Face. Fortunately I found out while watching the film so I could continue with my full attention. Best scene is the one where Raymond and Massen tell each other their backstories. (Photo: Osa Massen and Gene Raymond)
THAT BRENNAN GIRL (1946) ★★★
Watched: 08.07.2021
Watchable drama with Mona Freeman in a leading role as a young woman hanging out with the wrong crowd and steering towards the same mistakes her irresponsible mother June Duprez made. When she meets the older James Dunn, an amiable petty crook, he takes a romantic interest in her and she gets involved with his scheming ways. Then she experiences true love with a sailor (William Marshall) who gets killed in the war and leaves her pregnant. The rest of the film deals with her single-motherhood, how she succumbs to the old lifestyle of partying, leaving her baby with an unreliable sitter, how she loses the infant to child welfare, and miraculously finds another baby left behind in a church. Redemption is the big theme here. Also James Dunn sees the error of his ways as he's been imprisoned and released on parole, and through his devotion to his own mother values the bond between a mother and child. Despite being a bit uneven in tone, I had a good time with this. Freeman gives a good performance, it's a more substantial role for her than the lightweight girly parts she would normally get. Still, something felt off with this film and I think it's Dunn. Though his performance is solid, he doesn't have any chemistry with Freeman and he was too old for the part (and looked even older — due to alcoholism). Their happy ending with the two babies felt tacked on. One thing the film has going for it is the cinematography by Jack A. Marta. It's often beautiful. (Screenshots by me: Mona Freeman / cinematography by Jack A. Marta / James Dunn and Mona Freeman)
ATLANTIC ADVENTURE (1935) ★★
Watched: 09.07.2021
Watched this for Lloyd Nolan and wouldn't mind seeing some more of Nancy Carroll as well. But this film is not one of their better efforts. It's a rather silly affair with Nolan playing a newspaperman who gets fired after missing an appointment with the district attorney. The D.A. turns up dead and Nolan of course sets out to solve the murder. The proceedings continue aboard a ship, with the bad guys hanging out there as well. Carroll plays Nolan's girl, who's tired of getting stood up every time Nolan has a scoop. With an underwritten role, leading star Nolan has little to work with and his character comes off as unlikeable and rather stupid. Often these B-films have at least a nice romance subplot but not this one. (Photos: Lloyd Nolan and Nancy Carroll / Arthur Hohl, John Wray, Lloyd Nolan and Nancy Carroll)
LADY OF SECRETS (1936) ★★
Watched: 09.07.2021
Couldn't connect with this melodrama at all. There are some plot elements to make this an enticing watch but it all felt pretty dreary to me. Normally I enjoy Ruth Chatterton's performances but she didn't impress me much here. Watched this for Lloyd Nolan anyway, but he only has a bit part in a poorly executed flashback scene as Chatterton's love interest. They have NO chemistry whatsoever. Fortunately Chatterton is a much better match with Otto Kruger with whom she shares her happy ending. Also with Marian Marsh as Chatterton's daughter. I like her and intend to see more of her. (Photos: Marian Marsh and Otto Kruger / Ruth Chatterton and Otto Kruger)
MANILA CALLING (1942) ★★★
Watched: 10.07.2021
Decided to watch yet another Lloyd Nolan film — just because I like him — and since the two previously watched Nolan films were disappointing, I chose this WWII film, hoping his pairing with Carole Landis would prove to be just as successful as their other collaboration, the average yet very enjoyable It Happened in Flatbush. I did like their romance here, and they have nice chemistry. This film is set in the Philippines during the Japanese invasion and centers around a group of Americans and a Filipino guerrilla unit seizing a Japanese jungle base and intent on replacing the Japanese propaganda broadcasts with messages of courage and hope aimed at the conquered Filipinos. The story premise is interesting but the strength of this film lies in the cast (great support by, among others, James Gleason, Cornel Wilde and Elisha Cook Jr.) and the interesting mix of characters. I love Nolan's character and his relationship with the others, notably with Gleason. This is of course a war propaganda piece, but it's executed well with plenty of action scenes, some humour and also heartfelt moments. Yet surprisingly somber with many deaths among the group of guerrilla fighters. (Photos: Lloyd Nolan and Carole Landis / behind the scenes with director Herbert I. Leeds, Lloyd Nolan and Carole Landis / Lloyd Nolan and Carole Landis)
Watched: 11.07.2021
Went on a short holiday to Rojales (Alicante) and for the return journey I opted to watch this film. I have very mixed feelings about this. From not liking it at all to enjoying some parts of it, but still thinking I might be too generous with my rating. The film is based on a play and it shows because it's véry stagy. It's often over the top and the characters are a bit weird. Yet Katharine Hepburn and Burt Lancaster are both well cast as respectively the spinster (whose brothers and father want to marry her off) and the rainmaker (who offers hope for the drought that's endangering the farm). Though most of the film is kind of strange, there's also a magic realism here that I like. But I don't think I will be seeing this again. Oh ... and how annoying was Earl Holliman! (Photos: Katharine Hepburn, Lloyd Bridges, Burt Lancaster, Cameron Prud'Homme and Earl Holliman / Burt Lancaster and Katharine Hepburn)
GREEN GRASS OF WYOMING (1948) ★★★
NATIONAL VELVET (1944) ★★★★
BLUE, WHITE AND PERFECT (1942) ★★★
BLACK BEAUTY (1946) ★★½
Watched: 11.07.2021
Watched this on a train ride (for the most part) and enjoyed it. I like horse movies. They offer a slice of Americana and mostly have a feel-good quality, dealing with family life. I also like the display of passion and love for the beautiful animals. The story of the stallion Thunderhead 'stealing' the mare of a young rancher is appealing and the white stallion is so beautiful to look at. The scenes with both horses are stunning and all's gloriously photographed by Charles G. Clarke in Technicolor. It was nice to see Peggy Cummins in a totally different role than her femme fatale part from Gun Crazy and to see her romance with Robert Arthur unfold, paralleling the one of the stallion and the mare. Also with Charles Coburn, Lloyd Nolan and Burl Ives. Apparently Marilyn Monroe has an uncredited role here but I haven't spotted her. This is the last film in a trilogy (I discovered this afterwards), the first and second film being My Friend Flicka and Thunderhead, Son of Flicka. Will watch these soon. (Photos: Peggy Cummins and Robert Arthur / Charles Coburn and Peggy Cummins)
HOME IN INDIANA (1944) ★★★
Watched: 12.07.2021
More horse movies. Have wanted to see this film ever since I saw a picture of a young and tomboyish Jeanne Crain in braids and wearing a chequered shirt. The plot of this horse movie doesn't surprise (boy loves trotting horses and gets caught between two girls) but I really enjoyed this film, especially the friendship and romance between the youngsters Crain and Lon McCallister. Ward Bond gives support in a surprisingly normal and friendly role as Crain's father. (Photos: Jeanne Crain and Lon McCallister / Jeanne Crain and June Haver / Jeanne Crain and Lon McCallister)
Watched: 13.07.2021
I loved this! It's a well-known and heartwarming story about a girl and her love for a horse. I was very charmed by Elizabeth Taylor who gives a passionate and convincing performance. She was such a remarkable child actress, so beautiful and talented. She really makes you believe she's Velvet. The rest of the cast is great as well, especially Anne Revere is wonderful as Velvet's mother and I love her relationship with Velvet. There's also great on-screen chemistry between Liz and Mickey Rooney. Loved all the family dynamics (the little boy Jackie 'Butch' Jenkins is the only one who's slightly annoying). This feel-good movie left me with a warm feeling and I will definitely watch it again. Beautiful photography in Technicolor by Leonard Smith and a pleasant music score by Herbert Stothart. By the way, I literally gasped when Mickey Rooney cut Velvet's beautiful hair. (Gif by me: Elizabeth Taylor and Mickey Rooney / Photo: Elizabeth Taylor)
THE RED PONY (1949) ★★★
Watched: 15.07.2021
Based on a John Steinbeck story, this horse movie was a bit of a disappointment as I had been meaning to watch this for some time now and had high hopes for it. Though enjoyable, it's not the wholesome family feel-good movie I was hoping for. There's actually not much happening so I wasn't prepared for the dramatic turn this film takes and the bird attack scene is just shocking, reminiscent of The Birds. The performances by the leads are solid but what really stands out here is the stunning cinematography by Tony Gaudio, photographed in beautiful Technicolor. For that alone this is worth watching. Also nice music score by Aaron Copland. And the kid Peter Miles is okay and not as annoying as film kids of his age can be. (Photos: Robert Mitchum and Myrna Loy / Robert Mitchum / Myrna Loy)
SLEEPERS WEST (1941) ★★★
Watched: 16.07.2021
Taking a break from horse movies and chose this for Lloyd Nolan. It turned out to be the second instalment in the Michael Shayne series, in which Nolan portrays the private detective Shayne. In fact, Nolan played in 7 Shayne films in total, Hugh Beaumont took over the role for the other 5 films. I'd never seen a Shayne film before and enjoyed this one, primarily because of the banter between Nolan and Lynn Bari and their chemistry. The film's premise is nothing special but benefits from the train setting (I love films set on trains!). Will go and look for the other instalments in the series. (Photos: Lloyd Nolan, Lynn Bari and Donald Douglas / Lloyd Nolan, Lynn Bari and Mary Beth Hughes)
Watched: 16.07.2021
Another film in the Mike Shayne series starring Lloyd Nolan as the private detective (this is the fourth instalment). This also stars Mary Beth Hughes whom I've seen in the previously watched Shayne film Sleepers West in a different role. Here she plays Shayne's former girlfriend, wanting him to give up his practice and get a normal job. I had fun with this (despite the convoluted plot involving a Nazi smuggling ring) and enjoyed Nolan's lively performance. He was funny in the scene where he calls Mary Beth Hughes on the phone from Frank Orth's shop, pretending to be calling from the aircraft plant where he is supposed to work as a riveter and imitating the sounds of the plant. Frank Orth and his wife are observing him with astonished looks on their faces. Nice lightweight entertainment. (Photos: Lloyd Nolan and Mary Beth Hughes / Helene Reynolds, Lloyd Nolan and Mary Beth Hughes / Lloyd Nolan and Mary Beth Hughes)
MY FRIEND FLICKA (1943) ★★★
Watched: 18.07.2021
This is the first film in a trilogy about the McLaughlin family and their son Ken, raising horses on their farm in Wyoming. (I've already seen Green Grass of Wyoming, the last part in the series with a totally different cast than the first two films). In this first part Ken is a precocious 10-year-old boy, played by Roddy McDowall, failing at school and wanting to have a horse of his own. His father (Preston Foster) lets him choose one from the herd so the boy can learn to be responsible. He chooses a high-spirited filly. The story is a simple one, and the boy and the horse Flicka of course become friends. I really enjoyed it, and I like Foster as the father and he makes a nice couple with Rita Johnson as the mother. Loved the ending where Foster carries his son (just recovered) to see Flicka and tells him some life lessons: about responsibility, hope beyond hope, and how more love, patience and faith make all the difference. (By the way, Roddy McDowall's English accent sounds totally out of place and he's not very successful in suppressing it.) (Photos: Roddy McDowall, Preston Foster and Rita Johnson / Preston Foster and Rita Johnson)
THUNDERHEAD, SON OF FLICKA (1945) ★★★
Watched: 18.07.2021
Sequel to My Friend Flicka (1943) starring the same cast. Roddy McDowall is a bit older here and wants to train Thunderhead, the beautiful white colt and son of Flicka, to become a champion race horse. Much of the plot is predictable but I enjoyed the relationship between McDowall and his parents Preston Foster and Rita Johnson. I found Diana Hale as Hildy (the small daughter of the Swedish farmhand) increasingly annoying, though. At the end of the film things take a dramatic turn. Thunderhead is fighting it out with Albino (a white horse who is stealing mares from ranch owners like Foster) with a rather disturbing result. The outdoor photography in the last part is stunning. (Photos: Roddy McDowall, Preston Foster and Rita Johnson / Diana Hale, Rita Johnson, Ralph Sanford and Preston Foster / Rita Johnson, Preston Foster and Roddy McDowall reprise their film roles for the radio adaptation of Thunderhead, Son of Flicka for Lux Radio Theater)
Watched: 19.07.2021
Another horse movie. I know Black Beauty from my youth when I saw the series The Adventures of Black Beauty (1972 – 1974) starring Judi Bowker. Never read the much-loved novel by Anna Sewell and I couldn't really remember anything from the series other than that it's about a girl and a horse. Well, that really sums it up indeed. Mona Freeman gives a lively performance as the girl on the brink of womanhood, dividing her attention between Black Beauty and an older American (Richard Denning). Though the film wasn't very exciting and I've seen more appealing romances, I had an okay time with it. Shot originally in black-and-white, I watched the coloured version. (Photo: Mona Freeman and Richard Denning)
Wanted to watch this horse movie because it stars a grown-up Shirley Temple. And she looks lovely (love her wardrobe). I didn't know Seabiscuit was a legendary horse in real life and a champion racehorse. Real-life footage of Seabiscuit racing is shown in black-and-white. This was an entertaining watch with a nice romance between Shirley Temple and Lon McCallister. Also with Barry Fitzgerald as Temple's uncle. By the way, I think Shirley has a believable Irish accent, not overdoing it. (Photos: Shirley Temple, Lon McCallister and Barry Fitzgerald / Shirley Temple and Lon McCallister)
SECRET AGENT OF JAPAN (1942) ★★½
Watched: 21.07.2021
Watched this entertaining WWII spy-thriller for Preston Foster. Strength of the film is his pairing with Lynn Bari. They have great chemistry and I liked their banter. The film is full of spies, it's fast-paced and a lot is happening, but honestly, I just concentrated on Foster and Bari and enjoyed them together (Bari looks great in that white dress with the bare back) and didn't even try to understand the convoluted plot. I also really enjoyed the above-average photography (often noirish) by Lucien N. Andriot. Apparently this is the first film to mention the Pearl Harbor attack and was rushed into production right after the attack. (Photos (2): Preston Foster and Lynn Bari)
THE PERFECT SNOB (1941) ★★½
Watched: 22.07.2021
Watched this for Lynn Bari. It's a fairly enjoyable comedy where Bari goes to Honolulu after graduation with her overbearing mother Charlotte Greenwood, who encourages her daughter to land a rich bachelor. Dad Charles Ruggles is a veterinarian who doesn't care about money and social position. When the older Alan Mowbray presents himself as an eligible candidate for Bari, Ruggles elicits help from Cornel Wilde to prevent the marriage and some funny situations ensue. What I didn't like was the way Wilde tried to woo Bari. Even though his courtship was a commissioned act, he came on too strong and was annoying. The romance is rushed and unconvincing. Also, Bari's character is not really likeable. It's hard to understand why the men even fall for her. I only liked her in the scene where she's cuddling puppies. What I did like: Charles Ruggles and how mismatched his pairing is with Charlotte Greenwood; cute dog Skippy, most famous as Asta from The Thin Man-series; the bromance between Cornel Wilde and Anthony Quinn and their fight over a pair of trousers; the meeting between Ruggles and Wilde and how cute Wilde looked, flashing an adorable smile. This film suffers a bit from the short runtime, and though entertaining, ultimately disappoints. Directed by Ray McCarey, younger brother of director Leo McCarey. He committed suicide at the age of 44, being in ill health prior to his death. (Photos: Cornel Wilde, Lynn Bari and Skippy / Cornel Wilde and Anthony Quinn)
NO PLACE TO GO (1939) ★★
Watched: 23.07.2021
Watched this for its short running time under an hour, already not expecting too much from it. Fred Stone (best known for his role as Katharine Hepburn's father in Alice Adams) is perfectly happy living in an old soldiers home. Yet son Dennis Morgan wants his father to live with him and his wife Gloria Dickson — because his dad cannot possibly be happy with his current living arrangements — and pretends he needs help with the business. Once dad has moved in, he realises they don't need him at all and strikes up a friendship with a neighbourhood kid who has a crooked uncle. Morgan has first billing but not much of a role at all. Dickson is okay as the torn wife who loves her father-in-law and wants to do the right thing but also resents him for disrupting her household affairs and interfering with her social life. Stone, third-billed, is the star of the show with the most screen time and also some heartfelt moments. The feel-good ending with a group of old men from a nearby elderly home coming to Stone's rescue is probably the most enjoyable moment of the film. (Poster: Dennis Morgan, Fred Stone and Gloria Dickson / Photo: Dennis Morgan, Fred Stone, Greta Meyer and Gloria Dickson)
Watched: 24.07.2021
Watched this for Susan Peters in celebration of the centennial of her birth on 3 July 1921. Peters' career was cut short because of a shooting incident during a duck hunting trip which left her paralysed. (She reached for a hunting rifle in the underbrush which accidentally went off and a bullet hit her in the abdomen.) In this B-noir she plays a manipulative woman in a wheelchair, trying to control her family. Being filmed a couple of years after her real-life accident, the paralysis is real and not played. Though the film is enjoyable (especially the atmosphere is good with cinematography by Burnett Guffey) and Peters gives a convincing performance, I found the plot a bit meandering and the pace too slow. I like how Peters is all smiles and how her wickedness simmers under the surface, but I wouldn't have minded some more overt viciousness. Also with Alexander Knox, Phyllis Thaxter, Peggy Ann Garner, May Whitty, Allene Roberts and Diana Douglas. Douglas, who was married to Kirk Douglas and mother of Michael, has a substantial role as one of the women whose lives Peters is trying to manipulate. (Photos: Susan Peters / Alexander Knox and Phyllis Thaxter)
THE BRIDE COMES HOME (1935) ★★★
Watched: 24.07.2021
Surprisingly entertaining comedy, as I was under the impression this was one of the lesser collaborations of Fred MacMurray and Claudette Colbert. Also with Robert Young who is part of the love triangle and plays a rich socialite starting a magazine for men with his former bodyguard MacMurray. Colbert (Young's lifelong friend, whom he loves and repeatedly asks to marry him) finds herself penniless as a result of the Depression and asks Young for a job. He offers her the position of assistant editor, working under editor MacMurray. Here the battle of the sexes begins and macho MacMurray (looking really handsome this young!) behaves a bit obnoxious towards Colbert. The scene where he instructs her to count all the Smith's, Jones's and Brown's in the phone book (as a means to keep her busy) is funny and off-putting at the same time. Colbert is wonderful in that scene, swallowing her pride but obviously loathing him for giving her the assignment, and then tormenting him with stupid questions. Where it failed for me is how swift MacMurray's love came for Colbert (right after finding out she's not rich anymore but really has to work for her money), and vice versa. I would have loved to see and hear them bicker more because their verbal interactions (before falling in love) were the best scripted lines of the film. All is predictable and the ending is messy and rushed (with a great part for Edgar Kennedy as a reluctant justice of the peace, almost losing it) but overall it's fun, with Colbert giving the stand-out performance. (Screenshot by me: Fred MacMurray and Claudette Colbert / Publicity shots (2): Fred MacMurray, Claudette Colbert and Robert Young)
MARRIED BEFORE BREAKFAST (1937) ★★★
Watched: 24.07.2021
Comedy with Robert Young (I watched this for him) with a very silly plot, where Young comes into a large sum of money after selling his hair removing cream invention to a razor company. He then buys expensive gifts for the people living in his boarding house and plays benefactor to Florence Rice and Hugh Marlowe. Rice is the steamship company employee who made reservations for Young for his honeymoon. She wants to get married herself but her fiancé Marlowe only wants to marry her when he has made a promotion by selling an insurance policy to a certain milkman (Tom Kennedy). So Young is intent on making the deal for Marlowe by treating the milkman to a free policy. The large part of the movie consists of the hunt for the milkman, throwing our leading couple in a series of madcap situations. Where this film really worked for me was the chemistry between the leads and the way their romance developed. Both engaged to be married to other persons, they were fighting against the growing attraction between them, best illustrated in the great closet scene where they are hiding from the police. It's the best moment of the film. Young looks very handsome in that scene and I love the fact that they still resist the urge of a kiss (and succeed). Everything ends well of course, and now I'm going to look for more Young and Rice films since they made several together (already seen them as a couple in Paradise for Three). (Photos (2): Florence Rice and Robert Young)
THE LONGEST NIGHT (1936) ★★★
Watched: 25.07.2021
Watched this for Robert Young and Florence Rice. It's nothing special, but great fun nonetheless and it packs an awful lot of plot in such a short runtime. I liked the enclosed setting of the department store, and also liked how Young went from being flirty towards Rice to being serious and taking charge of things going on in his store. Young and Rice make a nice couple and it makes sense they starred in several movies together. (Photos: Robert Young, Florence Rice, Julie Haydon and Olin Howland / Catherine Doucet, Florence Rice and Robert Young)
FAST COMPANY (1938) ★★★
Watched: 26.07.2021
Had this on my watchlist for some time now and since I wouldn't mind seeing more of Florence Rice, I decided to prioritise this. Reminiscent of The Thin Man series (but not coming even close, because who could match the screen pairing of William Powell and Myrna Loy as the Charles couple?), this was very enjoyable. The best thing about this comedy is no doubt the witty banter between the leads Melvyn Douglas and Florence Rice as the married couple Joel and Garda Sloane, book-dealers of rare books, doing some sleuthing on the side. The wisecracks are delivered with panache. Douglas is suave, charming, frothy and maybe a bit too cocky, but he really plays these kind of roles perfectly. Rice is an attractive presence, dresses smartly, and though she might be a bit too perky, I liked her sassiness and she has good chemistry with Douglas. The plot is secondary, I even find these mysteries sometimes difficult to follow. I discovered there are three films in the Fast series, featuring the Sloane couple, each film starring a different screen couple. I've already seen the last one in the series without knowing it was part of a trilogy, Fast and Furious with Franchot Tone and Ann Sothern. I cannot remember much of it, it was probably not special but enjoyable. (Poster: Melvyn Douglas and Florence Rice / Photo: Melvyn Douglas and Claire Dodd)
FAST AND LOOSE (1939) ★★★
Watched: 26.07.2021
The second in the Fast series, this time starring Robert Montgomery and Rosalind Russell as the Sloane couple. Their performances are less lively than those of Melvyn Douglas and Florence Rice in Fast Company, but I actually liked the fact that it was more toned down. There's less banter, it seems, yet there are still enough witty lines. Russell looks beautiful and as an actress she's an upgrade from Rice. Montgomery and Douglas both have their own qualities but Montgomery is less cocky and suave than Douglas. With a plot dealing with a stolen manuscript and murder, this was entertaining throughout. I liked how Russell completed Etienne Girardot's sentences who kept forgetting words. (Photos (3): Robert Montgomery and Rosalind Russell)
PIER 13 (1940) ★★★
Watched: 26.07.2021I didn't know beforehand this was a remake of Me and My Gal but even in my sleepy state things seemed awfully familiar to me since I watched said Me and My Gal at the beginning of the month. I prefer Me and My Gal over this one but it's not a bad remake and the leads Lynn Bari and Lloyd Nolan fill their roles well and have good chemistry. Plenty of wisecracks and banter make this an entertaining watch. (Photos (2): Lynn Bari and Lloyd Nolan)
THE GUILT OF JANET AMES (1947) ★★★½
Watched: 28.07.2021
A very unusual and original drama elevated by the great performances from the leads Rosalind Russell and Melvyn Douglas who have good chemistry. I was thinking they would be great together in a comedy and then realised I had seen them in the very enjoyable This Thing Called Love. (They only made two films together, unfortunately). The story premise of a war widow carrying a list of the five men who her husband saved by throwing himself on a grenade which caused his death — she wants to meet them and see if they're worthy of living — is an appealing one. I had my doubts about the execution and didn't like the dream sequences at first. I was wondering what would have worked better than the Peter Ibbetson-technique when showing the men on the list to the viewer, but then I didn't mind the dreams so much anymore. It all feels a bit stagy and love comes quickly, but the film is beautifully shot by Joseph Walker and there's a nice music score by George Duning. Both lead characters are struggling with the aftermath of war and have to deal with feelings of guilt and loss, especially Douglas as the commanding officer whose command caused the death of Russell's husband. They have some strong moments together and I got a bit emotional at the ending. And Roz looks beautiful. Incidentally, Sid Caesar's stand-up comedian act was way too long and annoying and took me out of the film's mood and actually had no place here. (Photos (2): Rosalind Russell and Melvyn Douglas)
BRIEF ECSTASY (1937) ★★½
Watched: 28.07.2021
Had expected more of this British film. Although an entertaining melodrama with some stunning photography by Ronald Neame and innovative shots, this suffers from stilted performances and a predictable plot about a triangle love story. The housekeeper, a Mrs. Danvers-like woman obsessed with her master and resentful of his younger wife, is quite laughable, though she does provide an eerie moment at some point. There's an ominous score warning the viewer when to expect the drama. (Watched this for Paul Lukas.) (Photos: Linden Travers / Hugh Williams and Linden Travers / Paul Lukas)
BY CANDLELIGHT (1933) ★★½
Watched: 29.07.2021
Amusing story premise of mistaken identity where a butler poses as his master, a prince, and imitates his master's immoral behaviour. In the role of the butler we have Paul Lukas (for whom I watched this movie) and I loved to see him in a rare comedy role, being playful and a bit silly. But .... the execution of this premise could have been better and the comedy didn't come off that well. I liked Nils Asther as the prince, especially the scene where's he playing the butler. But I was disappointed in Elissa Landi's performance and how her character wasn't that likeable, even though she was also impersonating someone else. Paul Lukas might not be the best choice for such a light part but he did well, despite overdoing his befuddlement at times. I liked the trickery with the broken fuse and the romantic candlelight. The worst part of this Ernst Lubitsch-like comedy is the music. It's constantly in the background or foreground and just never lets up. Not necessarily awful music, but the way it was used incessantly was very grating. (Photos: Paul Lukas and Elissa Landi / Nils Asther and Elissa Landi / Paul Lukas and Elissa Landi)
MAGNIFICENT OBSESSION (1935) ★★½
Watched: 29.07.2021
Seen on the big screen at the Filmoteca as part of the melodrama special. I've seen the 1954 Douglas Sirk version before but this one was a first watch for me. I still remembered the preposterous plot, how can you ever forget it? It's really taking melodrama to the max. Filmed in black-and-white, with pretty average performances by the leads Irene Dunne and Robert Taylor, nothing really stands out here. There was also something lacking in the chemistry between Dunne and Taylor. The latter has an annoying and unnecessarily long scene where his character is drunk (Taylor plays a drunk very badly, I might add), leaving Charles Butterworth in a ditch and stumbling upon the house of Ralph Morgan. Although it was great to see this film at the theater and I was entertained, I probably won't be rewatching this any time soon. (Photos: Irene Dunne and Robert Taylor / Irene Dunne and Cora Sue Collins / Irene Dunne and Robert Taylor on location in Los Angeles, during the filming of Magnificent Obsession)
MAGNIFICENT OBSESSION (1954) ★★★½
Rewatched: 30.07.2021
Felt like watching Douglas Sirk's remake at home. Normally I only rewatch films at the theater, but I couldn't make this film's screening at the Filmoteca in the afternoon because of work, neither can I catch it when it is programmed again in August (also because of work). This is by far the superior version, and though the overly dramatic source material is obviously the same as from the 1935 version, here there are good performances to be had by Jane Wyman and Rock Hudson. They're better and more convincing than Irene Dunne and Robert Taylor in the original version. A big plus is also the direction by Sirk, the wonderful Technicolor and cinematography by Russell Metty, great interiors (Rock's couch!), and a sweeping music score by Frank Skinner (I don't think there was any music in the 1935 film). I even got a bit emotional with the scene where despair keeps Jane Wyman awake in her hotelroom and then Rock comes along and makes everything better. The film's religious theme of paying it forward (in secret and without asking anything in return) is pretty heavy-handed and I could do without the angelic music accompanying Otto Kruger whenever he's on screen, but theme and awful story aside, this is a well-made melodrama and probably only Sirk could make it work. Good support by Barbara Rush and Agnes Moorehead. (Screenshots by me: Jane Wyman and Rock Hudson / Rock Hudson and Barbara Rush / Jane Wyman and Otto Kruger)
BASHFUL (1917) ★★½
Watched: 31.07.2021
Hadn't seen a silent film yet this month, so what better way to make good on my intention of watching at least one silent a month than to squeeze in a short of 10 minutes starring Harold Lloyd? Here Lloyd pretends to be married and have a baby in order to claim an inheritance. Nothing special but good for a couple of laughs. It's a bit unsettling, though, how the butler kidnaps enough babies to fill a nursery. (Gif: Harold Lloyd / Photo: Bebe Daniels and Harold Lloyd)
FROM HAND TO MOUTH (1919) ★★★
Watched: 31.07.2021
Another Harold Lloyd short, a bit longer than Blush and with more substance. Lloyd is poor and hungry and gets company of a homeless child (a cute girl wearing too much makeup) and her dog, being in the same predicament. Mildred Davis plays an heiress who comes to their rescue when they're in trouble. Lloyd rescues her in turn when she's kidnapped and helps her claim her inheritance before the clock strikes twelve. There's a good sequence with cops chasing Lloyd and the last scene is kind of cute. (Photos: Mildred Davis and Harold Lloyd / Harold Lloyd and Peggy Cartwright)
SINNERS IN PARADISE (1938) ★★
Watched: 31.07.2021
Last film of the month is a B-film directed by James Whale, who made a name for himself in the horror genre (e.g. Frankenstein). This is an adventure film about a group of mismatched people surviving a plane crash and washing up on an island where John Boles took refuge with his Chinese servant. Boles is unwilling to lend his boat to the group in order for them to return to the main land, and problems ensue. The plot is not very believable (also: while the plane crashed, no passenger was strapped in his seat with the seat belt on!), the characters are one-dimensional and the romance between Boles and Madge Evans is rushed and forced, but I still had a good time with this. It probably would have helped if the runtime had been a bit longer. I liked the romance of Bruce Cabot and Marion Martin better (Martin is fun and sassy), but I found Gene Lockhart rather annoying. This film seems to be giving social commentary on labour conditions so in that respect it has something meaningful to say. (Poster: John Boles, Madge Evans, Bruce Cabot and Marion Martin / Photos: Bruce Cabot and Marion Martin / John Boles and Madge Evans)
Well, that's another round-up! Pretty satisfied with what I watched this month. Hopefully I will get to see some melodramas on the big screen in the coming weeks, as the Filmoteca prolongs its melodrama special in August. Programmed are: Love Affair, An Affair to Remember, Only Yesterday, There's Always Tomorrow, Letter From an Unknown Woman, Gaslight, All About Eve, Magnificent Obsession (both versions), Imitation of Life (both versions), Brief Encounter, City Lights and The Bigamist. Very excited to see some of these on the big screen! Have a great August!
