August 2021 Round-Up
TOTAL FILMS SEEN IN AUGUST: 45
(see the film posters at the bottom of the post, arranged in watching order)
NEW-TO-ME: 42 (38 features & 4 shorts)
REWATCHES: 3
SEEN ON THE BIG SCREEN: 4
MOST WATCHED ACTOR: John Payne (7 in total)
Esther Williams, Centennial Girl of the Month
Summer is coming to an end, but living in Barcelona means we still have lovely summery weather ahead of us in September and October. My brother was visiting Spain with his family, so it was very nice to see relatives again other than my sister with whom I share an apartment. Now we are finally on a two-week vacation ourselves and our elder sister came to visit us in Barcelona as well. The day before yesterday we went with her to The Netherlands for a visit to the whole family. Regarding the current Covid restrictions in our hometown: Barcelona dropped the night curfew on the third weekend of August but people weren't respecting the curfew anyway and caused us nights with little sleep. Our search for another apartment in a quiet neighbourhood will continue!
So what happened movie-wise? I watched a satisfying amount of films, 45 to be exact!
Our favourite film theater Filmoteca ran a melodrama special this summer during July and August. I had hoped to see more films than I did but was still happy with the few films I did watch on the big screen in August. Some films just weren't meant to be. Due to work I missed There's Always Tomorrow, Sirk's Magnificent Obsession (also missed in July) and City Lights (missed in July as well). The first weekend of August I was looking forward to rewatch Letter From an Unknown Woman and Gaslight, but in the end I didn't make it. At the time I just had my second jab of Pfizer and didn't feel too well, also it was the weekend of my brother's visit and I had slept little. On top of that both films were showing in the small screening room of the Filmoteca and being almost sold out and leaving undesirable seats as shown on the floormap online, we figured we'd better wait for them to be shown in the big viewing room with better seating. I also missed the two versions of Imitation of Life (had seen the Sirk version at the Filmoteca before) and decided not to go out and see Brief Encounter (also seen this one already at the Filmoteca) and The Bigamist. So what did I see at the film theater this month? Only four films in total: Only Yesterday (first watch) and rewatches of Love Affair, All About Eve and An Affair to Remember.
I watched 7 silent films this month, 3 features (The Family Secret, Captain January and The Oyster Princess) and 4 shorts (The Love Nest with Buster Keaton, Behind the Screen with Charlie Chaplin, and two Harold Lloyd films Take a Chance and Look Pleasant, Please). Had meant to watch more, yet I was happy to finally get acquainted with Baby Peggy.
I thought Ella Raines had the centennial of her birth this year and I had meant to focus on her filmography. But I was mistaken, she was born in 1920. I did watch two of her films (Tall in the Saddle and The Second Face).
Esther Williams díd celebrate the centennial of her birth this year, on the 8th of August, and I selected a few of her films to watch. She became My Most Watched Actress with 3 films seen (The Unguarded Moment, Thrill of a Romance and Duchess of Idaho).
John Payne, Most Watched Actor of the Month
My Most Watched Actor is John Payne with 7 films seen in total: Slightly Scarlet, Hold Back the Night, Hats Off, The Great American Broadcast, Star Dust, Maryland and Silver Lode.
I watched three more episodes of the Andy Hardy series (out of order): Life Begins for Andy Hardy, The Courtship of Andy Hardy and Andy Hardy’s Blonde Trouble.
Actors with 4 films seen: Mickey Rooney (Life Begins for Andy Hardy, The Courtship of Andy Hardy, Andy Hardy’s Blonde Trouble and Ah, Wilderness!) and Don Ameche (Slightly French, Confirm or Deny, You Can’t Have Everything and Down Argentine Way).
Actors with 3 films seen: Van Johnson (Thrill of a Romance, Three Guys Named Mike and Duchess of Idaho), Howard Keel (Three Guys Named Mike, Floods of Fear and Desperate Search) and Kent Taylor (Slightly Scarlet, My Marriage and Repent at Leisure).
Actors/actresses with 2 films seen: Baby Peggy (The Family Secret and Captain January), Bonita Granville (Andy Hardy’s Blonde Trouble and Ah, Wilderness!), Lionel Barrymore (Ah, Wilderness! and The Broken Lullaby), Arlene Dahl (Slightly Scarlet and Fortune Is a Woman), Alice Faye (The Great American Broadcast and You Can’t Have Everything), George Nader (The Unguarded Moment and Nowhere to Go), Roddy McDowall (Confirm or Deny and Lassie Come Home) and Harold Lloyd (Take a Chance and Look Pleasant, Please).
My highest rated films are Love Affair, All About Eve and An Affair to Remember (all three rewatches, the only ones of the month, and all seen on the big screen).
Nowhere to Go follows closely. Assignment in Brittany, Captain January (Shirley Temple version), Hold Back the Night, Only Yesterday, Star Dust, The Broken Lullaby, Slightly French, Thrill of a Romance, Lassie Come Home and Three Guys Named Mike deserve worthy mentions too, because they were all entertaining.
The worst/least enjoyable films of the month are: The Second Face, First Lady, The Oyster Princess and Hats Off — with Hats Off ranking at the absolute bottom of the list.
Irene Dunne and Charles Boyer in Love Affair
As I've done in my latest round-ups, I also want to mention the screen couples I enjoyed the most this month: Judy Garland and Mickey Rooney in Life Begins for Andy Hardy, John Payne and Alice Faye in The Great American Broadcast, Esther Williams and George Nader in The Unguarded Moment, George Nader and Maggie Smith in Nowhere to Go, Linda Darnell and John Payne in Star Dust, Esther Williams and Van Johnson in Thrill of a Romance, Irene Dunne and Charles Boyer in Love Affair, and Cary Grant and Deborah Kerr in An Affair to Remember.
Breaking the 45 watched films down in decades:
1910s - 4
1920s - 3
1930s - 10
1940s - 15
1950s - 13
1960s - 0
I really have to do something about my 0 count for the sixties! Will make up for this next month!
NOW LET'S MOVE ON TO THE FILMS!
(read notes with caution as they might contain spoilers; ratings go from ½ to ★★★★★)
TALL IN THE SADDLE (1944) ★★★
Watched: 02.08.2021
Watched this for Ella Raines, thinking she would have the centennial of her birth on the 6th of August. But I checked and it turns out she was born in 1920 so I'm a year late. Well, anyway, this western starring a young and handsome John Wayne had been on my watchlist for some time so it was a good incentive to finally watch it. It was entertaining and I liked how feisty and tomboyish Ella was (and how good she looked!) but her character was clearly underwritten. She did arrive with a bang, trying to shoot some lead into Wayne. I was a bit disappointed how their romance developed. In the end it was a pretty standard western, with a bit of a confusing plot, but with an enjoyable comradeship between Wayne and George 'Gabby' Hayes (Gabby's scenes can become a bit tedious, though). Further support by Ward Bond, Audrey Long (as Wayne's other love interest) and Elisabeth Risdon (she was annoying and overdoing it). Some nice photography by Robert De Grasse. (Screenshots by me: Ella Raines / John Wayne / Ella Raines and John Wayne)
THE SECOND FACE (1950) ★★
Watched: 03.08.2021
Another Ella Raines film. Here she's first-billed and indeed has the bigger part. She delivers a solid performance, at least doing the best she can with the poor material she's been given. The script is pretty bad, at times cringeworthy. The story of a plain girl who turns beautiful after an accident and plastic surgery is not an unfamiliar one. But the notion of how one's looks are important and defining isn't handled with subtlety here. There are few surprises and the happy ending is predictable (we were really excited to find out who Raines' benefactor was, since it was so unexpected ..... ....... NOT!) I liked Rita Johnson here and just learned about her hair dryer accident (she got badly injured when a hair dryer fell on her head). (Photos: Ella Raines, Bruce Bennett and Rita Johnson / Ella Raines / Ella Raines)
THE FAMILY SECRET (1924) ★★★
Watched: 04.08.2021
Intend to watch silent films every month and best thing to start early on, so I won't run the risk I haven't seen any towards the end of the month. I sought this out on the recommendation of a fellow film blogger. Have heard of Baby Peggy and seen her on photos and probably in random film scenes, but never seen an entire film with her. Well, she's really cute, she's the Shirley Temple of the silent era. The story of this film was appealing as well, even though I wasn't really charmed by the main adult actors, but they steadily grew on me. Some nice scenes with Baby Peggy eating bananas and sleeping with a dog. (Photo: Baby Peggy and Frank Currier / Gif by me: Baby Peggy)
ASSIGNMENT IN BRITTANY (1943) ★★★½
Watched: 04.08.2021
Did not expect to like this WWII film so much. First of all, I didn't think I would like Jean-Pierre Aumont, but I did and at times he reminded me a bit of James Cagney. I watched this for Susan Peters who looks lovely but doesn't have much of a role, just playing Aumont's love interest. Signe Hasso's character, in league with the Nazis, is more interesting, yet she has little screen time. I liked Margaret Wycherly as Aumont's mother and the finale packed with action was surprising and thrilling. (Photos: Jean-Pierre Aumont, Susan Peters and Signe Hasso / Jean-Pierre Aumont and Susan Peters / Jean-Pierre Aumont and Susan Peters)
CAPTAIN JANUARY (1924) ★★★
Watched: 05.08.2021
Another silent film watched for Baby Peggy. She's really cute, also in her scenes with the animals (dog, pelican and cow). I thought Hobart Bosworth made a convincing lighthouse keeper. He just really looks the part. The story of a little girl washed ashore during a storm and being adopted and raised by the lighthouse keeper is an engaging one. When the little girl's relatives come and claim her, it makes for some heartbreaking moments of separation. All ends well, of course, and the lighthouse keeper and the girl are reunited. They have great chemistry, by the way. (Photo: Baby Peggy and Hobart Bosworth)
CAPTAIN JANUARY (1936) ★★★½
Watched: 07.08.2021
Remake of the silent version — this time starring Shirley Temple — is very different in tone than the original. This is more lightweight and more fun, with some great musical numbers (especially the dance number with Shirley and Buddy Ebsen — Ebsen seems to be made of elastic, he dances so flexible and I really enjoyed him here, whereas sometimes I find him annoying) and a very likeable supporting cast. Guy Kibbee plays Captain January, the lighthouse keeper (in the silent version the little girl is called Captain January), a less serious portrayal than the one by Hobart Bosworth in the 1924 version. There's more humour here, especially in Kibbee's interactions with Slim Summerville. I liked how Kibbee and Summerville were trying to prepare Shirley for the exam and also the exam scene itself was fun. The moment where Kibbee and Summerville are showing their tattoos is amusing as well. To round up the cast we have lovely June Lang and reliable Jane Darwell and Sara Haden. And Shirley herself is cute as a button! She sings and dances and amazes with her talent at such a young age. A feel-good film for the whole family! (Photos: Shirley Temple and Guy Kibbee / Shirley Temple and Buddy Ebsen / Shirley Temple)
LIFE BEGINS FOR ANDY HARDY (1941) ★★★
Watched: 07.08.2021
One of my New Year's resolutions is to watch the Andy Hardy series, consisting of 16 films in total. I was reminded of this resolution when I noticed someone on Letterboxd binge-watching the Hardy films. I've seen 3 episodes already, and since I've been watching them out of order anyway, I was looking for another one with Judy Garland. This was nothing but light entertainment and Garland as Andy's friend Betsy Booth is the best thing about this entry. She's feisty and full of energy and it's such a shame that she and Andy didn't get together romantically. Mickey Rooney as Andy makes a bit of a fool of himself working as an office boy, and the film takes a dark turn at some point, but overall this was fun. (Photos: Judy Garland and Mickey Rooney / Patricia Dane, Judy Garland and Mickey Rooney)
Watched: 08.08.2021
Chose this for Donna Reed. It's really baffling how she's supposed to be a wallflower, not attractive enough for guys to dance with at a party, so Andy Hardy has to pay his friends to cut in (while anyone can see how beautiful she looks). This episode also has Cecilia Parker returning as the Hardy daughter, with a small part for William Lundigan as her (alcoholic) love interest. Fay Holden as Ma Hardy has more screen time than usual, granted a subplot about buying her husband a coat and then finding herself involved with a scam order. Though some things in these Hardy films are definitely dated, they still manage to entertain and I especially enjoy the relationship between Judge Hardy and his son. (Photos: Donna Reed and Mickey Rooney / William Lundigan and Cecilia Parker / Donna Reed and Mickey Rooney)
ANDY HARDY'S BLONDE TROUBLE (1944) ★★½
Watched: 08.08.2021
Watched this Andy Hardy entry for Herbert Marshall. Mickey Rooney's Andy is flirting with identical twins Lee Wilde and Lyn Wilde (or with one of them at least) and with Bonita Granville. I thought Granville would get romantically involved with Marshall but she was a student and their amorous feelings were never acted upon (fortunately, as Marshall was playing the dean). With too much screen time assigned to the twins, this was definitely one of the lesser entries I've seen in the series so far. (Photos: Mickey Rooney and the Wilde twins / Herbert Marshall, Bonita Granville and Mickey Rooney / (from left to right) Fay Holden, Herbert Marshall, Lee or Lyn Wilde, Lewis Stone, Lee or Lyn Wilde, Mickey Rooney, Bonita Granville and Sara Haden)
AH, WILDERNESS! (1935) ★★★
Watched: 09.08.2021
Lovely slice of Americana, based on a comedy play by Eugene O'Neill, with a great ensemble cast. Many players would be part of the first Andy Hardy film A Family Affair (Lionel Barrymore, Eric Linden, Cecilia Parker, Spring Byington, Mickey Rooney, Charley Grapewin), or part of an Andy Hardy episode (Bonita Granville in Andy Hardy’s Blonde Trouble). I was sleepy watching this, so I rewatched parts I missed the next morning. No big shakes here but it was pleasant, albeit stagy. There's a great dinner scene with a memorable part for Wallace Beery. I love how the kids Rooney and Granville are laughing their heads off. Everything happens over the course of one day, the 4th of July, at the turn of the century, and though there's not much plot, I loved the mood of the film and the family dynamics and the lovable characters, especially Barrymore and Byington as a couple (oh my ... that scene where he slaps her bottom hard!). It's also nice to see Aline MacMahon in a romantic subplot with Beery. (Photos: Wallace Beery and Aline MacMahon / Eric Linden and Cecilia Parker / Aline MacMahon, Mickey Rooney, Spring Byington and Bonita Granville)
SLIGHTLY SCARLET (1956) ★★★
Watched: 10.08.2021
Had expected a bit more of this noir in Technicolor. It's entertaining alright but there was something lacking in the plot. Also, the sudden shift in the relationship between John Payne and Rhonda Fleming had me baffled. They got romantically involved without any preamble. There's beautiful photography with signature shadows by the master John Alton. The great interiors and the colours had a Sirkian look, though the colours of the print I watched weren't that saturated. Redheads Rhonda Fleming and Arlene Dahl are likely sisters because of their looks. Kent Taylor, whom I know from his early B-films, is almost unrecognisable. With mostly unlikeable characters and a plot that stretches the imagination at times, Slightly Scarlet was Slightly Disappointing. (Photos: Rhonda Fleming and Arlene Dahl / John Payne and Arlene Dahl / Arlene Dahl and John Payne)
Watched: 10.08.2021
War film about a Marine officer (John Payne) carrying a bottle of Scotch with him, given to him by his wife (Mona Freeman) and waiting for a suitable occasion to open it. This film benefits from a convincing performance by Payne. I love how vulnerable and compassionate he is, how he genuinely cares for his men, e.g. how concerned he is whether they wear dry socks. The grim reality of war is enhanced by the bleak snowy surroundings. With a humane depiction of Asians and good realistic battle scenes (apparently interwoven with real war footage), this film was surprisingly engrossing. I was a bit disappointed, though, there was no reunion scene with Payne and Freeman at the end. Payne looked really good, by the way. (Photos: John Payne and Peter Graves / Mona Freeman / John Payne and Mona Freeman)
MY MARRIAGE (1936) ★★½
Watched: 12.08.2021
Watched this for Claire Trevor. It's one of her lesser known early films. I was surprised to find out this wasn't as bad as I thought it would be. The story was engaging and Trevor was solid and looked good. Too bad she didn't end up with detective/good friend Paul Kelly but instead shared her happy ending with Kent Taylor, who had a boring role here. Good support by Pauline Frederick as Taylor's mother. (Photos (2): Kent Taylor and Claire Trevor)
HATS OFF (1936) ★½
Watched: 12.08.2021
This was pretty awful. I'm trying to find some redeeming qualities here, but there are few, in fact the only thing I can think of are the leads John Payne and Mae Clarke. I like them but their story as competing press agents didn't come off well and their romance also fell flat quickly. None of the other actors were appealing and the musical numbers were not memorable at all. It was nice to hear Payne sing, in a duet with Clarke, though I wonder whether she was dubbed or could sing for real. Fortunately this was only about an hour long. Watched this for Payne. (Poster: John Payne and Mae Clarke)
THE GREAT AMERICAN BROADCAST (1941) ★★★
Watched: 13.08.2021
Run-of-the-mill musical, enhanced by the specialty performances of the Four Ink Spots, The Nicholas Brothers and The Wiere Brothers with some great song and dance numbers. I'm starting to like Alice Faye and she makes a nice couple with John Payne. It was nice to hear them sing and I liked the song Where You Are. Jack Oakie and Cesar Romero give good support. The story premise of the early development of the radio was interesting, though I have no idea how accurate it was historically. Although this film is largely forgettable, it's definitely worthwhile for the musical numbers. I also liked the romance. Especially the cute scene where Payne is releasing Faye from a locked bathroom (the doorknob came off) through the bathroom window comes to mind. (Photos: John Payne and Alice Faye / Jack Oakie, John Payne and Alice Faye / John Payne and Alice Faye)
ONLY YESTERDAY (1933) ★★★½
Watched: 14.08.2021
Seen on the big screen at the Filmoteca in a clear print, as part of the melodrama special. Based on the 1922 Stefan Zweig novella Letter from an Unknown Woman (German: Brief einer Unbekannten), this is Margaret Sullavan's film debut and she really carries this pre-code film. She has a radiant screen presence and is very good, especially in the scene of the soldiers parade where John Boles doesn't recognise her. Boles is the weak link here, pretty bland, and it's a bit hard to understand why Sullavan has a thing for him (Louis Jordan makes that part much more credible in Max Ophüls wonderful 1948 version). The first scenes concerning the stock market crash are a bit long and also some of the pacing is off. I really like Billie Burke as Sullavan's modern free-thinking aunt (who's supportive and understanding), also her banter with Reginald Denny, but some of her scenes could have been cut short a bit. Yet overall I enjoyed this, except for the last part where Sullavan all of a sudden falls ill and (spoiler!) .... dies, and Boles introduces himself to her son and abruptly blurts out he's the father. Except for her death bed scene, Sullavan is photographed beautifully, has some great close-ups, and that white dress she's wearing on New Year's Eve is stunning. (Photos: Margaret Sullavan and Billie Burke / Margaret Sullavan and John Boles / Billie Burke and Margaret Sullavan)
FIRST LADY (1937) ★★
Watched: 14.08.2021
Kay Francis looks luminous, dressed to the nines in Orry-Kelly gowns, but this comedy based on a play by George S. Kaufman and Katharine Dayton (and it shows because it's very stagy) about Washington women controlling the political careers of their men is not as sharp or funny as I'd hoped it would be. Granted, I was sleepy watching this so some of this film was lost on me, but as far as I could tell there's not enough bitching and the wit is not acerbic enough. It's all rather tame. I also found much of the humour forced, and though I really like Verree Teasdale, her scene at home with Walter Connolly outstays its welcome and just drags on and on. Francis disappears from the film too long and basically gets upstaged by Teasdale. Also, Preston Foster has little to do. Too bad, because I like his pairing with Francis. Anita Louise is here as well in an underwritten role as Francis' rather foolish niece in love with senator Victor Jory. I understand they're not the focus of this film but I still would have loved to see more of their romance. (Photos: Preston Foster and Kay Francis / on the set with Verree Teasdale, Kay Francis and Marjorie Gateson / Verree Teasdale and Kay Francis)
GIRLS ON PROBATION (1938) ★★½
Watched: 15.08.2021
Not as bad as I thought it would be. In fact, this was a surprisingly entertaining little B-crime film which packs a lot of plot in such a short runtime. Admittedly, the plot is silly and implausible. I like Jane Bryan and she's okay in her role as the girl who gets herself in a big mess, but the film belongs to Sheila Bromley who gives a stand-out performance and is very convincing as the tough bad girl. Ronald Reagan plays an amiable lawyer, helping out Bryan and providing some romance. Susan Hayward has a small part as Reagan's date and I also spotted Peggy Shannon as an inmate. I saw Carole Landis' name in the cast as an extra but haven't seen her. (Photos: Elisabeth Risdon, Sig Ruman, Jane Bryan and Ronald Reagan / Jane Bryan and Ronald Reagan / Sheila Bromley and Jane Bryan)
Watched: 16.08.2021
Watched this for Arlene Dahl who's apparently still with us and just celebrated her 96th birthday on 11 August. I chose this on a recommendation from a fellow film blogger and I find stories dealing with art forgery mostly appealing. Well, the story (based on a Winston Graham novel) could have been stronger, but at times there's great atmosphere (especially with the mansion setting) and some nice moody photography by Gerald Gibbs. Jack Hawkins is a reliable actor and he performs his role well but there was little chemistry between him and Dahl. Dahl looks beautiful, though. Altogether enjoyable, with some good thrills and suspenseful moments, but nowhere reaching the upper echelons of thrillers. (Photos (2): Arlene Dahl and Jack Hawkins)
THE UNGUARDED MOMENT (1956) ★★★
Watched: 17.08.2021
Watched this for Esther Williams, in celebration of the centennial of her birth on the 8th of August. I didn't feel like watching one of her aqua musicals, so the choice was rather slim. Fortunately she starred in this little crime thriller, based on a story co-written by Rosalind Russell. I found it really entertaining, with some moments of genuine tension. Williams gives a solid performance in an unusual dramatic role, she reminded me a bit of Doris Day, and is beautifully photographed in Technicolor. I also love the interior of her house! George Nader was a nice surprise, as I thought he was one of those Jeff Chandler kind of actors I wasn't going to like. But Nader looked handsome and I liked his quiet demeanour, and most of all, he pairs nicely with Williams and I enjoyed their romance and scenes together. John Saxon does alright in his film debut but it's probably Edward Andrews as Saxon's twisted father who steals the show. (Photos: George Nader and Esther Williams / George Nader, Esther Williams and John Saxon / on set with Esther Williams, her daughter and George Nader)
NOWHERE TO GO (1958) ★★★★
Watched: 17.08.2021
I was looking for a film with George Nader in the lead — since I liked him in the previously watched The Unguarded Moment — and stumbled upon this British film from the famous Ealing Studios. Seeing good ratings and reviews online ánd Maggie Smith as the leading lady, I didn't hesitate to watch this. It's a stylish thriller, a bit grim, benefiting from the location shooting and the outstanding black-and-white (often noirish) cinematography by Paul Beeson (especially the opening prison escape scene is stunning) plus the wonderful jazzy music score by Dizzy Reece. George Nader is very good as the suave con-man who has Nowhere to Go after he escapes from prison (serving time for robbing a wealthy lady from her collection of rare coins) and wants to retrieve the hidden loot, but gets into trouble with his accomplice who turns greedy. Maggie (in her first credited film role) is the girl who falls for him and helps him. Although Nader's character has a mean streak, he still elicits sympathy. I for one had hoped things would turn out well for him and Maggie but I knew my hope was futile. I'm glad he was nice to her and they shared a sweet little kiss. All in all, an unexpected gem that I had never heard of before today. Oh ... and Nader looked good again! (Photos (3): George Nader and Maggie Smith)
STAR DUST (1940) ★★★½
Watched: 17.08.2021
Didn't expect to like this as much as I did, but it was so great to see Linda Darnell this young, sparkling and glowing. I think my enjoyment had also something to do with the fact that I was ready for a light and fluffy film after having seen a couple of thrillers in a row. I also loved the story premise of young people dreaming of a career in Hollywood and trying to pursue that dream. The scene where Darnell and John Payne stand in front of the Grauman's Chinese Theater, fitting their feet in the cement footprints of the stars, is memorable and I loved to see this iconic piece of Hollywood history. Apparently this film is based on Darnell's own story of how she became a star. In real life she was initially rejected by the film studios too and was sent home on account of being too young. Star Dust is only her third film, after Hotel for Women and Day-Time Wife. She pairs nicely here with Payne and they have great chemistry. There's also a very nice musical number on the train with Payne singing. Among the supporting cast there is Roland Young (as likeable as ever), Charlotte Greenwood, William Gargan (as a Zanuck type of character), Donald Meek and Mary Beth Hughes. I'm probably giving the impression this is far better than it really is but it just made me happy and smile all the way through. And Linda Darnell is a sweetie! (Gif by me: Roland Young, Linda Darnell and John Payne / Photo: Linda Darnell and John Payne / Gif by me: Roland Young, Linda Darnell and John Payne)
MARYLAND (1940) ★★★
Watched: 18.08.2021
Horse drama that I watched for John Payne (he's fast becoming my most watched actor of the month!). Fay Bainter plays his mother, a bitter woman who after the tragic accidental death of her husband (thrown of a horse) is set against her son entering a horse race. Bainter is convincing (she makes you feel her hurt) and shares top-billing with Walter Brennan as the grumpy horse trainer in her employment. At times the film feels messy (especially the beginning) and uneven, but manages to entertain and certainly benefits from the production values, the gorgeous Technicolor and cinematography by George Barnes. Also noteworthy for the black cast who gets more screen time than usual. Hattie McDaniel is delightful as the maid, reminiscent of her role in Gone With the Wind, and Ben Carter as the stable hand is here for laughs. I have to say that I found some of his scenes a bit tedious, with forced humour (especially the church scene with Clarence Muse as the Reverend), also the scene where Ernest Whitman as Dogface is tempting Carter to gamble is too long. But overall I enjoyed Carter's performance and I liked him even more for the secret he revealed later on in the film. With supporting roles by Charles Ruggles and Brenda Joyce as Payne's love interest. Joyce is third-billed but unfortunately has little to do. (Poster: John Payne, Brenda Joyce, Walter Brennan, Fay Bainter and Charles Ruggles / Photo: John Payne and Brenda Joyce)
BROKEN LULLABY (1932) ★★★½
Watched: 19.08.2021
Anti-war film directed by Ernst Lubitsch, an unusual entry in the director's filmography. Not the small masterpiece I was hoping it would be but still a poignant study of grief and humanity. Phillips Holmes plays a Frenchman ridden with guilt about the one German soldier he killed in the war. He goes to Germany to visit the soldier's family and to confess. He lacks the courage to tell the truth and pretends to be their son's friend. The film suffers a bit from the slow pace, stilted dialogue and unnatural and stagy performance by Phillips Holmes. Yet the ever reliable Lionel Barrymore has a couple of powerful scenes. There's also some great visual storytelling by DP Victor Milner with impressive camerawork and lots of tracking shots (e.g. the camera zooming in on a pair of hands folded in prayer, just visible above one of the benches in an empty church). I actually sought this out for Nancy Carroll. At first she didn't have a lot to do but she provides the pivotal plot point in the story. Some moments stood out for me: the interaction of the two mothers Louise Carter and Emma Dunn visiting the graves of their sons; Barrymore's monologue at the public meeting of German friends; Carroll reading the last letter of her fiancé out loud to Holmes and him confessing to her; and that great ending filled with redemption and hope. (Photos: Phillips Holmes and Nancy Carroll / Lionel Barrymore, Nancy Carroll and Phillips Holmes / behind the scenes with Nancy Carroll and director Ernst Lubitsch)
SLIGHTLY FRENCH (1949) ★★★½
Watched: 20.08.2021
I wanted my 300th film of this year (what a figure! ... and we're only in August! ... I definitely feel a record coming on!) to be something lighthearted and fun. I saw some good ratings for this breezy musical comedy (directed by none other than Douglas Sirk) and liked the story. Don Ameche plays a film director whose leading actress (who is French) collapses on set due to exhaustion. He finds her replacement in Dorothy Lamour, a carnival dancer good at speaking different foreign accents, and passes her off as his new French discovery. There are few surprises here, but it moves along swiftly and the script is surprisingly witty. (Some quotes: "My mother was Irish and my father was a plumber." / "I’ll be as French as ... French fries." / "The only favour he can do for me is to take a long walk on a short pier." / "Goodbye, John. It's been weird knowing you.") Although I'm not really a fan of the leads Lamour and Ameche, I like them well enough and they have nice chemistry. Their romance could have been developed better but that's a minor quibble. The musical numbers are good and I loved Ameche's spacious and modern apartment (some nice camera shots with mirrors involved). Special mention goes to Janis Carter as Ameche's peppy sister. I liked her character, especially when she was famished at the carnival and kept eating. A bit disappointed with the lack of attention paid to her relationship with Willard Parker, it would have made a nice romantic subplot. (Photos: publicity still with Dorothy Lamour, Don Ameche, Janis Carter and Willard Parker / Dorothy Lamour and Don Ameche / behind the scenes with director Douglas Sirk, Dorothy Lamour and Don Ameche)
CONFIRM OR DENY (1941) ★★★
Watched: 20.08.2021
Tonally uneven film, somewhere between a romcom and a war drama. Don Ameche may well be miscast as the fast-talking reporter — he's too lightweight for the drama — but I like him, especially when he gets serious. He shares a couple of cute scenes with Joan Bennett. Raymond Walburn and Eric Blore provide some comic relief, whereas Roddy McDowall and Arthur Shields take care of the more serious moments. McDowall's fate was surprisingly brutal and heartwrenching. There are some impressive shots of the London Blitz, and the underground setting where people take shelter looks very convincing. Co-written by Samuel Fuller and directed by Archie Mayo (taking over from uncredited Fritz Lang), there's no denying this could have been much better but it still made for an entertaining watch. (Photos: Don Ameche and Joan Bennett / Don Ameche and Roddy McDowall / Don Ameche and Joan Bennett)
THRILL OF A ROMANCE (1945) ★★★½
Watched: 21.08.2021
Been meaning to see one of Esther Williams' aqua films, and I was particularly interested in the ones she made with Van Johnson since there've been quite a few. This one seems to be the most loved, so I watched it during a very quiet day at work (still working from home). Esther Williams plays a newly wed on her honeymoon whose husband is called away on a business meeting. She ends up spending a lot of time with Van Johnson, a war hero, staying at the same vacation resort (of course equipped with swimming pool and diving board!). I liked the fact that there were no big aqua shows, just Esther swimming solo, and I also loved the scene where she's swimming in harmony with Johnson. In other films I found Johnson at times a bit annoying but here he's rather sweet, the amiable boy-next-door type, who falls in love with Esther almost immediately but respects the fact that she's married. This film has entertaining musical numbers performed by the likes of Tommy Dorsey & band and opera singer Lauritz Melchior (who has a nice subplot of being on a diet). Henry Travers and Spring Byington play Esther's uncle and aunt, two very lovable characters, both a bit fuzzy and absent-minded. I really enjoyed this film, the leads have good chemistry and I loved the ending. And again Esther reminded me a bit of Doris Day. (Photos (3): Esther Williams and Van Johnson)
LASSIE COME HOME (1943) ★★★½
Watched: 21.08.2021
This is great family entertainment! The story of Lassie, the beautiful collie, being sold and consequently undertaking a long journey to go back to his old master, is captivating and heartwarming. The film is shot in gorgeous Technicolor and photographed by Leonard Smith and Charles P. Boyle. I also enjoyed the pleasant music score composed by Daniele Amfitheatrof. With good production values and a cast of likeable characters (except for J. Pat O'Malley as Hynes — he really makes you hate him), this sentimental tale made me wipe away a tear (when Dame May Whitty sent Lassie on her way) and it was very nice to see Elizabeth Taylor in one of her earliest roles (despite her wearing too much makeup). Also, Roddy McDowall was a remarkable child actor. (Photos: Roddy McDowall and Pal as Lassie / Elizabeth Taylor and Nigel Bruce / Screenshot by me: Roddy McDowall and Elizabeth Taylor)
THE OYSTER PRINCESS (1919) ★★
(Original title: Die Austernprinzessin)
Watched: 21.08.2021
I had high expectations for this Ernst Lubitsch comedy which I chose to watch for my monthly silent film dose. The story showed promise but I found it disappointing. It was silly, and though I like silly, this was unfunny silly. It actually feels more like a string of gags than an actual film. My main issue with this comedy was that the characters are all unappealing. The foxtrot sequence is way too long and becomes tedious and made me lose interest altogether. There is an impressive amount of extras, though, playing servants, maids and guests. Some of their scenes looked visually appealing. (Photo: Julius Falkenstein and Ossi Oswalda)
Watched: 21.08.2021
Fun Fox musical with a nice opening scene where hungry and broke playwright Alice Faye stuffs herself with spaghetti at a restaurant but is unable to pay the bill. Well, Don Ameche happens to be at the same restaurant, and he happens to be a writer of musicals. I like Faye's character, taking her plays very seriously and despising the genre Ameche's working in. I also like Faye as a singer and her musical numbers here are nice. But .... The Ritz Brothers are awful. Not funny at all and their scenes drag on and on. The only time I liked them was when they were doing a dance number without clowning. Why they were popular and even got second-billed after Faye and before Ameche is beyond me. The romance between our leads is predictable and it's rather thin, but the film as a whole was entertaining and light and gay. (Photos: Alice Faye and Don Ameche / Don Ameche and Alice Faye / Don Ameche and Louise Hovick)
LOVE AFFAIR (1939) ★★★★½
Rewatched: 22.08.2021
Seeing this on the big screen in the recently restored MoMa version was such a treat and reinforced my opinion that this is indeed the superior version! I love Leo McCarey's own remake An Affair to Remember (very excited to see it on the big screen as well towards the end of the month!), but I've always had a slight preference for the original. The chemistry between Charles Boyer and Irene Dunne is amazing. Their interplay is light and funny and romantic. Oh ... and the way Boyer looks at Dunne. Sigh! When it comes to comedic skills, Dunne is better equipped than Deborah Kerr, and Boyer outshines Cary Grant romantically speaking. Not that Grant doesn't score high points as a romantic lead, but seriously, just look at Boyer .... I really loved this viewing! I'm happy the digital print was so crisp and clear and that the kiss Boyer and Dunne shared behind the door was better visible now. (Photos (3): Charles Boyer and Irene Dunne)
PACIFIC RENDEZVOUS (1942) ★★½
Watched: 22.08.2021
Watched this remake of Rendezvous (with William Powell and Rosalind Russell) for Lee Bowman. Bowman handles his role well and his facial expressions are funny, but the film really suffers from a lame romantic subplot. Jean Rogers is annoying and stupid. I would have preferred less silly comedy and more serious stuff because the decoding scenes were very interesting. Fortunately Bowman had enough sense to get away from Rogers at the end. Still there's some fun to be had with this one and I liked Mona Maris as the spy. (By the way, cannot remember much of the original other than that I also liked the decoding theme and Powell's suaveness but was disappointed with Russell's role.) (Photos: Lee Bowman and Mona Maris / Jean Rogers, Lee Bowman and Russell Hicks)
THREE GUYS NAMED MIKE (1951) ★★★½
Watched: 23.08.2021
Wanted to see this comedy for some time now — despite having little expectations — because I love Jane Wyman. It was surprisingly entertaining and it all moved at a brisk pace. Wyman gets involved with three Mikes: Howard Keel (pilot), Van Johnson (graduate research assistant/bartender) and Barry Sullivan (head of advertising agency). Some reviewers are surprised to find out with which Mike Wyman is going to end up, but you just have to look at who's billed first in the credits and actually story-wise it also made the most sense. I was content with Wyman's choice, but also would have loved to see a romance develop between her and Howard Keel because they had nice chemistry. Sullivan is the weak link here, and though I normally like him, I wouldn't have picked him either. By the way, it was really fun to see Wyman become a stewardess and I especially loved her first day on the job. I thought this was really well captured, and you could sense her feelings of desperation and anxiety. And I love the depiction of early commercial aviation! (Photos: Jane Wyman, Howard Keel, Barry Sullivan and Van Johnson / Van Johnson and Jane Wyman / Howard Keel and Jane Wyman)
FLOODS OF FEAR (1958) ★★★
Watched: 24.08.2021
Watched this for Howard Keel and that sensational film poster. This British film starts off as a disaster movie where a severe flood causes convicts (working on fortifying a dike) to be swept away with the current, and it turns more noirish as it goes along and Keel wants to take revenge on the man who framed him for the murder he's convicted for. There were enough thrills to keep me fully engaged and I enjoyed seeing Keel in a non-musical role, looking good and rugged and swimming/walking around bare-chested most of the time. Anne Heywood plays Keel's love interest whose flooded house gives shelter to the two inmates (Keel and sleazy Cyril Cusack) and their prison guard (Harry H. Corbett). The water-filled sets are well-staged and I found the sound effects of the deafening water pretty convincing too. (Photos (3): Howard Keel and Anne Heywood)
DESPERATE SEARCH (1952) ★★★
Watched: 24.08.2021
Watched this for Howard Keel since I like him in non-musical roles. His performance here as the father of two kids who are involved in a plane crash is solid. I found the relationships interesting where a father with a new wife shares custody with his ex-wife over the children. I cannot really remember having seen this in a film of this period before. The ex-wife is being played by Patricia Medina and the new wife by Jane Greer. Both women look good (especially Greer looks beautiful) and do well in their roles. Best scene is the one where Greer visits Medina in her bedroom and lets her have it. Greer is so gutsy in that scene. Worst aspect of the film is the little daughter Linda Lowell. Kudos to her brother who puts up with her constant whining and crying. He's one brave kid and I found Lee Aaker's performance pretty good and fortunately not annoying. There are some suspenseful moments with the kids and the menacing mountain lion. The way Keel came to the kids' rescue and attacked the animal with a stick of wood seemed unconvincing. By the way, I would have loved to see a romance develop between Patricia Medina and Keenan Wynn. They couldn't stand one another, haha. (Photos: Jane Greer and Howard Keel / Jane Greer and Patricia Medina / Jane Greer and Howard Keel)
SILVER LODE (1954) ★★★
Watched: 26.08.2021
John Payne finds himself hunted down by Dan Duryea — who claims to be a U.S. marshall (but since it's Duryea we know he's got to be the bad guy) — for supposedly killing Duryea's brother and stealing a large sum of money. Payne wants to prove his innocence but when Duryea gets the townspeople on his side and makes Payne look guilty, Payne gets himself into a position where he's fighting his friends, even killing some of them. That part I didn't like at all, that he committed crimes while trying to prove his innocence, and at some point I just didn't want to see how he got himself in an even bigger mess. Leading lady Lizabeth Scott has nothing to do and on top of that looks unattractive with the ponytail. Saloon girl Dolores Moran has the more interesting female part and the film's best lines. Having a thing for Payne, she's got our sympathy for helping and supporting him when the whole town's against him. I have to say that Duryea as the villain really got on my nerves, because he's such a sleazy bastard (he plays the villain role always really well, though). Had noticed DP John Alton's name in the credits but I didn't find the photography that remarkable except for that great tracking shot near the end following Payne fleeing from his pursuers. This being an allegory of McCarthyism might be obvious for many viewers (Duryea's character is called McCarty — without an h) but to be honest, I hadn't really picked up on this myself. It makes sense, though, since this film deals with mob mentality and betrayal and it's filmed during the McCarthy period. Not the great western I thought it might be but still entertaining throughout. (Photos (2): John Payne and Lizabeth Scott)
THE LOVE NEST (1923) ★★½
Watched: 26.08.2021
Not one of Buster's better shorts. Some visual gags are funny but some things also became too repetitive, like throwing the flower wreath in the water. I've seen a couple of Buster shorts which have Buster dream the whole thing, just like this one, and I find it a bit of a cop-out. Still, Buster looks good and it's always a pleasure to see him do his Buster thing. (Gif / Photos: Buster Keaton)
REPENT AT LEISURE (1941) ★★½
Watched: 26.08.2021
Comedy that I watched for Wendy Barrie. I had fun with it but it loses a bit of steam along the way. Especially the final scene with the baby drags on. But I enjoyed the story and Barrie and Kent Taylor have nice chemistry. I also liked the interactions between Barrie and her father George Barbier. (Film posters (2): Wendy Barrie and Kent Taylor)
BEHIND THE SCREEN (1916) ★★★
Watched: 27.08.2021
Was very sleepy while watching this Chaplin short. I liked the gag with Charlie slinging an impressive amount of chairs over his shoulder and picking up a piano with his other hand at the same time. Edna Purviance disguises herself as a boy to get a job as a stage hand (because she couldn't get a job as an actress) but she's soon found out by Charlie. His avances might be considered harassment but their kisses look really sweet. It was a fun short and I liked the stage setting but some of this film was lost on me because of sleepiness. (Photos (3): Charlie Chaplin and Edna Purviance)
ALL ABOUT EVE (1950) ★★★★½
Rewatched: 28.08.2021
Margo: "Fasten your seatbelts, it's going to be a bumpy night!"
Such a great film with an intelligent and well-written script by the director Joseph L. Mankiewicz himself, and an impressive ensemble cast performing to the best of their abilities. Bette really gives the stand-out performance here. Feel very lucky to have rewatched this on the big screen at the Filmoteca in a 35 mm print. (Photos: Gary Merrill, Anne Baxter and Bette Davis / Bette Davis, Gary Merrill, Anne Baxter and George Sanders / Celeste Holm, Bette Davis and Hugh Marlowe)
TAKE A CHANCE (1918) ★★½
Watched: 28.08.2021
Short film with Harold Lloyd, with a lot of slapstick. I liked the gag with the seesaw and Lloyd picking up his hat. Action-filled finale with the police chasing Lloyd was exciting. (Gif: Harold Lloyd, Bebe Daniels and 'Snub' Pollard / Photo: Harold Lloyd and Bebe Daniels)
LOOK PLEASANT, PLEASE (1918) ★★½
Watched: 28.08.2021
Another Harold Lloyd short. I liked how Lloyd had his own idea of how to stage a photo. Again a lot of slapstick and little plot but still fun. (Photo: Harold Lloyd and Bebe Daniels)
DOWN ARGENTINE WAY (1940) ★★½
Watched: 30.08.2021
Rather tepid horse story with a lame romance between Don Ameche and Betty Grable. It benefits from the gorgeous Technicolor and some great musical numbers. Especially the Nicholas Brothers are awesome and Ameche has a nice singing voice. This was mild fun. (Screenshots by me: Don Ameche and Betty Grable / Betty Grable and Charlotte Greenwood / Don Ameche and Betty Grable)
Watched: 30.08.2021
Watched this for Esther Williams. Enjoyable but not as good as her other collaboration with Van Johnson I've seen this month, Thrill of a Romance. What stuck out was how lifeless and uninspired the two water ballet numbers were. I much more enjoyed Esther swimming in harmony with Johnson. Esther and Paula Raymond looked well in Technicolor and I liked Raymond. Probably best thing about this musical are the musical numbers with Lena Horne and Eleanor Powell. Johnson did well singing a song but doesn't really convince as a band leader or a dancer. Mae Clarke has an uncredited bit part. (Photos: Paula Raymond and Esther Williams / Paula Raymond and John Lund / John Lund, Van Johnson and Esther Williams)
AN AFFAIR TO REMEMBER (1957) ★★★★½
Rewatched: 31.08.2021
Seen this on the big screen in a 35 mm print. Although Love Affair with Irene Dunne and Charles Boyer is still my favourite version, this viewing of Leo McCarey's own remake starring Cary Grant and Deborah Kerr made me fall in love with it again and it was a treat to see this at the theater. The Dunne/Boyer film is a bit lighter, but I like how this version is making me more emotional (okay, it's a bit corny and sentimental but who cares?). My elder sister was visiting in Barcelona and went with us to the Filmoteca. We both had to wipe away a tear which never happens to me with the Dunne/Boyer version. I guess a lot has to do with the theme song, An Affair to Remember (Our Love Affair) — music by Harry Warren, lyrics by Harold Adamson and Leo McCarey, sung by Vic Damone over opening credits — which is beautiful. The reprisal of the song performed by Deborah Kerr in French and English was dubbed by Marni Nixon, who also sang Kerr's songs in The King and I. One thing this version has really against it is the childrens' song that goes on and on. Yet I remembered it to be more annoying, so I was in a way pleasantly surprised it wasn't so bad this time around, but there's really too much time spent on the song and giving all these kids close-ups. By the way, Grant's tanned face can be a bit distracting. (Screenshots by me: Cary Grant and Deborah Kerr / Cary Grant, Cathleen Nesbitt and Deborah Kerr / Cary Grant and Deborah Kerr)
Well, that's another round-up! Happy to have seen at least some films on the big screen, even if there were only four. Also to see the score of watched films this year rise above 300 already is very exciting. With still four more months to go, I can even reach 400 films! Happy September!
