December 2021 Round-Up
TOTAL FILMS SEEN IN DECEMBER: 30
(see the film posters at the bottom of the post, arranged in watching order)
NEW-TO-ME: 26 (23 features & 3 shorts)
REWATCHES: 4
SEEN ON THE BIG SCREEN: 2
CHRISTMAS FILMS: 5 (3 new-to-me & 2 rewatches)
MOST WATCHED ACTOR: Melvyn Douglas (3 in total)
All That Heaven Allows with Rock Hudson and deer
I keep saying whenever another year has passed that I cannot believe how time flies, and yet, 2021 is gone already too. Another year of Covid, restrictions, lockdowns, another virus variant (Omicron), but fortunately three holidays spent in my native country The Netherlands (including an extended stay of 10 days during the Christmas/New Year holiday) and a lot of classic film watching.
So let's quickly move on to my December film month. I watched a total of 30 films which is actually the lowest figure of this year (up till now my monthly figures ranged from 35 to 50 films). But I'm still happy with what I watched because I broke my yearly record. 2016 holds the record of 349 films watched and I wanted to beat that achievement with 365 films this year, so one film a day on average. I easily made 365 films and topped up that figure with another 100 films, making my total for 2021 a staggering amount of 465 films!!!
Deanna Durbin for Up in Central Park
This month I finished Deanna Durbin's filmography in celebration of her 100th birthday. I wrote a centennial post dedicated to her here. I had 6 Durbin films left to see (Can’t Help Singing, Something in the Wind, That Certain Age, I’ll Be Yours, Up in Central Park and Spring Parade) and also rewatched Christmas Holiday. With 7 films in total, Durbin is My Most Watched Actress of the Month.
My Most Watched Actor of the Month is Melvyn Douglas with 3 films watched (That Certain Age, Our Wife and Arsène Lupin Returns).
I wanted to rewatch many favourite Christmas classics this month but didn't even get around to rewatch It's a Wonderful Life, one of my all-time fave classics. I only watched 5 Christmas films, they're at least (partly) set at Christmas time: Christmas Holiday, All Mine to Give, Susan Slept Here, The War Against Mrs. Hadley and All That Heaven Allows.
I made two trips to the Filmoteca to see The Naked Jungle and Detour on the big screen. Both were rewatches. Together with Christmas Holiday and All That Heaven Allows, it made a total of 4 rewatches this month.
I wanted to rewatch many favourite Christmas classics this month but didn't even get around to rewatch It's a Wonderful Life, one of my all-time fave classics. I only watched 5 Christmas films, they're at least (partly) set at Christmas time: Christmas Holiday, All Mine to Give, Susan Slept Here, The War Against Mrs. Hadley and All That Heaven Allows.
I made two trips to the Filmoteca to see The Naked Jungle and Detour on the big screen. Both were rewatches. Together with Christmas Holiday and All That Heaven Allows, it made a total of 4 rewatches this month.
I watched 3 silent shorts (Young Mr. Jazz, The Making of a Man and The Balloonatic), unfortunately a low figure and no silent features.
There were several actors/actresses with multiple films watched: Glenda Farrell with 3 films watched (Gambling Ship, Secret of the Incas and Susan Slept Here), Rita Johnson with 3 films (All Mine to Give, They All Come Out and Susan Slept Here), Dorothy Wilson with 3 films (His Greatest Gamble, In Old Kentucky and The Age of Consent), Bruce Cabot with 2 films (Sinner Take All and His Greatest Gamble), Charlton Heston with 2 films (The Naked Jungle and Secret of the Incas), Tom Neal with 2 films (Detour and They All Come Out), and Mary Maguire with 2 films (That Man’s Here Again and Sergeant Murphy).
My highest rated film is All That Heaven Allows, followed closely by Spawn of the North. Worthy mentions are Something in the Wind, Our Wife, The Naked Jungle, Secret of the Incas and Detour.
Lowest rated film of the month is Sergeant Murphy, followed by The Making of a Man, Susan Slept Here and His Greatest Gamble.
George Raft and Dorothy Lamour for Spawn of the North
Romantic couples I enjoyed this month: Deanna Durbin and John Dall in Something in the Wind; Melvyn Douglas and Ruth Hussey in Our Wife; Charlton Heston and Eleanor Parker in The Naked Jungle; but my favourite couple is George Raft and Dorothy Lamour in Spawn of the North.
I had meant to watch an Arlene Dahl film and maybe write a R.I.P. post but unfortunately didn't have time for it and before I knew it the month was over.
Breaking the 30 watched films down in decades:
1900s - 0
1910s - 2
1920s - 1
1930s - 13
1940s - 9
1950s - 5
1960s - 0
NOW LET'S MOVE ON TO THE FILMS!
(read notes with caution as they might contain spoilers; ratings go from ½ to ★★★★★)
CAN'T HELP SINGING (1944) ★★★
Watched: 02.12.2021
I'm kicking off this December month with a Deanna Durbin film, since I've decided to finish her filmography (she made only 22 films and I've already seen 16) in celebration of the centennial of her birth on the 4th of this month. This is an enjoyable musical in lush Technicolor (Durbin's only film in colour) with some beautiful cinematography by W. Howard Greene and Elwood Bredell (Bredell is the DP of The Killers and Phantom Lady). The bathtub scene and the beautiful scenery come to mind. Durbin is really dolled up, with blond curls and wearing a lot of makeup and some garish dresses, but her character shows true Durbin spunk. There are pleasant songs by Jerome Kern (especially the title song) and I liked Durbin's bickering with leading man Robert Paige. The scene where he carries her in his arms went on and on, and I was wondering where the hell he was carrying her to, and when he left her, she started singing, "Don't know where I'm at, never lost my way like this before, how did I get here ..." (haha, the song is called Any Moment Now, by the way). The comic relief of Akim Tamiroff and Leonid Kinskey carrying the trunk becomes a bit tiresome and there are ludicrous moments for sure, but it was still fun and good entertainment. It also helped that the print I watched was crisp and clear. (Screenshots by me: Deanna Durbin / Deanna Durbin and Robert Paige / Deanna Durbin and Robert Paige)
SOMETHING IN THE WIND (1947) ★★★½
Watched: 03.12.2021
I had postponed watching this as this is one of Deanna Durbin's lesser-known and lesser-loved films and I thought Donald O'Connor (second-billed) was her love interest and I didn't find that appealing (he's really such a baby here). But after Durbin's first encounter with John Dall (who's a bit of a stuffed shirt), it becomes clear that he's the love interest, and I really enjoyed their scenes together (the best one is their first meeting). Durbin plays again a sassy character. I love her speaking voice and her line delivery, and it was helpful she had an above-average and witty script to work with. The musical numbers are very nice, more memorable than the ones from some other Durbin films I've seen, and it's noteworthy that Deanna, apart from her usual soprano operatic songs, also gets to sing some jazzy tunes. O'Connor excels in a musical number reminiscent of Make 'Em Laugh from Singin' in the Rain. Solid support by Charles Winninger and Margaret Wycherly. Ultimately this film was a nice surprise and I thoroughly enjoyed it. (Photos: Deanna Durbin / Deanna Durbin and John Dall / Deanna Durbin, John Dall and Donald O'Connor)
YOUNG MR. JAZZ (1919) ★★★
Watched: 03.12.2021
Squeezing in a 10-minute short right before going to sleep. Harold Lloyd and his frequent leading lady Bebe Daniels are sweethearts but Daniels' father doesn't approve. Lloyd manages to arrange a date with Daniels, and followed by her father on the way to the dancing, they elude him by hiding in a seedy speakeasy/ dance hall. The father catches up with them, and in the end Harold saves the day by fighting the thugs. Some enjoyable things here: the initial scene on the beach with Daniels' cute swimsuit, her dad hitting Harold (with a funny intertitle "My father doesn't like you. Hope your teeth are screwed in tight."), and Harold 'snorkeling' with a periscope under the sand to get close to his girl; the visually great scene where Harold and Bebe are being robbed in the dance hall by seemingly disembodied hands; and the exciting barroom brawl. But the best thing was Harold and Bebe dancing! Would have loved to see more of that. (Screenshots by me: Harold Lloyd and Bebe Daniels / Bebe Daniels / Harold Lloyd and Bebe Daniels)
THE MAKING OF A MAN (1911) ★★
Watched: 04.12.2021
Unremarkable silent short which I only watched because of its running time and its director, the acclaimed D.W. Griffith. During a performance of a travelling theater group, a girl (Blanche Sweet) becomes infatuated with the show's leading man (Dell Henderson), much to the disapproval of her father. Drama ensues as the girl gets pregnant and the father dies of a stress-induced heart attack. I found the actors (unknown to me) rather unappealing but fortunately the print online was good. (Screenshot by me: Blanche Sweet and Dell Henderson)
THAT CERTAIN AGE (1938) ★★★
Watched: 05.12.2021
Continuing Deanna Durbin's filmography, I still had this on my list of unseen films. I love Durbin and I love Melvyn Douglas but somehow I was never eager to watch this film as it deals with a teenager having a crush on an older man. I always fear it gets uncomfortable or embarrassing situations will arise. And sure enough ... though Douglas was just friendly with Deanna, she misinterpreted his feelings, blinded by her crush. But fortunately things didn't get that embarrassing. I'm also glad Douglas wasn't tempted by Durbin's youth and beauty and didn't behave flirty with her, just treated her like a kid. I liked the scene in the beginning where the teens are haunting the guest house where Douglas is staying but he finds them out soon enough. Deanna is lovely anyway, and I like her in her teen roles — she reminds me of Judy Garland as a teenager. With some pleasant songs and nice support by Jackie Cooper, Irene Rich, Nancy Carroll (with very little screen time, only making her entrance 8 minutes before the end) and John Halliday, this was an entertaining watch despite my misgivings. And the little girl Juanita Quigley was both cute and annoying. (Photos: Deanna Durbin and Jackie Cooper / Jackie Cooper, Deanna Durbin and Melvyn Douglas / Deanna Durbin, Melvyn Douglas and Nancy Carroll)
OUR WIFE (1941) ★★★½
Watched: 07.12.2021
Watched this for Melvyn Douglas, and I also really like Ruth Hussey who reminded me again of Myrna Loy. This comedy was a nice surprise, better than the standard boy-meets-girl film, with some darker and dramatic undertones. Hussey plays a scientist (she's very believable as an intelligent working woman), vacationing on a Carribean cruise with her father (Charles Coburn) and brother (John Hubbard) and meeting musician Douglas who has a fondness for the bottle. At first there's animosity between Douglas and Hussey, slowly growing into a strong attraction. I liked how there was no silly bickering, yet their verbal fights really stemmed from credible situations, and I also loved the fact that despite the growing attraction they didn't immediately act upon it with kisses and lovey-dovey talk. Especially the goodbye scene when Douglas goes away in a cab feels very natural. The film takes a darker turn when Ellen Drew appears as Douglas' ex-wife, wanting her husband back and faking an injury in order to stay close to him. Drew is good as the unlikeable competition and Hussey clearly has our sympathy vote, even though she resorts to a bit of scheming herself. There's a good balance between comedy and drama, the characters are well-rounded and have credible motivations, and I love Douglas' grumpiness and the way his voice skips. But the ending with the fire was weak and disappointing, and that final spanking scene ... ugh! (Photos: Ellen Drew, Melvyn Douglas and Ruth Hussey / Melvyn Douglas and Ruth Hussey / Melvyn Douglas, Ruth Hussey, Charles Coburn and John Hubbard)
CHRISTMAS HOLIDAY (1944) ★★★
Rewatched: 07.12.2021
Watched this with my sister. Had seen this before but wanted to see it again because I'm watching Deanna Durbin films this month (mainly the ones I haven't seen yet). Durbin is the best thing of this film noir, set at Christmas time (but not really a Christmas film). It's a departure for her from the usual lighthearted musical films Universal typecasted her in and she makes the best of her dramatic performance. Her finest moments are the one in the church when she breaks down during Christmas mass, and the final scene with that beautiful close-up. The black-and-white cinematography by the great Elwood Bredell is striking and the photography in the church is stunning. The weak link here is Gene Kelly. He's just not really believable as Durbin's murderous husband, he's too lightweight for the role. Good support, though, by Gladys George and Gale Sondergaard. (Photos: Dean Harens and Deanna Durbin / Gene Kelly and Deanna Durbin / Deanna Durbin)
ARSÈNE LUPIN RETURNS (1938) ★★★
Watched: 07.12.2021
I have enjoyed Arsène Lupin (1932), starring John Barrymore, Lionel Barrymore and Karen Morley, immensely and was curious about this Lupin film. Melvyn Douglas plays Lupin (the notorious jewel thief, now presumed dead), Warren William is the investigator on Lupin's trail, and Virginia Bruce plays the love interest. Despite being enjoyable and benefiting from the energy and sparkle of the three leads, this doesn't compare to its 1932 predecessor. Nothing beats, not so surprisingly, the Barrymore brothers and their cat-and-mouse game, and the pre-code sizzling sexual chemistry between John Barrymore and Karen Morley. But I'm probably not being fair making comparisons, because Arsène Lupin Returns on its own has a lot going for it too. Douglas and William have decent chemistry (and both have enough charm to boot) and the scene where they are trying to outsmart one another with tricks is highly entertaining. Though Nat Pendleton as one of Lupin's henchmen didn't annoy me like he sometimes does, his dumb gangster type just didn't fit with Lupin's sophisticated style. Accidentally I read the conclusion of this film's little mystery, but if I hadn't, I might have guessed. (Photos: Melvyn Douglas and Virginia Bruce / Warren William, Virginia Bruce and Melvyn Douglas / Warren William and Virginia Bruce)
I'LL BE YOURS (1947) ★★½
Watched: 07.12.2021
Fortunately I paid attention with the opening credits and saw the film was adapted by Felix Jackson from the screenplay The Good Fairy by Preston Sturges, so I didn't have to wonder why the story (of a small-town girl moving to the big city and getting involved with a helpful waiter, a bearded lawyer and a wealthy businessman) seemed so familiar to me. I've seen William Wyler's The Good Fairy (1935) with Margaret Sullavan and Herbert Marshall a while back, and though I was slightly disappointed with that film, I thoroughly enjoyed Sullavan and Marshall's moments together and their sweet chemistry, especially in the scene with the pencil sharpener (with a handle!). Deanna Durbin and Tom Drake don't succeed in recreating that same magic on the screen, and to be honest, Drake is very véry bland (though I do enjoy Deanna's scenes with him, more to her credit than his). Deanna's character is not quirky at all, unlike Sullavan's character, which is a shame because that's what I liked about The Good Fairy (two lead characters, both a bit goofy, finding each other). Though Reginald Owen's waiter character in the original film is much more enjoyable than William Bendix's waiter here, at least this 1947 version has the benefit of having Adolphe Menjou in the role of Frank Morgan. Morgan completely overshadows Sullavan's lovely performance in The Good Fairy and I was glad Menjou toned it down and let Durbin shine. Of course Deanna also gets to sing some songs but unfortunately I didn't find them very memorable. (Photos: Deanna Durbin and William Bendix / Deanna Durbin and Adolphe Menjou / Deanna Durbin and Tom Drake)
MURDER IN GREENWICH VILLAGE (1937) ★★½
Watched: 09.12.2021
Okay murder mystery starring Fay Wray and Richard Arlen. Probably the best moment is the opening scene where a scantily clothed Wray escapes from an apartment building by descending the fire escape, on the way nicking a pyjama top from a clothes line in order to cover herself. Wray and Arlen have nice chemistry and do their share of bickering before falling for each other. The identity of the killer was not so difficult to guess and it was nice to see it wasn't racketeer Marc Lawrence. Fortunately Raymond Walburn has limited screen time, as he can become quite overbearing. (Film poster: Richard Arlen and Fay Wray / Photos: Fay Wray / Marc Lawrence, Richard Arlen, Fay Wray and Leon Ames)
UP IN CENTRAL PARK (1948) ★★½
Watched: 11.12.2021
The second to last of the left-over Deanna Durbin films for me to see is also the second to last film she made before retiring in 1949 (For the Love of Mary being her last film). It's a fairly enjoyable musical with a thin plot and an unexciting leading man (Dick Haymes), yet elevated by the musical numbers, especially the dance sequences (the winter ballet and the restaurant dance). I liked Deanna's songs, and though Haymes is not a strong romantic lead, his pleasant singing voice makes up for his lack of charisma. Vincent Price as the slimy but charming politician is fun. It was a bit disappointing, though, that Deanna wasn't as sensible as she usually is and that she didn't question Price's integrity. (Photos: Deanna Durbin and Dick Haymes / Deanna Durbin and Vincent Price / on set with Deanna Durbin and Dick Haymes)
Watched: 11.12.2021
Probably rating this B-mystery flick too high, but I had a good time with it and I liked Bruce Cabot in an amiable role. He plays a lawyer returning to his old reporter job and trying to solve the mystery who's killing the members of a wealthy family. I liked his scenes with Margaret Lindsay (he was actually kind of sweet to her), but she's a bit underused here. I also liked the police inspector Edward Pawley and how every time he was outsmarting Cabot, being a step ahead in the investigation. Might watch more Cabot films. (Film poster: Joseph Calleia, Bruce Cabot and Margaret Lindsay / Joseph Calleia, Vivienne Osborne, Margaret Lindsay and Bruce Cabot / Margaret Lindsay and Bruce Cabot)
SPAWN OF THE NORTH (1938) ★★★★
Watched: 12.12.2021
Surprisingly good Henry Hathaway film starring George Raft and Henry Fonda. A bit slow-paced at first, with some feel-good vibes (courtesy of Slicker the seal), but once the conflict sets in, it becomes a compelling drama with thrilling action scenes and well-developed characters. With the common theme of two best friends finding themselves on opposite sides of the law (here the conflict deals with salmon poaching), it's not so difficult to guess which of the two lead actors is (type)cast on what side of the law. Raft's boat is called Who Cares and Fonda's Old Reliable, maybe that should say enough about their natures. Both actors give good performances. I actually didn't expect anything else from Fonda (he's always believable playing a righteous character), but Raft — who at times can be so wooden — holds his own and even surprised me in his emotional moments (possibly his best performance I've seen so far). Dorothy Lamour and Louise Platt play the strong-willed women who love their men fiercely, and I was really happy the women characters are more than just window dressing. I absolutely loved Lamour here, her feisty character and the way she looked, and she had great chemistry with Raft. John Barrymore is relegated to a supporting role with limited screen time, doing his Barrymore thing, and though he's not really contributing anything meaningful to the overall story (delete his character from the script and you won't miss anything), he matches well with Lynne Overman and I liked their scenes together. Noteworthy is the black-and-white cinematography by Charles Lang, it's very beautiful! (Photos: Dorothy Lamour, Lynne Overman, Henry Fonda, Louise Platt, George Raft and John Barrymore / Louise Platt, Henry Fonda and George Raft / George Raft and Dorothy Lamour)
GAMBLING SHIP (1933) ★★½
Watched: 14.12.2021
Only really worth seeing because it's an early Cary Grant film. It's debatable whether he's suited to play the role of a gangster. Even though his character tries to redeem himself and wants to lead the straight life, Grant is still supposed to be tough and I didn't really buy into that. To look a bit older they gave him a greyish streak in his hair and greying temples, but no one is fooled because Grant looks so young and handsome, wearing a slim-fit three-piece-suit. Benita Hume (who reminded me of Mary Astor again) plays Grant's love interest, not being honest to Grant about who she really is (and vice versa). Good supporting cast by Jack La Rue, Glenda Farrell and Roscoe Karns. Not familiar with Arthur Vinton but he was okay as 'the other man' and owner of the gambling ship. (Photos: Cary Grant and Benita Hume / Cary Grant, Benita Hume and Roscoe Karns / Cary Grant and Benita Hume)
THE NAKED JUNGLE (1954) ★★★½
Rewatched: 14.12.2021
Christopher Leiningen: "Madam ... you've seen my house. It took me seven years to build. To make it what it is, in the heart of the jungle. They laughed at me, up and down the river — but it's what I wanted. I wanted it to be filled with beautiful things. I wanted a family I could be proud of, in this house that I'm proud of, in the land that I took out of the river and the jungle with my bare hands. The only condition I ever made about anything I brought up the river was that it be new: worth the effort! Madam, this piano you're sitting at was never played by anyone before it came here."
Joanna Leiningen: "If you knew more about music, you'd realize that a good piano is better when it's played. This is nót a very good piano."
Seen this on the big screen at the Filmoteca. It's one of those films that I grew up with and have seen numerous times over the decades. In my youth we had it recorded on our Betamax videorecorder and my dad loved it (because of the ants). So being very familiar with the story, I wasn't so repelled anymore by Charlton Heston's macho behaviour towards his mail-order bride Eleanor Parker. Parker, first-billed here, shines as the worldly woman who relocates to the jungle to be with her new husband. She's gorgeous to look at and says what's on her mind. When Heston thinks there must be something wrong with her because he can't be that lucky to get a perfect woman, the truth is revealed: she's been married before and not a virgin anymore! (How Mills & Boon-like!) The piano scene quoted above is one of the best moments of the film. I might be rating this too high, but it's well made in its genre, and after all these viewings I still enjoyed it, maybe even more so due to the theater screening, with Parker so beautifully photographed in Technicolor. Though the romance story takes center stage and the killer ants seem almost like an afterthought, the Marabunta scenes are really thrilling. Heston looks young and handsome but the stand-out here is Parker. I love her! Also good support by William Conrad. (Screenshots by me (3): Charlton Heston and Eleanor Parker)
SECRET OF THE INCAS (1954) ★★★½
Watched: 15.12.2021
Good old-fashioned adventure film that I watched for Charlton Heston. Just noticing his character's looks, it's not so difficult to guess where the makers of the Indiana Jones films got their inspiration from. Same leather jacket, fedora hat, bag, rugged looks. I also read people saying Alan Ladd's character from China (1943) was the inspiration for Jones — his character is even called Mr. Jones. Searching a bit online, I found an article saying George Lucas and Steven Spielberg saw two screenings during pre-production, China and Secret of the Incas, so both films gave them the idea what Indiana Jones should look like. In any case, Edith Head was the costume designer here, so it's likely she'd seen China and was inspired by it. This film was fun. Heston's character Harry Steele is an unscrupulous and money-loving tour guide located in Peru, in search of an Inca treasure, the Sunburst. Heston plays his character well, slimy and roguish, yet charming enough in order for the viewer to stay on his side and hoping he will make things right in the end. There's romance (with an okay role for Nicole Maurey), action scenes, and some beautiful images of Machu Picchu and Cusco, shot on location. I read a favourable review in Spanish by a Peruvian member on Letterboxd, who's happy the makers of this film paid homage to the Peruvian culture in such a beautiful way. The scenes of the Peruvian people in their traditional colourful clothing, photographed on the site of Machu Picchu, are stunning (a clear restored version of this film with bright Technicolor colours would be most welcome!). Solid support from Thomas Mitchell, Robert Young (looking good, pushing fifty here, playing an archaeologist, involved in an unnecessary romantic subplot with Maurey), and Glenda Farrell in a small part as an American tourist clearly having the hots for her tour guide Heston. The songs provided by Yma Sumac add something mystical to the proceedings but it was a shame it had such a clear studio-recording sound. (Photos: Charlton Heston and Nicole Maurey / Charlton Heston, Nicole Maurey and Robert Young / Charlton Heston)
Note: I went to Peru in 2012 for two months for travel and voluntary work and visited both Machu Picchu and Cusco. I loved Peru and the people and their hospitality, and it was great to see both Machu Picchu and Cusco captured on film here so many decades ago.
DETOUR (1945) ★★★½
Rewatched: 15.12.2021
Watched this on the big screen at the Filmoteca. Had seen this before and couldn't remember much about it, except for Tom Neal driving with Ann Savage in the passenger seat, her falling asleep and then all of a sudden waking up and giving a cold stare, which freaked me out then. It didn't this time, though, because I had anticipated it. Now I was more aware of Savage's overacting than the first time I saw this, she really was laying it on thick. She plays a weird character, and a bit of overplaying for some emphasis is probably necessary, but the old saying less is more would have been more effective. I saw this with my sister and for her it was a first watch, and Savage's overacting bothered her too. In comparison, Neal's performance is very natural and even quiet. Still, overall this is a good noir. A typical one, with all the trademarks in place: a voice-over narration, story told in flashbacks, a femme fatale, an innocent man sealing his own fate by the wrong decisions he makes, and a bleak ending. Also some nice photography by Benjamin H. Kline. (Photos: Tom Neal / Tom Neal and Ann Savage / Ann Savage)
THE BALLOONATIC (1923) ★★★
Watched: 16.12.2021
Not top-tier Buster Keaton but still enough to enjoy here. Though lacking in plot and without laugh-out-loud funny gags, this silent short offers many visually amusing moments, involving an amusement park, a hot-air balloon, and Keaton and leading lady Phyllis Haver fishing and camping (separately) in the great outdoors. Haver is pretty feisty, and I love her in her swimsuit. Most of the gags seem unrelated and not really held together by a coherent story but just seeing Buster doing his Buster thing mostly works for me. This also has a great and sweet ending. Oh ... and there's a gag with two bears! (Gif: Buster Keaton / Photo: Buster Keaton and Phyllis Haver / Gif: Buster Keaton and Phyllis Haver)
Watched: 18.12.2021
Last of the 22 Deanna Durbin films (21 features and 1 short) I hadn't seen yet, so with this I've finished her filmography. Fortunately this was an enjoyable affair, despite being silly at times. It's one of Durbin's early films and she's paired with Robert Cummings. They don't have that wonderful chemistry they would display a year later in It Started with Eve, but I liked them well enough as a couple. Here Deanna plays a peasant girl, who has her fortune told, predicting she'll find love with an artist in Vienna. As these things go, the prediction comes true, but not without the usual commotion. Highlights: Deanna in the opening scene singing, accompanied by her goat; Deanna dancing with Mischa Auer; Deanna taking off her numerous underskirts and putting them back on later on. Reliable support by Henry Stephenson, S.Z. Sakall and Anne Gwynne. Samuel S. Hinds, who normally plays authoritarian figures, can be seen here in an unusual role as a servant. (Photos: S.Z. Sakall, Deanna Durbin and Robert Cummings / Deanna Durbin and S.Z. Sakall / Deanna Durbin)
THAT MAN'S HERE AGAIN (1937) ★★½
Watched: 19.12.2021
Harmless Warner Bros B-programmer with comedian Hugh Herbert getting top-billing, but it's really the romance of Mary Maguire and Tom Brown that takes center stage. Brown is an elevator operator in a Park Avenue building who takes care of homeless girl Maguire (taking shelter from the rain in his building), and gets her a job as a maid. Herbert plays an eccentric millionaire living in the same luxurious apartment building and comes to the aid of the young couple. Though there's little comedy and no drama, this was still an enjoyable watch and kind of sweet, mainly because of the charm of Australian actress Maguire (with a cute accent) and fortunately she makes a nice couple with Brown. But Herbert's mannerisms can become a bit tiresome (he says "Woo Hoo" all the time), and the incessant music score is very intrusive. (Screenshot by me: Tom Brown and Mary Maguire)
SERGEANT MURPHY (1938) ★½
Watched: 20.12.2021
Watched this B-film with a runtime just under an hour for Mary Maguire because I liked her in the previously watched That Man's Here Again. Too bad this film starring a young Ronald Reagan (in one of his first leading roles) is not very good. Both script and performances are unexciting and the plot is silly. It's also rather remarkable how Reagan, who plays a horselover (he was also an avid horseman in real life), at times acted irresponsibly when his horse was concerned, even endangering the animal. Maguire had little to do and her acting skills were less than impressive (she's pretty, though). And the talent of the great Donald Crisp (as Maguire's father) is totally wasted here. (Photos: Ronald Reagan and Mary Maguire / Sam McDaniel and Ronald Reagan)
ALL MINE TO GIVE (1957) ★★½
Watched: 20.12.2021
Had been meaning to see this with past Christmases but hadn't gotten to it yet. Now I did and unfortunately I wasn't impressed. Apparently based on a true story, this is about an immigrant Scottish family trying to make a life for themselves in Wisconsin in the 1850s. The first part that focuses on the parents is slow-paced and pretty dull, and Glynis Johns and Cameron Mitchell have annoying accents. The part after their tragic deaths where the elder son is trying to place his five siblings in suitable homes, moves at a faster pace and is much more compelling. It gets sentimental but I think you have to be made of stone not to be moved by the separation of the children in the final act (set around Christmas time), and Rex Thompson as the elder son gives an okay performance. Small role for Rita Johnson as part of a couple, having children of their own and taking the elder daughter in. (Screenshots by me: Glynis Johns and Cameron Mitchell / Patty McCormack, Rex Thompson and Royal Dano / Rex Thompson)
THEY ALL COME OUT (1939) ★★½
Watched: 23.12.2021
Watched this MGM film about prisons and their reform programs for Rita Johnson who gets first billing here. This would probably have been grittier if it would have been made by Warner Bros, but it's basically a propaganda film (it claims to be the first film with scenes actually photographed inside federal prisons) and the redemption of the several criminals is tied up a bit too neatly. Leading man Tom Neal (really young here) is a man down on his luck, catching a lift from gangster moll Johnson and getting recruited as the driver of the getaway car after a heist. In real life Neal was a bad boy as well and served time for involuntary manslaughter in the 1960s. Fortunately Johnson has a substantial role here and looks good. There's some nice black-and-white photography by Paul Vogel and Clyde De Vinna. First Hollywood feature film by Jacques Tourneur. (Photos: Rita Johnson / Rita Johnson and Tom Neal / Bernard Nedell and Rita Johnson)
SUSAN SLEPT HERE (1954) ★★
Watched: 24.12.2021
Seen this on a plane ride from Barcelona to Amsterdam after a night of close to no sleep. This film didn't put me to sleep, luckily, but I didn't enjoy it much either. I think I might have seen this a long time ago but as I'm not completely sure, I'm listing this as a first-time watch. The story premise is pretty silly. Dick Powell plays a screenwriter suffering from writer's block, getting 17-year-old delinquent Debbie Reynolds delivered on his doorstep by the police. They want him to take her in for the holidays so she doesn't have to spend them in jail. He owes the cops a favour and this arrangement could mean the coveted inspiration for his next project. So far so good. It could have made for a fun movie, with Powell and Reynolds having to deal with the complicated situation. But of course they had to throw in a romantic angle, not only having Reynolds fall for the older guy, but also having Powell decide to marry Reynolds so she doesn't have to go to prison. Pretty ludicrous. I don't mind age gaps between adults, but Reynolds' character is underage and it felt uncomfortable. Powell's character is 35, even though it's clear Powell himself is much older than that (he was 50 when making this). Apart from that, Reynolds was annoying at times, and character motivations were clearly lacking. Their romance was never made believable. Unfortunately there were few laughs. Also with Anne Francis, Glenda Farrell and Rita Johnson in supporting roles. (Photos: Dick Powell and Debbie Reynolds / Debbie Reynolds / Anne Francis)
VOGUES OF 1938 (1937) ★★★
Watched: 25.12.2021
Seen a clear enough print of this, but how amazing would this look in a digitally restored version with the Technicolor colours saturated. It's great to look at already — I loved the opening credits and the scenes with the models in their gorgeous gowns and fashionable clothes (the 1930s is my fave decade for fashion, both for women and men). The musical numbers are also very entertaining. Loved the number at The Cotton Club with an all-black ensemble, the beautiful rendition of That Old Feeling (sung by Virginia Verrill) at El Morocco and the subsequent solo male dance. Also, that girl spinning around and around in the final show number is amazing. The plot is a bit thin, though, but enjoyable. Joan Bennett plays a debutante on the eve of her wedding who doesn't want to go through with it and asks fashion house owner Warner Baxter to NOT deliver her wedding dress on time. He refuses, not wanting bad publicity, but Bennett walks out on her fiancé Alan Mowbray anyway. Baxter also finds himself alone, as his wife Helen Vinson leaves him. Not so difficult to guess Baxter and Bennett will end up together and fortunately they have decent chemistry. I liked Bennett's character and she looks lovely, her hair colour between blond and brunette, more of a reddish colour. Yes, I really enjoyed this! (Screenshot by me: Joan Bennett / Photo: Warner Baxter and Joan Bennett / Screenshot by me: Joan Bennett)
THE WAR AGAINST MRS. HADLEY (1942) ★★★
Watched: 26.12.2021
Decent WWII propaganda drama with a nice ensemble cast, headed by Fay Bainter as the titular Mrs. Hadley who does nothing to aid the war effort and with her selfishness alienates the people closest to her. It lacks an emotional punch and Bainter's repentance happens too swiftly right at the end, but the performances are solid (Bainter is really well suited to the part) and I enjoyed this. (Photos: Fay Bainter and Edward Arnold / Jean Rogers and Edward Arnold / Van Johnson and Jean Rogers)
ALL THAT HEAVEN ALLOWS (1955) ★★★★½
Rewatched: 27.12.2021
Cary Scott: "Alida, what did you mean when you said that Ron taught Mick?"
Alida Anderson: "Well, it's ... it's kind of hard to explain. I guess all of us are looking for security these days. You see, Mick thought, well, like a lot of other people, that if he had money and an important position, it would make him secure. Then when he met Ron, who didn't have either one and didn't seem to need them, he was completely baffled. The answer was so simple it took Mick a long time to figure it out."
Cary Scott: "Well, what was the answer?"
Alida Anderson: "To thine own self be true. That's Ron. You see, Ron's security comes from inside himself, and nothing can ever take it away from him. Ron absolutely refuses to let unimportant things become important."
Melodrama at its glossy best. Seen this acclaimed film by Douglas Sirk many times before but now I consciously paid attention to the opening credits and the beautiful crane shots showing the suburb where our story is set, accompanied by the wonderful score of Frank Skinner. Though I prefer Jane Wyman in her early roles (playing feisty women), she gives a flawless performance here. I love Virginia Grey and Charles Drake as Rock Hudson's friends, and I noticed for the first time that Conrad Nagel is in this as well. Probably I hadn't recognised him before, since he's much older here, and I had never registered his name in the credits. This film about different social classes, capitalism, age difference, snobbery and narrow-mindedness of people, is compelling and beautiful to look at, filmed in lush Technicolor (great hues of blue) and shot by Russell Metty. The moment Wyman realises she has given up Hudson for the sake of her disapproving children, who turn out to be too busy leading their own lives, is most heartbreaking. Wyman's reflection in the screen of the television set, given to her by her children for Christmas, the perfect company for a lonely widow, is the most memorable and poignant image of the film. Also good support by Agnes Moorehead. (Gif: Jane Wyman / Photo: Jane Wyman / Screenshot by me: Rock Hudson and Jane Wyman)
Watched: 28.12.2021
Decent performance from Richard Dix in this B-programmer with a short runtime. The plot has plenty of implausibilities (e.g. the prison escape) and Dix isn't eligible for the father-of-the-year award, but it still moves at a nice pace and I liked the actresses Dorothy Wilson and Erin O'Brien-Moore. Also with Bruce Cabot as Wilson's love interest. (Photos: Erin O'Brien-Moore, Eily Malyon and Richard Dix / Bruce Cabot, Dorothy Wilson and Richard Dix)
IN OLD KENTUCKY (1935) ★★★
Watched: 29.12.2021
Watched this horse film for Dorothy Wilson. Also, it's my second Will Rogers film, and I really love his laid-back and natural style. Two feuding families, a horse that only runs well in the mud and rain, a rainmaker and a horse race, make up the ingredients for this entertaining wholesome film. There's humour (I actually enjoyed Etienne Girardot as the rainmaker, he was really funny, but Charles Sellon as granddad with his rifle becomes a bit tiresome), there's romance (between Wilson and Russell Hardie), there's music and dancing (courtesy of the wonderful Bill 'Bojangles' Robinson, and Rogers also tries his hand at tap dancing successfully), there's even blackface (yet the way Rogers uses it was less offensive, with the blackface being plot-related). Fortunately Wilson was given plenty of screen time and she's lovely. Want to see more of her and Rogers. I also enjoyed Rogers' scenes with Esther Dale. Hardie was pretty bland, though. (Photos: Will Rogers and Dorothy Wilson / Esther Dale and Will Rogers / Bill Robinson, Will Rogers and Dorothy Wilson)
THE AGE OF CONSENT (1932) ★★★
Watched: 30.12.2021
Surprisingly engaging pre-code film directed by Gregory La Cava (of My Man Godfrey and Stage Door fame), about college students seeking romance (read: sex). The film is pretty frank about sex and lust, and there are some steamy scenes filled with longing and hormones raging, plus a memorable scene where Dorothy Wilson follows Richard Cromwell into the men's room. I love the snappy dialogue, especially during the diner scenes, and the sexual innuendos betray pre-code times. None of the four youngsters (Dorothy Wilson, Arline Judge, Richard Cromwell and Eric Linden) would become big Hollywood stars, neither would John Halliday or Aileen Pringle, but the performances and characters are realistic and believable. I watched this for Wilson, because I really like her. At the time she was working as a secretary at RKO Pictures. While taking dictation for La Cava, he noticed her photogenic presence, set her up for a screen test and decided to cast her in his new film. So this was her film debut. Also, watch out for an uncredited Betty Grable as one of the students. (Photos: Arline Judge and Richard Cromwell / Dorothy Wilson and Richard Cromwell / Eric Linden, Dorothy Wilson and Richard Cromwell)
Well, that rounds it up for 2021! Like I already said, for me this was a record-breaking year, with 465 films watched. I hope to surpass this figure next year, so stay tuned for my film journey in 2022. Also, in a couple of weeks time I'll be doing a round-up of the year 2021, so watch out for that one. Happy New Year and Cheers to watching more Classic Films!
