Melvyn Douglas in April

[JackFavell]

I have a kind of love/hate relationship with Melvyn Douglas.... I'll admit it, sometimes I find myself groaning when they schedule a day of his movies. Today I see such a diamond in the rough.

I am fond of his later films especially, Hud, The Candidate, The Americanization of Emily... mainly it's that the later films, especially in the 1960's and 1970's, are more suited to his style. Douglas' ability to play both sides of the coin is well suited to the anti-hero era. These ambivalent characters seemed so modern at that time, they addressed the split between youth and age, liberal and conservative, sane and crazy. We wanted to walk away from corruption, and who better to walk away from than shaded, older Douglas? The smiling glad-hander; solid, upright, good-natured. An image hiding a deep and powerful secret lust for power...the types of men who would cash in on family if it meant having more influence. In other words, he could play a fat cat better than anyone.

Somehow, his portrayals made him seem hip, for an old guy, that is. He was in on the joke.

And the truth is, He still appeals for this very reason. Douglas always played those with a little mercenary in their soul... it's just in the later films, the dark part overtakes the light, and you get to see what a nuanced actor he really was. He seems real. His bland image became a real bonus, his seemingly calm, unruffled exterior playing against all that ugly truth lurking inside him. Did I say we wanted to walk away from corruption? Well, Douglas knew already that it was impossible - the Douglases are a part of life just like breathing, so one has to learn to watch oneself. It's part of growing up. When Douglas laughs, you better look carefully because you are in for a nasty shove down the side of a cliff.

His later father roles hark all the way back to Captains Courageous but with a darker twist - only seeing for the first time how his selfish pursuit of business or whatever has ruined his future, and the only thing he really cares about - his sons. It is almost always too late to make up for it, to gain their trust back.

Anyway, I do appreciate his timing, his way with a line in these early movies that are showing on TCM today. And one can see the fat cat in the making. Still, you can't help liking him best, no matter what he does. I find myself smiling every now and then, because this time, I am in on the joke - he's let me in on it, too. That's what I love about Melvyn Douglas.

I watched Dangerous Corner this morning. I loved it, for all it's dramatics and theatre-bound staginess. The acting was quite good all around, Virginia Bruce, Erin O'Brien-Moore and Betty Furness were all wonderful, but Douglas was the only one who brought his performance full circle. He took us on a journey - from like at first sight, to hate, back to liking the guy again. He had that wry way of making fun of himself that is immensely appealing, He might not be God's gift to the ladies, but he's got something - the ability to land on his feet - it makes him a good catch.

Here's an article I found years ago that I think describes Douglas to a T:

http://www.thescreamonline.com/commenta ... suave.html

I hope you give Melvyn a chance today - so don't groan, because you'll actually be missing something. The punchline.

[movieman1957]

A nice article. A fine surprise that they would spend so much time on "Theodora Goes Wild." (Just reminded me of another "Discovery" for that thread.) It has become a favorite for all the reasons the article puts forward. I've never really thought of him as suave. That territory was reserved more for Grant and William Powell. What Douglas was was self-assured and a bit sly.

I was introduced to him in "I Never Sang For My Father." I had no idea who he was but I remember liking him. It didn't make me go out and see everything I could but i remembered to notice when he cam along. He was fun too. He seems to relish his role (and relationship) with Grant and Loy in "Mr. Blandings." I like him in 'Ninotchka." Hey, if Jimmy Stewart can play a man in a store in Budapest I guess Douglas can be in Paris. "Too Many Husbands" was automatic for Jean Arthur but MacMurray and Douglas are fun together. I've seen a few, and too few dramas, but I've felt a kinship to his comedic characters. At least there is still more to find. He was busy.

[JackFavell]

I forgot Mr. Blandings... he's a scream in that one! The quintessential "best friend" - I like that Cary gets a bit jealous of him finally, because he really is a friend on the make....not sure I would trust him with my wife. I still always picture him sitting in the closet, dropping that barrel on the floor rhythmically, bored out of his mind.

[MissGoddess]

Sensational writing, Wendy. As always, you know how to put into words a performer's essence, especially if they are a performer whose merits are not always readily appreciable.

Your connection between Captains Courageous and the later films like Hud is just incredible...I now think people should first see the earlier film and then Hud afterward. It's amazing how good he was at playing a well intentioned, imperfect, father (though in Hud's case, the child needed to be thrown overboard ). I never would have made that connection or seen the parallels in Douglas' career.

I've never had any problem with him in any of his roles. He's never registered romantically with me, too average looking and laid back for my taste, but I always thought him more like a real person than a movie star. So I agree with you, he's very modern in that respect.

His reasonableness is a rather nice contrast to Garbo's rigidity, in Ninotchka. I believe Cary Grant was first choice? I would love to have seen that but I wonder if Grant was mature enough yet as a performer not to be a little overwhelmed by such a figure as Garbo. Douglas always seems impervious, somehow, yet didn't mind being second fiddle.

[JackFavell]

Thanks, Goddess!

Impervious is the right word. It's the reason he makes such a charming third wheel.

And that same imperviousness makes him the perfect foil for Ninotchka. As much as I would love to have seen Cary do the role, I think there would have been more reaction on Cary's part,a little more work, and maybe we would lose something of Leon's reality and persuasiveness.... Cary would have been busy putting something over on the Russians, whereas it's simply Leon's nature to be breezy and fun loving - he's a good advertisement for the west, maybe not at first sight, like Cary, but his naturalness and easy charm does more to convince our boys than any conniving could do.

[MissGoddess]

Douglas wasn't usually cast in leading roles in male-oriented action films. Is it fair to say that he was more the man whom other men actually were rather than the kind of man they could enjoy imagining themselves to be?

Ha! That's brilliant, I think it's true. He even had kind of a belly, didn't he? I mean, no real physique. Very much a believable, ordinary man but very bright.

[JackFavell]

I agree, kingrat - he was never the matinee idol, but the up and coming man of the people. It must have been a relief to him to start getting roles outside those leading man limitations. He's kind of like George Kittredge in The Philadelphia Story but a little more interesting, twisted into a reluctant hero who learns to love and becomes a mensch along the way.

I just watched Theodora Goes Wild again - it's my second time and I really enjoy the film, it's a great surprise if you haven't seen it!

The movie is a heck of a lot of fun and Melvyn Douglas was never better, again playing a sort of duality that only he could bring off. He's actually quite sexy, I think it's the only time I can say this. He and Dunne have a great natural rapport and romance. I also think his devil-may-care attitude really shines out in this film, where it isn't as bright and fresh in Ninotchka. He even has rapport with the stray mongrel he picks up! I would love it if Melvyn would come to my town and shake things up a little. Plus, I could use a good gardener....

This brings me to the writing in this film - one of the joys of it is that it is written as one long, very spirited and funny innuendo. Everything is a symbol for breaking free - sexually and otherwise. And Douglas knows exactly what he is saying when he makes his double entendres. This is why he is so perfect for the role. He knows that we know that they know....

This role fits him like a glove, it's the best of all his early films, because he is most himself. His freedom and relaxed way of laughing at himself and others was never more charming. Irene Dunne is most perfect as Theodora, the mousy spinster who secretly writes potboilers and dreams of excitement and love, but can't break out of her family commitments and town's prejudices in real life. The casting in this movie is PERFECT. I especially like Spring Byington as the effusive Mrs. Perry, who embodies the town's spirit - clamping down the lid on sin, while rushing through the door to gossip about it. I can't help noticing that this movie takes place in Connecticut, where we love to gossip about all those awful goings on down in Sin City. It's why we live so close.

It drags just a little in the second half, making it's point about living one's life without worrying what people think early on, but Dunne gets to go even more crazy, amping up her public persona, wearing crazy gowns and knocking down anyone in her way. In her attempt to free Douglas from his own fears, she wreaks havoc with some innocent bystanders, which doesn't sit well. Perhaps it might have been better if the couple had gotten together without the complications being dragged out. Douglas and Dunne are so great together, why separate them for so long? The director seems to have thought that their difficulties apart were more interesting. Was this a subtle attempt to meet the production code's expectations? Showing the fallout of breaking free? We'll never really know. Still, I had a smile on my face pretty much all the way through.

The idea is marvelous - very Fordian, with small town hypocrisy on trial... the ladies of the literary club are all trying to get Theodora's book banned, but secretly read every word - then they promise to ignore Theodora's homecoming, but all show up anyway, because they are nosy. They register such horrified shock when she steps off the train with a.....

well, now... you'll just have to watch it yourself to find out what she brings back to town with her!

Theodora Goes Wild would make a super double bill with Doc Bull.

[movieman1957]

This is what I meant.

Glad you enjoyed it again. I like the part where he is staying out in the "shed" and he and Dunne are having their musical duel. Whistling vs. piano. We win.

[JackFavell]

Glad you enjoyed it again. I like the part where he is staying out in the "shed" and he and Dunne are having their musical duel. Whistling vs. piano. We win.

Oh I love that! Chris you are so witty! and right.

[charliechaplinfan]

He's a bit of a non starter with me too but reading what has been said, perhaps I've been too hard. I don't mind him, I just don't appreciate him, he'd never be a reason that I'd see a movie, he doesn't come across, that said I don't think I've seen his later work. I do like Theodora Goes Wild.

[JackFavell]

He doesn't come across much, does he? He's too relaxed for the camera to be in love with him. But if you end up watching him in his later roles, you see something of the ambition that he must have had. He's quite harsh in some of them, and a little scary in The Candidate, which is a particular favorite of mine.

[charliechaplinfan]

For me he always seemed middle aged, I can't imagine him ever being a youth. Yet, I can't imagine anyone else fitting into some of his roles, well perhaps William Powell, I wish Ninotchka had had someone like Cary Grant, William Powell or James Stewart. I'd like to watch some of Melvyn Douglas's older movies, I think I could take to him more in a more serious role.