WHAT FILMS HAVE YOU SEEN LATELY?

[moira finnie]

Mike, I like the scenes with Walter Huston in Dragonwyck (1946), but Vincent Price seemed a tad too effete to me, even for an aristocratic poltroon of the Old Hudson Valley school. Originally, Gregory Peck was to have played the Vincent Price role and John Hodiak was cast in the Glenn Langan part--both of whom would have brought some needed romantic tension to the story for me.

One of the reasons that you might not have detected the fine hand of Joseph Mankiewicz in this film: it was purchased by 20th Century Fox as a project to have been produced (and possibly directed) by Ernst Lubitsch. Unfortunately, Lubitsch's deteriorating health limited his involvement in the final production, though it was he who brought Mankiewicz onto the film to write and later direct it. While Lubitsch had been a mentor to the younger man previously, their relationship was seriously harmed during the filming, when Joseph Mankiewicz said that ailing Ernst had become "stubborn and touchy" as his heart failed. On one of the first days of production, Lubitsch, standing on the set with Gene Tierney, turned to her, upset, and reportedly said, "What have I done? How could I give our picture to this novice? He knows nothing." Mankiewicz's neophyte visual sense was not on a par with his elder, but Gene Tierney wondered if Lubitsch was really afraid of Mankiewicz succeeding. It was financially successful, making it possible for Mankiewicz to make Somewhere in the Night (1946) and begin honing his directorial skills further, and some glints of his trademark sophistication on screen.

[MikeBSG]

I liked Price in "Dragonwyck" a lot, but I agree that John Hodiak would have been a big improvement as the heroic doctor.

[charliechaplinfan]

I like movies that show women's lives apart from men. In the movies, men have such rich lives without us. They go to war, ride cattle drives, are in the military, are pirates...and do so much without us. So when I get a chance to see a movie where we live with each other, and survive and support each other, I find that interesting. There's "Stagedoor" "So Proudly We Hail" "The Group" "Seven Women" "Cry Havoc" "Westward The Women" "Caged" and "Tender Comrades" to name a few. ( There's more out there I'm sure someone can add to...and please do. This is just off the top o' my haid. )

And then there is "THE WOMEN."


“I’ve had three years to grow them Mother. JUNGLE RED!!”

Alison you must be off baking now and not reading the board, but when you come back, just know that I loved your stream-of-consciousness review of "THE WOMEN." One thought after another after another. Your review reminded me of the movie. One event after the next building and building. I couldn't take little Virginia Weidler crying in the closet...but everything else about the movie was fantastic for me. My favorite character is Paulette Goddard. Saucy, sassy and giving good advice. I liked her quiet moments with Norma. Her showgirl, Marian, was a good friend. It felt authentic and genuine. I loved the CatFight and the Ladies Room scene. So so much going on in that movie. ( "I'm thinking about the tips you never gave me!!!"' ) I was happy to see African-American women represented, and even the little dog is a female. I loved the cook and the maid discussing the Haynes' marital problems: ( "Any man who can think of a good reason how he can be in love with his wife and another woman ...is going to win that prize they're always giving out in Sweden." ) And of course, the big show down between Shearer and Crawford in the dressing room, which probably mirrored their real life, studio relationship.

I don't examine what light it shows "the fairer sex"; I don't care. All manner of woman are shown: shop girls, domestics, society dames, showgirls, married, single, one child, many children, a countess and a rough hewn ranch owner...It was a rip-roaring, estrogen-filled, catfest with sharp nails and even sharper tongues ( "I'm what Nature abhors...a frozen asset." ) The greatest of lion tamers with guns, grenades, machetes and a whip, could enter a cage filled with lions, tigers, panthers, cheetahs, cougars and leopards ...and he wouldn't have survived the women. Kudoes to the Master, George Cukor. And to those actresses who had the good sense to be professional and know a damned good script when they read one.

THE ACTRESSES:

These gals were great beauties in their time:




THE WOMEN:



Viva 1939!!! It was a very good year. L'amour...l'amour. Toujours l'amour!

And Red, thank you for your comments too. I went off to do my baking and unfortunately didn't get time to get back to the board last night but golly that movie stayed with me. My copy had the fashion sequence, it did hold up the proceedings but I guess it was there for a good reason in it's time, it's an interesting look at the fashiona at the end of the thirties.

My favourite characters were Norma's and Paulettes, I guess we'd all like to have Mary's dignity but one thing she is a little lacking in is warmth towards the other girls, Paulette is automatically warm, once she knows a good gal. I guess that Norma's Mary probably had it easy up to then, she probably married the first guy who came along and he was probably wanted to other women, Rosalind for one, so once her marriage begins to crack they are on it like wolves.

I wonder how far Paulette's showgirl is from her start on the New York stage? I've never read anything but that she was a friendly woman, very warm and giving.

I loved the scene between Norma and the manicurist, jungle red and a whole load of gossip. That's the bad thing about women, how we love to gossip, if we don't actually stir it and pass it on like Rosalind, we still listen and hopefully we're all big enough not to feel gleeful when someone else's life is effected. That's why I like Joan's Peggy, she's a bit slow on the uptake, a bit trusting, younger running off to Reno without really considering the impact but she has no guile or dishonesty about her, she's just nice.

It's so interesting for any student of film to watch Joan and Norma together, they are both good actresses and perhaps both have a shading of their characters, Joan fought hard to come up from humble beginnings, perhaps she knew Crystal? Norma had married the boss, only to lose him tragically. Joan had always envied Norma's position. I wonder if Norma's early precodes would have had the impact if Joan had played them? The girls came from different worlds in the audience's perception, perhaps it wouldn't have been such a shock if it was Joan playing them.

Such a great movie, I'm sure I missed loads. You mentioned The Group, Theresa, I've just read the book and loved it, there's so much in it, I wonder if the film translates as well? If you like it though, there must be enough there to recommend it

[Fossy]

Svengali
I first heard of Svengali years ago when John Derek was described as Bo Derek`s “ Svengali”.
Based The 19th century novel (Trilby) by George L. Du Maurier , as far as I can tell the story has been filmed at least 21 times, with yet another to be released in 2013.

Svengali (1931)
Tells the story of trilby (Marian Marsh), an artist`s model, whom is in love with Billee . Billee sees her modelling nude for a group of artists and is shocked. Feeling ashamed at Billee`s reaction she flees to Svengali ( John Barrymore) who fakes her suicide and flees with her. Under his domination she reappears a few years later as La Svengali, a great new soprano who is taking the world by storm. The story ends with the death of Svengali, and with Trilby in the arms of Billee.
Sometimes when one sees a movie for the second time (or even more) one will see something which was missed the first time around. At the end of a second viewing , as Billee held Trilby in his arms the thought occurred to me “ Did she just die?”

And then I found

Trilby (1915)
Starring Clara Kimball Young as Trilby. A major selling point of this film was the nude appearance of Clara Kimball Young (actually it was a body double wearing a body stocking, but as with any movie the truth never gets in the way of a good story).
Now I will find out if she died –or will I?
The storyline was the same, until Billee went to the concert. After the concert he waited to see if La Svengali really was his Trilby. She ignored him until, as she was getting into the coach, Svengali became ill. The spell was broken, Billee took off with his Trilby, presumably to live happily ever after.
So I still don`t know the answer.

And then I found

Svengali (1954)
Starring Hildegard Neff as Trilby, Donald Wolfit as Svengali, Terence Morgan as Billy Bagot. Same story all the way to the end, Svengali died, Trilby fell back, said Svengali, Svengali. Billy took her in his arms, kissed her passionately, and----------------------------------------------------the spell was broken.
But I still had my doubts.

And then I found

Svengali (1983)
This is not the original story, names are changed, places are changed, as are the habits of the players.
Trilby (Jodie Foster) has become Zoe Alexander, Svengali ( Peter O`Toole) has become Anton Bosnyak who becomes her tutor and mentor. Eve “discovers” Zoe and introduces her to Anton.
Zoe is a singer with a band led by Johnny, with whom she is shacked up. She leaves the band to Study with Anton and Johnny gets a replacement singer. The new singer will only sing with the band if all the band members take their turn, starting with Johnny.
Zoe arrives home early (Oh! Dear). So That`s the end of Zoe and Johnny. Zoe moves in with Anton. Anton tells her he is the world`s greatest lover, and next morning she agrees with him. Zoe`s manager is Eve. It seems that every time Eve is in a scene she has a new young male “secretary”.
Eventually Zoe and Anton split up, Zoe goes off to be a star, Eve gets yet another new “secretary”, and Anton gets a new young “student”.
But this still does not tell me, did Trilby die

And then I found

In a bookstore in Ulladulla, on the south coast of New South Wales the book, Trilby. Now I will find out! However this would be no easy task. The printing was small, the book had been translated from the original French, but there still remained phrases and verses in French. Add to this the fact that I could hardly see to read. It took me a couple of months of difficult reading, and going back and forth to the computer to look for translations.

And now I know the answer.

[feaito]

Very enlightening post Fossy

[CineMaven]

Maven, thanks for posting those gorgeous pictures from The Women. Joan Crawford had to fight for the role of Crystal. It was only a supporting role and an unsympathetic character, so how could it be good for her career? Joan knew better than her bosses on this one.

Got inspired by reading Alison’s post on the movie. Crawford fought tooth and nail through life, didn’t she. Sometimes playing the bad girl gets you more noticed than playing the good girl. ( In real life, too. )

I re-watched HIGH BARBAREE and liked it just as much the second time. ... June Allyson may never have looked more attractive, absolutely radiant, than in the party scene where she dances with Van Johnson...By the way, there's a fine camera shot at the beginning of the party scene where we begin with a close-up of the chandelier and the camera pulls back to reveal the whole dance floor. I like how there's no dialogue which says that Alec's parents want him to marry Nancy, not the rich Diana, but you can read the faces and know exactly how they feel.

You’re so right. I really saw something underneath Allyson’s wholesome sheen: determination and sex appeal. And I also remember the shot you described. I was slightly startled by it as the camera pulls back and I saw that big set; it spoke “big budget” to me.

Another aspect of HIGH BARBAREE which I really like is that the pastoral small-town USA setting, much favored at this time, is particularized, not generalized, which is one reason I like this film better than THE HUMAN COMEDY, as well-made as that is. The water tower, the "G-note road," the mother who might have been a professional pianist...

Again, you hit the nail on the head, though I find “THE HUMAN COMEDY” an easier watch for me, probably b’cuz it plays out in a more linear fashion. I also enjoyed watching Homer’s ( Mickey Rooney ) emotional growth...how he perceives and receives events around him. The teacher who keeps him after school breaks my heart. HEY!!! Look who plays Homer's big brother who's in the war!! “High Barbaree” is certainly rich in adventures for the young boy, and help shapes the man he is to be. ( That “G-note road” scene between mother & son is small but particularly poignant to me. Even Mom senses something special about her little boy. )

SPOILER ALERT: I like the resolution of the film a lot. Van Johnson is very believable as he reacts to the death of his buddy after they learn that the island doesn't exist. Then we have the "into the light" scenes which beautifully capture the sense of what heaven might be like for this particular man.

Me too Brother Rat.The camera steady on Van, the tears welling up in his eyes, it was a great dramatic moment for him. I think what shocked me also, was that in 1946 they even knew about near-death/into the light experiences. Oh, I don’t mean like “Here Comes Mr. Jordan” or “A Guy Named Joe” but to die and to come back; to be pulled back. I was having a hard time thinking that Van was really not going to make it. In a lot of my viewing, I don't have to go all-Hollywood with a happy ending but boy, I really wanted it here. I was also struck by Tangaros ( Al Kikume ). He made me think of the regal bearing of Rex Ingram. So there is no High Barbaree, ey? I'll have to remember that.

THE WOMEN:

The copy I watched had some footage I don't remember from past viewings. The ladies go to a fashion show, just a backdrop for more dialogue, really. But the action comes to a standstill as several outfits are displayed in glorious technicolor. I don't mind the idea. Other films have inserted a color sequence to good effect. But this scene tells no story, enhances no atmosphere. It simply stops traffic for about three minutes. Has anybody else seen this?

As far as I know Red, this sequence has always been in “The Women.” You’re right, it doesn’t move the action along...but it’s a nice breather along the way to the next row the girls have. And who can resist the clothes!!!

You mentioned The Group, Theresa, I've just read the book and loved it, there's so much in it, I wonder if the film translates as well? If you like it though, there must be enough there to recommend it.

I’ve never read the book Alison, so I can’t really compare, but I enjoyed the movie a lot ( though it’s been a while since I’ve seen it ) and I’d recommend it. Oh, and give "The Women" another look.

[RedRiver]

I guess I had just forgotten the fashion sequence. (What's to remember?) It certainly doesn't make me think less of this wonderful comedy. I like DRAGONWYCK. It's not a great film. But the characters are intriguing; the story literate. I'm a fan of THE HUMAN COMEDY. William Saroyan's lovely novella reaches right into the heart as purely as anything I've read. If you're not careful, it could literally change your life. The movie is good too. I believe we have some Clarence Brown fans on the board! Quiet, sincere, unabashedly sentimental, it's a solid adaptation of a beautiful book.

[charliechaplinfan]

I will watch The Women again, it sparkles. I was surprised how Norma got so much more screen time than Joan but Joan is electric. It's the kind of film that MGM's star roster was made for.

[JackFavell]

Would we find them unpalatable if Hitler had not risen to power? Yeah probably. I'll have to watch again to respond to your excellent informative post, kingrat. I saw the beginning but fell asleep before the end and it's been years since I saw it all the way through.

I love The Human Comedy, but also you made me think of Our Vines Have Tender Grapes when you were mentioning specific locales in stories about children dealing with death or adult problems. It's also a charming film.

Back to Our Man in Havana, thanks Mr. A and kingrat for making me feel not so alone in my love of the movie. The men's room scene is soooo funny, and miles beyond what we expect from this era, very sly. And I think one of the reasons I like this film so much is the way the comic circumstances lead to tragic results, you worded that perfectly.

Fossy - I loved the Svengali-a-thon post, it was just great, I love your dedication.

I like 'women without men' movies as well, Maven, I'm glad you brought up the mini genre. There isn't a film on your list I don't like. As for The Women, my favorite characters are Paulette, Joan Fontaine, and Ruth Donnelly. Heck, I actually like Crawford! as usual, she knows exactly what to do in this role to bring it across... and has a great 'you can't blame me for trying' exit, making her seem just a little less evil.

The fashion show for me is hilarious, as are several other MGM movies of that year (re: Ninotchka's hat), mainly because it looks like Adrian was trying to recycle Munchkin outfits and turn them into a fashion trend.

[RedRiver]

Fascinating comments about "Gabriel," King Rat. To be honest, I wasn't too impressed with the movie. But I didn't give it as much thought as some have. This makes me want to see it again.

[CineMaven]

I like 'women without men' movies as well, Maven, I'm glad you brought up the mini genre. There isn't a film on your list I don't like. As for The Women, my favorite characters are Paulette, Joan Fontaine, and Ruth Donnelly. Heck, I actually like Crawford! as usual, she knows exactly what to do in this role to bring it across... and has a great 'you can't blame me for trying' exit, making her seem just a little less evil.

I'm thinking you're meaning Mary Boland, Wendy, not Ruthie, right? As for liking Crawford in this...I hear ya loud and clear. Yes, she's the "bad guy" but you put it so well when you speak of her exit: ( "Well it looks like it's back to the perfume counter for me..." ) She has a bit of a sheepish grin, like she gave it a good shot; had a good run but..."A'ight, a'ight...ya got me!"

The fashion show for me is hilarious, as are several other MGM movies of that year (re: Ninotchka's hat), mainly because it looks like Adrian was trying to recycle Munchkin outfits and turn them into a fashion trend.

HA!! Haaaa...

A little more about Joseph Wiseman, whose best-known role is the title villain of Dr. No. In Braverman as in Viva Zapata he has a rare skill for playing the kind of head-bound intellectual who would think nothing of sacrificing actual human beings for the sake of an ideal.

I haven't seen all his work, but I have to say that of what I've seen, my favorite is the crook he played in "THE DETECTIVE STORY." Have you or anyone else here seen "BEFORE THE DEVIL KNOWS YOU'RE DEAD"? I thought it was a fine piece of filmmaking by Lumet.

It also looks like I've got to give "OUR MAN IN HAVANA" a shot, thanx to the praise heaped on it in these last couple of posts.

[JackFavell]

Hey, Maven! No I meant Ruth Donnelly, but forgot completely about Mary Boland, so thanks for bringing her up! Oh she's marvelous, with her loves and her crying and her open sexuality. You know she is probably my favorite character. Can't believe I dissed her. It wasn't on purpose.

There's a very cynical undertone to Our Man in Havana that I think you might like, sort of like an outrageous Network or Face in the Crowd, but dealing with cold war politics and the efficacy of the CIA or MI5 instead.