Humoresque

Humoresque, 1946, Warner Bros. Starring Joan Crawford, John Garfield. Directed by Jean Negulesco. B&W, 124 minutes.

Violinist Paul Boray (John Garfield) has overcome family objections and the constraints of the Great Depression to achieve modest success as a musician. That’s not enough for him, however. To help his search for greater fame, his closest friend, wise-cracking Sid Jeffers (Oscar Levant), introduces him to socialite and patron of the arts, Helen Wright (Joan Crawford).

The two begin a tug-of-war toying of the emotions, with Paul mindful of her married status and she, not used to being rebuffed by men, alternately playing it coy, then cool. Paul has a childhood sweetheart who is clearly better for him then the tempestuous Helen, but he is being pulled into her affections.

It is a dangerous situation, and both are aware of the potential destruction to their lives, but as happens so often, passion draws them into a deeper and wider stronghold against their better judgment. At the same time, Paul is torn by his mother’s insight into his career and tortured relationships.

john-garfield-joan-crawford-star-in-humoresque
John Garfield, Joan Crawford

The relationship between patron and musician is complex, and performances by both Garfield and Crawford are up to the task of portraying the intricacies of the dynamics between the two. This is often noted as one of Crawford’s finest roles, coming on the heels of her Academy-Award winning portrayal of Mildred Pierce.

Close-ups of Garfield playing the violin are actually the hands of famed violinist Isaac Stern, who also served as musical advisor for the film and was the solo violinist on the film’s soundtrack. Stern was only 25 at the time, and this was a huge boost to his career.

John Garfield in Humoresque.png
John Garfield

Crawford later recalled one scene, in which she performs her own stunt by falling off a horse going at full gallop, in an interview with a biographer. “I must have been crazy because I said I wanted to do my own stunt. They must have been crazier, because they let me do it.

“The powers-that-be had decided it was too racy to have Johnny Garfield lay on top of me. We had to re-shoot the scene so I ended up on top of him. That passed. I couldn’t really understand what was the difference, him on top of me or me on top of him.

“Well, the difference was I had to fall off the horse again. I did, and I lived to tell the tale.”

joan-crawford-in-humoresque
Joan Crawford

The film was nominated for one Academy Award for Best Music, Scoring (Franz Waxman).

A musical term, “humoresque” means “a short, lively piece of music,” and while that is heard throughout the film, it is perhaps not the strongest title for the film, nor does it give much of an indication of its plot or tone.

One of the few movies ever made that features classical music in a key role, Humoresque is a compelling tale of a complicated relationship with flawed characters and an uneven path to romance, a path that ultimately leads to tragedy born of emotional, and likely distorted, decisions.

As of March 21, 2017, “Humoresque” is scheduled to air on Turner Classic Movies (TCM) on March 31, 2017 at 3:45 p.m. ET/2:45 p.m. CT and April 22, 2017 at 12:00 a.m./April 21, 2017 at 11:00 p.m. Scheduling is subject to change. Check TCM’s schedule for the latest information and to receive email notifications about your favorite films.

After the Thin Man

After the Thin Man, 1936, Metro-Goldwyn-Mayer. Starring William Powell, Myrna Loy, James Stewart. Directed by W.S. Van Dyke. B&W, 112 minutes

Nick (William Powell) and Nora (Myrna Loy) Charles have returned to their San Francisco home, just in time for a New Year’s celebration thrown in part in their honor. They are summoned to the home of Nora’s Aunt Katherine (Jessie Ralph) for dinner, where Nora learns a favorite cousin, Selma (Elissa Landi) is worried sick over the disappearance of her husband, Robert.

Also in attendance is long-time family friend and admirer of Selma’s, David Graham (James Stewart). David convinces Selma to join him and the Charles’ for a night out on the town, including a trip to local nightclubs to search for Robert. They find the errant husband easily enough, but as the clock strikes midnight, he is shot to death, and Selma, who is seen shortly thereafter standing over his body, holding a gun, becomes the prime suspect.

Skippy as Asta, William Powell and Myrna Loy in After the Thin Man
Skippy as Asta, William Powell, Myrna Loy

The search for Robert becomes a search for the truth about his killer. Joining the Charles’ in their venture is their loyal dog, Asta, who, it appears, has some new — and adorable — additions to his canine family.

This was the second of six Thin Man movies, and is nearly as good, and certainly as enjoyable, as the first, The Thin Man. Like the original, it is based on a story by Dashiell Hammett (although not a published novel or short story), with the screenplay written by Albert Hackett and Frances Goodrich, who received an Academy Award nomination for Best Writing, Screenplay.

The Nick & Nora Charles of the films were a bit audacious with their heavy drinking and for-the-era racy adoration of each other (there’s no doubt this couple has a healthy private life), but the pair portrayed in Hammett’s novel were “a couple living in a liquor-soaked open marriage” according to a PBS biography. Even pre-Code Hollywood considerably toned down that element in the original The Thin Man, and the Code, with its tighter moral standards, was in effect for After the Thin Man.

william-powell-starring-in-after-the-thin-man
William Powell

Still, the characters in the films aren’t stereotypical Hollywood. Delivering such lines as, “let’s get something to eat. I’m thirsty,” Powell gives a dry, sardonic and sophisticated performance as the former detective called upon by the family who looks down on him to investigate the murder, and arrest, of their own. A fiercely determined Loy once again gets herself in trouble with her sincere efforts to help her husband, but he is always a step ahead of her. She’s no slouch or encumbrance, however, and delivers crucial evidence, despite her lack of investigative savvy.

James Stewart, still early in his career and limited to co-starring roles, is sympathetic as the man facing unrequited love, never willing to give up on the woman he believes would be happiest with him.

Myrna Loy, William Powell star in After the Thin Man.png
Myrna Loy, William Powell

This is a clever story with any number of viable suspects who, one by one, are eliminated through Nick’s dogged detective work. It moves quickly and leaves few, if any, loose ends.

Perhaps the best of the “Thin Man” sequels, After the Thin Man is quintessential whodunit fare combined with wit and colorful characters, part of what makes this series an enduring element of pop culture.

Mrs Asta and family in After The Thin Man
Mrs. Asta and family

As of March 14, 2017, “After the Thin Man” is scheduled to air on Turner Classic Movies (TCM) on Saturday, March 25, 2017 at 6:15 a.m. ET/5:15 a.m. CT. Scheduling is subject to change; change TCM’s schedule for the latest information.

 

 

 

 

 

 

Madame Bovary (1949)

Madame Bovary, 1949, Metro-Goldwyn-Mayer. Starring Jennifer Jones, James Mason, Van Heflin, Louis Jourdan. Directed by Vincente Minnelli. B&W, 115 minutes.

Emma Rouault (Jennifer Jones) is a young woman living alone with her father in rural France, lost in her dreams of romance and excitement, lives she has read about in forbidden novels while in a convent school. One day she meets aspiring doctor Charles Bovary (Van Heflin), who immediately falls for her and pursues her as he tends to her father’s health.

Charles has no illusions about himself. He tells Emma he is a rather dull person and not a highly skilled doctor, but promises to treat her well and provide a good living. Emma, captivated by her own dreams, doesn’t appear to hear his blunt words and lackluster promises when she accepts his proposal.

They marry, and Emma immediately begins living beyond their means, which an indulgent and weak Charles allows. Emma, never satisfied, begins an affair with first another man in their village, then with an aristocrat (Louis Jourdan) who moves nearer to Emma so they can be together.

The realities of life are overwhelming for Emma, and take her on a tragic course that destroys the lives of all who love her most.

jennifer-jones-louis-jourdan-in-madame-bovary
Jennifer Jones, Louis Jourdan

Lana Turner was originally considered for the role of Emma Bovary, but was considered too sensual, a problem given the way producer Pandro S. Berman was trying to frame the film. Too appease censors, he set up the story with the real-life courtroom drama of the book’s author Gustave Flaubert attempting to defend his novel against charges of indecency. In the movie (which loosely draws from the real-life trial), Flaubert, played by James Mason, portrays Emma Bovary as a sympathetic young woman who has fallen under the spell of romantic novels and seeks a lifestyle that doesn’t exist. Her dreams of beauty and excitement make her sympathetic and deserving of forgiveness, Flaubert argues, and not harsh condemnation.

Perhaps it was that set-up of the plot that was problematic for the critic for The New York Times, who questioned whether or not the story of Emma Bovary was “timely.” However, he had high praise for the male stars, saying “Louis Jourdan is electric as her elegant lover, and Van Heflin is quietly appealing as her trusting, small-town spouse.”

van-heflin-jennifer-jones-in-madame-bovary
Van Heflin, Jennifer Jones

The tale of Emma Bovary has withstood the changing whims of time because of the unflinching way it reveals human nature and foibles, spelling out the reality of disillusionment and despair in unrelenting terms. The story has been brought to film numerous times, but this production stands out, perhaps because of its stark focus on Emma’s character without sharp judgment, letting the story speak its own truth.

Minnelli’s opulent storytelling, including the dance sequence during which reason is lost and passions are flamed, supplements the great heartache and loss that is found in Madame Bovary. The courtroom drama seems nearly moot in the end, but still leaves us pondering the fate of all who crossed into the life of Emma Bovary.

It Should Happen to You

It Should Happen to You, 1954, Columbia Pictures. Starring Judy Holliday, Jack Lemmon, Peter Lawford. Directed by George Cukor. B&W, 86 minutes.

Young and broke, Gladys Glover (Judy Holliday) dreams of a better life, better than “marrying the first man that comes along…or maybe the second.” She has been saving for the rather unusual goal of buying billboard space, where she plans to place her name and picture for all of New York City to see, believing fame will bring her what she wants.

She catches the attention of budding filmmaker Pete Sheppard (Jack Lemmon) while walking through Central Park one afternoon in her stocking feet.  The two hit it off, and when Pete tells her she may end up in one of his documentaries, Gladys is thrilled at the idea of being in the movies.

jack-lemmon-and-judy-holliday-in-it-should-happen-to-you
Jack Lemmon, Judy Holliday

Later that day, she acts on her dream of fame and fortune and buys 90 days of billboard space. With her name in letters that seem sky-high, Gladys is on her way to the happiness she desires. Or so it seems, until the Adams Soap Co., which traditionally has purchased that same billboard space each year for the same three months, steps in. With negotiations designed to intimidate, Evan Adams III (Peter Lawford) works to get back what he sees as rightfully his.

In the meantime, Pete has moved into the same apartment building Gladys lives in, and the two begin a romance of sorts. Pete’s interest is obvious, while Gladys, although appreciative of his attentions, is more intent on seeing where the notoriety from the billboard can get her.

Judy Holliday portrays Gladys as a likable young woman who, despite her dreams of glory, is basically happy in life. Most importantly, she knows what she wants, although the path she believes will lead her there is perhaps ill-advised.

There are some wonderful lines in this film that reveal Gladys’ perceptive side and keep her from being merely a ditzy blonde. She is, in fact, more insightful than simple, and well-equipped to take care of herself in treacherous situations.  The script was written by Garson Kanin, who also wrote Born Yesterday and Adam’s Rib, two significant vehicles for Holliday’s career.

This was the first major film appearance for Jack Lemmon, who is at his best as the sincere, baffled man in love with a woman who is stubbornly pursuing a foolish goal. He stands in stark contrast to Lawford’s slick and sleazy character, a man who takes advantage of women as a matter of course.

Look for a delightful duet between Holliday and Lemmon, interspersed with conversation and casually confident piano-playing, one of the finest parts of the film.

judy-holliday-peter-lawford-in-it-should-happen-to-you
Judy Holliday, Peter Lawford

It Should Happen to You was nominated for one Academy Award, Best Costume Design (Black & White). It was well-received by both critics and audiences, and its popularity for classic film fans has grown in recent years with the onslaught of reality shows making the film’s mockery of being famous for being famous seem both prescient and insightful.

This is a movie with all the elements for a great comedy, and it delivers. The script is original and sharp, the performances by Holliday and Lemmon endearing, and the direction by George Cukor once again showing he knows how to bring out the best in both actors and a script. The better scenes are perhaps in the early parts of the film, but it remains charming until the heartfelt end.

Stella Dallas (1937)

Stella Dallas, 1937, United Artists. Starring Barbara Stanwyck, John Boles, Anne Shirley. Directed by King Vidor. B&W, 106 minutes.

Stella Martin (Barbara Stanwyck) is brassy, brazen and audacious enough to step outside of class constraints and pull herself out of the hovel she grew up in to take her place in high society. She has set her sights on vulnerable Stephen Dallas (John Boles), who recently broke off his engagement with the refined Helen (Barabara O’Neil) when his father committed suicide after the family business failed. While waiting until he moves up enough in his new job to support the woman he loves, he discovers Helen has married another man. Heartbroken, Stephen is on the rebound, and falls for Stella’s efforts to charm him into wedlock.

A year after the two marry, they welcome their daughter, Laurel. Soon that child is the only bond between the couple. With his attempts to change his wife’s unrefined ways a marked failure, Stephen is increasingly put off by Stella. Add to that her friendship with the uncouth and loud Edward Munn (Alan Hale), a man of whom Stephen strongly and openly disapproves.

john-boles-barbara-stanwyck-in-stella-dallas
John Boles, Barbara Stanwyck

Eventually Stephen accepts a job transfer to New York, and Stella stays behind in Massachusetts with Laurel (Anne Shirley), now a young girl on the verge of womanhood. Stella is a devoted and loving mother, and dotes on the growing girl to a surprising degree, given her otherwise self-absorbed nature.

Things take a dramatic change when Stephen has a chance meeting with Helen, now a widow with three boys. Their romance starts anew, with Helen welcoming Laurel into her life. Stella is faced with choosing between her own happiness and that of her daughter’s.

anne-shirley-barbara-stanwyck-in-stella-dallas
Anne Shirley,  Barbara Stanwyck

Stella Dallas was based on the book of the same name by Olive Higgins Prouty, who also wrote the novel Now, Voyager, on which the film starring Bette Davis was based. Prouty also became a mentor to Sylvia Plath and is believed to be the inspiration for the character Philomena Guinea in Plath’s 1963 novel, The Bell Jar. Prouty, who herself suffered from psychological issues, had a strong interest in the internal motivations of the characters in her books.

The book had been made into a silent film in 1925, starring Ronald Colman and Belle Bennett, and was also re-made as the movie Stella in 1990, starring Bette Midler and Stephen Collins. The story has been analyzed numerous times for its perception of a woman’s role in society, the ideals of motherhood and the perils of sacrifice.

Melodramas of this sort were popular during the Golden Age of Hollywood, and to an extent we still see them today, albeit on the small screen. They are presented on cable channels such as Lifetime, notorious for somewhat overblown stories of human pathos. However, that is not what is delivered here. In the time Stella Dallas was made, production values for films of this calibre were much higher than the made-for-TV movies of today, and it shows in the final product.

The film received two Academy Award nominations, Best Actress for Stanwyck and Best Supporting Actress for Shirley.

This is a tale of woman who first wants more for herself, than dreams those dreams for her daughter, who is actually in a position to obtain them. It is both warm and tragic, with a character who is on the one hand appealing, and on the other, a bit appalling. In the end, whatever you may say about the decisions she made, her final motivation was from a mother’s heart.

Princess O’Rourke

Princess O’Rourke, 1943, Warner Bros. Starring Olivia de Havilland, Robert Cummings, Charles Coburn. Directed by Norman Krasna. B&W, 94 minutes.

Princess Maria (Olivia de Havilland), heir to the throne of an unnamed European country, has taken refuge in New York City for the duration of WWII. With her is her uncle Holman (Charles Coburn), who shows particular concern she marry soon and produce male heirs. He has someone picked out, a man for whom Maria quite clearly states she feels no attraction.

On a flight to California, Maria, who is afraid of flying, takes too many sleeping pills, and when bad weather forces the plane to return home, the pilot, Eddie O’Rourke (Robert Cummings), co-pilot Dave Campbell (Jack Carson) and stewardess (Julie Bishop) aren’t able to wake her. To further complicate matters, Maria is flying under the name Mary Williams, and she gave no address when she booked her flight.

Eddie takes her home, but is careful to have Dave and his wife Jean (Jane Wyman) stop by to help him care for the heavily sedated woman.

It isn’t long before Maria and Eddie have fallen for each other, but he still doesn’t know who she is, and royal constraints are pulling tight.

olivia-de-havilland-robert-cummings-in-princess-orourke
Olivia de Havilland, Julie Bishop, Robert Cummings, Jack Carson

Olivia de Havilland later called this role “one of the most satisfying” she did while under contract to Warner Bros., even though it came at a turbulent time in her life. Between the time filming was completed and the movie was released, she sued her studio in a move that would ultimately significantly weaken the studio system Hollywood was built on. She won the lawsuit, but did not work for nearly two years while she was essentially blacklisted.

This was the directorial debut for Norman Krasna, who was well established as a screenwriter by this time, including such movies as Bachelor Mother and Mr. and Mrs. Smith. Krasna won the Academy Award for Best Writing, Screenplay.

olivia-de-havilland-stars-in-princess-orourke
Olivia de Havilland

The final scenes allegedly include an appearance by President Franklin Roosevelt’s dog Fala, although the truth appears to be the dog on the screen was a different Scottish Terrier. Regardless, the pup plays an endearing part as messenger for Maria, who has spent a restless night trying to resolve her problem.

This is a pleasant, lightweight comedy, not of the calibre of the film to which it is so often compared, Roman Holiday, but it has developed a following of its own. Olivia de Havilland has the poise and beauty to make her convincing as a princess, and Robert Cummings is a pleasure as the bewildered suitor who doesn’t know what he’s gotten himself into by falling in love.

It moves at a decent pace until the final scenes, when it starts to drag a little. It has a stellar cast, strong script and overall, is a charming film classic movie fans will enjoy.

 

Gentleman’s Agreement

Gentleman’s Agreement, 1947, Twentieth Century Fox. Starring Gregory Peck, Dorothy McGuire, John Garfield. Directed by Elia Kazan. B&W, 118 minutes.

Philip Schuyler Green (Gregory Peck) has just moved with his mother (Anne Revere) and ten-year-old son Tom (Dean Stockwell) to New York, where he has a new job waiting for him as a magazine reporter. Phil is an experienced writer, and when he’s given an assignment on anti-semitism, he’s told it’s his particular skill his editor believes will give the topic strength it hasn’t had in the hands of lesser writers.

He struggles with the idea, uncertain at first if he even wants to take it on. It’s when his son begins asking him questions and his mother makes a few dry observations about his own prejudices he decides he wants to do it. Finding the right angle, however, seems impossible, until Phil, who is not Jewish, hits on the idea of living as a Jew in New York City for however long it takes to get the story he needs.

gregory-peck-anne-revere-in-gentlemans-agreement
Gregory Peck, Anne Revere

He’s met and fallen in love with Kathy Lacey (Dorothy McGuire), a seemingly liberal woman whose deeply ingrained prejudices start to show as he begins to face the realities of bigotry. She is among a handful of people who know his real identity, and she’s careful to make sure the right people also know that truth.

Add to the mix Phil’s childhood friend Dave Goldman (John Garfield) who’s just moved to New York after serving in the war and is struggling to find a home for himself and his family. Dave, of course, knows the truth about Phil’s heritage, and as a Jew, he lends insight to the research.

The film won three Academy Awards: Best Picture, Best Director, and Best Supporting Actress (Celeste Holm, as the magazine’s fashion editor and Phil’s confidante). It was nominated for five others, including Best Actor (Peck) and Best Actress (McGuire).

john-garfield-gregory-peck-celeste-holm-in-gentlemans-agreement
John Garfield, Gregory Peck, Celeste Holm

John Garfield, who was Jewish, generally played leading men, but accepted the supporting role because he believed in the importance of the film. The role of Phil’s son, Tommy, was played by Dean Stockwell, the veteran actor with one of the longest careers in Hollywood.

Gentleman’s Agreement was made in the years immediately following the Holocaust, when Americans were learning increasing amounts about the persecution of Jews and becoming sensitive to bigotry in their own country. Filmmakers, too, after the horrors of World War II, began to focus on more serious issues and take on “real”topics, such as alcoholism in The Lost Weekend and the trials facing returning veterans in The Best Years of Our Lives, and audiences responded well.

Interestingly, however, the film never mentions the Holocaust, a deliberate decision on the part of the film’s producer and director. Another point of interest is the use of racial slurs; words that are considered on par with profanity today were used in the movie without reservation and any apparent objection by censors.

dorothy-mcguire-gregory-peck-dean-stockwell-in-gentlemans-agreement
Dorothy McGuire, Gregory Peck, Dean Stockwell

The movie is still noteworthy for its ability to bring forth intelligent discussion of anti-semitism. Critics note that it focuses on only one region in the country, that is, the upper-crust society Philip Green is part of, but whether or not that is a fault of the film is debatable. This is one movie’s take on the topic, and it can’t be responsible for portraying the whole of the problem.

Gentleman’s Agreement is complex, as is its topic, well-acted and thought-provoking. It remains a worthwhile movie for anyone interested in what a film can do for shining light society’s ills, as well as those who enjoy classic movies at their best.

As of February 7, 2017, “Gentleman’s Agreement” is available on Netflix streaming service as well as DVD rental. Availability is subject to change.