I Was a Male War Bride

Marian Marshall, Cary Grant, Ann Sherida in I Was a Male War Bride

I Was a Male War Bride, 1949, 20th Century Fox. Starring Cary Grant, Ann Sheridan. Directed by Howard Hawks. B&W, 105 minutes.

In post-WWII Germany, French Army Captain Henri Rochard (Cary Grant) is given the assignment of tracking down a German lens maker in nearby Bad Nauheim. Assisting him in his travels is American Army Lieutenant Catherine Gates (Ann Sheridan), whom Henri has met before under apparently less than desirable circumstances. Despite protests from both Henri and Catherine, their assignments stand, and they head off together to the German town.

The two encounter one obstacle after another, until, to their surprise, a bond develops. They arrive back from their journey engaged to be married, but new complications arise. Catherine is now assigned stateside, and for Henri to follow her back, he must qualify as a war bride — or rather, the “Alien Spouse of Female Military Personnel Enroute to the United States Under Public Law 271 of the Congress.”

Ann Sheridan, Cary Grant in I Was a Male War Bride
Ann Sheridan, Cary Grant

This is a slower paced comedy than many of director Howard Hawks’ earlier works, such as His Girl Friday or Bringing Up Baby, but it works. Hawks said in later interviews he wasn’t interested in “female impersonation” as a comedy tool, but he found Grant’s portrayal of a war bride acceptable because “he was so masculine.” Indeed, the most comic element of Henri dressed as a woman is the ludicrous nature of trying to turn Cary Grant into someone ladylike.

While he may not have looked to female impersonation for comedy, role reversal was a common element in many of Hawks’ films. In His Girl Friday, he changed the entire tone of the film by making the lead character a woman, instead of a man as originally written, and introducing romance to the plot. In To Have and Have Not, he presented Lauren Bacall as the more powerful of the two lead characters, although arguably it is difficult to see Humphrey Bogart as weak in any way.

Hawks also spoke to the challenge of bringing out the humor in some of the scenes. “We had a scene where Cary had to answer all kinds of ridiculous questions, such as “you ever had female trouble? We looked forward to making that scene, but when we did, it wasn’t funny at all. We got the idea that maybe a man like that would be amused at the sergeant having to ask him these silly questions. ‘Female trouble? Nothing but.'” With that switch in attitude, the scene worked.

Ann Sheridan Cary Grant in I Was a Male War Bride
Ann Sheridan, Cary Grant

Ann Sheridan, an often underrated actress, is thoroughly delightful as the “military personnel” who, in addition to the difficulty of getting her new husband home, is frustrated by the difficulty of spending so much as a single night alone with him. The sexual tension in this film is played for all it’s worth right from the beginning, despite the Production Code restrictions in place. It is indicative of the loosening of Code standards, which was starting to unravel at this time.

Like Cary Grant, this film is charming and disarming, and the humor holds up today. It is based on one man’s true life story of being a “male war bride,” and for the most part, the situations don’t bend the limits of reality too far beyond belief. Grant as a woman may be the notable exception, but that’s also one of the funniest parts of the movie, so it’s easy to overlook.

 

As of July 24, 2017, “I Was a Male War Bride” is scheduled to air on Turner Classic Movies (TCM) on Sunday, August 20, at 4:00 p.m. ET/3:00 p.m. CT. Scheduling is subject to change; check TCM’s schedule for the latest information.

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Wife vs. Secretary

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Wife vs. Secretary, 1936, Metro-Goldwyn-Mayer. Starring Clark Gable, Myrna Loy, Jean Harlow. Directed by Clarence Brown. B&W, 87 minutes.

It’s the Stanhope’s third anniversary, and husband Jake (Clark Gable), known to his colleagues as Van, has given his loving wife Linda (Myrna Loy) a diamond bracelet. Jake has just returned from vacation, and everyone in his life, it seems, is glad to see him again.

It’s quite clear the saucy Linda is the happiest, especially after a night of romance with her loving husband.

Other women in his life are glad to see him as well, including his secretary, Helen (Jean Harlow), who goes by Whitey. The two seemingly have a chaste, professional relationship, and Whitey has a serious boyfriend, Dave, (James Stewart), who works hard to keep her happy. Despite the clear lack of any danger signals, Linda’s mother Mimi (May Robson) sees trouble — and the experience and instincts of age may be working in her favor.

When Jake is faced with a sensitive business dealing, he’s forced to keep everyone except Whitey in the dark about his plans. The stage is set for one misunderstanding after another, and of course, that’s exactly what happens.

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Clark Gable, Myrna Loy

Myrna Loy had a great deal of affection for her female co-star, Jean Harlow, who was looking to change her image. “She wanted to darken her hair a shade, in hopes of toning down that brash image. It worked. She’s really wonderful in that picture and her popularity wasn’t diminished one bit. We did kind of a reversal in that picture. Jean stayed very proper, while I had one foot in bed throughout.”

Loy also spoke to Clark Gable’s sex symbol status. “Clark suffered so much from the macho thing that love scenes were difficult. He kept very reserved, afraid to be sensitive for fear it would counteract his image.”

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Jean Harlow, James Stewart

The New York Times critic generally praised the film, with some hand-slapping about placing Loy against Harlow in a battle for a man, saying Loy “enters the ring with glazed eyes, a crutch and one hand strapped behind her back—metaphorically of course.” As brazenly sexy as Harlow was, that imagery may not hold up today, when Loy’s appeal is perhaps more fully appreciated. Overall, the Times critic wrote,”the film has been richly produced, directed competently by Clarence Brown and is well played—within the handicaps of their roles—by Miss Harlow, Miss Loy and by Mr. Gable.”

This pre-code film showcases some of the top talent of the day in a pleasant comedy filled with innuendo and yes, a predictable ending, but one that’s entertaining in the path to that end. The value is in the cast and their strength on the screen, as well as a decent script and solid direction.

 

The Feminine Touch (1941)

Van Heflin, Kay Francis, Rosalind Russell, Don Ameche in The Feminine Touch

The Feminine Touch, 1941, Metro-Goldwyn-Mayer. Starring Don Ameche, Rosalind Russell, Kay Francis, Van Heflin. Directed by W. S. Van Dyke, B&W, 97 minutes.

Professor John Hathaway (Don Ameche) is exasperated by his students, in particular the star football player, who would rather flirt with the professor’s wife, Julie (Rosalind Russell), than study. Julie doesn’t take the young man’s advances too seriously, but she is bothered by her husband’s lack of concern about the attention she gets from men.

The professor isn’t likely to get jealous, however. As his book will tell you, jealousy has no place in a healthy marriage.

He’s working to get that book published, and visits publisher Elliott Morgan (Van Heflin) to show him the manuscript. Morgan’s assistant, Nellie Woods (Kay Francis) is in love with her boss, but that doesn’t stop her from pursuing the professor. For his part, Hathaway, either unaware or unconcerned about Morgan’s evident interest in wife, has suggested those two spend time together.

Morgan more than takes him at his word. When Hathaway is mistakenly arrested for lascivious behavior on the subway, Morgan leaps on the opportunity to move in on Julie.

Don Ameche, Rosalind Russell in The Feminine Touch
Don Ameche, Rosalind Russell

Critics at the time noted the film ran a little long, with The New York Times critic writing, “the film has many too many lines, but they do have a sort of dizzy spin to them, and Miss Russell knows how to deliver them mischievously.”

The “dizzy spin” could be attributed in part to Ogden Nash’s part in writing the script. The author and poet was known for his dry wit and deadpan humor, and fans of the understated will particularly appreciate this movie.

Van Heflin, Kay Francis in The Feminine Touch
Van Heflin, Kay Francis

This was Van Heflin’s first role for MGM after a mediocre career at RKO Studios and a run on Broadway in The Philadelphia Story, where he played the role of Macauley Connor. That accolade was used by MGM to promote The Feminine Touch, despite Heflin’s distinctly “un-Macauley-like” demeanor in the film.

This is a lightweight comedy, with a top-notch cast, particularly Rosalind Russell and Kay Francis, who ultimately engage in a classic cat fight over their men.  They’re far more adept at the battle then the men prove to be moments later. While this is film isn’t the finest work for any of its stars, it is a decent showcase of their talents, and a pleasant film to watch when you need an escape.

As of June 27, 2017, “The Feminine Touch” is scheduled to air on Turner Classic Movies (TCM) on Friday, August 18, 2017 at 2:00 a.m. ET/1:00 a.m. CT. Scheduling is subject to change. Check TCM’s schedule for the latest information.

Theodora Goes Wild

Melvyn Douglas, Irene Dunne in Theodora Goes Wild

Theodora Goes Wild, 1936, Columbia Pictures. Starring Irene Dunne, Melvyn Douglas. Directed by Richard Boleslawski. B&W, 94 minutes.

Raised by maiden aunts in a small New England town, Theodora Lynn (Irene Dunne) is, by all appearances, a proper, modest young woman, leading the virtuous life expected of her. Unknown to the residents of Lynnfield (the town named for her family) and for that matter, the rest of the world, Theodora is writing explicit romantic novels under the pseudonym Caroline Adams.

While visiting her publisher, Arthur Stevenson (Thurston Hall), her secret is revealed to his wife, Ethel (Nana Bryant), as well as Michael Grant (Melvyn Douglas), the artist who created the risqué picture that graces the cover of her book. Against Theodora’s better judgment, the four go out to dinner that evening, where the nervous young woman drinks far too much and ends up alone with a clearly amorous Michael in his apartment.

Irene Dunne in Theodora Goes Wild
Irene Dunne

She flees back to Lynnfield, but Michael has learned where she lives — as well as her secret — and follows her home. With some light blackmail, he ends up serving as the gardener for the Lynn family — and falling in love with Theodora. The prim author of racy novels has found the man she only imagined existed, and she, too, has lost her heart to love.

But Michael has secrets of his own, and ends up with more than he bargained for with his prank, forcing him to end any hope of a future with his new-found love. Theodora, it turns out, has a “wild” side, and she brings that out to get him back.

This film had a number of plot elements that had been smoothed over to meet Code standards, such as a clearly unwed mother (whom we’re told has a husband, but the rest of the story belies that fact) and Theodora’s move into Michael’s apartment.

Irene Dunne stars in Theodora Goes Wild
Irene Dunne

A wild Theodora is mild by today’s standards, but a lot of fun. This was the first comedy role for Irene Dunne, and she proved her comedic skills were sharp and innate. It was a career-defining role for Melvyn Douglas as well, who went on to refine the edgy, sardonic character he created with Michael Grant.

The movie was nominated for two Academy Awards: Best Actress for Dunne, as well as Best Film Editing.

Irene Dunne, Melvyn Douglas in Theodora Goes Wild
Irene Dunne, Melvyn Douglas

Years later in an interview, Dunne recalled initially being reluctant to make the movie, but warming up to it because “the front office was behind it, which made the whole thing a lot of fun.” She also said that for many of her friends, it was a favorite of her roles, because they felt it was the one that was “most like me.”

This is a much-overlooked but delightful romantic comedy, with an original take on a standard story line and a walk to the edge of what movie makers could and could not explicitly say in films of that day. It draws you in from the start and never slows down to the exuberant end.

 

Ninotchka (1939)

Greta Garbo, Melvyn Douglas in Ninotchka

Ninotchka, 1939, Metro-Goldwyn-Mayer. Starring Greta Garbo, Melvyn Douglas, Ina Claire. Directed by Ernst Lubitsch. B&W, 110 minutes.

After her three comrades are taken in by the pleasures of Paris, Nina Ivanovna “Ninotchka” Yakushova (Greta Garbo) is sent by the Russian government to complete their task of selling jewelry seized from the aristocracy during the Russian Revolution. Standing in her way is suave Count Leon d’Algout (Melvyn Douglas), who is representing the woman (Ina Claire) who claims to be the true owner of the jewels. The Count finds himself falling for Ninotchka, who, in her own cool, calculating way, begins to be seduced by both his charms and the sway of capitalism.

Ninotchka is practical and analytical, Count d’Algout is ardent and idealistic. The cold ideals of communism are faced with the bright lights of capitalism, and the hearts of all are quickened by the romance of Paris.

Greta Garbo, Melvyn Douglas star in Ninotchka
Greta Garbo, Melvyn Douglas

This was the first comedy for Garbo, and she was well-cast as the reserved Russian on a mission for the state. Her skills are put to good use in developing the character, and her delivery of some of the funniest lines is impeccable. As one of the finest actresses of her time, had she been given further opportunity in comedy, she may have been a shining light.

Studio executives were seeking an appropriate romantic comedy for Garbo, one with which they could use the line, “Garbo Laughs!” as a takeoff on the immensely popular “Garbo Talks!” marketing campaign used for her first talking film, Anna Christie. They approached Melchior Lengyel, who came up with this three-line synopsis of a story:

“Russian girl saturated with Bolshevist ideals goes to fearful, capitalistic, monopolistic Paris. She meets romance and has an uproarious good time. Capitalism not so bad, after all.”

and Billy Wilder, Charles Brackett and Walter Reisch turned it into the Academy Award-nominated screenplay.

Greta Garbo in Ninotchka
Greta Garbo

In what many consider to be the best year for films in the Golden Age of Hollywood (1939), Ninotchka was nominated for four Academy Awards: Best Picture, Best Actress (Garbo), Best Story (Melchior Lengyel) and, as mentioned above, Best Screenplay. It won none, but this was a year when it truly could be said, “it’s an honor just to be nominated.”

The timing of world events just prior to the release of Ninotchka played a part in its initial success. For years, Russia had been seen as a friend of the United States, and its anti-Nazi sympathies helped solidify the camaraderie. Being a communist sympathizer had not yet reached the point of being considered dangerous to the American way of life.

However, in August of 1939, Germany and Russia became allies, and anti-Nazi sentiment outweighed support of the Russian government or lifestyle. A political satire mocking this new-found enemy was timely.

Felix Bressart, Greta Garbo, Sig Ruman, Alexander Granach in Ninotchka
Felix Bressart, Greta Garbo, Sig Ruman, Alexander Karlach

The satire remains fresh today, and the performances of both stars as well as those of the numerous character actors, including the three men who played the Russians first sent to Paris, are strong and funny. Felix Bressart, whom Ernst Lubitsch also used with great effect in other films, such as The Shop Around the Corner and To Be or Not to Be, is particularly appealing. As is this film.

 

 

Bringing Up Baby

cary-grant-baby-katharine-hepburn in bringing up baby

Bringing Up Baby, 1938, RKO Radio Pictures. Starring Katharine Hepburn, Cary Grant. Directed by Howard Hawks. B&W, 102 minutes.

Respectable, steadfast scientist Dr. David Huxley (Cary Grant) is engrossed in his latest project, completing the skeletal frame of a brontosaurus. He sets out to convince one Mr. Peabody of the worthiness of his endeavor, worthy, that is, of a million dollar donation from Peabody’s client, Mrs. Random (May Robson).

He’s rebuffed by Peabody while the two are playing golf, and the outing goes from bad to worse. In the middle of the game he discovers his ball has been appropriated by Susan Vance (Katharine Hepburn), who goes on to drive off in his car. Susan can’t be convinced she’s wrong, and the scatterbrained young woman proceeds to lead Huxley on a chase for, among other things, his peace of mind.

Susan has just received a gift from her brother, a leopard with the unlikely name of Baby. She’s oblivious to the outrageous nature of this gift, as she is to much of the chaos that ensues wherever she goes. It turns out the leopard is intended for her aunt, Mrs. Random, the woman Dr. Huxley is hoping will donate to his paleontological project. Susan convinces Huxley to help her transport Baby to her home in Connecticut.

Cary Grant Katharine Hepburn in Bringing Up Baby
Cary Grant, Katharine Hepburn

Bringing Up Baby did not do well at the time of its release, with critics calling it derivative and predictable. Today, however, it’s considered by many to be one of the top screwball comedies of the era.

Even director Howard Hawks was critical of the film. Years later he said in an interview, “I think the film had a great fault and I learned an awful lot from it. There were no normal people in it. Everyone you met was a screwball.” But he also expressed a fondness for the film in other interviews, saying once, “the most fun you can have is making fun of people…you get a doctor and get laughs out of him, like a psychiatrist, where you drive a psychiatrist crazy like in Bringing Up Baby.” That, it would seem, is a classic element of screwball comedy.

There has been much discussion over Grant’s meaning when, confronted about wearing a woman’s feathered silk robe, Huxley testily responds, “because I just went gay all of a sudden” (leaping in the air on the word “gay”). Many deem that the first time the word was used in a movie in its modern-day sense of “homosexual” rather than “happy,” while etymologists debate how common the term was, including its popularity in Grant’s circles. While the meaning may seem “obvious” to us today, and certainly the amount of innuendo in this film makes that belief laudable, it never was made clear by the director or actors what Grant intended. What does seem certain is the line was ad-libbed, which will forever leave its meaning open to speculation.

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Cary Grant, May Robson

The film created a great backlash of ill will for Hepburn, who was labeled “box office poison” after its release and relative failure. That never stopped this phenomenal actress, who two years later turned her luck around with The Philadelphia Story. Playing a ditzy heiress was not her best role; she did well in later roles playing privileged young women who were somewhat oblivious, but was a little irritating as one who is totally harebrained.

Definitive screwball comedy, Bringing Up  Baby is fast-paced, madcap and improbable. It is not Hepburn’s or Hawk’s finest work, but it is fun, and time has proven its worth.

 

 

 

The Lady Eve

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The Lady Eve, 1941, Paramount Pictures. Starring Barbara Stanwyck, Henry Fonda. Directed by Preston Sturges. B&W, 94 minutes.

Charles “Hopsie” Pike (Henry Fonda) is fresh on the boat after a year-long expedition up the Amazon studying snakes and other assorted reptiles. The first evening on board the luxury liner he meets socialite Jean Harrington (Barbara Stanwyck) and her father, Colonel Harrington (Charles Coburn)…only father and daughter aren’t who they claim to be. Unbeknownst to Charles, they are card sharks and con artists, out to fleece their latest victim.

Jean, however, finds herself falling for Hopsie. She’s ready to go straight and begin a life together with her new love, when his friend and bodyguard Muggsy (William Demarest) discovers the truth about the Harringtons. Charles dumps Jean and leaves her heartbroken, as well as out for revenge.

She returns to his life as the Lady Eve Sidwich, ready to break his heart just as he broke hers. But she is at risk of being sidelined by her own desires.

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Charles Coburn, Barbara Stanwyck, Henry Fonda

The third film both written and directed by Preston Sturges, The Lady Eve is considered by many to be his finest work. It is a smart combination of satire and slapstick comedy, with plenty of sexual innuendo and mockery of the wealthy. Sturges, who had once been married to a socialite, was known for poking fun at upper crust society.

But the fun isn’t all at the expense of the privileged. Others in this film have a moment of having his or her foibles exposed or dignity bent.

Paulette Goddard and Brian Aherne were the studio’s choices for the lead roles, but Sturges, who had clout after the success of his first two films, insisted on Stanwyck and Fonda. It was one of the few comedies Stanwyck had appeared in during her career so far, and its success led her to the starring role in Ball of Fire later that year.

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Barbara Stanwyck, Henry Fonda

The film was well-received by critics and audiences alike, with The New York Times critic writing, “It isn’t often that this corner has good reason to bang a gong and holler ‘Hurry, hurry, hurry!’ As a matter of fact, it is all too rare indeed that we have even moderate provocation to mark a wonder of the cinematic world.”

The film received one Academy Award nomination, for Best Writing, Original Story (Monckton Hoffe, who wrote the original short story the final script was based on). It lost to Here Comes Mr. Jordan.

Stanwyck was long known for her professionalism on the set, including always being prepared for the day’s shooting schedule, as well as her kindness to fellow cast members and crew. It was a rare actor who met the high standards she set, but Fonda appears to have been one of them. He later wrote she was his favorite co-star, and is even rumored to have had a long-time crush on her.

The Lady Eve is sophisticated despite its slapstick comedy, and a prime example of Preston Sturges at his finest. It does lose a little shine with a few details such as Stanwyck’s distinctly bad English accent, although perhaps that was a deliberate element, but overall remains sharp and funny today.

 

It Should Happen to You

Jack Lemmon, Judy Holliday together in 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.

Princess O’Rourke

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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.

 

Bachelor Mother

ginger-rogers-charles-coburn-david-niven-starring-in-bachelor-mother

Bachelor Mother, 1939, RKO Radio Pictures. Starring Ginger Rogers, David Niven, Charles Coburn. Directed by Garson Kanin. B&W, 82 minutes.

Polly Parrish (Ginger Rogers) has just been laid off of her seasonal job at Merlin and Son’s Department Store. It’s Christmastime, and she is in need of income, any income.

While at lunch on what appears to be her last day of work, she passes a foundling home and sees an older woman drop off an infant. Afraid the child may fall off the steps, Polly reaches out to pick him up, just as one of the home’s matrons opens the door. Inside, she’s unable to convince the home’s director the baby isn’t hers, but escapes the situation without a bundle of joy.

ginger-rogers-starring-in-bachelor-mother
Ginger Rogers

The foundling home tracks down her employer and convinces David Merlin (David Niven), the son in “Merlin and Son’s,” to give her back her job so she can care for “her” son. He does, but ends up paying an unexpected price for his generosity. Through a series of mishaps, the elder Mr. Merlin (Charles Coburn) comes to believe his son is the father of the baby, and expects him to do right by the child and his mother.

Bachelor Mother is an engaging comedy, predictable in some ways, yet clever in the details and twists that raise it above the level of bland storytelling. Nivens, Rogers, and Coburn each bring his or her own particular charm, with Rogers in particular showing an edgy, droll side. It doesn’t hurt that the baby is delightful, performing, it seems, on cue, although of course that likely wasn’t the case.

david-niven-ginger-rogers-starring-in-bachelor-mother
David Niven, Ginger Rogers

Rogers initially expressed “deep reservations” about the script, stating the story line was thin and the characters “had no life.” However, her concerns proved unfounded, and in her autobiography she wrote, “I loved working with David Niven and the precious baby…(Garson Kanin) was imaginative and spontaneous and his good humor and lively sense of comedy smoothed out any problems along the way.”

The script was by prolific screenwriter Norman Krasna, who also wrote the screenplays for such movies as Mr. and Mrs. Smith and White Christmas.  It was based on a story by Felix Jackson, who received the film’s one Academy Award nomination, Best Writing, Original Story.

david-niven-starring-in-bachelor-mother
David Niven

The film critic for The New York Times wrote “through smart writing, direction and performance, the theme is developed hilariously, with sudden and unexpected twists which never are permitted to affect the insane logic of the yarn’s progression.”

Perfectly enjoyable, Bachelor Mother is a comedy all classic movie fans should see. While the plot line of child abandonment hardly seems comic material, it’s handled in such a way that the improbable is easy to believe and the unbefitting is downright funny.