Category: Classics

Bringing Up Baby (1938) starring Katharine Hepburn & Cary Grant

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Whenever this movie comes on TCM, I recall what my dad said- “it’s too crazy.” Well, this isn’t inaccurate, BUT it’s crazy in a fast-paced/fun way. There is SO much (OK, maybe TOO much) going on in this screwball comedy; you need to pay attention. I saw it for maybe the 3rd time last week; I found myself laughing at several scenes. FYI: Katharine Hepburn had never done comedy before, and was coached by director Howard Hawks (and several veteran actors) he employed. Cary Grant was already well versed in comedy; he also used his acrobatic skills in this film. The two leads have great chemistry; they became friends and even double-dated w/ their significant others (during filming).

She has an amazing body – like a boxer. It’s hard for her to make a wrong turn. She’s always in perfect balance. She has that beautiful coordination that allows you to stop and make a turn and never fall off balance. This gives her an amazing sense of timing. I’ve never seen a girl that had that odd rhythm and control. -Hawks on Hepburn

A young/nervous zoologist, Dr. David Huxley (Grant- wearing thick glases), is VERY excited by the news that an intercostal clavicle bone has been found to complete his brontosaurus skeleton, a project 4 yrs in the construction. He is anxious re: securing $1M for the museum where he works from a wealthy/widowed donor- Mrs. Random. David is engaged to be married to his uptight assistant, Alice. He still refers to her as Miss Swallow; he is disappointed when she says their marriage will be ALL business b/c his work comes first. Who says that classic films don’t have dirty jokes/meanings!?

A lawyer, Mr. Peabody, will make the decision on behalf of the donor, so David needs to make a good impression. Troubles arise when the straight-laced David meets a flighty young heiress, Susan Vance (Hepburn), who keeps doing things which make him look bad in Peabody’s eyes. (BTW, Christopher Reeve based his performance as Clark Kent in Superman and its 3 sequels on the character of David.) The more David wants her to go away, the more Susan keeps showing up, then purposefully drawing him in (b/c she finds him attractive). Susan has a “wardrobe malfunction” at a fancy gathering; such a state of undress was rarely seen in films approved by the Hays Code. David eventually learns that Mr. Peabody is Susan’s good friend (who she calls “Boopy”), and her “Aunt Elizabeth” is Mrs. Random!

The “baby” of this title is a young leopard that was sent from Brazil by Susan’s brother. She thinks that she can keep him in her NYC apt (LOL… and also scary)! Hepburn had a very close call with the leopard. She was wearing a skirt lined with little metal pieces to make it swing in a pretty way. When Hepburn turned around quickly, the leopard made a lunge for her back; the trainer had to intervene w/ his whip to save the actress. This film employed a great number of split screen and optical tricks, such as rear screen projection, so that having the leopard in close proximity to the actors could be kept to a minimum.

[1] One scene after another at breakneck pace, but never a dull moment. As soon as one laugh stops, another one begins. In case you haven’t gotten the point, I highly suggest you see this movie. 

[2] In “Bringing Up Baby” her Susan Vance is a very interesting diversion from her more usual type of character… beguiling in a completely different fashion, playing a slightly scatterbrained, sprightly, charmingly delinquent woman, who seems to have no control over anything; least of all her feelings for Grant.

It’s remarkable to see this absurd little man, bespectacled, unworldly and cutting an orthodox figure played so perfectly by the suave Grant. This is gleefully played on with the sublime scene where Hepburn and Grant are trying to catch the leopard – Kate butterfly net in hand! She accidentally happens to break his glasses and is even more taken with him without them…

[3] Grant’s clearly the superego character, straitlaced and repressed and anti-life (it’s no accident he works with bones). Hepburn was never lovelier than she was here — she’s the id character, all action and movement. We laugh partly because Grant needs to be loosened up, but partly because some of Hepburn’s actions are shocking. Ideally, we should be in the same position as Grant in the movie: half-attracted, half-afraid.

[4] While many films regarded as classics in the ’30s seem somewhat dated now, Bringing up Baby seems as fresh as it ever did, thanks largely to the energetic central performances. Grant is terrific as the professor who gradually loses his inhibitions, but Hepburn steals the show as a self-absorbed young woman who wins the audience over through her lack of inhibitions.

[5] Notwithstanding the obvious physical humor and improbable situations, it’s almost impossible to miss the obvious anatomical references played to the hilt with every mention of the word “bone.” Not only was Grant’s character misrepresented by the unfortunate name, but he seemed to be having a lot of fun while on the chase for the elusive brontosaurus piece – “My bone. It’s rare. It’s precious. What did you do with it?” How many takes do you think it took to get through those scenes? 

-Excerpts from IMDB reviews

Casablanca (1942) starring Humphrey Bogart, Ingrid Bergman, Paul Henreid & Claude Rains

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Here’s Looking At You, Kid… & Immigrants & Refugees

This (classic) film LOVED all over the world wouldn’t have been made w/o immigrants and refugees (MANY of whom were fleeing war). The ONLY woman that Rick (Humphrey Bogart) loved- Ilsa Lund (Ingrid Bergman)- was Swedish; her husband/freedom fighter Victor Lazlo was Austrian. Capt. Renault (Claude Rains) was British, as was Sidney Greenstreet. Director Michael Curtiz was an immigrant from Hungary; the cast/crew sometimes had a difficult time understanding his accent. Ugarte (Peter Lorre) was also Hungarian; he who fled to London in 1935 before coming to the U.S. Yvonne (Madeleine Lebeau), the young woman dumped by Rick early in the film, and her husband (Marcel Dalio- he plays the croupier), fled Paris before the German occupation in 1940. The Nazi officer, Maj. Strasser (Conrad Veidt), was actually a German w/ a Jewish wife. Carl (S.Z. Sakall), the jovial/elderly waiter, was Jewish and came from Hungary. There are MANY others; Warner Bros. claimed that 34 nationalities worked on Casablanca.

With the coming of the Second World War, many eyes in imprisoned Europe turned hopefully, or desperately, toward the freedom of the Americas… Here, the fortunate ones through money, or influence, or luck, might obtain exit visas and scurry to Lisbon; and from Lisbon, to the New World. But the others wait in Casablanca… and wait… and wait… and wait. -Excerpt from the opening narration

An Unique Love Triangle: Rick, Ilsa, & Victor

No one is the baddie (or malicious) in this trio- VERY rare for a classic Hollywood film! At first, Rick is “neutral,” just content to run his business. Then he sees Ilsa again (after perhaps 2+ yrs, if you’re going by historical events); they met and fell in love in Paris. Ilsa (who is Norwegian) is married to Victor, a Czech man who survived being imprisoned in a concentration camp, BUT still sticks to his values. Victor (who is tall, blonde, and VERY composed/gentlemanly) is portrayed as a natural leader. He loves Ilsa and relies on her for support, incl. in his work. In one pivotal scene, he inspires nearly everyone in the Rick’s cafe to sing the French national anthem.

Don’t you sometimes wonder if it’s worth all this? I mean what you’re fighting for. -Rick asks

You might as well question why we breathe. If we stop breathing, we’ll die. If we stop fighting our enemies, the world will die. -Victor replies

Rick (who is short, dark, and moody) is the reluctant hero. He also loves Ilsa; he never sticks w/ one girlfriend for long (as Renault comments). Seriously, WHO could compete against Bergman!? In the flashback scenes in Paris, we see a different side of Rick- he’s charming, relaxed, and optimistic. Once Rick realizes the difficult situation that Ilsa and Victor are in, he starts thinking what he can do to help (though he doesn’t reveal it to anyone- TOO dangerous). Rick makes it so the young Hungarian man wins at roulette, so he can fly to America w/ his wife. This pleasantly surprises his employees (and even the VERY cynical Renault); thus, love is a force for change in this film.

Play It, Sam: Friendship, Music, & Race

For this time period, it was a VERY bold move to have Rick’s BFF (and also employee) be played by a African-American man. Dooley Wilson was a singer, NOT an actor or pianist; he did a great job w/ his role. We don’t know how he and Rick came to be pals or why they’re so loyal to each other. Sam plays the (iconic) song which reflects Rick and Ilsa’s love story- You Must Rememer This. When Rick gets drunk/mad, he tells Sam to go away, BUT Sam refuses (b/c he is a supportive friend). The filmmakers received MANY positive comments/letters from black viewers who were happy to see such a prominent/developed character. There is an unfortunate line where Ilsa refers to Sam as “the boy”- cringeworthy to modern audiences, yet probably NOT rare in the ’40s.

The Beginning of A Beautiful Friendship: Rick & Renault

Renault gets a LOT of the best lines in this movie; he is cynical, opportunistic, yet NOT necessarily a villain. We learn that Renault served in WWI. The Nazis are the big baddies, though Renault operates in the gray areas of society. He gets a part of Rick’s gambling proceeds to look the other way. If a woman happens to be pretty, Renault will listen to her concerns. There is chemistry between Bogie and Rains; they banter w/ each other in a fun/quick way.

You give him credit for too much cleverness. My impression was that he’s just another blundering American. -Maj. Strasser comments re: Rick

We musn’t underestimate “American blundering.” I was with them when they “blundered” into Berlin in 1918. -Renault replies

Brief Encounter (1945)

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What to say re: this film? It’s simply magical (even when you view it for the second time)! I saw it again (on TCM) last week; it’s also available on DVD from The Criterion Collection. The lead actors (who are in their early to mid-30s) are Brits who actually look like regular people. An upper-middle class housewife, Laura Jesson (Celia Johnson), meets doctor, Alec Harvey (Trevor Howard), at a train station cafe when he helps remove a piece of dirt from her eye. Laura doesn’t think much of it, but then they keep running into each other in town. They talk, share lunch (and laughs), and go to movies (matinees) on Thursday afternoons. They (and the audience) realize that this relationship can’t go anywhere; they’re both married w/ two young kids. In fact, Laura’s husband (Fred) is depicted as a nice man; Alec’s two sons and wife are unseen (though she is described as “small, dark, and delicate”). Laura and Alec soon fall in love- neither can deny their feelings! 

I’m an ordinary woman. I didn’t think such violent things could happen to ordinary people. -Laura (in voiceover) re: falling in love w/ Alec

It’s awfully easy to lie when you know that you’re trusted implicitly. So very easy, and so very degrading. -Laura (in voiceover) re: lying to Fred for the first time

Unlike most movies of the ’40s, we hear Laura’s perspective (in voiceover), getting us into the mind of a woman. David Lean (who went on to direct some epic films) decided to shoot this like a film noir. Laura and Alec are sometimes partly obscured by shadow. Perhaps this is done to show the danger in their pairing? Music is an element used very effectively as well; it adds to the drama in pivotal moments. 

Though this film is emotional, it doesn’t come off as showy or cloying (which is an achievement in itself). When Alec and Laura share their first kiss, the camera (perhaps respectfully?) pulls back to give them space. Fitting w/ the morals (and maybe also censors), their relationship is unconsummated. Brief Encounter has inspired many films (and spoofs) over the years. Check it out if haven’t before- you won’t regret it!  

[1] Johnson’s soulful eyes and capacity for displaying emotion is brilliantly used here… 

[2] Lean uses only a few sets and locations. It’s as if Laura and Alec are caged in by their surroundings and their emotions and can never escape…

[4] The story wonderfully explores the idea that sometimes it is easier to feel close and understood by someone you meet by chance as opposed to those who are close to us. People may not like the truism, but it’s human nature. 

-Excerpts from IMDB comments

 

Red River (1948) starring John Wayne & Montgomery Clift

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[1] The film is considered a Western take on The Mutiny on the Bounty. The relationship between Tom Dunson and Matt Garth is deeply complex. Although they’re prepared to kill each other, deep down they still respect for one another. This relationship is based on control, idealism, respect, and trust.

[2] Wayne and Clift play beautifully off against each other. Father and surrogate son, first working together and then having a big difference of opinion on the cattle drive. Clift started a film career in Red River playing sensitive people who you can only trod on just so long before they take action. 

[3] If anyone doubts John Wayne as an actor of note then they need look no further than his performance here as Dunson. Tough and durable in essence the character is, but Wayne manages to fuse those traits with a believable earthy determination that layers the character perfectly. With Wayne all the way, matching him stride for stride, is Montgomery Clift as Matthew Garth, sensitive without being overly so, it’s the perfect foil to Wayne’s machismo showing. Walter Brennan and John Ireland also shine bright in support, while a special mention has to go to a wonderful turn from Joanne Dru as Tess Millay…

-Excerpts from IMDB reviews

Fourteen years after starting his cattle ranch in Texas, Thomas Dunson (John Wayne) is ready to drive his 10,000 head of cattle to market (1,000 mi. away in Missouri). Back then Dunson, his sidekick Nadine Groot (veteran character actor Walter Brennan) and a teenage boy, Matthew Garth (an orphan/survivor of an Indian attack on a wagon train) started off with only two head of cattle. Dunson is a harsh task master, demanding a great deal from the men signed up for the drive. Matt is a grown man now (who fought in the Civil War); he has his own mind and soon runs up against Dunson who won’t listen to advice from anyone. One of the drovers, Cherry Valance (John Ireland), proposes that they head toward Abilene. When the cattle stampede, Dunson goes to “gun-whip” one of the hands, but Matt intervenes. The men start taking sides and Matt ends up in charge w/ Dunson vowing to kill him. In the scene where Clift tells him he’s taking over the drive, Wayne turned his back on him and said in a low voice, “I’m gonna kill you, Matt.” This went against director Howard Hawks’ idea to have Wayne cringe, but the actor refused to appear cowardly and played it his way. The improvised moment left Clift astonished, but Hawks liked it (and it was used in the final cut).

Bet I ate ten pounds in the last sixteen days. Before this shenanigan is over, I’ll probably eat enough land to incorporate me in the Union. The state of Groot. -Groot complains (re: traveling through dirt roads)

You’re fast with that gun, Matt. Awful fast. But your heart’s soft. Too soft. Might get you hurt some day. -Cherry comments / Could be. I wouldn’t count on it. -Matt replies

There are only two things more beautiful than a good gun: a Swiss watch or a woman from anywhere. Ever had a good… Swiss watch? –Cherry jokes w/ Matt

This is the kind of Western for the classic movie fan who avoids (or doesn’t usually enjoy) the Western genre! After seeing Wayne’s performance, rival director John Ford commented to Hawks: “I never knew the big son of a bitch could act.” This led to Ford casting Wayne in more complex/multi-layered roles, incl. The Searchers (1956), and The Man Who Shot Liberty Valance (1962). Hawks originally offered the role of Dunson to Gary Cooper, but he declined it (b/c he didn’t believe the ruthless nature of the character would’ve suited his screen image). This was the debut of Clift (26 y.o. during filming and looking gorgeous), who was known as a talented theater actor. He learned to ride horses while at military prep school, but that was a different kind of riding than this role. Hawks always had high praise for how hard Clift worked (on his cowboy skills) for this picture. After seeing the final version of Red River, Clift found his performance mediocre, but recognized it as a star-making role. He later said: “I watched myself in Red River and knew I was going to be famous, so I decided I would get drunk anonymously one last time.” Burt Lancaster (a former acrobat) was first offered the role of Matt, but he had already signed on to star in the iconic film noir, The Killers (1946), which was his debut. 

There was concern that the leads (Wayne and Clift) would’t get along, since they were opposed on all political issues and both were outspoken on their views. The actors agreed not to discuss politics during shooting. Clift sometimes joined Wayne and Hawks in the nightly poker games they organized. Clift later said: “They tried to draw me into their circle, but I couldn’t go along with them. The machismo thing repelled me b/c it seemed so forced and unnecessary.” In Life Magazine, Wayne described Clift as “an arrogant little bastard.” 

Two (Lesser Known) Films Starring Rita Hayworth

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Miss Sadie Thompson (1953)

[1] It’s always interesting to stumble on old movies like these that resonate more than 50 years later. How much and how little has changed when it comes to religious zealots…hhmmm?

[2] Sadie Thompson is a woman of questionable repute… trying to re-make her life. The Jose Ferrer character is effectively odious. A man hung up on projecting his moral issues on the nearest target. This happens to be Miss Sadie. 

[3] Look for a studly young Charles Bronson in a minor role, listed in the credits as Charles Buchinsky.

-Excerpts from IMDB reviews

At a remote military outpost on American Samoa, it’s either hot/humid or raining. A ship quarantine strands a small group of Americans, incl. Sadie Thompson (Hayworth), on the way to a new job on another island. She’s a “breezy dame” who ALL the Marines want to get to know, including Phil O’Hara (Aldo Ray). As she steps on the dock, men clamor for a bit of her company. As Sadie sings, some of the natives (even little kids) leave church to go to the bar next door, ignoring their preacher. Mr. Davidson (Jose Ferrer), the powerful/wealthy head of the Mission Board, suspects Sadie is one of the women who worked at the Emerald Club in Honolulu. He calls her a bad influence (on the Marines and local natives), who must be shunned. 

This island looks volcanic. -Dr. MacPhail comments 

It is – in more ways than one. All these isolated islands where our servicemen are stationed are volcanic. It takes constant vigilance to keep them under control. -Mr. Davidson replies

Hayworth looks gorgeous (as usual); she’s a redhead here who wears a lot of red (associated w/ evil, love, and during this era- Communism). Sadie is independent, tough, unapologetic, and quite jaded (though she puts on a fun-loving front). Phil, who will soon be finished w/ his service, suggests going to live in Australia. He quickly falls in love w/ Sadie and asks her to marry him; she is surprised, but pleasantly. Meanwhile, Davidson has put the gears into motion to get Sadie deported back to the States. 

This is a “Personal Pick” of Robert Osborne, who was host for TCM. It starts off as light and comedic (w/ songs), but takes a serious (and quite dark) turn. While it’s an uneven film, there are timeless themes w/in (based on a short story by W. Somerset Maugham).

The Story on Page One (1959)

[1] You’ll never see a movie with such long scenes again. It’s a shame, because they were very absorbing, with Franciosa really ratcheting up the fireworks.

[2] People who knew her say she was much like the character of Josephine – quiet, shy, insecure and sweet. Hayworth doesn’t exhibit much personality in this, but then, probably the unhappy Josephine wouldn’t have either.

-Excerpts from IMDB reviews

An elderly woman, Mrs. Brown (Katherine Squire), approaches a surly, down-on-his-luck  lawyer, Victor Santini (Anthony Franciosa), desperate for representation for her daughter. Mrs. Brown knew Victor’s (deceased) mother, who told her that he was a Harvard grad and experienced w/ trials. Victor (who’s more interested in drinking) tries to dissuade the woman, but she’s insists on him hearing out her story. 

L.A. housewife/mother, Jo Morris (Hayworth- then 40 y.o.), is very unhappy; her husband/police detective, Mike (Alfred Ryder), is emotionally abusive. Hayworth’s looks are underplayed in this film; she comes off as a bit tired, anxious, and isn’t dressed glamorously. Jo feels sympathy for an accountant/widower, Larry Ellis (Gig Young), and they start seeing each other. They break up, but Jo’s mother (Mrs. Brown) urges her to reach out again. Larry and Jo meet; she learns that his young son was killed in an accident. They finally spend one night at his hotel, and realize that they still love each other. Larry’s  mother, Mrs. Ellis (Mildred Dunnock), shows up on Jo’s doorstep one day, just as Mike is going to work. Jo is stunned when Mrs. Ellis explains that she hired a private detective to follow Larry; she threatens to reveal all to Mike (unless Jo stays away). One weekend, the family goes to a wedding, where Mike gets very drunk. When they get home, Larry is waiting to speak to Jo (after the others are asleep). She lets him into the kitchen and Larry explains/apologizes about his mother. Mike comes down the stairs (holding his gun), thinking there could be a burglar. When he sees Jo embracing Larry, Mike fights w/ Larry and the gun goes off. Mike is dead; the adulterous couple find themselves on trial for their lives (yet refuse to turn against each other). 

It turns out that Victor (who cleans up nice) is a fine lawyer; he’s confident in the courtroom and passionate about getting justice for his client. He faces some tough opposition from a tough/elderly prosecutor (played by Sanford Meisner, known as an acting coach). While Meisner was exposed to method acting (w/ its emphasis on “affective memory”), his approach was based on “the reality of doing.” Since most of this film is the trial, it will appeal to those who like courtroom dramas (and a lot of dialogue). There isn’t any flair w/ the direction; it was done by the writer, Clifford Odets. As several viewers have noticed, the supporting characters, esp. Victor and the two mothers, are more interesting than the leads.