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Archive for the ‘actors’ Category

Richard Widmark circa 1950’s
December 26, 1914 – March 24, 2008

Years ago when I first got a cell phone with text capabilties, I signed up for entertainment text alerts from a news company. Since then I’ve switched phones, but not numbers, so I continue to get them–and it’s through these text alerts that I found out Richard Widmark had passed away today. Via text message. Ahh, technology, how you manage to depress me.

Click for larger imageI’ll admit that I haven’t seen as many of Richard Widmark’s movies as the average classic movie fan, and with many of his greatest films available on dvd (Kiss of Death, No Way Out), I really have no excuse. However, I didn’t particularly enjoy him when I first started getting into the classics. His characters were too mean, too vicious and I found him cold and unlikable. It took awhile for me to warm up to Richard Widmark, but in time, I did. I wouldn’t call him one of my favorite actors, but I’ve always enjoyed his performances.

I think the first film I saw him in was The Bedford Incident (1965) in which Widmark portrays the ruthless and stubborn captain that eventually leads his crew to their deaths. It’s an excellent cold war drama, highlighting the paranoia that many Americans felt at the time. There are fantastic performances by all the actors involved (Sidney Poitier, James MacArthur and Martin Balsam to name a few), but it’s Widmark that steals the film. His turn as Captain Eric Finlander is amazingly frightening. He’s insane with power, not caring about the health and well-being of his men. The only thing he cares about is attacking the Soviet’s submarines. It’s this determination that leads to his downfall, but by the time he realizes it, it’s way too late. The final scene where Widmark and Poitier just stare at each other, with the realization of what is about to happen…it’s chilling. And it was with this film that I started gaining respect for Widmark. Could any other actor besides him pull such a role off? Widmark not only had the acting chops, but he looked like a villain: that menacing stare and cold, heartless expression made him perfect for the part.

As I began watching more films and gained interest in other actors and actresses, I saw more of Richard Widmark as well. There were comedies like The Tunnel of Love (1958) where he’s oddly matched with the wholesome Doris Day, as well as westerns such as Yellow Sky (1948) and How the West Was Won (1962). Romantically paired with Shirley Jones, Widmark outshined Jimmy Stewart in John Ford’s Two Rode Together (1961) and years before, turned in a top-notch performance as a military investigator in Time Limit (1957), Karl Malden’s only directorial effort. Time Limit is a lesser known film that centers around a group of Korean War POW’s who are guarding a terrible secret and it’s up to Widmark to find out what happened. I’ve only seen TCM air this film once, which is a shame because it really deserves to be better known.

Richard Widmark in “Murder on the Orient Express” (1974)However, my favorite movie of his also happens to be one of my all-time favorites: 1974’s all-star mystery, Agatha Christie’s Murder on the Orient Express. While small, Widmark’s role is also one of the most important: that of Mr. Ratchett, the somewhat mysterious, but wealthy American who is murdered aboard the Orient Express.

While Widmark’s scenes are few, he certainly makes an impact when he graces the screen. As Mr. Ratchett, he’s not only extremely rude to his assistant, Hector (Anthony Perkins) but fails to make an impression on the flamboyant Poirot (Albert Finney), whom he asks for help after receiving some threatening letters. In showing Poirot the gun he keeps with him for protection, Ratchett suddenly takes on an air of suspicion. There’s no doubt in one’s mind that he’s involved in something devious, and therefore, will deserve his fate. After turning down Ratchett’s offer and passing through a darkened tunnel, Poirot finds that he has disappeared, the only trace of his presence marked by a wildly swinging door. And with that, you know Ratchett is up to no good. Even in that short scene, Widmark proved why he was so adapt at playing bad guys: he took their characteristics and made them his own. He never just went through the motions–he became the character, and ultimately, made them completely believable.

Having a drink with his fanclub!
Richard Widmark has a drink with his fanclub! From l. to r.: June Cornetta, President of the Richard Widmark Fan Club; Nan Douglas, Widmark and Adrienne Siegal.

It’s interesting to note that Widmark was the complete opposite of his on-screen persona and in fact, was a caring, non-violent man. Yet, strangers and fans who met him on the street expected him to be exactly like one of the tough psychopaths he portrayed. It just goes to show you how good of an actor Widmark really was, to play so many characters that were unlike his own personality. In all the movies I’ve seen him in, he’s never turned in a bad performance. Sure, the script may have been weak (such as in The Tunnel of Love), but his acting was always strong.

Perhaps one of the saddest realizations that Mr. Widmark’s passing brings, is that classic Hollywood is becoming extinct. There are still a few big names living, as well as lesser known character actors and actresses (I’m not jinxing anyone by naming them here!), but in time, they’ll be gone as well. And when they go, so will the last remaining links to Hollywood’s illustrious past. Yes, we’ll still have their movies on TCM and various other cable outlets, as well as dvd’s, but it’s depressing to think about. And it’s even more depressing to realize that there are people out there who simply do not care about the past. I’m sure there are folks who didn’t have a clue to who Richard Widmark was, but thankfully, there are people out there who did. Classic movie fans who have watched his many performances knew what a terrific actor he was and what great work he was capable of. And it’s because of that work and his acting skills, that Richard Widmark will be truly missed.

Doris Day and Richard Widmark in “The Tunnel of Love”His Lengthy and Informative New York Times Obituary

TCM will be altering their prime-time linup on Friday, April 4th in honor of Mr. Widmark’s passing:

8:00 pm ALVAREZ KELLY (1966)
10:00 pm TAKE THE HIGH GROUND (1953)
12:00 am THE TUNNEL OF LOVE (1958)

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“We have a great deal in common…”
“You’re an improbable person, Eve, and so am I. We have that in common. Also, a contempt for humanity, an inability to love and be loved, insatiable ambition, and talent. We deserve each other.” — Addison DeWitt

All About Eve movie poster - Click for Larger VersionThere’s no doubt that All About Eve is one of Hollywood’s most iconic films. And while I can attest that it has top-notch performances by all the cast members involved (even Marilyn Monroe, who I can tolerate on a good day) and a knockout script filled with line after line of bitchy, witty comebacks, although I have to admit that when I need a Bette Davis fix, I prefer Hush, Hush, Sweet Charlotte which is one of my all time favorite movies.

Still, I can’t deny that All About Eve is a damn good movie and still remains extremely watchable after all these years (it’s showing tonight, on TCM at 8 pm EST.) It has that certain sophisticated *glow* that all 20th Century Fox movies have (at least from the Golden Era of Hollywood), which only adds to it’s mystique. But All About Eve wouldn’t be the classic it is today if it weren’t for the performances of Bette Davis, Anne Baxter and the always underrated Celeste Holm. It sounds cliched, but these actresses breathe life into the characters–you’re never bored by them, and they make the script work. Claudette Colbert was supposed to have played Margo Channing, but threw out her back while filming Three Came Home. A tragedy for Ms. Colbert, but can you imagine how radically different Margo Channing would have been? Bette Davis has that supreme ego (I mean this as compliment) that makes her Margo Channing the diva she was meant to be. I don’t think Claudette could have pulled it off.

Margo Channing, Diva.Eve (Anne Baxter) and Margo (Bette Davis)
Diva vs. Diva: Davis as Margo Channing and watching Bill Simpson leave with Eve (Baxter)

I first watched All About Eve about three years ago. As a classic film newbie, I knew it was one of the movies that I had to see, and after I watched it, I felt a bit let down. Perhaps I wasn’t mature enough to appreciate it. I’m really showing my age here, but I think I expected a good old fashioned chick fight that included lots of bitch slapping and name calling. Having been in one myself (a long, long time ago), let me tell you–they’re much more fun to watch than to be in. It’s the hair-pulling that hurts the most, although the name calling is a close second.

A telling sceneAnyway, when TCM premiered All About Eve during last month’s Oscar lineup, I decided to give it another go. After all, I’m older, wiser and can appreciate the subtlety of a well-timed quip now. Watching it through new eyes, I was surprised by certain “clues” to Eve’s character that director and writer, Joseph L. Mankiewicz sprinkled throughout. Eve (Anne Baxter) seemed a bit…manly, with her poise being the most telling clue. She didn’t move around the screen like the other women–no, there was something rough about her walk. She lacked femininity. But perhaps the most telling trait is in the way she and her female friend ascend the staircase after placing a phony sick call to Lloyd Richards (Hugh Marlowe). I’m always wary of people who “look” for homosexuality in films, since I think some of it is just pure speculation and projection, so I did a little research afterwards.

The truth finally comes outMy suspicions were confirmed: according to Mankiewicz biographer, Ken Geist, the character of Eve Harrington was originally conceived as a lesbian. When you know this little bit about Eve, the film suddenly takes on a whole new light–especially where her relationship with Addison DeWitt is concerned (an Oscar winning perfromance by the marvelous George Sanders). There are lines in the “reveal” scene that throw the viewer for a loop, particuarly in the statement where Addison proclaims, “You realize and you agree how completely you belong to me.” Perhaps Mankiewicz wrote this line so it appears that Eve and Addison are having a sexual relationship–but I find it hard to believe, since neither has ever been affectionate towards one another. Yes, Eve has passion running through her veins, but Addison doesn’t. He gets more excitement out of making sarcastic comments and watching everyone in the theater world stab each other in the back. For all that’s been written about his character, I’ve never gotten the impression that Addison was gay. If anything, I felt that he was somewhat asexual. For him, sex just came with the job, like overtime and health benefits. I’ve always thought that Marilyn Monroe’s character had a relationship with him, and if the code allowed it at the time, I’m sure he would have attempted to play Svengali to a man as well. Yet, I feel the proper description for both Addison and Eve is “chameleon”–they both adapt to the people surrounding them, calculate the situation at hand and sense who they can best use to their advantage. Except that Eve lacks the finesse and wisdom that Addison has. She thinks in the moment, while Addison considers the whole picture and this leads to Eve getting beautifully played at the end.

Meet Eve Harrington
Out of the shadows: Karen meets Eve

Another interesting characterization of Eve is her appearance. When we first see her, she’s emerging from the shadows dressed in a man’s trenchcoat and hat, giving off the impression that they once belonged to her deceased husband. Eve wants to come off as a girl who’s just making do with what’s at hand. But when you find out the truth–there was no husband!–you realize that Eve is a master at costuming herself for the situation at hand. That innocent-looking trenchcoat and hat make her look drab enough to gain sympathy from Karen Richards (Celeste Holm), who first spots her in that darkened alley (now film scholars note that homosexual characters in classic Hollywood films are “coded” this way–lurking in the shadows). Upon first inspection, Eve seems like a shy, sweet theatergoer who has nothing but admiration for Margo Channing. Since it’s all an act, you have to imagine the amount of planning and preparation Eve had to do in order to make her sob story work. In order to seem legit, you need to look the part as well as make it believable.

Addison’s Watchful EyeThe failed seduction

Later, when Eve attempts to seduce Bill Simpson (Gary Merrill), she’s again in costume after taking over for Margo. It’s as though Eve cannot play herself–everything she does is a performance for the secret play going on in her mind. Unlike Karen, Bill doesn’t buy it–he flat out rejects Eve. Having seen and worked with all types of actors and actresses, Bill is much more cynical and hardened to the world around him. It’s an interesting comparison to Karen, who spends her free time painting and only observing the theater world from a wife’s viewpoint. She’s not actively involved and while it makes her a bit more naive, it also makes her susceptible to Eve’s plans.

Noticing PhoebeThe Real Eve?Phoebe Meets Addison
The Seduction Theory: Eve and Addison meet Phoebe, an “innocent” schoolgirl

Many people would say that the final scene between Eve and the mysterious Phoebe is the crowning moment of All About Eve. The main point is to let the audience know that in future years to come, Eve will be replaced by Phoebe and other aspiring, cutthroat actresses just like her. But those last five minutes or so tell more about Eve’s true personality than the entire film did. Not only is it the first time we see Eve smoking, but while talking with Phoebe, she drapes herself languorously on the couch. Clearly, Mankiewicz wanted the lesbian side of Eve to be finally revealed and when it is, it’s a bit off-putting. While she’s cold to others, she’s almost leering in her invitation to Phoebe. It’s obvious that she’s attempting to seduce the young woman by asking her to stay the night–yet, it’s Eve who’s being taken in for a sucker. Phoebe is pulling the same routine that she pulled on Margo. The two women even share physical similarities: the same husky tone of voice, a no-nonsense haircut and plain jane clothes. Phoebe is a chameleon as well. The only difference is that she reveals her cards to Addison when he drops off Eve’s forgotten award (and in the process, admits that “Phoebe” isn’t even her real name!). Her ambition is clear-cut. For all you know, Phoebe may be lying about her involvement in the “Eve Harrington Club”–after all, Eve lied about her non-existant husband and who says Phoebe can’t do the same?

The future and beyond…

While some critics claim that Mankiewicz’s portrayal of Eve is supposed to be an attack on lesbians, I only believe that to be a half-truth. Eve is just a terrible person. She may prefer the company of women in her private life, but it’s clear that in her public one, she’d sleep with anyone to get ahead. If anything, I think Mankiewicz succeed in showing us that the life of an ambitious actress is a lonely one. Even in the closing shot, where Phoebe stands among reflections of herself, I take that as a comment on being alone. Eve has no true friends. Addison considers her his “property”, a puppet he can use when he needs her. Margo and Karen have each other and Phoebe is just using Eve to get ahead in the world. Eve winds up with no one. Her ruthless ambition has cost her any close friendships. She will spend night after night alone, with only herself as company. On a related note, Is there any wonder why Bette Davis titled her first autobiography, “The Lonely Life”? Success certainly comes at a cost.

Margo + Bill = True LoveIn the scene where Margo rejects the role in Lloyd’s play, she bases her decision on her upcoming nuptials to Bill, saying, “It means I finally got a life to live. I don’t have to play parts I’m too old for just because I have nothing to do with my nights.” Margo has realized that true love is more important that the adoration of nameless, faceless theatergoers. Bill’s love is the only applause she wants now. She has put her own ambition aside to become a wife. In a case of fiction mimicking real life, Bette Davis and Gary Merrill eloped during the filming of All About Eve, where after, Davis put her career shortly on hold to become a housewife. The marriage, filled with bouts of drunken arguring, didn’t last and both parties would later say that Margo and Bill, not Bette and Gary, fell in love.

Of all the performances in All About Eve, my favorite comes courtesy of Celeste Holm. As Karen, the wife to the famous playwright, Lloyd Richards, she lives a very good life rubbing elbows with the theater elite. It’s a happy marriage. But when Eve gets hold of a cruel joke that Karen played on Margo, her happiness finally becomes threatened. Karen finally feels the sting of loneliness, albeit in a different fashion from Margo. Since Eve is now the new leading lady of Lloyd’s new play, the reheasals only bring them closer together, therefore pushing Karen out of the picture. Right before that fateful phone call, we see Karen lying in bed, musing about their relationship: “Everything Lloyd loved about me, he’d gotten used to, long ago.”

On the telephone

As an observer to the ups and downs of the theater, Karen knows how easily aging actresses are replaced. What makes an aging wife any different? It’s a scary thought, especially after witnessing exactly how manipulative Eve truly is. When Eve finally thinks she has Lloyd in her clutches, she tells Addison about her plan to steal him away from Karen, throwing in a few lies for good measure. This is what finally causes Addison to snap. Knowing that Karen is a good woman and also because Lloyd is a successful playwright whose plays can make or break actresses, Addison blows the roof off Eve’s plans, setting her straight. Attempting to upstage an aging, past-her-prime actress is one thing. To destroy a marriage is another. One wonders what he would have done if Bill gave into Eve’s temptations backstage.

Mankiewicz’s portrayal of the men in this film is especially positive–both Bill and Lloyd stay true to their ladies, and when you include Addison in that group, none of them are easily swayed by Eve’s poisonous charms. Lloyd only wants to do the best for his writing, Bill is madly in love with Margo and Addison is in love with his career. Since all three hold positions of power, they’ve seen every dirty trick in the book. Combine that with the male ego, and you’ll understand why they refuse to be undermined by a up-and-coming actress. It was easier for Eve to worm her way into Margo and Karen’s circle–she could pretend to identify with them, comfort them and offer compliments when needed. Men and woman are equally insecure, it’s just that women tend to wear their emotions on their sleeve. And for someone like Eve, this is all the bait she needs.

At face value, All About Eve is a great movie, but when you dig a little deeper, you find that there’s so much more to it than just backstabbing, betrayal and Margo’s famous line, “Fasten your seatbelts. It’s going to be a bumpy night!”. It’s about actresses and their vulnerabilities, a married woman facing her worst nightmare and how cruel and low some people can stoop to in order to get ahead in the world. It’s also about love, for it’s love that saves Margo Channing from herself and love that saves the marriage between Lloyd and Karen Richards. Without love, you wind up like Eve Harrington. Successful and adored, but lonely and used. And who wants to live a life like that?

This week’s MP3 doesn’t have to do with All About Eve, per se, but “Backstabbers” by The O’Jays could be the theme song to Eve’s devious plans. I love 70’s R&B/Funk and while it’s not classic movie related, I couldn’t pass up the opportunity to post such an appropriate song.

Download: “Backstabbers” by the O’Jays 2.8 MB – Link will open in new window and download it from there.

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Like last week’s Free-For-All-Friday entry, the following images have to do with publicity. Except they’re not photographs, they’re illustrations–and beautiful ones at that! I’ve seen some of the illustrations in their original form (I have the Katharine Hepburn one somewhere on my hard drive), but they’re much more striking and lovelier in their illustrated version.

Along with the main illustrations, are tinier ones with little factual trivia blurbs. For instance, did you know that Joan Blondell’s diet consisted for skimmed milk and potatoes for a period of three days at a time (The carbs! The carbs!)? Or that Joel McCrea was one of the only actors never to use any sort of stage makeup? It might also interest you to know that Victor McLaglen cooked all the meals when he went camping and that the divine Tallulah Bankhead was an avid oil painter. Like the publicity packages of the time, I’m not sure how many of these “facts” are true, but they’re sure fun to read.

Click images for larger versions:

Tallulah Bankhead, John Barrymore, Lionel Barrymore, Wallace Beery:

Tallulah Bankhead - Click for Larger ImageJohn Barrymore - Click for Larger ImageLionel Barrymore - Click for Larger ImageWallace Beery - Click for Larger Image

Constance Bennett, Joan Bennett, Joan Blondell, Claudette Colbert

Constance Bennett - Click for Larger ImageJoan Bennett - Click for Larger ImageJoan Blondell - Click for Larger ImageClaudette Colbert - Click for Larger Image

Ronald Colman, Gary Cooper, Marlene Dietrich, Jimmy Durante

Ronald Colman - Click for Larger ImageGary Cooper - Click for Larger ImageMarlene Dietrich - Click for Larger ImageJimmy Durante - Click for Larger Image

Douglas Fairbanks Jr, Katharine Hepburn, Joel McCrea, Victor McLaglen

Douglas Fairbanks Jr. - Click for Larger ImageKatharine Hepburn - Click for Larger ImageJoel McCrea - Click for Larger ImageVictor McLaglen - Click for Larger Image

Also to go with yesterday’s penny-pinching post (say that three times fast), I forgot to link to this site that features old Montana Bar and Restaurant Menus. See how much a toasted sandwich and french fries would cost at the Coffee Cup Cafe or if you’re in the mood for drink, perhaps the drink list at The Club would be more to your liking. Only $.35 for a Daiquiri? I’m there!

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the movie poster for “I Confess” - Click for larger image

In the confessional boothMany people who have seen Alfred Hitchcock’s I Confess (1953) say that it’s one his most underrated films. After seeing it last week, I have to agree with them although I wouldn’t be quick to say that it’s a great movie. It’s flawed, that’s for sure, but it’s also a good, solid film. I Confess is unlike any of Hitchcock’s movies since it lacks the mysterious glamour that’s found in his most famous works. The plot centers around a priest named Father Logan (played beautifully by Montgomery Clift), who is unable to tell the police about a murder since he is bound by the vow of confessional secrecy. Also complicating matters is the involvement of an old flame, Ruth (Anne Baxter) and a police inspector, Laurrue (Karl Malden), who is intent on finding out the truth.

There are two things that keep I Confess from being a great Hitchcock movie: the flashback romance between Father Logan and Ruth as well as the fact that we immediately know who the murderer is. While both ideas are necessary to the plot, their execution bogs the story down a bit.

Confessing to the wifeSince Hitchcock wastes no time in getting to the “who” and “why” of the story, you find out that Otto Keller (O.E. Hasse) is the murderer. Otto is an employee of the church as well as gardener for the man he killed, local lawyer, Villette. After confessing his sin to Father Logan in the confessional, Otto then tells his wife, Alma (Dolly Hass) why he killed Villette–he stole $2,000 because he was sick of watching her work so hard. During the confession, Father Logan told Otto that he must give the money back–an idea that terrifies him since he doesn’t want to be caught. Grief-stricken, Alma fears that Father Logan will go to the authorities and report the crime and suddenly Otto realizes that he is bound to his Catholic vow. He must keep the confession secret.

What’s interesting about this scene is watching Otto’s manner change from panicked and fearful to annoyingly confident. He is no longer frightened. You can literally see the weight of his guilt lift off his shoulders. Otto has gained a tremendous amount of power, knowing he can commit murder and get away with it. His eyes become wide and the expression on his face turns manic with an almost sick kind of glee. There are no doubts in his mind that Father Logan will not go to the police. Otto has faith in his strength as a man of the cloth, but what he doesn’t realize is that his actions will end up hurting the person he loves the most: Alma.

While it’s interesting to start off the movie with a bang, it lessens the suspense throughout. Even though Ruth (Baxter) gets involved halfway through and you find out that Villette was blackmailing her, you still know that Keller is the murderer. Part of the fun of a Hitchcock movie is the big reveal or a murder committed either halfway through or at the end: Anthony Perkins in Psycho, Robert Walker in Strangers on a Train or the “two” Kim Novaks in Vertigo. And while the ending of I Confess is definitely exciting, the middle of the film has a tendency to lag.

Flashback romance - Anne Baxter and Montgomery CliftPart of the problem with the Ruth subplot is that it doesn’t fit in with the rest of the movie. Anne Baxter is perfect for the part of Ruth. She does well with the material and she and Clift are well matched. But it’s the part itself that seems as though it was transported out of another movie, almost as though Hitchcock was trying to inject his brand of romance for the sake of adding it. For the most part, I Confess has a sharpness to it. The cinematography is fantastic and crisp, but with Ruth’s subplot it suddenly takes on a dream-like quality to reflect her obsessive love for Father Logan. Compared to the tightness of the rest of the script, it’s jarring, to say the least. Yet, Ruth flashback is essential to the plot since in trying to help him clear his name, she winds up doing more damage to his case.

Montgomery Clift

Montgomery Clift, an actor I’ve always liked, is beyond amazing in I Confess. I noticed that he doesn’t say much. Instead of dialogue, Hitchcock uses close-ups on Clift’s face to convey the emotions he’s going through. What’s amazing about his performance is that he expresses so much through his eyes. You see the agony that he’s going through, the internal struggle of wanting to tell the police even though he knows he can’t. Father Logan’s love for God and his devotion to the church is stronger than his own need.  As the story progresses and Otto becomes more and more aggressive, taunting Father Logan and lying about his own involvement, Clift does an amazing job at expressing his character’s fear of being arrested and hung for a crime he didn’t commit. I’ve seen quite a few of Clift’s films and I Confess is certainly one of his best. So much of the movie succeeds because of his performance. Clift’s Father Logan carries himself with a quiet dignity. There’s no doubt that he will honor the sacred vows he made when he became a Priest, no matter what the cost.

The heart of I Confess is rooted in the “C” word: Catholicism. After watching this and looking up various articles, I wasn’t very surprised to find out that Hitchcock was a Catholic throughout most of his life. If one is brought up in another denomination, the vow of Confessional secrecy that sets the plot into motion might not be familiar to some. Hitchcock uses various Catholic themes throughout, mainly religious fear, not to mention guilt, suffering and forgiveness. All the characters go through some sort of suffering throughout the film, but it’s Father Logan who receives the brunt of it. Here’s a man who devotes his life to God and winds up suffering for the sins of others (Otto’s murder and Ruth’s obsessive love for him despite being married) because he’s unwilling to break the promises he made to God. Hitchcock makes it quite clear that Father Logan is a Christ-like figure, most notably during the scene where he goes walking through the streets of Quebec. Clift is presented in a long shot, with a statue of Christ carrying the cross while being flanked by two guards in the foreground. It’s not subtle at all. This image is repeated later in the movie, during Father Logan’s trial. When you see him, he’s surrounded by two guards, while a large crucifix hangs on the wall across from his seat. It’s as though Hitchcock is setting up Logan by showing him what will happen if the jury finds him guilty: he will hang. Not only will he die for Otto’s sin, but Ruth’s as well.

Carrying the CrossModern symbolismDelievering the verdict
The religious symbolism throughout I Confess 

The tension between Father Logan and Otto is really what elevates the premise of I Confess. It’s almost unbelievable how brazen Otto becomes in taunting Father Logan, reminding him of his confessional vow as well as lying to the authorities and basically selling out the man who is protecting him. At first his faith in Father Logan is solid. At the beginning of the story, Otto tells Logan, “I have abused your kindness…you gave my wife and me a home–even friendship, so wonderful a thing for a refugee, a German, a man without a home.” But it becomes easier and easier for Otto to transfer his own guilt to the priest, therefore making him less and less sure of Father Logan in the process.

O.E. Hasse and Brian AherneDolly Hass as Alma
In the courtroom: Otto on the stand and Alma in the seats 

Father Logan isn’t the only one suffering at the hands of Otto–his wife, Alma also suffers as well. At first, she’s overly nervous, especially whenever she comes into contact with him. But it’s during Logan’s trial that the guilt of knowing her husband’s secret really begins taking it’s toll. When Otto testifies against Logan, and lies about the events of the night leading up to his confession, the dismay is clear on Alma’s face. With every negative testimony put against him, she grows more and more shaken. She knows the truth, but telling it would result in the death of the man she loves.

the fateful momentDolly Hass is wonderful as Alma. There’s a meekness about her that makes her perfect for the role, although in the penultimate scene, she drops it and shows a boldness in her quest do the right thing. In so many of his films, Hitchcock attempts to show you that every man has good and evil coursing through his veins and I Confess is no exception. After Father Logan receives his “Not Guilty” verdict (which is delivered with a few disparaging remarks by the foreman and judge), the crowd that waits outside the courtroom is hostile. As Alma and Otto watch Father Logan get shoved by the angry mob, Alma can take no more. Her love for Otto is trumped by the torment of wanting to do what’s right: clear an innocent man’s name. When she pushes her way through the crowd and approaches a police officer, Otto’s sense of fear takes over. He has no other choice but to shoot Alma to keep her quiet.

Here is the most interesting twist in the entire film: since Father Logan can no longer die for Otto’s sin, it’s Alma that winds up dying for it instead. She suddenly becomes the Christ-like figure in Hitchcock’s world. After suffering for her husband’s guilt, she winds up paying for it with her life. It’s a rather dark move, made even darker by the fact that this one of of Hitchcock’s only films that’s completely devoid of humor. It’s also important to note that in the original play on which this is based, Father Logan does die at the end, which would have made his Christ-like transformation complete.

Forgiveness - O.E. Hasse and CliftDuring the final moments of I Confess, Otto winds up falling into his own trap and thinking that Father Logan has told the authorities, winds up indicting himself. After shooting at the police, they shoot back and Otto is struck. As he lays dying, he finds out that Alma has died and asks forgiveness from Father Logan. It’s amazing that his love of Alma is what drove him to steal and murder, only to turn around and murder the woman he loved in order to save himself. This realization is what causes Otto to ask forgiveness before he dies, because if one is truly sorry for their actions, then forgiveness is granted. The workings of the Catholic church do come full circle in I Confess, which I thought was nicely done. You’re to believe that Otto, while not a truly bad man, got swept up in his own fear to the point where he became someone else entirely. Under the right circumstances, anyone can change.

a chance encounter between Logan and RuthWatching I Confess in today’s world, I find it interesting that Father Logan is made out to be a good priest and a good man. Even in his darkest hour and after aimlessly walking the streets of Quebec, he makes his way to a church and turns to God for solace and comfort. There’s nothing shifty about Father Logan, although the sudden appearance of Ruth does make you wonder a bit, but only momentarily.  Yet, if I Confess were made today amidst all the church scandals, there would be no doubting that Father Logan is guilty of something, in any way, shape or form. When Ruth and Logan meet at the crime scene and she utters the words, “We’re free!”, you can’t help but think something really tawdry is going on between them. You even doubt Otto’s confession for a moment, thinking that perhaps there was some kind of twist and Father Logan had done something to Villette before Otto arrived and finished him off. It’s amazing how modern thinking and controversies can shape one’s opinion on a movie that was made almost 50 years ago!

Karl Malden and Anne BaxterBut despite all it’s flaws, I Confess is still a good, solid Hitchcock movie. The cinematography by Robert Burks and score by Dimitri Tiomkin (who both worked on several Hitchcock classics) only elevate it above the standards of a normal film. Also worth mentioning are the strong performances of Karl Malden (to be honest, he’s always good) and Brian Aherne as Willy Robertson, a friend to Ruth and her husband and the prosecutor who grills Father Logan during the trial.

In my opinion, I Confess is one of Hitchcock’s most personal movies. In later interviews, he felt that I Confess was a disappointment, possibly due to it’s not being well-received at the time of it’s release. During the early 50’s, Catholics were not well liked throughout England and perhaps Hitchcock took their refusal to see I Confess (as well as many of his other films from that era) personally. I will never get the notion of disliking someone because of their personal beliefs, unless that person is trying to shove it down your throat. Perhaps audiences felt that’s what Hitchcock was trying to do with I Confess–which he wasn’t. Hitchcock was merely trying to tell the story a wronged priest and with the exception of the opening scene, not once is Father Logan shown consoling other parishioners on the rights and wrongs of the world. He’s just another wronged man, made guilty in the eyes of others because of uncontrollable circumstances and his devotion to God. He could fit in right next to Cary Grant in North by Northwest or Henry Fonda in The Wrong Man. It’s an interesting twist to a standard mystery. Combine that with the outstanding performance put in by Montgomery Clift and that’s exactly why I Confess, despite some weak points, still manages to hold up today.

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Another group of images for your enjoyment! This time, I’m posting Publicity Shots from the late 1920’s and early 1930’s. Over the years, I’ve collected them from around the internet and I thought I would share them with you today.

However, I’ve always wondered what their source was. In the 1933 shots, there are numbers at the bottom of each page, so I’m assuming they’re from a book the studios sent out. Was this something available to the public? It doesn’t seem to be from a specific studio, but a grouping of them. You have Clark Gable (MGM) with Claudette Colbert (Paramount). I have to say though, a lot of the shots are gorgeous–especially the Gary Cooper and Barbara Stanwyck ones (or maybe my love for Ball of Fire is showing!) If anyone has any information or knows what these are from, please let me know. They’re really gorgeous pictures though and the little biographical blurbs are fun to read as well. I’m also thinking that this is a book from the UK, since one of the Cagney stills says it’s from the movie Enemies of the Public, which was the UK title for The Public Enemy.

Also, I get a kick out of Greta Garbo’s little blurb: “Someday someone will find the real woman in her and she will cease to be Greta Garbo, film star. She will become, perhaps, Mrs. Somebody, housewife.” Yeah, right.

The 1930 shots of Gary Cooper and Joan Crawford are from their publicity packages. I doubt they wrote their own bios, although if I were alive at the time, I probably would have thought they did. I’m that naive.

Next week, part 2–but for now, Enjoy!

The 20’s – Norma Shearer (1925 & 1929)

1925 - Norma Shearer - Click for larger imagesmall_1929_norma.jpg

1930 – Gary Cooper and Joan Crawford

Gary Cooper - 1930 - Click for Larger ImageGary Cooper - 1930 - Click for Larger ImageJoan Crawford - 1930 - Click for Larger ImageJoan Crawford - 1930 - Click for Larger Image

1933: Claudette Colbert, Gary Cooper 1 & 2, Joan Crawford

Claudette Colbert - 1933 - Click for Larger ImageGary Cooper - 1933 - Click For Larger VersionGary Cooper - 1933 - Click For Larger VersionJoan Crawford - 1933 - Click for Larger Image

1933: Jimmy Durante & Buster Keaton, Clark Gable, Greta Garbo, Leslie Howard & Mary Pickford

Jimmy Durante & Buster Keaton - 1933 - Click For Larger VersionClark Gable - 1933 - Click For Larger VersionGarbo - 1933 - Click For Larger VersionLeslie Howard and Mary Pickford - 1933 - Click For Larger Version

1933: Fredric March, Laurence Olivier, George Raft, Barbara Stanwyck

Fredric March - 1933 - Click for Larger VersionLaurence Olivier - 1933 - Click For Larger VersionGeorge Raft - 1933 - Click for Larger VersionBarbara Stanwyck - 1933 - Click for Larger Version

1933 Movie Stills:

Cagney, Cimmaron, Lee Tracy and Ann Harding - 1933 - Click for Larger VersionCagney & Blondell, McCrea & Fay Wray - 1933 - Click for Larger VersionJames Cagney - 1933 - Click For Larger VersionGary Cooper and Joel McCrea - 1933 - Click For Larger Version

From left to right:
Picture 1 – James Cagney, Cimmaron, Ann Harding, Lee Tracy
Picture 2 – Cagney & Blondell, Joel McCrea & Fay Wray
Picture 3 – Cagney in Enemies of the Public
Picture 4 – Gary Cooper and Joel McCrea

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If you can believe it, there was once a time when I disliked musicals. I’m crazy about them now, but back when I first started watching classics, I just didn’t get the point. Yeah, dancing and singing, big whoop. I say this with a bit of shame now, but it’s the truth. I just didn’t like them–or I didn’t allow myself to like them. A closed-minded film addict is the worst thing ever.

The movie poster for “How to Succeed…”So it was always a bit odd that one of my favorite movies was How to Succeed In Business Without Really Trying (1967). It’s airing Saturday, March 8 at 10:15 pm on TCM as part of their “How to Climb the Corporate Ladder” nightly theme. I fell in love with it from the second I saw it. How to Succeed… (as it will be written throughout) is one of those films that doesn’t take itself too seriously and I’ve always recommended it to people as “a musical for people who don’t like musicals.” It has a very “modern” feel to it unlike the MGM spectaculars from the 40’s and 50’s or the Rodgers and Hammerstein epics. How to Succeed… is a satire of the business world, in which lowly window-washer J. Pierpont Finch amusingly schemes himself into a top level executive position, all thanks to a little paperback book he buys at the beginning of the film.

Finch reads the book for the first time

Since How to Succeed… started as an actual book, it’s transition to one of the most successful Broadway plays of all time is something of a miracle. Written by Shepherd Mead (an advertising executive at Benton and Bowels), How to Succeed… was a satire of the ups and downs of the 1950’s business world in the form of a self-help manual. The book proved to be so popular that the writing team of Jack Weinstock and Willie Gilbert bought the rights to it and adapted it for the theater. When it went unproduced for the next five years, they brought it to the attention of successful writer/director of many Broadway hits, Abe Burrows and composer Frank Loesser and the rest is history.

Robert Morse and Rudy ValleeFrom the start, Burrows and Loesser had Robert Morse in mind for the role of J. Pierpont Finch. Morse’s first notable role in both Broadway and Hollywood, was in The Matchmaker, where he played the role of Barnaby Tucker. It was on the opening night of another Broadway play, Take Me Along (1959, with Jackie Gleason and Walter Pidegon) that Burrows and Loesser sent Morse a telegram saying, “Have a good time. But in two years, when you get out of that show, we’re doing How to Succeed… and you’re playing Finch.” Morse was thrilled with the news. For the part of World Wide Wicket company president, J.B. Biggley, Burrows and Loesser originally sought the British comedian, Terry-Thomas, but when negotiations fell through, Rudy Vallee was cast instead. This was to be his first Broadway performance in 26 years, when he last appeared in George White’s Scandals of 1935. Charles Nelson Riley was to play Finch’s nemesis, Bud Frump, while Bonnie Scott was cast as Rosemary, the love interest.

A Playbill from the Broadway runThe cover of Newsweek from November 27, 1961Robert Morse with other Tony award winners
From left to right: the 1961 Playbill for How to Succeed…, Making the Cover of Newsweek and Robert Morse with other Tony award winners

Opening on October 14, 1961, the first Broadway performance of How to Succeed… was met with rave reviews. The cast was top-notch and critics were praising it’s smartly written script, catchy songs and exciting dance numbers choreographed by Bob Fosse. It became one of Broadway’s most successful shows, winning seven Tony awards — Best Musical, Best Author, Best Composer, Best Actor for Morse, Best Supporting Actor for Reilly, Best Direction, Best Conductor and Best Producer — and the prestigious 1962 Pulitzer Prize for Drama. It’s quite a feat for a show that went unnoticed for five years! When it finally closed, How to Succeed had racked up 1,417 performances and became the fifth longest running musical of all time.

The cast of “How to Succeed…”

As with all successful Broadway productions, a movie version was inevitable. Of course there were some major cast changes. Since Michele Lee had taken over the part of Rosemary on Broadway, she was cast in the film version instead of Bonnie Scott. Taking the place of Charles Nelson Riley was Anthony “Scooter” Teague as Bud Frump, while Maureen Arthur, who had played sexy secretary Hedy LaRue on the road, would also appear in the movie. Otherwise Morse, Vallee, Sammy Smith (as Wally Womper) and Ruth Kobart (as Biggley’s secretary who has a soft spot for Finch) all reprised their roles for the 1967 film version. And If you happen to be a die-hard Monkees fan like myself, keep an eye out for Carol Worthington as the gawky secretary, Lucille Krumholtz. Worthington had just appeared as a tough biker chick on one of my favorite episodes, “The Wild Monkees”, that same year.

From the “I Believe In You” numberNot only were there cast changes, but some of the songs were dropped as well. All of Rosemary’s songs–“Paris Original”, “Cinderella Darling” and “Happy to Keep His Dinner Warm”– were cut from the film. Instead, Rosemary sings “I Believe In You” to Finch, while in the Broadway version, Finch sings this song to himself in a mirror. Also deleted from the print was the musical number, “Coffee Break”, since it’s footage was deemed unusable. Some stills do exist, but it explains why there’s an abrupt cut right after the arrival of the coffee cart was announced.

A still from the deleted “Coffee Break” numberA still from the deleted “Coffee Break” number
Two stills from the deleted “Coffee Break” number

I love that How to Succeed… is really a product of the late 60’s. The sets are brightly colored, almost garish in their use of bold, strong colors. While David Swift did a wonderful job in both directing and adapting the film for the big screen, what I really love about How to Succeed… are the musical numbers, particularly the hilariously saucy, “A Secretary is Not a Toy”. Although another choreographer was used for the movie, Bob Fosse’s original style resonates throughout.

From the musical number “A Secretary is Not a Toy”From the musical number “A Secretary is Not a Toy”From the musical number “A Secretary is Not a Toy”
From the musical number “A Secretary is Not a Toy”From the musical number “A Secretary is Not a Toy”
Scenes from number “A Secretary is Not a Toy”

In “A Secretary is Not a Toy”, the clicking keys of a typewriter are used as a form of percussion, while the shuffling sound of shoes and numerous finger-snaps also add to the mix. The dancers move in a decidedly modern style, shuffling back and forth, shaking their hips and wiggling their heads. More than anything else, it draws from the world of jazz. “A Secretary is Not a Toy” also boasts one of the best lyrics ever: “Her pad is to write in and not spend the night in!” How can you not love a song that says that?

The panned version - UGH!From the musical number “A Secretary is Not a Toy”
To pan or not to pan: the answer is “NO!”

The final moments of “A Secretary is Not a Toy” also has one of the most unique set-ups–the dancers come into the picture from opposite ends of the screen. Because of this, it’s essential to watch How to Succeed… in it’s original letterbox format. I once saw this movie on the Flix channel in the panned-and-scanned version and nearly had a coronary. During this number, you see nothing but a completely empty space for at least ten seconds while waiting for the dancers to enter the picture! It’s infuriating to see the movie butchered like that. I’m getting angry just thinking about it!

From the “Brotherhood of Man” finale numberAnother musical highlight is the rousing finale number, “The Brotherhood of Man”. This really shows my age, but I first came to know it from an episode of “The Drew Carey Show “(remember how they used to do musical numbers?). I had no idea that “The Brotherhood of Man” was from a Broadway production, so I was more than surprised to see it in How to Succeed… Anyway, it’s the first song that I ever really loved from a musical–so much, that I went and bought the soundtrack after seeing the movie. I can’t even tell you how many times I’ve lip-synched Ruth Kobart’s part in the mirror while getting ready for the day. Really. Now stop laughing at me.

Download: “The Brotherhood of Man” sung by the Original Broadway Cast – 5.6 MB (link will open in new window and download from there)

1967 Smirnoff Vodka Tie-in Ad for the Movie ReleaseEven with all the fantastic musical numbers, the real the star of How to Succeed… is Robert Morse as J. Pierpont Finch. By 1967, Morse had already racked up numerous movie credits (the biggest one at that point was the 1965 black comedy, The Loved One), so he definitely had screen experience. I’m so glad the powers that be allowed him to recreate the role of Finch on the big screen. So many times you hear that the original Broadway actor was passed over, because they weren’t commercially viable enough for the film version. Thank goodness they had enough sense, because Morse is absolutely perfect as Finch. I can’t imagine anyone else playing the part. He’s mischievous and sly in his slightly underhanded dealings, but still possesses a lovable boyishness that makes you root for him–especially when it comes at the expense of Bud Frump. One of my favorite scenes is when Finch rushes to work on a Saturday morning, runs to his desk, begins dumping cigarette butts, empty styrofoam coffee cups and other pieces of assorted trash all over it, and then collapses as though he had just pulled an all-nighter. Just as he finishes this routine, J.B. Biggley walks in, sees the “exhausted” Finch at his desk and compliments him on what a hard worker he is. Not only is it hilarious, but it also leads to the “Groundhogs!” duet in which Finch pretends to have attended the same alma matter that Biggley did.

Groundhogs!

I love you.I also love the sweet relationship between Finch and Rosemary. In her first film appearance, Michele Lee is as cute as a button and she’s a perfect match for Robert Morse. Rosemary’s love for Finch is earnest. I love when she sings, “I Believe In You” to him. The look in her eyes and the expression on her face says everything that the lyrics don’t. She *does* believe in him. And despite a mishap between Finch and Rosemary in the middle of the film, one of the sweetest moments occurs when he realizes that he loves Rosemary just as much as she loves him–and of all things, after being kissed by Hedy LaRue!

As I’ve gotten deeper into the classics, I’ve found other musicals to love and oddly enough, they’re the ones that I detested so much at the beginning: The Band Wagon, An American In Paris, Ziegfeld Follies, Top Hat, The Barkleys of Broadway and the one that really started it all, On the Town. I’ve come to love the MGM musicals that I once found so corny and silly. Rodgers and Hammerstein, not so much. But I still adore How to Succeed in Business Without Really Trying. Yes, it’s a little kitschy at times, but it’s got a great story, strong acting and songs that will stick in your head for days. It’s a very well-made film and even though the business world has certainly changed some forty years later, How to Succeed… still stands the test of time. It’s great entertainment. Even if you’re a person who doesn’t enjoy musicals, I suggest you give How to Succeed in Business Without Really Trying a chance. It’s different than any other classic musical out there. And who knows–like myself, it may start you down the slippery, addictive slope of watching and enjoying more musicals. And you know what? That’s not such a bad thing after all.

Note: A lot of the information presented here is from the liner notes and interview tracks off the Deluxe Collector’s Edition CD of How to Succeed In Business Without Really Trying. It’s a great listen.

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Gig Young in 1943
WB headshot of Gig Young in 1943

Time hasn’t been kind to Gig Young. For most casual movie fans, his place in film history will be “that guy who killed himself and his wife”. Some may remember him for his role in a Doris Day movie or even for his fantastic performance in They Shoot Horses, Don’t They?, but otherwise, every article I read about him always makes note of that fatal incident. It’s impossible not to. But very rarely do I ever read about what a fine actor he truly was. Sure, he’s always mentioned in reviews of movies he appeared in, but briefly, as though he were an afterthought.

For me, seeing Gig Young’s name in the cast list usually seals the deal on a movie for me. If he’s in it, I’ll watch it. It’s that simple. He’s one of my favorite supporting actors, usually starring in films of very good quality. The problem was that he was overshadowed by the films leads: Ida Lupino and Glenn Ford, Spencer Tracy and Katharine Hepburn, Doris Day, Cary Grant, Sinatra, Clark Gable–the list goes on and on. He was a popular supporting actor throughout the 50’s and was finally rewarded with an Best Supporting Actor Oscar in 1969 for his work in They Shoot Horses, Don’t They? Cursed by the Oscar win, his personal demons took over, leading him to the murder/suicide that ended not only his life, but that of his fifth wife as well. I’ve seen posts where people say they can’t watch a movie of his without thinking of this and it depresses me. He’s a wonderful actor and to ignore his work because of that is a shame. It also lead me to write this and to shed a little light on a career that deserved more accolades than it received.

After receiving a scholarship to the prestigious Pasadena Community Playhouse in the early 40’s, Gig was spotted by a Warner Brothers talent scout and was signed to a contract with the studio. Using his real name of Byron Barr, most of his early work was in bit parts that usually went uncredited. As he gained more visibility, the powers that be decided he needed a name change since there was already another Byron Barr in the business. The solution was simple: use the distinctive name of the character he just played in The Gay Sisters (1942). And with that Byron Barr became Gig Young.

Front of WB postcardBack of Postcard
A promotional postcard of Gig sent to a fan during his years at WB.
The back reads like a form letter.

Bette and Gig (Old Acquaintance)1943 was a good year for Gig. He appeared in two major releases, the first being Howard Hawks’ excellent war film, Air Force, while the second was the Bette Davis/Miriam Hopkins woman’s picture, Old Acquaintance. His career was interrupted by WWII and like other actors, Gig served his country with a stint in the Coast Guard. When he returned to Hollywood, he began gaining momentum by appearing in all sorts of movies, some high profile (MGM’s The Three Musketeers – 1948) to the lackluster (Escape Me Never – 1947, Wake of the Red Witch – 1948). One of the best from that period was the western, Lust For Gold (1949) in which he plays Ida Lupino’s scheming husband. It’s a fantastic role for Gig, one where he gets to play a truly nasty guy, unlike the nice guy parts he was usually given. Gig displays an edge that I’ve never really seen in any of his other films and it’s refreshing to see. In 1951, Gig returned to home studio of Warner Bros. and appeared with James Cagney in the drama, Come Fill the Cup. The part landed him his first Oscar nomination in a role he’d come to know too well: that of an alcoholic.

Cagney and Gig in “Come Fill the Cup” (1951)
Cagney and Gig in Come Fill the Cup (1951)

Throughout the 50’s, Gig seemed to take over “The Ralph Bellamy Role”: that of the handsome, yet somewhat bland guy who always finds himself getting dumped for the film’s leading man. In 1954, Gig appeared for the first time with Doris Day in Young at Heart, where he gets ditched for the surly, yet talented pianist played by Frank Sinatra. Doris and Gig would go on to star in three more films together: Teacher’s Pet, The Tunnel of Love (both 1958) and That Touch of Mink (1962).

Cary Grant and Gig in “That Touch of Mink” (1962)

Oddly enough, That Touch of Mink has what I think is one of Doris Day’s most asinine roles, yet it’s my favorite movie of Gig’s. In it he plays Roger, Cary Grant’s neurotic financial analyst who holds a grudge against his boss for making him into a rich man. Roger was once a respected teacher of economics at Princeton, but gave it all up when Philip Shanye (Grant) offered him $50,000 and he’s never forgiven himself for selling out. He feels humiliated when Phillip raises his salary and gives him stock in the company for Christmas. “Like rubbing salt in the wounds,” Phillip deadpans after one of Roger’s diatribes.

When the playboy Phillip is rejected by the virginal Cathy Timberlake (Doris Day), Roger is elated at seeing his boss finally get shot down. In a scene where Cathy sends back all the clothes Phillip bought for her, Roger gives one of my most favorite movie speeches ever:

Roger: “When she sent this back she became a symbol of hope for all of us who sold out for that touch of mink.”
Phillip: “Roger!”
Roger: “You give us good salaries, paid vacations, medical insurance, old age pensions. You take away all our problems and you act like you’ve done us a favor. Well you haven’t! We enjoyed our problems and someday there’s going to be an uprising and the masses will regain the misery they’re entitled to!”
Philip: “Neurotics of the world unite! You have nothing to lose but your psychiatrists.”

Gig in “That Touch of Mink” (1962)What I love so much about Gig in this role is that he plays Roger with a kind of quirky, wide-eyed enthusiasm and naivety. Despite being constantly cast in light comedies, Gig plays this unlike any other of his supporting roles. The scenes between him and Cary Grant are absolutely priceless and it gets even better when Roger is constantly mistaken as Phillip by Cathy’s roommate, Connie (a feisty Audrey Meadows). When he goes to visit Cathy, Roger gets slapped by Connie, beaten up with a broom, and then chased into a car by a gigantic dog. Elated, Roger shows Philip his battle wounds before heading to the hospital: “It’s the most satisfying day of my life!” Roger exclaims. “They thought I was you….and you deserved everything I got!” It’s hands down one of my favorite performances ever, by any actor and definitely in my top ten of all time.

Gig in Teacher’s Pet (1958)
Nobody likes a show-off: Gig as Dr. Hugo Pine in Teacher’s Pet (1958)

Gig also excelled in Teacher’s Pet (showing on TCM on Sunday, March 9 at 4:00 pm), the movie that garnered him his second Oscar nomination. As the attractive and knowledgeable Dr. Hugo Pine, Gig is once again the bright spot in the movie. I’ve always felt that Teacher’s Pet has a tendency to drag at times and I find the romance between Doris Day and Clark Gable a bit unbelievable (and I’m usually all for May-December romances). Gig doesn’t show up until halfway through the film, but when he does, the movie finally perks up. He turns in another great performance here. The nightclub scene where he proves what an expert he is at everything never fails to make me laugh. I love how Hugo Pine can do it all all, much to Gable’s chagrin: dance with Doris, play the bongo drums, speak Watusi and even hold his liquor–until the cool night air hits him, that is. Another funny scene occurs when Hugo is in his apartment, mixing up a homemade hangover remedy. When the doorbell rings, Hugo holds onto his head for dear life as though it’s about to fall off. I particularly enjoy how he moves the huge doorbell chimes apart, one by one, preventing them from clanging against each other. He’s hilarious. In that scene alone, Gig proves that he’s just as good at subtle physical comedy as he is verbal. It’s a really outstanding supporting performance (And on an unrelated note, you have to wonder why Doris never got her props either).

For the best all-around movies that Gig appeared in, I’d have to go with either the Tracy-Hepburn technological comedy, Desk Set (1957) or William Wyler’s tense hostage drama, The Desperate Hours (1955). In the former, he plays another victim of love, losing out to Spencer Tracy for Katharine Hepburn’s affections while in the latter, he plays a worried boyfriend who figures out that his girlfriend is being held hostage by escaped convicts. It’s a fine ensemble drama with excellent performances put in by every member of the cast, especially Humphrey Bogart and Fredric March. In one of my favorite books, Arthur Kennedy: Man of Characters, Kennedy remembers the hell director William Wyler put Gig through:

“I had a very difficult scene with Gig Young, a charming guy. It ran seven or eight pages. Gig initially had to act fresh. I tell him that the family written about in the newspaper is his girlfriend’s family. That has to register–and at the same time, he has to conceal his fear. We went through the whole scene and Wyler says, ‘The look on his face stinks! Do it again!’ We got up to 27 takes. I suggested we stop for a coke and then we did another 13! Wyler said “Print six, eight and 23. Then he said, ‘Move in for a close-up of Gig’s look.’ Gig was a damn good actor. After three or four takes, he was perfect–and Wyler printed it.”

Very rarely did Gig get to ever play a leading man part, and when he did, they came off with mixed results. One of my favorites is the 1963 MGM comedy, A Ticklish Affair, where Gig is a naval officer who falls hard for navy widow, Shirley Jones. Not only does he get her at the end, but he plays hero to her young son after a mishap with some giant weather balloons. It’s not going to be on any Top Ten lists in the future, but watching it is a good way to spend an afternoon.

Rita and Gig (The Story on Page One)Yet for all his talent, Gig could also be horribly miscast in roles that weren’t right for his style. Take the courtroom drama, The Story on Page One (1959) where Gig is a lonely divorcee who finds love with an abused and neglected housewife, played beautifully by Rita Hayworth. By this time, Rita was no longer the sexy, pin-up girl of the WWII era. She was, however, a fine dramatic actress that people failed to take seriously. Rita more than holds her own in this film, but Gig? Not so much. In so many scenes, such as where he tells Josephine (Hayworth) about the loss of his child, his acting rings false and throughout the whole movie, he’s merely adequate. It wasn’t that he couldn’t do serious work–because he definitely could. Maybe it’s the direction by Clifford Odets, but I just didn’t like him in this film. I feel that he was just completely wrong for the part, although he and Rita do compliment each other physically. And when Gig shares a scene with the great character actress, Mildred Dunnock (as his overbearing mother) she leaves him in the dust. Otherwise, it’s a good movie, with an exceptional performance by Tony Franciosa, as the lawyer who defends Gig and Rita. Another case of miscasting would occur a few years later in 1963’s Five Miles to Midnight--but then I think everyone–Gig, the stunningly gorgeous Sophia Loren, Anthony Perkins and especially the screenwriter–were miscast in that one. It’s not a good movie by any stretch.

Elizabeth Montgomery and GigWhile he turned in some of his best work during the late 50’s and early 60’s (The Story on Page One notwithstanding), his personal life was a mess. In 1956, Gig married Elizabeth Montgomery (daughter of actor Robert and of Bewitched fame). It was a stormy marriage, marred by Gig’s chronic drinking and Elizabeth trying to keep up with him. And since Gig had a vasectomy earlier in his life due to some health problems, children were also out of the picture. They wound up divorcing in 1963 and nine months later, Gig married his fourth wife, a real estate agent named Elaine Whitman. She bore him a child Jennifer, that he initially pronounced as a “miracle”, but later denounced her when he realized that he had to pay child support. Like Cary Grant, Gig also tried out LSD therapy to help him straighten out his life, but always found himself turning back to the bottle. In the book, Final Gig, it’s said that he had a habit of relying on women throughout his entire life. As a child, Gig was aware that he was the result of a “leak in the safe”. His father would constantly introduce him as “a little dumbbell” and both parents were emotionally unavailable, causing him to rely on his sister, Genevieve, for support. I’m not saying this is an excuse for any of his behavior, but it does give you a clue into what his mental state may have been like. You’d never guess that behind all those fantastic comedic perfomances was a man with a dark, turbulent, emotional state of mind.

Gig, Charles Boyer and David Niven on TV GuideBy the mid-60’s, the type of light comedy/sex farce movies that Gig usually nabbed supporting roles in were becoming out of fashion. He appeared in few movies during this time, mostly concentrating on work such as the sophisticated tv series, “The Rogues” (1964 – which also starred David Niven, Charles Boyer and Gladys Cooper). However, Gig’s luck would change in 1969. His former agent, Marty Baum, became the head of ABC Pictures, the company that was producing the depression-era drama, They Shoot Horses, Don’t They? Baum insisted that Gig take the role of Rocky, the emcee who presides over the dance marathon. Not many people were thrilled with this decision, since Gig was primarily known for comedies, not serious drama.

However, he proved them wrong. Gig’s acting ability is a revelation. You would never guess that this was the same man who starred in all those Doris Day movies. As Rocky, Gig manages to be both sleazy and boastful. To the public, he appears sympathetic while exploiting the participants’ troubles for the crowd’s entertainment. But behind the scenes he’s emotionless, caring more about the finances than the health and emotional well-being of the people involved. But there are glimpses into his character that contrast sharply with his slick, ruthless persona. Take the scene where one of the contestants begins to hallucinate from lack of sleep. As she screams that bugs are crawling all over her body, Rocky rushes forth and takes control of the situation. After the incident has died down, Gloria (Jane Fonda) sarcastically remarks, “I thought you would have put that on display.” To which Rocky soberly responds, “No. It’s too real.” Gig gives a layered, nuanced performance here, with an emotional depth that he never had the chance to display in any other movie before. Yes, Rocky is cold and callous, but he’s doing what he needs to do in order to survive during the Depression. While the rest of the cast is fantastic (Fonda, Michael Sarrazin, York and Red Buttons) and the direction by Sydney Pollack is excellent, it’s Gig’s performance that really stands out. He definitely deserved the Oscar that year.

Gig and Jane Fonda in “They Shoot Horses, Don’t They?” (1969)

Gig with his Oscar (1969)Gig always had apprehensions about winning or being nominated for an Oscar. As he once told Louella Parsons, “So many people who have been nominated for an Oscar have had bad luck afterwards.” And while being nominated certainly didn’t hurt his career, winning one most certainly did. His fourth wife, Elaine, says that what Gig wanted most “was a role in his own movie, one that they could finally call a ‘Gig Young movie.'” But that never happened and his seventies filmography proves it. No leading parts ever came his way after his win, and the movies he appeared in are of middling quality (some may argue about Sam Peckinpah’s Bring Me the Head of Alfredo Garcia though. I’ve never seen it, so I can’t comment). Gig’s alcoholism turned even more self-destructive than before. He was fired from Mel Brooks’ Blazing Saddles after showing up on the set suffering from delirium tremens. And if that weren’t enough, Gig was also fired as the voice of “Charlie” on the 70’s crime drama/jigglefest, “Charlie’s Angels”, because he was too intoxicated to read his lines. It’s a pretty terrible way to end such a great career.

Which brings us to the final note in Gig’s life, the horrible murder-suicide that will dog his name whenever you read about him. It would be impossible not to mention it because it’s a culmination of a very sad and very tragic life. For all the wonderful performances Gig put in throughout his career, he suffered miserably due to his life-long battle with the bottle. It’s noted that at the time of the incident, Gig was under the psychiatric treatment of Dr. Eugene Landy, the same “doctor” who treated Brian Wilson of the Beach Boys (and we all know how he turned out, the poor guy).

Despite all this, Gig is still one of my favorite actors. He was an excellent subtle comedian and in my opinion, I think that’s even harder than being an over-the-top one. It’s difficult to walk that fine line between making the audience believe in your character, while laughing at the same time and Gig always managed to pull it off. He not only had a flair for light comedic parts, but the charm to pull them off as well. And when the right script came around, he excelled in serious roles as well. I think it’s a shame that his tragic end overshadows his work and possibly keeps people from viewing his movies. I’ve seen a good majority of them and let me tell you, those people have no idea what they’re missing.

Links:

• An article on the marriage between Elizabeth Montgomery and Gig, plus a gallery of pictures.

• Gig Young’s Wikipedia entry

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