Stiff Competition!

The Damned Don't Cry (1950)

A formulaic film based on the life of Virginia Hill and her secret relationship with Bugsy Segal,The Damned Don’t Cry in many ways, can be compared to Crawford’s biggest hit of the forties,Mildred Pierce. The Damned Don’t Cry is about a woman who loses a child and rises in the ranks of society only to become entangled in a mess of her own design involving people of a less pious nature. Ethel and Mildred are also alike in their attitudes; they start out meek, become hard-boiled by experience and yet, melt at any sign of a man’s love. Always the wrong man.
Though the film is predictable, Crawford doesn’t disappoint. She’s always so very good at being redeemable. F. Scott Fitzgerald once said of her “Joan Crawford is the girl you see in smart night clubs, gowned to the apex of sophistication, toying iced glasses with a remote, faintly bitter expression, dancing deliciously, laughing a great deal, with wide, hurt eyes.” He was referring to her as a flapper at the time but in essence sums up Joan’s talent for conveying mixed emotions.
Looking at the list of the twelve films she did from 1940 up to The Damned Don’t Cry and having seen all but Flamingo Road, I would say that the forties was her best period in film.

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Sweethearts (1938) Bickering husband-and-wife stage stars are manipulated into a break-up for publicity purposes. Cast: Jeanette MacDonald, Nelson Eddy, Frank Morgan, Ray Bolger Dir: W. S. Van Dyke II C-114 mins, TV-G

S & G: Sinatra's Swooners

Maybe they're trying to tell you something, Frankie.

Sinatra had a lifetime love affair with America’s pastime. He sang about it, from his and Gene Kelly’s version of “Take Me Out to the Ball Game” in the film of the same title, to the melancholy “There Used to be a Ballpark,” a 1970s recording.
Sinatra didn’t just play a second baseman in Take Me Out to the Ball Game, he also played second base in real life, on a late-’40s softball team he formed called "The Swooners"- most likely a play off the thousands of fan clubs claiming to be Frankie's united swooners. Other team members included actors Robert Stack, Anthony Quinn, Robert Mitchum, and Barry Sullivan, along with a bevy of cheerleaders including Virginia Mayo, Shelly Winters, and Ava Gardner.

At the peak of both their careers Niven and Day paired up this once as married couple Lawrence and Kate MacKay. Lawrence has reached the pinnacle of his career, transitioning from fair and informative theatre professor to theatre critic for the New York Daily. His first assignment is to critique his best friend’s Alfred's (Richard Haydn) first musical. Unfortunately, it is not up to par with his Alfred's non-musical productions and includes an actress Deborah Vaughn (Janis Paige) who cannot act. Despite giving a fair review that he hoped would spare Alfred's feelings, Niven is subjected to his Alfred's indignation and the publicity seeking wrath of Ms. Vaughn. Thus goading Lawrence into becoming the type of critic he and Kate have always despised.
Kate watches on in despair as the two friends try to one up one another. Between taking care of their four rascally sons (the youngest needs to be caged), dealing with a big move to the country from Manhattan, appeasing the small town theatre playhouse actors, and the sudden amorous attentions of the once wrathful Ms. Vaughn towards her husband, Kate has a hard time keeping Lawrence grounded. Fortunately, and perhaps a little too conveniently, Lawrence and Kate love each other madly and when Lawrence's conceit finally bites him back, he has the sense to realize where he went wrong.

With wonderful performances by the stars and their supporting cast including one of my favorite character actresses Patsy Kelly, Please Don’t Eat the Daisies is an entertaining and lighthearted film.

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Mister Roberts (1955) A naval officer longing for active duty clashes with his vainglorious captain. Cast: Henry Fonda, James Cagney, William Powell, Jack Lemmon Dir: John Ford

Double Wedding (1937)

Loy and Powell are at it again! Double Wedding is the story of Margit Agnew (Loy) who is the overbearing older sister who unwittingly controls the lives of all those around her. Namely her younger sister Irene (Florence Rice) and her fiance Waldo (John Beaver). Tired of how cowardly Waldo is when Margit is around and worried that her sister is planning her life into misery, Irene strikes out and uses Charlie Lodge(Powell) her acting coach as a means for escape.

Unbeknownst to Charlie, he is now a part of a false love triangle with Waldo being in love with Irene, Irene is pretending to love Charlie, and Charlie being smitten with Margit. After Irene tells Margit that she is going to marry Charlie and not Waldo, Margit strikes a deal with Charlie, if he stays away from Irene, she will sit for one of his portraits. Charlie, now aware of what Irene is up too, secretly tries to bolster Waldo's courage to win Irene over, and win Margit over himself.

Margit is so stubborn however, that it takes Charlie almost to the moment he is about to marry Irene for her to speak up. There in his trailer full of strange spectators and finally a drunken but brave Waldo coming to Irene's rescue does Margit admit her love for Charlie before they are both knocked unconscious by the ensuing riot caused by the spectators.

The movie is full of the Loy and Powell chemistry complete with cutting barbs, innuendo, and just plain hilarious physical comedy. Loy and Powell never disappoint!

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Bells Are Ringing (1960) An answering service operator gets mixed up in her clients' lives.
Cast: Judy Holliday, Dean Martin, Fred Clark, Eddie Foy Jr. Dir: Vincente Minnelli

Vintage Ads: Virginia Mayo

When she wasn't busy selling something, Virginia Mayo managed to squeeze in a little camera time with her best product- herself. Thus far I have only seen her in White Heat (1949) and The Silver Chalice (1954).

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Keeper Of The Flame (1942) A reporter digs into the secret life of a recently deceased political hero. Cast: Spencer Tracy, Katharine Hepburn, Richard Whorf, Margaret Wycherly Dir: George Cukor

Dodsworth (1936)

Dodsworth, hands down, is the best movie I have seen Ruth Chatterton in to date. Ironically Dodsworth is her most highly regarded film yet, it is not from the pre-code era that defined most of Chatterton’s film career. Though she is not a particular favorite of mine (I have only seen her in the more mundane of the pre-code quick flicks she did) I have never discounted her as being one of those actresses that successfully defines the independent woman. Or perhaps Female and Frisco Jenny is much on my mind as I write this. Up until this point her acting has not particularly inspired me. If possible, she speaks faster than her peer James Cagney and has a range of emotions one can measure by her facial expressions, meaning few. However, she has a radiant smile and a lively arch charm that lures you in and makes you realize that at least she isn’t horrible to watch.
Dodsworth is no exception to her range, she is still Chatterton, but she is so charmingly loathsome as the social reaching Mrs. Dodsworth, that you can’t help making a distinction between this role and her others. Quite simply, it was a good part and she delivered it admirably. It should be noted that Walter Huston was nothing to sneeze at either.
Without delving too far into the movie and making this a spoiler entry, Dodsworth is, in the simplest terms about an older married couple dealing with life in the retirement age. With their only child now married, Dodsworth has given up his business to enjoy the money he spent his life to earn. Ms. Dodsworth, still young looking and energetic, is bored with the same routine of life in a small town has convinced her husband to take her abroad. The instant they are on the boat, Ms. Dodsworth is changed and throughout the film she progressively gets worse. Dodsworth’s reaction to her change is at times hilarious, certainly indulgent but ultimately life changing. With wonderful performances by Mary Astor and Spring Byington as well, I would definitely recommend Dodsworth to anyone. It is a classic essential.

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Spotlight on Under the Sea! Let's get fishy!

The Catered Affair (1956)

There is a notable stiffness to Davis’ acting in her later career. Her facial expressions are limited, more militant, harder, bored even. An already perfected stoney expression became rote. Her dialogue is mostly barked not spoken and punctuated by long thoughtful pauses. The Catered Affair is no exception as Davis plays Agnes Hurley the much disappointed hausfrau to Tom Hurley (Ernest Borgnine), a cab driver.
The film kicks off with Hurley and his buddy finally about to achieve a goal they have scrimped and saved for over twenty years for, their very own taxi business. With an agreement to meet on Sunday and pool their savings ($4000.00 each) to buy a cab, Hurley returns home where it’s announce by his daughter Jane (Debbie Reynolds) that she is engaged. In order to take advantage of the use of a friend’s car and go on a honeymoon, Jane has decided to have a small wedding with only the immediate family, planned for the next Monday.
All is coherent until Ralph’s parents show up for dinner that night and offer up as a wedding gift a rent-free apartment for a year, then expound on the marriages they provided for their own daughters. This throws Agnes into a tizzy as she realizes that she and her husband haven’t done one thing for their children that would make them remember their parents fondly. They have spent most of their lives just trying to make it by and in the process have had to deny their children luxuries. Now Agnes is determined to give her daughter a big wedding and she doesn’t care about the cost, she wants her daughter to have this one thing, a thing that was denied her when she got married.

Fraught with tense and revealing scenes that peel back the layers of a disappointing marriage and the effect on family and friends when ambitions and desires are put on the table, The Catered Affair is a tightly compacted and absorbing film. Barry Fitzgerald as Agnes' brother Jack and his friend Ms. Rafferty (Dorothy Stickney) offer up a little comic relief with the real star of the film being Ernest Borgnine, an actor I have come to esteem much. As a person who has not yet seen Marty and has heard of the difficulties Borgnine had winning roles due to his looks, I believe that though he wasn’t an ideal leading man, he was certainly something more than just a character actor.

Tonight on TCM! Ooooh! Wonder how this will be?
The Damned Don't Cry (1950) Fed up with her small-town marriage, a woman goes after the big time and gets mixed up with the mob. Cast: Joan Crawford, David Brian, Steve Cochran, Kent Smith Dir: Vincent Sherman

S&G: Pop goes Newman

“For those of you who like to scarf your popcorn in the sack, the good news is that Newman's Own contains an aphrodisiac.” - Paul Newman

"The best thing he could do while he was here was eat popcorn. That guy would eat a dishpan full of popcorn at least once a day." - W.H. "Bill" Tammeus, former landlord of Paul Newman

Hooray! Hurrell!

Miriam Hopkins

Robert Montgomery

Silence is Golden: Beau Brummell (1924)

After he sees his sweetheart, Lady Margery (Mary Astor), forced to marry Lord Alvanley (William Humphries), George Bryan Brummell (John Barrymore) decides to lead a reckless bachelor's life. In the process he wins the friendship of the Prince of Wales (Willard Louis), leaves his regiment, and becomes a "Beau Brummell" England's premier taste-maker. As his power grows, so does his insolence towards the elite class in which Alvanley belongs. Eventually his insolence and indiscretions with the ladies of the court make enemies, and he falls into disfavor. After escaping his creditors to France, he dies there in poverty, deserted by all but his servant, Mortimer (Alec B. Francis).

I think Barrymore is wonderful in both silents and talkies, due mostly to expressiveness of his face. His face can say things that words will not. There is a beautiful and touching scene where Lady Margery visits him to let him know that Lord Alvanley is no longer alive. Hoping to rekindle what they once had, she sadly leaves when Brummell refuses, stating he is old, changed and possibly tired of even love. The moment she is gone, you can see Brummell as he realizes he still loves her deeply and opens the door while simultaneously covering his mouth to call out to her. His emotions are at war with the hard truth that he cannot be the man he once was for her and his regrets are weighty. It's an extremely moving scene.

Ironically, as Barrymore is aged throughout the film, he looks more and more like his brother Lionel eventually will in old age in real life. It's downright eerie to watch him play this old man all twisted from loneliness and mental instability.

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John Huston Wednesdays!

S& G: The Faces of Bert Lahr

Best known for his role as the Cowardly Lion in The Wizard of Oz, Lahr also happened to be in burlesque, vaudeville and on Broadway where he let his natural comedic talent shine. He was also a good friend to James Cagney, and was an occasional guest in his group called The Boy's Club aka The Irish Mafia. Other members were Spencer Tracy, Frank McHugh, and Pat O'Brien to make up the original four members that spanned out to include Lynne Overman, Lou Calhern, Frank Morgan, Jimmy Gleason, and Ralph Bellamy. The Boy's Club offered the men an opportunity to get together for a few drinks and laughs but also the chance to use one another for a sounding board to discuss current ideas or projects they were involved in.

Chained (1934)

Diane (Joan Crawford) is in love with her boss Richard (Otto Kruger) and he her, unfortunately, he's married. Though he and his wife openly acknowledge there is no love lost between them, his wife will not grant him a divorce. She has become accustom to the life she is leaving and threatens to take the children away from him if he tries to divorce her. Diane, though disappointed, tells Richard that it doesn't matter- she is willing to take their relationship to the next level (it's implied they've been chaste). Being the generous man he is, Richard sends Diane on a cruise in order for her to spend some time alone and think about what she will be committing herself to.

From the very first day of the cruise, Diane is pestered by Johnnie (Stewart Erwin) and "rescued" by Mike (Clark Gable). When Diane finds out that Johnnie and Mike are actually friends, her frosty demeanor becomes downright icy. No problem for Mike, he can melt anybody with a daiquiri and a smile. He persistently woos Diane on the rest of the cruise and finds out, with no help from her, where she is staying once they reach South America. Very George Brent and Kay Francis in The Keyhole (1933). When Diane and Mike do meet up again, she spends a lovely day on his ranch and finally admits her love for him. With a promise to return to South America once she has told Richard she loves Mike (despite Mike insisting, and rationally so, she simply write Richard and tell him the situation) Diane leaves to return to New York.

Upon her arrival, she learns that Richard has gotten his divorce. He has given up his family for his love of Diane and is ready to marry immediately. Feeling responsible for his sacrifice, Diane makes one of her own and ends up sending Mike the dreaded letter.

When she finally runs into Mike a year later by chance, she is given the opportunity to explain why she chose Richard over him. Obviously they are still in love and Mike insists that he speak with Richard in order have Diane free from her obligation to him. Diane refuses but Mike shows up to their vacation home anyway. After a few minutes with Richard, Mike does not have the heart to reveal their love and leaves. However, Richard has sensed that Diane has not been the same since the cruise and could see that Mike was the reason why. He magnanimously gives her a divorce and eventually is granted permission to see his children again.

Despite the predictability of this feature, I like all interactions between Gable and Crawford. Their natural chemistry takes away from the mundaneness of the plot. Though I felt sorry for Richard, played well by Kruger, Crawford is one of the greatest on-screen martyrs, and you simply must let her have her way.

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These Wilder Years (1956) A wealthy businessman sets out to find his long-lost illegitimate son.

Cast: James Cagney, Barbara Stanwyck, Walter Pidgeon, Betty Lou Keim Dir: Roy Rowland