Getting Testy

The Affairs of Cellini (1934)

The Affairs of Cellini is based (very loosely) on the life of Renaissance artist/political reactionary Benvenuto Cellini. Fredric March plays the short-tempered, overly amorous Cellini, who must be brought to heel for his committing yet another murder in a duel over a woman. When the duke of Florence (Frank Morgan) has taken it into his head to have Cellini executed, his decision is halted by Cellini ability to turn gold in to works of art and more importantly, he is gaga over Cellini's beautiful model Angela (Fay Wray). Cellini association with Angela allows him to be presented at court, whereupon he revives an ongoing affair with the duchess of Florence (Constance Bennett).
Though the duke comes of a bumbling buffoon, he nonetheless holds the power of life and death over everyone- especially Cellini who adores living on the edge, completely disregards. Through a series of improbable situations that keep the film, which is only seventy-nine minutes long, rolling at a quick pace, everyone will eventually get what they want.




Though all four characters are great in this film, Wray as the dimwit, Bennett as the sly seductress, and March as the hot-blooded lover, Morgan steals most of the scenes with his usual stammer and stutter method. His ill-fated attempts at philandering and his tactless observations provide most of the comedy and garnered him with a nomination for an Oscar.
As for March, he plays the impatient lover-fighter well. He seems to be in constant, bouncing motion and despite his over-inflated ego he still manages to illicit sympathy. After all, he can’t help it if women are hypnotized by his charm. All those except his model Angela who doesn’t budge at his attempts to woo her. March’s reaction to this is comical and endearing. He simply doesn’t understand not being able to win her over.

S&G: Constance Bennett on beauty

Taking a page from Dr. Lamar's book, Constance Bennett wants you to remember that "to be beautiful and natural is the birthright of every woman."

Dark Passage (1947)

Vincent Parry (Humphrey Bogart) has been falsely accused of killing his wife, when he escapes San Quentin prison to find the real killer, he finds unexpected help from Irene Jansen and an unexpected nuisance from a man named Baker (Clifton Young) who he hitched a ride with then needed to knock out when he figured out who Parry was. While Irene is out purchasing clothes that Parry will need he finds a news article about Irene’s father who had been put to death for the murder of her stepmother. Irene later explains that he was falsely accused and that’s why she is helping Parry. She was at Parry’s trial and saw it for the circus it was thanks to one Madge Rapf (Agnes Moorehead) Parry’s wife’s friend and sole accuser who also happens to be involved in Irene’s personal life as her former fiancée Bob (Bruce Bennett) is in love with Irene. Seeing that Madge knows Irene and knowing Madge for what she is, Parry decides he can’t stay with Irene and heads out on his own where he is instantly recognized by a cab driver, Sam (Tom D'Andrea), who doesn’t believe Parry killed his wife either. Sam offers his friend Dr. Coley’s (Houseley Stevenson) services as a plastic surgeon. Vincent waits for his appointment at the apartment of his only friend, musician George Fellsinger (Rory Mallinson) whom he returns to after his surgery to find dead.
Needing to be taken care of after surgery, Parry returns to Irene and finds Baker’s car parked outside of her place. Ignoring it for the time being, he lets Irene take care of him until the bandages need to come off. Despite the fact that they both have fallen in love, Parry once again strikes out on his own only to be confronted by suspicious cops, whom he manages to escape, and Baker who demands money to keep quiet. Poor parry, all he’s trying to do is figure out who killed his wife. Ironically, Baker unwittingly helps him in the right direction. Once Parry solves the crime, he calls Irene and…get this poetic lingo… they two make a rendezvous in…wait for it… Peru.

Another great Bogart movie! Though the connections between Madge and Irene are a bit confusing at first, once the connection is made the story is enticing and edgy. Parry has a lot of close calls but luck is with him. With the clever use of a subjective lens used sparingly (thankfully), the director Delmer Daves allows the viewer to become used to Bogart’s voice instead of using another actor. In fact, Bogart’s face is not shown until well into the middle of the movie when the bandages come off to reveal his new face.

Sidenote:
When Vincent reads the newspaper clipping about Irene's father, the accompanying photograph of her father is that of director/screenwriter Delmer Daves.



The Bridge On The River Kwai, (1957) The movie that made me want to learn to whistle!
The Japanese Army forces World War II POWs to build a strategic bridge in Burma.
Cast: William Holden, Alec Guinness, Jack Hawkins, Sessue Hayakawa Dir: David Lean

Two-Faced Woman (1941)

In this romantic comedy, ski instructor Karen Borg (Greta Garbo) meets Larry Blake (Melvyn Douglas) who is instantly smitten. After a minor skiing accident leaves them stranded together, they fall in love and immediately marry. Unfortunately, they lead very different lives and despite Larry promising to leave the magazine business and New York for a quieter life, he is soon sucked back in by his partner O.O. Miller (Roland Young). Karin refuses to go to New York with Larry and he leaves without her, promising faithfully to return within a week. After receiving several telegrams announcing delays, Karin contacts Miss Ellis (Ruth Gordon), Larry’s secretary, and tells her that she is secretly coming to New York.
Made over with a newer, more glamorous wardrobe, Karin tells Miss Ellis that she is going to the theater where a new play that Larry is backing is being rehearsed. Hiding in the back of the theater, Karin eavesdrops on the flirtatious conversation between Larry and his former girlfriend, playwright Griselda Vaughn (Constance Bennett). Hurt that Larry has seemingly forgotten her, Karin determines to go back home immediately, but as she and Miss Ellis, who has just arrived at the theater, they are seen by Miller. Because Karin does not want Larry to know that she has been to New York, Miss Ellis tells Miller that the woman he has seen is not Karin, but her twin sister Katherine. Karin convinces and charms Miller into accepting the twin story and he invites her out to dinner. Knowing Larry’s favorite nightclub Karin sees an opportunity to win Larry back through her deception. She will vamp it up so much so that Larry will be turned off by her kind and want to return to his “real” wife.
Larry, upon meeting “Katherine”, is suspicious, even though she drinks, smokes and dances, none of which Karin does. Karin plays the part of a blatant gold digger who uses men for her own pleasure and advancement to perfection. However, this does not stop Larry from sneaking off to telephone the ski lodge and learn that Karin has left for New York (a move made to appease the censors). Though he now knows who “Katherine” really is, Larry let’s her continue to make a fool of herself going so far as to take a train back to the ski lodge to tell Karin he wants a divorce. This is when the movie goes a little wonky. Larry goes back to Karin and they spend the night together. In the morning, Larry confesses that he has met Katharine and thinks he could be happy with both her and Karin. When Larry pretends not to believe her story of being both sisters, Karin tells him she and Katharine are through with him. This is followed up by a funny ski scene where Larry chases after Karin but ends up in a frozen pond.

Though I have not seen the other two films that Garbo and Douglas did together, I recall that in the documentary I watched on Garbo, Greta Garbo: The Temptress and the Clown, it was said that the type of character Garbo was playing in Two-Faced Woman made her look a like a fool. Having seen Garbo in such dramatic pieces as The Mysterious Lady (1928), Anna Karénina (1935), and Camille (1937), I can see how some may not have taken to her lighter side and I would concur that this film should not have been the film she ended her career with, but I liked her playing at being a vamp who doesn't really know how to be a vamp unless buckets of champagne are involved. I have read that Garbo had a lot of anxiety about this film, was worried about aging, and that some of the scenes had to be re-shot because Constance Bennett was stealing the scenes. Despite this, I admire that Garbo was able to poke a bit of fun at herself and got the feeling that if she didn't let go and just have fun with the part, she at least acted professionally and did a good job of being a bit foolish.
It was a treat to finally see a young Ruth Gordon in action. As for Roland Young, though I like him, I have to wonder if he's ever played a character that isn't a bit of a bumbling old fool?
Overall, I liked the film until the ending, I think things could have been just as easily cleared up in New York. By dragging a confession out of Karin, Larry comes off as a cad. He's the one who left in the first place, he's the one who broke his promises, so it seems foolish to me that Karin should be punished.

Sidenote:

William Powell was considered for the part of Larry Blake. Though I do like Melvyn Douglas, it would have been nice to see Powell and Garbo together. I'm biased, I know.

Tonight on TCM!

East Of Eden (1955) Two brothers compete for their father's approval and a woman's love. Cast: Julie Harris, James Dean, Raymond Massey, Burl Ives Dir: Elia Kazan

Get Your Hair Did!

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Angel On My Shoulder (1946) The Devil sends a murdered gangster to Earth as a respected judge.Cast: Paul Muni, Anne Baxter, Claude Rains, Onslow Stevens Dir: Archie Mayo

Getting Testy

Tonight on TCM!
Summer Under the Stars: FREDRIC MARCH!!!!