Table Talk!

 Charles Laughton and Judith Anderson

 Basil Rathbone and Angela Lansbury

 Robert Wagner and Natalie Wood

 Joan Crawford and Caesar Romero

 Ann Dvorak, Hedy Lamarr, and Ann Baxter

 Marlene Dietrich and Douglas Fairbanks Jr.

 Ben Gazzara and Fred Clark

Brian Aherne, Joan Fontaine and Olivia de Havilland

Tonight on TCM!

All Quiet On The Western Front (1930) Young German soldiers try to adjust to the horrors of World War I.

Dir: Lewis Milestone Cast: Louis Wolheim, Lew Ayres, John Wray.

Night of the Hunter (1955)

Whether it’s preaching for pocket money, robbing, or killing, Harry Powell (Robert Mitchum) washes himself clean in his religious belief that God is guiding his hand in making the world a better place. Therefore, it is fortuitous that when Powell lands himself in jail he shares his cell with the doomed Ben Harper (Peter Graves) who, in the course of robbing a bank for ten thousand dollars, killed two people. Powell discovers Harper has hidden the money somewhere around his house and upon his release he sets out to woo Harper’s widow Willa (Shelley Winters) who has two children, John (Billy Chapin) and Pearl (Sally Jane Bruce). Soon Powell is convinced that Willa knows nothing about the hidden money and suspects that the children do. However, though Willa and the townspeople have fallen for his ruse as passionate preacher and a thoroughly holy man, John does not trust him. He must continually convince Pearl who is younger and more susceptible to Powell’s charm not to give up their secret. When the children prove to be harder to break, Powell kills Willa so that he can focus his full attention on them.

After a harrowing night spent trying to convince Powell the money is in the basement, John and Pearl manage to escape and float down-river in a small boat. Powell follows on land, practically a step behind. However, bible-thumper and do-gooder Rachel Cooper (Lillian Gish) captures them first. Despite her good intentions, John is wary of the very religious Cooper and does not warm up to her immediately. Suspecting that John is hiding something horrible in his past, Cooper’s suspicions are confirmed when Powell shows up to her farm wanting to claim the children. Unlike all the other adults, Cooper listens and believes John when he says Powell is no father of his. She demands Powell get off her land thus sparking an all night vigil with the very delicate Gish sitting in her rocking chair Mother Whistler style, shotgun at the ready. The game of cat and mouse ends when Cooper shoots Powell and he runs off to her barn howling like a wounded animal. The police arrive shortly after and collect their prisoner. The scene is so familiar to John who saw his real father arrested, that he runs to Powell begging the police not to take him away and giving up the money. A day in court reveals the irony of the townspeople who come out of the woodwork to lynch Powell for his evil doings.

Like the beginning of the film, the story ends on Gish, “I'm a strong tree with branches for many birds. I'm good for something in this world and I know it too. You know, when you're little, you have more endurance than God is ever to grant you again. Children are man at his strongest. They abide. They abide, and they endure.” After all, one must point out that there is difference between being religiously good and religiously evil.

This was the first and only film Charles Laughton’s ever directed and though it was a critical failure upon release, I certainly wouldn’t have minded if he had directed a few more. Some could blame Laughton’s extremely successful acting career up to this point overshadowing what is basically a horror film with elements of humor and dreamy expressionism. Or some could blame not understanding what is essentially the evilest character Mitchum ever played, having built his career on being a care-free outsider not easily angered.  Whatever the reason, Night of the Hunter blends horror, humor, and expressionism together successfully and has obviously become a cult classic. Whether you have seen the movie or not, the image of Powell’s tattooed knuckles are legendary. “Ah, little lad, you're staring at my fingers. Would you like me to tell you the little story of right-hand/left-hand? The story of good and evil? H-A-T-E! It was with this left hand that old brother Cain struck the blow that laid his brother low. L-O-V-E! You see these fingers, dear hearts? These fingers has veins that run straight to the soul of man. The right hand, friends, the hand of love. Now watch, and I'll show you the story of life. Those fingers, dear hearts, is always a-warring and a-tugging, one agin t'other. Now watch 'em! Old brother left hand, left hand he's a fighting, and it looks like love's a goner. But wait a minute! Hot dog, love's a winning! Yessirree! It's love that's won, and old left hand hate is down for the count!”

Throughout the film Laughton uses this dream-like expressionism, mostly with the use of the river the small town sits next to. Directly after we see Powell pounce on Willa, knife in hand, the camera cuts to John being awakened by the loud noise of a car. What follows is a much calmer scene, seaweed flowing breezily under water and as the camera pans over the seaweed begins to mingle with Willa’s hair as she sits upright and anchored to the car Powell has driven into the river after murdering her. Even now, that scene resonates it’s so powerful, so ahead of its time. What may have lost the audience were the scenes after John and Pearl escape down river. Using obvious unrealistic scenery mixed in with nature, the children’s oddessey is the most dreamlike sequences in the film and for me, the very best sequences. It’s quite appropriate for the mood of John and Pearl who are weary from days of trying to mentally outmaneuver Powell and physically running from him. The sequence is interrupted occasionally by Powell’s pursuit on land. Jarring against the serenity of the river, it reminds the audience what the children already know, they still need to be cautious. Powell will not give up easily.

Another aspect I like about this film is that, unlike today with psychotic thrillers, we do not get Powell’s background, the reason why he’s so twisted. Instead of spending part of the film figuring out why he uses his religion to do evil, Night of the Hunter proves that one can be thoroughly entertained by a whole lot of unexplained crazy.


A very compelling and frightening film, Night of the Hunter is a definite must see!


Did anybody else think for a moment that Harry Powell was Rachel Cooper’s son, the one she lost because of her devotion to religion?


Tonight on TCM!

Good Neighbor Sam (1964) A man poses as husband to his wife's best friend for one day that could turn into a lifetime. Dir: David Swift Cast: Jack Lemmon, Romy Schneider, Dorothy Provine.

Witness for the Prosecution (1957)

When Leonard Vole (Tyrone Power), is accused of murdering Mrs. French (Norma Varden), a wealthy widow, he is advised by his solicitor Mayhew (Henry Danielle) to seek out a barrister for his defense. The best barrister for the case, Sir Wilfrid Robarts, is currently recovering from a near-fatal heart attack and has been strictly ordered to get involved only in bland, unexciting civil suits. With his irksome nurse Miss Plimsoll (Else Lanchester) watching his every move, Sir Wilfrid must resort to slyness in order to get what he wants. However, Vole’s case intrigues him after he meets the somewhat cold and removed Mrs. Vole and he is determined to take the case despite Miss Plimsoll’s protestations. Thinking Mrs. Vole will not be much help with the alibi; Sir Wilfrid is perplexed when she decides to be a witness not for the defense but for the prosecution.

 It must have been in Dietrich's contract that she show her legendary gams at least once in each film.

This is definitely a movie I do not want to spoil for anyone. It’s a must see! Cleverly acted by Laughton and Dietrich, there is not a dull moment in the film and the ending is quite a twist. Kudos again for Laughton’s acting, which was much more verbally based in this feature but no less powerful. The scenes between him and Elsa Lanchester were again hilarious and offered comic relief in a suspenseful film. Kudos too for Dietrich who is just as clever and sneaky as Laughton with the added bonus of breaking away from her usually composed and cool characters to grace us with a bit of humanity when she takes the stand for a second time.

Oscar Trivia:

Director Billy Wilder had eight nominations for an Academy Award for Best Director in his career. This makes him the second most nominated director in the history of the Academy Awards, behind William Wyler. Out of these nominations, Wilder won twice for the films The Lost Weekend and The Apartment.


Elsa Lanchester was nominated twice in her career for Best Supporting Actress, first in Come to the Stable and again in Witness for the Prosecution in which she won the award.

Charles Laughton was nominated for Best Actor three times in his career for The Private Life of Henry VIII, Mutiny on the Bounty, and Witness for the Prosecution. He won only once, for The Private Life of Henry VIII. Mo matter, reportedly he had a Hepburn-esque attitude for awards and award ceremonies.

Marlene Dietrich received only one Best Actress Academy Award nomination in her entire career and that was for Morocco.

Tyrone Power never received any Academy Award nominations, however, he acted in five films that were nominated for Best Picture: Flirtation Walk, In Old Chicago, Alexander’s Ragtime Band, The Razor’s Edge, and Witness for the Prosecution.

The Private Life of Henry VIII (1933)

Covering the span of ten years, The Private Life of Henry VIII begins with the execution of Anne Boleyn (Merle Oberon in her first substantial part) and Henry’s marriage to Jane Seymour (Wendy Barrie). When Jane dies after baring Henry a son, Henry is encouraged to marry again. He does so…very reluctantly to Anne of Cleves (Elsa Lanchester real life wife of Charles Laughton) who cleverly arranges for a divorce so that she may be with her true love. When it is suggested that Henry marry again, this time he does so for love. However, Katherine Howard (Binnie Barnes) is more in love with the crown than Henry, and soon finds that little happiness lay inside that wretched circle. She begins an affair with Thomas Culpepper (Robert Donat) which ends disastrously with them both being executed once caught. Henry’s final marriage is to Catherine Parr (Everly Gregg) who is best summed up in the last line of the film, “Six wives, and the best of them is the worst”.

The film itself, though not historically accurate or even a great masterpiece, offers us a view into Henry’s private life, behind closed doors, away from his subjects. Laughton, whose acting is the treat of the film, literally “rounds” out the king to which he very much resembles, running the gamut of emotions from hearty statesman to childish tyrant. We watch how his marriages mellow him from an impatient bridegroom to the most reluctant. Most of Laughton’s genius in this film is physical. The way he shapes his face when he agrees or disagrees with something, his gaping duck walk made to look powerful but knowingly ridiculous. I think it was Maureen O’Hara that once said that Laughton could convey so much simply by physical action.

The best scene in the film for me is the interaction between him and Elsa Lanchester, Laughton’s actual wife.  Ironically Anne of Cleves is the wife he considers most undesirable. For her part, Anne does all she can to look undesirable. When she outwits him at cards and convinces him she would find a divorce most amicable, their wordplay is most humorous.

Oscar Trivia:

Henry VIII is the only character played by three separate actors that garnered each and Academy nomination with Charles Laughton winning Best Actor for his portrayal. The other two actors were Robert Shaw (of Jaws fame) in A Man for All Seasons and Richard Burton in Anne of the Thousand Days.

The Private Life of Henry VIII also holds another distinction for being the first film shot outside of Hollywood to be nominated for an Academy Award.

Elsa Lanchester was nominated twice in her career for Best Supporting Actress, first in Come to the Stable and again in Witness for the Prosecution which also garnered Laughton with his second Academy nomination. This film also marked the last of the twelve the couple made together.

Robert Donat was also nominated twice for the Academy Award. He lost out for Best Actor in The Citadel but was victorious the next year with the Best Actor award for Goodbye Mr. Chips.

The Sign of the Cross (1932)

After burning Rome, Emperor Nero (Charles Laughton) puts the blame on the Christians, and issues the edict that any caught are to be sent to the arena to die. When two Christians- Favius (Harry Beresford) and Titus (Arthur Hohl) are caught, Mercia (Elissa Landi) tries to intercede when Marcus Superbus (Fredric March), the highest military official in Rome and Nero's most loyal subject, comes upon them. When he sees Mercia, he falls for her and allows the Christians to be set free. Knowledge of this gets back to Tigellinus (Ian Keith) who wants to get back into Nero's favor. He sets out to find where the Christians are meeting and is about to have them imprisoned when Marcus intercedes again and has them imprisoned at his palace. Marcus would have gotten their sooner but he was held up by Poppaea (Claudette Colbert), Empress to Nero, who loves him, but Marcus, out of respect for Nero, will not have an affair with her. When she learns of his love for Mercia, she persuades Nero not to kill Marcus, whom Tigellinus says is disloyal but instead, Mercia. Poppaea wants Marcus for herself- even by command if neccessary.




Once Marcus has Mercia in his home he tries to persuade her to live his sort of life. Mercia realizes then that Marcus only wants to enslave her, keep her as a posession. His friends interupt him and an orgie commences where Marcus persuades Ancaria (Joyzelle Joyner) to encourage Mercia to let go and live a little. Ancaria's performance is interupted by the imprisoned Christians who are singing as they are taken to the arena for the next days activities. Ancaria incurs Marcus' wrath when she slaps Mercia for smiling only when she hears her fellow Christians people sing. He kicks everyone out and is to the point of raping Mercia when Tigellinus intercedes and takes her away to the arena.






In the next scenes the viewer is exposed to the horrors of the arena. Naked virgins used as food for aligators, apes, and lions; dwarves and Amazon women dismembering each other; gladiators killing for sport; elephants crushing human heads. Some scenes are more graphic than others, all scenes are hallmark DeMille. Before Mercia is scheduled to go out and die in the arena alone (as Poppaea has arranged), Marcus, who realizes he really does love her, has come to plead with Mercia one last time. Nero is willing to spare her if she will simply renounce her Christianity. When Mercia refuses, Marcus, out of love for her, decides to enter the ring with her a la We Live Again (1934). Unfortunately, we don't get to see the looks on everyone's faces, especially Poppaea's, when this happens.



This film had many wonderful, naughty things going on. Colbert's breasts. March's legs and wicked perm. Laughton's effiminate characterization of Nero. Joyner's lesbianesque dance admidst an orgy. Naked, sacfricial virgins. The use of blood, so sorely lacking in most classic cinema. DeMille mixes realism with fantasy well and this period piece despite it's length, moves quickly. I probably wouldn't have cast Nat Pendleton as a character in this type of period film, he sounded like he was from the streets of New York, not the streets of early Rome. Also some of the ladies, like Dacia (Vivien Tobin) were squarely stuck in the thirties era with their comportment and dialogue not to mention the wardrobe choices---high heels, ladies? Tsk, tsk. However, anytime I see these little idiosyncracies, I am reminded of what stars like Bette Davis and John Wayne said upon reflecting on the way cinema was heading when they were winding down their careers. Both were of the opinion that cinema was becoming too involved with realism. People went to the movies to escape and when they made movies there was always a sense of make believe, of fantasy. They believed all movies should return to that edict. I'm inclined to agree. Let them wear heels!

Fredric March was particularly delicious in this film with his well-honed speech and graceful stances well suited to the part of Marcus Superbus. He was a wonderful mixture of wicked, sensual, and sweet, and a perfect example for DeMille to display how true Christianity conquers temptation. Superbus is mightily persuasive but Mercia's faith is stronger.