Tag Archives: 1940s

Classic Quotes Blogathon–“Casablanca” (1942)

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One of the qualities a “classic” film has is memorable dialogue.  A movie’s scenes can only be enhanced by clever and well-written dialogue.  Prior to “talkies,” the character’s words were typed out across the screen on a title card.  When the characters are “speaking” on screen, oftentimes the actors are just filmed saying different words, but obviously, because the film is silent, the audience does not hear what is being said.  The audience is told what is being said, via the title card.

In Singin’ in the Rain (1952), a film that depicts the movie industry’s transition from silent to sound films, there is a memorable scene between Gene Kelly and Jean Hagen’s characters, Don and Lina, respectively.  Don and Lina are filming the scenes for their next silent film, The Dueling Cavalier.  Don is furious with Lina because she had his new lady friend, Kathy Selden (Debbie Reynolds) fired from her job at the studio.  They’re supposed to be filming a love scene.  While Don is stroking Lina’s arm and kissing her passionately, he’s also telling her things like “I don’t like her half as much as I hate you.”  Later in the film, after converting The Dueling Cavalier from silent to sound, Don, Lina and the rest of the studio personnel watch their film in a theater.  Silent films were not known for having great dialogue.  Unfortunately, the crew in The Dueling Cavalier didn’t realize that they needed to actually write something for the characters to say.  The actors are no longer silent on screen.  Don’s character is reduced to saying things like: “I love you. I love you. I love you.”  If a movie, like Singin’ in the Rain, can make their scenes and dialogue memorable, then it is destined to be a classic.

Aside from Singin’ in the RainCasablanca is another classic film from the studio era.  One of the reasons that the film is so popular and memorable is the dialogue.  This film is one of the most quotable films of all times.  The dialogue in Casablanca is gold, from start to finish.  The iconic airport scene at the end of the film has so many memorable quotes, it’s hard to choose a favorite.

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“Everybody comes to Rick’s”

My particular favorite quote is muttered by Claude Rains’ Captain Louis Renault, the shamelessly corrupt head of the Vichy French police in Casablanca.  German official, Major Strasser is also in Casablanca while he keeps track of Czech Resistance leader Victor Laszlo and his wife Ilsa.  Rick’s Cafe American, run by expatriate Rick Blaine (Humphrey Bogart) is the most popular club in town.  There is a backroom gambling den which though illegal, is popular and well attended.  Captain Renault frequently spends time at the roulette table.

On one particular night, Major Strasser and his cronies are spending time at Rick’s.  Strasser leads a rousing rendition of “Die Wacht am Rhine,” a patriotic German anthem.  Laszlo interrupts and has the band play “La Marseillaise,” the French national anthem.  The dueling anthems is a very beautiful and powerful part of Casablanca (Anything to not hear that guitar lady sing again!).  Pretty soon, the French are drowning out the Germans.  Upset, Major Strasser orders Captain Renault to close Rick’s.

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Captain Renault demands that Rick’s be shut down.  Rick naturally asks what grounds the Captain has for closing his establishment.  Captain Renault is grasping for a reason to close Rick’s down and then delivers one of the funniest lines in the whole film:

CAPTAIN LOUIS RENAULT: “I’m shocked! Shocked to find that gambling is going on in here.”
(The dealer hands the Captain a stack of money)
DEALER: “Your winnings, sir.”
CAPTAIN LOUIS RENAULT: “Oh, thank you very much…everybody out at once!”

This scene perfectly sums up Captain Renault’s entire persona.  He’s a corrupt official.  He’s a hypocrite.  He doesn’t care about what is right or wrong, he just wants to win.  Even if it means allying with the Germans, he doesn’t care.  He wants to be on the winning side.  Captain Renault is ultimately a good guy and eventually comes around toward the end of the film when he agrees to join Rick who plans on leaving Casablanca.

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“Louis, I think this is the beginning of a beautiful friendship.”

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Doris Day Blogathon–“It’s a Great Feeling” (1949)

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Today is Doris Day’s 95th birthday–not her 93rd like previously thought.  It’s only fitting that I honor Doris’ birthday by discussing one of her films.  Doris made her screen debut in 1948 with Romance on the High Seas after forging a career for herself as a big band singer and radio performer.  She had originally wanted to be a dancer, but a 1937 car accident injured her legs and essentially ended her dancing career before it even began.  She landed a job at Charlie Ye’s Shanghai Inn as a waitress in her hometown of Cincinnati, OH while she pursued a singing career. In 1939, she landed a job as a big band singer, which evolved into also performing on radio.  Her singing career led directly to her career in film.  By 1949, Doris was appearing in her third film, It’s a Great Feeling, a lightweight Warner Brothers film that was essentially a “who’s who” of the Warner Brothers lot in 1949.

It’s a Great Feeling isn’t a great film by any means and isn’t even a definitive Doris Day film. It is most likely a foot note in the careers of the stars who appeared as themselves (if the film was even mentioned at all).  However, the film did serve its purpose.  It put Doris Day’s star on the map and directly led to her getting bigger and better roles in every successive film.  Doris Day was a star for over thirty years before she retired (by choice) from her career.  She is a living legend and one of America’s most beloved stars.

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Dennis Morgan (left) and Jack Carson (right) scheme to discover a new star

In It’s a Great Feeling, Doris plays Judy Adams, a waitress in the Warner Brothers commissary.  Star Jack Carson has been signed to appear in the new film, Mademoiselle Fifi.  Multiple famous directors (Michael Curtiz, Raoul Walsh and King Vidor) are approached to direct the film, but refuse once they find out about Carson’s casting.  A running joke in the film is that Carson is such a terror to work with that nobody will work with him.  The studio reluctantly agrees to let Carson direct the film (since nobody else will).  Now, he needs to find a female co-star.  He tries enlisting well known female stars, like Jane Wyman, but nobody will have anything to do with him.  Carson enlists friend Dennis Morgan to help him find a co-star and Morgan suggests he look for an unknown–rationalizing that nobody who knows Carson will work with him, so he’ll have more luck finding someone who doesn’t know any better.

Carson and Morgan end up coming across Judy, the waitress in the commissary.  Carson and Morgan’s first step to “discovering” her, is to introduce her to fictional studio head, Arthur Trent.  They remember that Trent likes to discover his own talent, so Carson and Morgan “arrange” to have Judy conveniently pop up in random places–elevator operator, cab driver and dental hygienist.  All Carson and Morgan end up doing is driving Trent bananas.  Judy keeps trying too hard to appeal to the casting director by looking at him with a goofy smile and rapidly fluttering eyelids.  (I do think that the weird sounds that accompany Judy’s smile and eye flutters are very annoying, and really the only blight on this otherwise entertaining film).

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Doris dresses as French singer “Yvonne” in an attempt to be cast as a Frenchwoman in “Mademoiselle Fifi.”

After their first scheme fails, Carson and Morgan arrange a screen test for Judy.  That too is a disaster, as it experiences technical problems and actually causes studio head Trent to experience a nervous breakdown.  Judy later re-appears as a French singer in an attempt to convince Trent that she is right for the role.  However, despite an elaborate ruse and help from two major actresses, Trent sees through Judy’s charade and she’s turned down.

Disillusioned with her lack of success and treatment in Hollywood (including all the nonsense that Carson and Morgan made her endure), Judy decides to head back home to Goerkes Corner, WI to marry her longtime sweetheart Jeffrey Bushdinkle, whom she left to pursue her career in Hollywood.  After discovering that there may be an opportunity for Judy in pictures, Carson and Morgan follow her to her hometown and plan on breaking up the wedding.  When they arrive, the Adams/Bushdinkle nuptials are already in progress.  Watching in bemusement to see who Judy could possibly want to marry in lieu of pursuing a film career, Carson and Morgan watch through the window.  The groom’s face is hidden until after the vows.  The bride and groom are declared man and wife and they go in for the kiss.  When their faces part, Carson and Morgan finally get to see the groom.  With a name like Jeffrey Bushdinkle, how attractive could be possibly be?

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Jack Carson (left) and Dennis Morgan (right) look on in astonishment when they see Judy’s groom. “What some girls will go for, he’s got nothin’,” Carson says, unconvincingly.

Answer: Very.  I won’t give it away, but if this man were waiting for me in Small Town, USA and there was a choice between living in this tiny town and being with this gorgeous man… well… it would be a very difficult choice and I don’t blame Doris Day’s character for one second.

Jack Carson, eat your heart out.

In Memoriam…

Sorry for the delay in posting, but I’ve been very busy with work and dealing with the aftermath of a disaster incurred in my home.  During the Thanksgiving weekend, my sewer pipe and sump pump decided to join forces and fail at the same time.  Not to be outdone, the rain poured furiously, further compounding the problem.  As a result, my basement flooded about 1′, destroying everything in its path.  Unfortunately, in one of the rooms in the basement, I was storing my DVD collection.  I lost all the films on the bottom shelves in the room.  Some other films also suffered some collateral damage due to coming in contact with one of its flood-ravaged brethren.

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You’ll notice that the rug is floating.  All the movies that are on their sides on the second to bottom shelf are the ones in the water.  There were seven shelves in all.  Sadly, inside that cardboard box on the right side, were all my husband’s classic NES, SNES, Sega, etc. game cartridges.  While I know that the DVDs themselves are okay, the cover art is destroyed.  Plus the movies were covered in sewer water.  Who wants sewage contaminated films? I don’t.  Ick! Insurance should provide me with enough money to be able to replace all the victims.

Anyway.  This brings me to my post:

In Memoriam to some of those lost in the great flood of 2016…

You’ll Never Get Rich (1941) /You Were Never Lovelier (1942).

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In You’ll Never Get Rich, Fred Astaire portrays the manager of a theater who is enlisted by the theater owner, Robert Benchley, to help him woo dancer Rita Hayworth by buying her a gift.  However, Benchley is caught by his wife, Frieda Inescort, who is at the end of her rope.  It is implied that Benchley has a wandering eye and Inescort has had enough.  She threatens divorce.  To save his marriage, Benchley insists that Astaire bought the gift and sets Astaire and Hayworth up on a date.  Matters are further complicated when Astaire is drafted into WWII and Hayworth travels to the camp (to perform for the troops) and to visit her real boyfriend.  She and Astaire end up falling in love.

In You Were Never Lovelier, Hayworth portrays the second eldest daughter of a wealthy Argentinian, Adolph Menjou, who also owns a local nightclub.  Menjou has four daughters and has insisted that his daughters must marry in order of age.  Astaire portrays an American dancer who finds himself out of work after losing all his money betting on horses.  Looking for work, Astaire visits Menjou’s club.  Menjou is not interested.  Astaire ends up contacting his friend, Xavier Cugat, who has been hired to perform at Menjou’s eldest daughter’s wedding.  Astaire spots Hayworth and is immediately smitten, but she rebuffs him.  Hayworth is not interested in marriage.  Her two younger sisters are in love and desperately want to marry (in the film it the ladies seem like they’re more desperate to sleep with their boyfriends, but of course, morality dictates that they must wait until they’re married).  Knowing the plight of his youngest daughters, Menjou begins sending orchids and love notes to Hayworth under the guise of a secret admirer.  One day, Astaire tries to visit Menjou.  Menjou, not seeing Astaire and thinking he’s the bellboy, orders him to go deliver the latest love trinkets to Hayworth.  Astaire complies and Hayworth assumes that Astaire has been the one sending the notes.  Hayworth ends up asking Menjou to set her up with Astaire.  Menjou, who dislikes Astaire, offers to give Astaire a long-term contract at the club if he will do his best to repel Hayworth.  Of course, they fall in love instead.

A Summer Place (1959)

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One of my favorite types of films are the over-wrought melodramas of the 1950s.  A Summer Place has everything you could ever want in a film: adultery, bigotry, alcoholism, love, teen pregnancy, everything.  Plus, it has memorable theme music that is present throughout the film and adds to the overall mood of the film.

A Summer Place tells the tale of two former teenage lovers (Dorothy McGuire and Richard Egan) who end up reuniting twenty years after the end of their affair.  Neither McGuire nor Egan are happy in their respective marriages.  McGuire’s husband, Arthur Kennedy, is an alcoholic.  McGuire and Kennedy operate an Inn on Pine Island off the coast of Maine.  The Inn used to be Kennedy’s family’s opulent family mansion.  With the family fortune all but gone, they are forced to rent out rooms.  McGuire and Kennedy have even moved into the small guest house on the property so that they can rent out their master suite.  One day, Kennedy receives a message from an old acquaintance, Richard Egan, who wants to bring his family to the resort.  Egan, who used to be a lifeguard back when Kennedy knew him, is now a millionaire.  Kennedy doesn’t want Egan to visit, feeling that he’s only there to brag about how he’s rich and Kennedy is now broke.  However, McGuire tells him to accept the request, because they need money.  McGuire and Kennedy also have a teenage son, Troy Donahue.

Egan shows up with wife Constance Ford and teenage daughter Sandra Dee.  Egan and Ford have a rocky marriage.  She is bigoted against pretty much everyone.  He even delivers a delicious diatribe completing ripping her a new one.  Egan, who is very cognizant of “the love that got away” (McGuire) encourages daughter Dee to listen to her natural desires and to embrace her developing figure and interest in the opposite sex.  Ford on the other hand, is a prude who forces Dee to hide her curves and disapproves of any behavior that seems indecent.  She particularly disapproves of Donahue and even goes as far as forcing Dee to submit to a particularly embarrassing and degrading physical exam after she suspects that Dee and Donahue were having sex, even though both parties vehemently deny it.

McGuire and Egan, who haven’t been together for twenty years since McGuire left the then broke Egan for the rich Kennedy, rekindle their romance and are soon engaged in an adulterous affair.  Their respective spouses end up finding out and the marriages are soon dissolved.  At the same time, McGuire and Egan’s respective children, Donahue and Dee, are wrapped up in a teen love affair of their own.  Knowing of the time they lost, McGuire and Egan are the most supportive of their children’s affair.  Ford and Kennedy both disapprove.  Donahue and Dee are deeply in love and nothing, not even being sent to different schools in different states, will keep them from seeing one another.

Yours, Mine and Ours (1968)

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This film, the precursor to The Brady Bunch (1969-1974), features Lucille Ball and Henry Fonda as widowed spouses who end up marrying and merging their families.  The problem? Ball is the mother of eight children and Fonda has ten children.  The beginning of the film features funny scenes of Ball and Fonda’s courtship.  When they originally meet, neither knows about the other’s considerable brood.  When the truth comes out, they try to put the kibosh on their relationship, but soon it is apparent that they are truly in love and they decide to take the plunge.  Both groups of children dislike each other and the tension is high.  Eventually they end up learning how to work together and to actually like each other.

One of the funniest scenes is when Ball comes over to meet Fonda’s children for the first time.  The eldest sons, tasked with making cocktails, end up getting Ball schnockered by making her “an alcoholic Pearl Harbor” (as Fonda puts it), which is a screwdriver containing vodka, gin and scotch with a tiny bit of orange juice (for color, I imagine).  Ball ends up dumping food on one of the children, laughing and crying maniacally, and generally making a fool out of herself.

Another funny scene deals with the plight of poor Phillip, one of Ball’s youngest sons.  This poor kid can barely get any food at breakfast, can’t reach the sink to brush his teeth, is left with enormous rain boots that he can’t walk in and later ends up getting in a fight with the teacher in his Catholic school.

My favorite scene though, is the one where Henry Fonda hands out room assignments.  He assigns a number to each child (oldest to youngest), a color to each bathroom and a letter to each bedroom.  One of the children walks away repeating, “I’m 11, Red, A.”

Van Johnson co-stars as a co-worker of Fonda and Ball; Tim Matheson appears as the eldest child, Mike; and Tom Bosley appears as a doctor.

…and for the saddest casualty of them all…

The Long, Long Trailer (1954)

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This is my favorite film of all time.  I have probably seen it a hundred times–not exaggerating.  When I replace my copy, I will be on my third copy.  I wore out my VHS.  Anyway, myself and my family can recite all the dialogue.  Desi Arnaz has the best lines.  These are some of the gems:

“It’s a fine thing when you come home to your home and your home is gone!”

“Have you any conception how much room it takes to turn this thing around? We might have to go on for miles and miles!”

Then the mechanic has two of the funniest lines, that continually haunt Arnaz for the first half of the film:

“Trailer brakes first!”

“Forty feet of train!”

This film is about a newlywed couple (Lucille Ball and Arnaz) who purchase a trailer and take it on their honeymoon.  Arnaz’ job takes him to different locations all over the country (it is not stated what his job is, but I am assuming that he is some type of engineer as Ball mentions him working on a bridge and a dam), and Ball envisions them living in this motor home and traveling to wherever Arnaz’ job takes him.  They plan to drive from Los Angeles to Colorado for their honeymoon.  On the way, they visit Ball’s relatives in another part of California and also visit Yosemite.  They get into hilarious incidents along the way, including an impromptu housewarming party, a night stuck in the mud, ruining Ball’s Aunt Anastasia’s prized rose, and much more.  The highlight of the film is when Ball has the bright idea of trying to prepare dinner in the trailer while Arnaz drives.

This film is basically one big long I Love Lucy episode, Arnaz’ character’s name is “Nicky” after all, but it is fun from beginning to end and features gorgeous Technicolor and scenery.

 

Brief Encounter (1945)

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I had heard about this film for a couple years now and had seen it listed at the top of various lists.  It’s also a Criterion release.  I finally got the chance to watch this film.

Brief Encounter is a British film that is based on the 1936 Noel Coward short play, “Still Life” which was one of ten short plays that were performed under the title “Tonight at 8:30.” In 1945, this short play was adapted into the 86-minute film and was directed by David Lean.  Lean later went on to direct such films as The Bridge on the River Kwai, Lawrence of Arabia and Doctor Zhivago.

This was an excellent film.  This film depicts a budding romance between two married people, Laura (Celia Johnson) and Alec (Trevor Howard), both married to different people, and the subsequent guilt both experience as their newfound relationship continues to thrive and begins towing the line between platonic friends and infidelity.  For much of the film, they grow closer and closer until they have an opportunity to make their relationship more physical.  This is the turning point in the film.  They begin by spending the day together every Thursday when they’re both in town.  Soon, it grows to them getting really cozy with one another until they’re regularly smooching on the quaint, romantic bridge.

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Laura and Alec at the train station

Laura is a privileged middle-class British mother and wife (she has a servant and doesn’t seem to have many obligations in the way of housework or tending to the children).  She goes into town every Thursday for shopping and going to the latest movie matinee at the theater.  She also regularly dines at the tea shop at the train station–this where she meets Alec, a doctor who once a week, does consultation work at the local hospital.  Despite her cushy lifestyle, Laura is bored.  Her husband doesn’t seem to pay much attention to her in the evenings, preferring to complete his crossword puzzle.  Their evenings are the same every night.  When she meets Alec, suddenly, her life is interesting and fun.  She feels feelings that she hasn’t experienced in quite some time.

The beginning of the film starts at the ending of the story.  Laura is back home, sitting across from her husband, watching him complete his crossword puzzle.  She stares at him, knowing that he is blissfully unaware of what has been going on in her life.  She imagines herself confessing everything to him.  Her internal confession serves as the narration for the events of the film.  Suddenly, we’re at the train station before Laura meets Alec.  Throughout the film, her narration demonstrates how conflicted and distraught, yet happy, Laura is in her relationship.  There is also a scene where Laura, while on an outing with Alec, sees two acquaintances in the tea room.  Suddenly, she is embarrassed and worried that the secret of her new romance will get out.   I believe that this scene and the one where she’s conflicted about making her relationship with Alec more physical demonstrate that deep-down, she knows that what she and Alec are doing is wrong.

Most of the action of the film unfolds without either Laura or Alec’s spouses in the scene.  Laura’s husband is only seen intermittently, Alec’s wife is not seen at all.  I believe that the lack of spouses in the picture allow us to see the story entirely from Laura and Alec’s perspective and allows us to feel for Laura and Alec.  While they are thisclose to cheating on their respective spouses, I found it hard not to root for them to end up together.

In addition to the story, I also really liked how the film was shot.  The black and white cinematography provided a romantic, moody atmosphere.  The train station was a wonderful setting.  Doesn’t it seem like the best films involve some sort of train travel? I also liked all the steam coming from the trains and the music that repeated each time Laura and Alec were together.  There were many interesting shots used in the film.  One of my favorite shorts showcased Laura sitting in the train.  We see her from the side, but we can see her entire face in the reflection on the window.  Laura’s self-reflection is literally being reflected on the glass for the audience to see.

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Laura looks out of the window during a moment of self-reflection.

 

This was a great film.  Highly recommended.