Another Noirvember is upon us. I’ve been pretty spotty in trying to take part in these online events, so once again I’m going to try my best to participate. #Noirvember is an ode to all that is film noir that was started a few years ago by @oldfilmsflicker on Twitter. It’s become a highly anticipated event that has taken on a life of its own and is now promoted by everyone from film fans to movie theaters.
Anyway, because I can’t just simply watch film noir in November, I have to make myself some sort of challenge. One reason is that it makes it more interesting and forces me to check out films, actors, directors, etc. that I may not have otherwise, or it would have taken me longer. While deciding what to do for my challenge, I wanted to make sure that I allowed myself to watch old favorites like Double Indemnity (1944). However, I want to make sure that I also watch some new titles–if only to get through some of the blind buys that I’ve purchased throughout the year. I don’t want to force myself to only watch “new” films, because then I’ll be sad that I can’t watch my favorite Alan Ladd film noir (e.g.). While I did this challenge in the past and ALMOST finished it, I am going to give it another go this month–I am going to follow-up my next film noir with a film that has an actor in common with the film that preceded it.
I’m also not going to limit myself to just one film per day. Some days I can fit in only one film, other days I can fit in 2-3. Due to my regular Monday night board game group, I may not be able to get a film noir watched every single day; but I’ll do my best. I’m also hoping that I can finagle it where the last film I watch connects to the first film. We’ll see what happens as my movie watching will be organic. I do not have it planned out in advance! Just to keep myself on my toes.
Without further much ado. These are the films watched for #Noirvember. Click on the link to view more information about the film and to see what connected it to the previous film!
EDIT: Woo! Did it. The final film, The File on Thelma Jordon, connects to the first film, Double Indemnity, using the Queen of Film Noir, Barbara Stanwyck.
TERRY RANDALL: I see that, in addition to your other charms, you have that insolence generated by an inferior upbringing. JEAN MAITLAND: Hmm! Fancy clothes, fancy language and everything! TERRY: Unfortunately, I learned to speak English correctly. JEAN: That won’t be much of use to you here. We all talk pig latin.
Katharine Hepburn as “Terry Randall” and Ginger Rogers as “Jean Maitland” in Stage Door (1937)
This is just one example of the snappy dialogue present in the 1937 RKO classic, Stage Door. MGM’s 1939 classic, The Women, is held-up as the ultimate women’s picture, mostly because of the all-female cast and it’s spectacular script full of witty one liners and innuendo. While The Women is great, I much prefer Stage Door, despite including men in the cast in addition to the spectacular female cast. The cast is more appealing to me, the story is more interesting and frankly, the film is shorter which makes it a lot more compelling. It is my opinion that The Women runs a little long and could stand some editing. But I digress. This blog entry is not about The Women, it is about Stage Door.
Stage Door, directed by Gregory La Cava, was released on October 8, 1937. As a big Lucille Ball fan, this film is notable for being Lucy’s big break and was her first decent supporting role in an A-list production–and you can’t get much more A-list than co-starring in a film with Katharine Hepburn and Ginger Rogers. In addition to Lucille Ball, this film also features Eve Arden and a 14 (!) year old Ann Miller. It is hard to believe that Ann is only a child in this film, she carries herself as a much older woman and more than holds her own dancing alongside Rogers in the film. Arden is awesome because she spends much of the film with a cat wrapped around her shoulders. Gail Patrick (playing a similar character to her “Cornelia” in My Man Godfrey) and Andrea Leeds also lend support as other women in the boarding house. Adolphe Menjou co-stars as producer Anthony Powell who is acquainted with the young women at the club and to whom the women look to for roles in upcoming productions. Look for a young Jack Carson as Judy’s lumberjack beau, Mr. Milbanks.
Three mega stars from left to right: Katharine Hepburn, Lucille Ball, Ginger Rogers
Stage Door starts with a raucous, chaotic scene inside the Footlights Club all-female boarding house. The inhabitants of the boarding house are all aspiring Broadway performers, mostly acting, but some dancing as well. Because it’s the Great Depression and because breaking into Broadway is definitely not a sure thing, the women are struggling to survive and make ends meet. One of the boarders, Linda Shaw (Patrick) doesn’t seem to be starving, and it’s implied that she’s a kept woman–often being “kept” by Powell. We see Jean Maitland (Rogers) and Linda arguing over Linda’s borrowing Jean’s stockings without asking. Then, Judy Canfield (Ball) is observed asking Jean if she’d like to double date. Eve (Arden) walks around with a cat draped around her shoulders. The boarding house maid, Hattie (Phyllis Kennedy), contributes to the cacophony by poorly warbling some indistinguishable tune. An aging experienced actress, Ann Luther (Constance Collier), dispenses advice. Later she’ll guide Terry in her performance in her big break.
The noisy scene comes to a halt when a new boarder, Terry Randall (Hepburn), enters the Footlights Club looking for accomodations. It is apparent from the get-go that Terry is not in the same destitute situation as the other women in the club. She has money. She is interested in pursuing theater as a lark, not because she has a passion for the performing arts. Her obvious advantage makes her an instant adversary to the other women, especially Jean. According to Stage Door, Kay Hamilton (Leeds) is the best actress in the club. Kay is desperate to land the lead in Powell’s upcoming play, Enchanted April. Despite being the Footlights Club’s best actress, I find Andrea Leeds to be the weakest part of the film. I think her scenes are too saccharine and frankly, Kay comes off as pathetic. I can see why Terry is getting roles over her.
Left to right: 14 (!) year old Ann Miller, Ginger Rogers, and Lucille Ball
The main conflict of Stage Door comes when Terry breaks the status quo and barges into Powell’s office to demand to know why he refuses to see any of her fellow colleagues, despite their trying day after day to audition. Terry eventually ends up winning the coveted role in Enchanted April, making her the persona non grata at the Footlights Club. Hepburn’s solo scene at the end of the film when she recites the famous “the calla lilies are in bloom again…” speech is heart wrenching and one of the highlights of an otherwise dialogue-heavy film. Hepburn and Rogers are fantastic as the sparring roommates, a situation not too far removed from real life. Apparently, Katharine Hepburn and Ginger Rogers did not get along. I would probably chalk it up to personality differences and probably a professional rivalry at RKO. Lucille Ball and Eve Arden are fantastic as the sarcastic roommates and it’s easy to see why the two women eventually became huge stars.
Eve Arden is awesome and walks around Stage Door with a cat wrapped around her shoulders
I love the ending of this film. After a very tragic and tense third act, Terry gives the performance of her life. Much of her performance is inspired by her friendship with Kay and how much Terry knew that Kay wanted the role. While dialogue indicates that Terry is not delivering the correct dialogue for her opening monologue, it is forgiven because she is properly evoking the mood the author intended. Terry demonstrates that she is intuitive and is an actress. At the behest of Ann, Terry goes on stage despite being distraught–“the show must go on,” as we all know. Terry is forgiven by her roommates, presumably because of her heart-wrenching performance in Enchanted April. She finally wins approval of her roommates who no longer see her as someone who is just slumming it in their boarding house as a form of entertainment. Terry has demonstrated that she has the passion and skill to be an actress on the stage. At the end of the film, Terry is shown throwing out sarcastic barbs alongside her former foe, Jean. A new starry-eyed boarder moves into the boarding house and Terry is right alongside the other women, ready to welcome the newbie into the fold.
Despite the presence of the hugely talented cast, the star of this film is the dialogue. It must have been quite a undertaking for the cast to remember all their lines.
Ginger Rogers and Gail Patrick are at odds through most of Stage Door
(After Terry has spoken at length and eloquently about Shakespeare) EVE: Well, I don’t like to gossip, but that new gal seems to have an awful crush on Shakespeare! SUSAN: I wouldn’t be surprised if they got married! MARY LOU: Oh, you’re foolin’! Shakespeare is dead! SUSAN: No! MARY LOU: Well, if he’s the same one who wrote ‘Hamlet,’ he is! EVE: Never heard of it. MARY LOU: Well, certainly you must have heard of “Hamlet” ! EVE: Well, I meet so many people.
Eve Arden as “Eve,” Peggy O’Donnell as “Susan,” Margaret Early as “Mary Lou” in Stage Door (1937)
JEAN MAITLAND: (yelling) OH LINDA! LINDA SHAW: Maybe if you spoke a little LOUDER next time, everyone in the whole HOUSE could hear you. JEAN: Oh I’m sorry, I forgot you’re old and deaf.
Ginger Rogers as “Jean Maitland” and Gail Patrick as “Linda Shaw” in Stage Door (1937)
JEAN MAITLAND: Do you mind if I ask a personal question? TERRY RANDALL: Another one? JEAN: Are those trunks full of bodies? TERRY: Just those, but I don’t intend to unpack them.
Ginger Rogers as “Jean Maitland” and Katharine Hepburn as “Terry Randall” in Stage Door (1937)
JEAN MAITLAND: In some ways, you’re not such a bad egg. TERRY RANDALL: As eggs go, I probably have my points.
Ginger Rogers as “Jean Maitland” and Katharine Hepburn as “Terry Randall” in Stage Door (1937)
KAY HAMILTON: It’s (her birthday cake) so beautiful, I hate to cut it. JUDY CANFIELD: It’s one of Hattie’s cakes. Maybe you can’t cut it. HATTIE: I resent that! LINDA SHAW: Be careful you don’t drop it on your foot. ANN LUTHER: Girls, I have the most wonderful news! JUDY: Maybe the house is on fire.
Andrea Leeds as “Kay Hamilton,” Lucille Ball as “Judy Canfield,” Phyllis Kennedy as “Hattie,” Gail Patrick as “Linda Shaw,” and Constance Collier as “Ann Luther,” in Stage Door (1937).
EVE: I’ll never put my trust in males again TERRY RANDALL: What happened to Eve? JEAN MAITLAND: She’s brokenhearted. Henry’s in a cat hospital. TERRY: An accident? JEAN: He just had a litter of kittens. TERRY: Well that’s easy to solve. Change his name to Henrietta.
Eve Arden as “Eve,” Katharine Hepburn as “Terry Randall,” Ginger Rogers as “Jean Maitland,” in Stage Door (1937).
TERRY RANDALL (in her play): The calla lilies are in bloom again. Such a strange flower, suitable to any occasion. I carried them on my wedding day and now I place them here in memory of something that has died.
Katharine Hepburn as “Terry Randall” in Stage Door (1937)
I first saw Dangerous When Wet last year when TCM featured Esther Williams during their annual Summer Under the Stars programming event. The entirety of August 8, 2021 was devoted to Esther in honor of her centennial. This was the first film that I’d seen that featured Fernando Lamas. Lamas is someone who I only knew about from his appearance as himself in an episode of The Lucy-Desi Comedy Hour, “Lucy Goes to Sun Valley.” I didn’t even know what films Lamas had appeared in and assumed he was just one of those stars who was big at the time (1958). I think that is a fair assessment. Today, if Lamas is known for anything, it’s for being the father of Renegade star Lorenzo Lamas and being married to Esther Williams.
I, however, remember Lamas for being hot hot, especially in his episode of The Lucy-Desi Comedy Hour and Dangerous When Wet!
While Dangerous When Wet was being cast, numerous leading men were suggested to partner with Esther. One of the qualities an Esther Williams-leading man needed to have was an ability to swim. Many of Esther’s leading men like Howard Keel or Peter Lawford weren’t the strongest of swimmers. To keep them afloat during filming, Esther would have to stealthily prop them up with her hand or foot while they swam. When Fernando Lamas was suggested for Dangerous When Wet, it was different. Lamas, however, was a champion swimmer from South America. Finally, Esther had a co-star who could keep up with her in the pool. She later said that it was a nice change to be paired up with someone who actually possessed real swimming ability. Lamas’ casting allowed for more rigorous swimming scenes to be included in the film. Esther must have enjoyed working with Lamas–the two would eventually marry and be together until Lamas’ passing in 1982.
Dangerous When Wet opens with the Higgins family marching out of their house while singing “I Got Out of the Bed on the Right Side” while they make their way to the nearby swimming hole for their morning ritual of calisthenics and swimming laps. Esther plays Katie, the daughter of “Ma” and “Pa” Higgins (Charlotte Greenwood and William Demarest). I recognized Greenwood from her appearances in two Betty Grable films, “Moon Over Miami” and “Down Argentine Way.” Demarest is probably best known as “Uncle Charlie” from My Three Sons, but to me, I know of him because he’s in every film ever made. Both Greenwood and Demarest have very small roles in this film. This opening number is very charming. We see Katie who is more interested in a book about dairy farming than she is in swimming. However, since it’s Esther Williams, she is swimming by the end of the scene.
Windy (Jack Carson) has his sights set on Katie (Esther Williams)
One day, traveling salesman Windy Weebe (Jack Carson) comes through town hawking his special elixir, Liquapep. Supposedly, Liquapep is a tonic that is supposed to make someone super peppy and fit. Windy is also instantly smitten with Katie. It also comes out that the Higgins family’s dairy farm is also in trouble. They need a bull to keep the farm running, however they cannot afford it. Because of his fondness for Katie and seeing a chance to promote Liquapep, Windy suggests that the family enter a contest to swim the English Channel. The cash prize would give the family enough money to buy the bull. Swimming the channel isn’t hard, it’s only 20 miles (more like 42 with the currents) across. No problem, right?
I can think of worst things than to be carried by Fernando Lamas
The Higgins family decides that Katie is the strongest swimmer in the family (obviously, because it’s Esther Williams) and their best chance to win the prize. Windy offers to coach her. One foggy afternoon, Windy loses sight of Katie during their practice. Katie becomes disoriented in the fog and but soon finds a rowboat, similar to Windy’s. She quickly discovers that the rowboat is not being captained by Windy, but rather by hot Frenchman, Andre Lanet (Fernando Lamas), a French champagne salesman. It seems that Andre is on his way back to his yacht. He also becomes smitten with Katie. Soon he finds herself in a love triangle between Andre and Windy. Gosh, who to pick?
Andre and Katie’s romance heats up as the impending swim across the Channel draws nearer.
This is a funny sequence when Esther is grabbed by an amorous octopus (voiced by Fernando Lamas)
Dangerous When Wet features a fantastic animated sequence between Esther Williams and Tom and Jerry. This is the second musical number I’ve seen with Tom and Jerry. Fans of classic movie musicals will remember that Gene Kelly danced with the duo in 1945’s Anchors Aweigh. Fernando Lamas has a funny appearance in the animated sequence as an amorous octopus. Fernando’s octopus performs a reprise of his “In My Wildest Dreams” number that he serenades Esther with earlier in the film. Fernando Lamas sings in this movie. I had no idea he was a singer and he does a great job!
There is a funny scene where Andre gifts Katie a tiny white and red polka dot bikini. She jokes about how small it is before going into her room to try it on. She breaks the fourth wall as she pulls a shade down to shield the audience’s prying eyes. We never do see what Katie looks like in that bikini. I’m sure she looked great. Later, Katie wears a great one-piece bathing suit that is made of black lace. This is the suit she wears during the swimming duet between herself and Andre. The duet takes place after Katie get a little tipsy drinking Liquipep on a picnic with Andre. To sober her up, Andre invites Katie for a nighttime swim.
Katie relaxes in an intertube during a romantic night time swim, but is soon in for a rude surprise.
The swimming duet is really fun to watch as Esther and Fernando are really swimming and going for it. Fernando did not like it when Esther would swim faster than he did, so even in the film, he’s trying to swim faster than her. The duo perform laps and swim the backstroke while flirting with each other and falling more and more in love. Katie and Andre’s love for one another is never more evident than it is in the climactic race scene at the end of the film. The end scene was based on a real-life event that happened when Johnny “Tarzan” Weissmuller dived into the water to help his student, Florence Chadwick (the first woman to swim across the English Channel), complete her race when she started to falter. Weissmuller was also Esther’s Aquacade swimming partner before she started appearing in films.
I very much enjoyed Dangerous When Wet. It’s one of my favorite Esther Williams films and Fernando Lamas strips to his skivvies at the end and I’m here for that scene. I also just discovered that my DVD has a flaw it in that causes the film to permanently pause right before the Tom and Jerry number. This is unacceptable and I’m shopping for a replacement copy.
James John “Gentleman Jim” Corbett was a competitive boxer best known for beating the famed heavyweight world champion, John L. Sullivan. Despite having only fought in about twenty matches, Corbett went up against the best fighters the sport had to offer. He was famous for his technique, which involved actual skill and practice, in lieu of sheer brute force. His refined conduct inside and outside the boxing ring led to the media referring to Corbett by the nickname, “Gentleman Jim.” At the end of the nineteenth century, boxing was still illegal in about half of the states in the union. The brutal nature of the sport led to it being considered immoral. However, Corbett’s genteel behavior and adoption of the Marquess of Queensbury Rules 1 (still in use in boxing today) led to the sport becoming more acceptable, especially among the women who flocked to his matches in droves. Corbett was one of the first modern sex symbols in the sports world.
1 The Marquess of Queensbury Rules were drafted in 1865 and established a code of ethics that fighters must follow at all times during a match. It wasn't enough to win, a fighter also had to play by the rules. There are a multitude of rules, including boxing ring regulations, proper gloves and shoes, 10-count before declaring KO, referee given power to end bout, and other rules.
Despite what the poster might have you believe, Flynn does not have a mustache in this film.
In 1942, about ten years after Corbett’s passing, Warner Brothers set out to create a biopic of his life after having purchased the rights to his story from his widow. To star in the film as the first sex symbol of modern day boxing, Warner Brothers cast (who else?) Errol Flynn. Of all the stars in their stable, Flynn is the perfect choice to appear as the refined, lithe, attractive “Gentleman Jim.” Flynn himself was a boxer before Hollywood and was a natural athlete. To hone his boxing skills and to properly portray the real-life Corbett’s footwork technique, Flynn took extensive lessons. He rarely used a double during filming.
Flynn’s James “Jim” Corbett is presented as a brash young man with a “cock of the walk” type attitude. Working as a bank teller in San Francisco alongside his best friend, Walter (Jack Carson), he very easily ingratiates himself into the Olympic Club, a very elite club and gym for the upper crust. A young woman, Victoria Ware (Alexis Smith) comes into the bank one day to get some change for her father’s card game and meets Jim. Hearing that she’s on her way to the Olympic Club, Jim very graciously (lol) offers to accompany her to the club. Soon he manages to invite himself on a lunch date with Victoria and before he knows it he’s in the club showing off his boxing technique to the members of the club. The members are impressed and much to Victoria’s chagrin, Jim is invited to become a member of the club.
Alexis Smith and Errol Flynn as Victoria Ware and Jim Corbett. This picture nicely sums up Victoria and Jim’s relationship throughout most of the film.
Victoria and Jim have a very funny love-hate relationship throughout the film. Victoria finds Jim’s cockiness and forward behavior very off-putting. On his first day as a member, Jim has himself paged all over the club, “Paging Mr. Corbett,” to make him appear important to the other members of the club. His arrogant behavior irritates the other members of the club, but they put up with it because of his ability. Victoria heckles Jim throughout the film. She cheers for his opponents, boos him when he enters the ring, and mocks his behavior. Victoria’s dad looms in the background laughing at Victoria and Jim’s flirtatious, yet faux contemptuous behavior toward one another. “You two are the funniest couple” he says. However, despite how much Victoria pretends to be irritated by Jim, there’s a definite vibe that she’s got a crush on him. And who wouldn’t? Look at the man.
Jim also has a hilarious Irish family who provide some comic relief for the film. His father, Pat (Alan Hale) and mother, “Ma,” are both Irish immigrants who run a stable in the working class area of San Francisco. After a few prominent boxing matches, Jim’s star rises and he arranges for his family to move to the upper crust Nob Hill neighborhood. Pat and Jim’s brothers run a saloon that Jim purchases for them. The family is hilarious. One of their running gags is their heated arguments, which culminate with them taking the fight outside–“The Corbetts are at it again!” is heard a few times in the film. It is interesting how Jim is the only member of the family to speak with an Australian accent, but we’ll let that slide.
Alan Hale as Pat Corbett and Errol Flynn as his son, Jim.
Much of the film involves Jim’s power growing as he takes down one acclaimed boxer after another. During his first major bout, there’s a funny scene where his opponent’s son asks his mother why his dad doesn’t look like [Jim] in his underwear. The mother responds, “he did, once.” Jim wins the match and attends a party in his honor. However, he learns about the snobbery of the upper crust when his friend Walter is kicked out of the party due to not following dress code and drunkenness. My favorite part of this scene is where Walter starts drinking a man’s cocktail and the man says “hey that’s my drink!” Walter says, “it is? Then this must be mine!” as he grabs another drink and knocks it back. Upset over the treatment of his friend, Jim bails and they continue the celebration.
Jack Carson, William Frawley and Errol Flynn as Walter, Billy Delaney, and Jim Corbett
The celebration ends the next morning in Salt Lake City when Jim and Walter wake up. They discover that during their drunken evening, Jim had won $10 in a fight and gained a manager, Billy Delaney (William Frawley). Delaney is “strictly big time” (he says) and is soon booking Jim into more prestigious fights. Jim’s prizefighting career culminates with a huge 60+ round fight against the reigning heavyweight world champion, John L. Sullivan (Ward Bond).
Ward Bond and Errol Flynn as John L. Sullivan and Jim Corbett
At the risk of spoiling the film, Jim emerges as the victor of the huge Corbett vs Sullivan match. At his celebration party, a humbled Sullivan shows up unexpectedly to cede his title to Jim. The scene is very poignant as Sullivan has to admit defeat and face the fact that he is no longer the greatest in the world. Jim, who idolized Sullivan when he was younger, gives the man a boost as he says that he’s grateful that he wasn’t the same Sullivan a decade prior. This moment humbles Corbett as he knows that there’s always someone waiting in the wings that is better. Soon Corbett will be humbled, just like Sullivan was that evening.
Finally, Victoria and Jim’s contentious relationship reaches its climax. Victoria continues to feign annoyance at Jim’s arrogance and he finally calls her out on it. He makes her admit that she doesn’t hate him as much as she lets on.
Alexis Smith and Errol Flynn as Victoria Ware and Jim Corbett– Geez, kiss already.
(After Jim kisses her while she berates him for being a “tin-horned, shanty Irishman”)
VICTORIA: Fine way for a gentleman to behave
JIM: Oh darling, that gentleman stuff never fooled you, did it? I’m no gentleman.
VICTORIA: In that case, I’m no lady.
(Jim and Victoria kiss again, this time as two people who have the hots for one another)
Errol Flynn and Alexis Smith as James “Jim” Corbett and Victoria Ware in “Gentleman Jim” (1942)
Like most biopics, Gentleman Jim strays from the truth a bit. The real “Gentleman Jim” was soft-spoken as he considered that more dignified. However, the casting of Errol Flynn brought about the “cock of the walk” attitude that definitely makes for a much more exciting film. Gentleman Jim was Errol Flynn’s favorite film of his career and it shows. This film is the peak of Flynn’s popularity and good looks. This film makes the best use of Flynn’s athleticism, good looks, charisma, everything. Alexis Smith was perfect casting. She’s formidable enough both in stature and personality to face Flynn. He is at his best when he has a strong leading lady to play against.
Swoon
My favorite parts are:
When Jim falls into the San Francisco bay during an illegal fight and he completes the match in wet boxing pants.
When Billy Delaney tries to maintain a quiet, relaxing environment for his prizefighter in the days leading up to the John L. Sullivan fight and his family bursts in and soon they’re singing and dancing an Irish jig. Billy Delaney says: “Look at those maniacs! What do you mean barging in here like a herd of wild elephants?” I love how Jim looks on in the background in amusement while Billy and Pat scuffle.
When Ma Corbett corrects her family, saying “John *L* Sullivan,” emphasis in the L.
The ending romantic scene with Victoria and Jim where they finally kiss. It’s about time, you know she’s been wanting to hook up with him since the beginning of the film.
The very sweet scene between Jim and Ma where she worries about him fighting.
Now, time for my swoon moment:
YES!
Errol Flynn. Errol is my #1 favorite actor and this is the film that cemented that. He is hot hot in this film and is fantastic. He is one of the few leading men who take attention away from the leading lady. He is so gorgeous in this film and is just so much fun to watch. Aside from the film being genuinely a good film, he also provides plenty of opportunities for ogling.
In this film, we get to see:
Flynn in wet, tight pants
Flynn in short shorts
Flynn in a tuxedo and top hat
Flynn in a form-fitting union suit. HE EVEN MAKES A UNION SUIT LOOK GOOD.
I can’t think of anything more comforting than watching Eleanor Powell and her amazing dancing.
This year’s CLAMBA (CLAssic Movie Blog Association) Spring blogathon is dedicated to classic films that people may turn to in times of crisis, emotional distress, stress, or any other time when they might feel a little weary from the drudgery of day to day life. Right now, during these trying times, having something comforting to turn to, whether it be a movie, a pet, a hobby, etc. is more important than ever.
I find movies, especially classic movies, to be comforting. Not every film has positive subject matter, and not every film is uplifting, but they allow you to escape into a different world. Full disclosure: This is coming from someone who watches “Forensic Files” and “Unsolved Mysteries” to relax before bed. I have my “pet” movies that I revisit over and over again (The Long Long Trailer, Gidget, Gidget Goes Hawaiian, The Brady Bunch Movie, Singin’ in the Rain… ) but I’ve already written about those–sometimes multiple times. I will try to branch out and share my Top 5 favorite comfort films.
One of my favorite types of films is a tried and true romance. Not necessarily a rom-com (though occasionally those can hit the spot, depending on what it is), or a overly sappy romance (e.g. Nicholas Sparks), or some generic, non-offensive, completely predictable film (Hallmark Movies, I’m looking at you), but a real romantic film–“happily ever after” not guaranteed.
1) Summertime (1955). David Lean’s romantic drama is aesthetically a gorgeous film. Shot on location in Venice, Italy, the scenery and color is beautiful and very fun to watch. Katharine Hepburn stars as Jane Hudson (not that Jane Hudson), a single (gasp!) middle-aged secretary from Akron, Ohio. She has had a lifelong dream of going to Venice and has saved money for many years. Finally, she has enough money and travels abroad for her summer vacation.
Even the credits sequence is gorgeous!
Jane Hudson (Katharine Hepburn) meets Renato de Rossi (Rossano Brazzi) in “Summertime.”
Upon arriving in Venice, Jane boards the local vaporetto (e.g. a waterbus that transports the public down the canals) where she meets two fellow American tourists. Jane and the three tourists are all staying at the same pensione (e.g. a boarding house that includes meals). At the pensione, Jane meets another American tourist, Eddie Yaeger (Darren McGavin), and his wife.
On her first night out, Jane goes out to dinner and spots an Italian man, Renato de Rossi, (Rossano Brazzi) watching her. The next day, Jane is window-shopping at an antique store and spots a red goblet. Interested in obtaining more information (and possibly purchasing) the goblet, Jane enters the store and discovers that the owner of the shop is Renato, the same man who was watching her the night before. Later that night, Renato finds Jane at her pensione and confesses that he finds her very attractive. She tries to ward off his advances, but ultimately agrees to attend a concert with him.
Jane and Renato’s romance is heating up!
Renato and Jane’s romance grows and soon find themselves completely enamored with one another. However, like so many romantic films, they reach an impasse when Jane finds out more about Renato’s past.
I love this film because Jane and Renato’s passion for one another is evident and who doesn’t love the idea of falling in love with a handsome stranger while on vacation? See Diane Lane in Under the Tuscan Sun for another example of this storyline. I also liked the idea that Hepburn was playing a woman who was not only single, but didn’t seem to regret being single. She wasn’t a miserable “can’t find a man” spinster. This film is also where Hepburn picked up her lifelong eye infection after performing a stunt where she falls into one of the fabled (and notoriously polluted) Venice canals.
Another type of movie that I find comforting is an over-the-top melodrama. For me, over-the-top is something so outrageous, so absurd, that it seems like it could never possibly happen. But at the same time, with the right mix of people and the right situation, it could definitely happen. One of my favorite melodramas also combines another of my favorites: 50s-60s teen movies.
2) A Summer Place (1959) has everything one could possibly want in a good melodrama: racism, bigotry, xenophobia, adultery, alcoholism, teen pregnancy, a catchy title theme tune, love, the use of the word “convenience” for toilet… this movie has it all. And if that was not enough, the movie is photographed using the most beautiful color. Every scene is seemingly shot with gauze over the lens, giving everything a slightly hazy, ethereal look. This film also features two of my all-time favorite stars: Sandra Dee and Dorothy McGuire.
At the beginning of the film, we meet the Hunter family. Patriarch Bart (Arthur Kennedy), his long-suffering wife, Sylvia (Dorothy McGuire), and their teenage son, Johnny (Troy Donahue). It is quickly apparent that not all is well with the Hunter household. Bart, despite having been born to a wealthy family and seemingly had it all, has allowed his family’s Pine Island, ME estate to fall into disarray. Most of the blame for the family’s decline falls squarely into the lap of Bart’s alcoholism. To make ends meet, the Hunter family is forced to transform their private family home into an inn and rent rooms out to paying guests.
Johnny (Troy Donahue) and Molly (Sandra Dee) fall in love in “A Summer Place.”
One day, the Hunters receive a telegram from Ken Jorgenson (Richard Egan) who along with his wife, Helen (Constance Ford) and teenaged daughter Molly (Sandra Dee), wants to rent out a room at the “inn” for the summer. The only hitch? Ken and Sylvia used to date twenty years ago, prior to their respective marriages and children. Ken at the time was a lifeguard on the island whereas, it is presumed that Sylvia must have come from “better stock.” However, the tables have turned and now Sylvia is seemingly lower class, whereas Ken is successful millionaire research chemist.
When the Jorgenson family is seen, it is obvious that Helen has some issues. “Some issues” is putting it lightly. Helen is one of the most prudish (even for 1950s standards), hateful women that I have ever seen in a film. She seemingly has an issue with everyone and anything that isn’t American, straight, puritan, and most importantly, White. Ken has an amazing scene where he rips his wife a new one. It is obvious that the Jorgenson union is going to be kaput by the end of the film.
What is this hat?
Upon arrival at Pine Island, Johnny immediately spots Molly. They are instantly smitten with one another, much to the chagrin of Helen. As a parallel to the budding union between the children, something is rekindled between Sylvia and Ken. Both are stuck in unhappy marriages and both want a new start. Sylvia and Ken find themselves confiding in one another, until their flame is reignited. At the same time, Molly and Johnny are finding themselves falling for one another. Jilted spouses Bart and Helen, find themselves on the outside, looking in.
I love this movie. I love everything about it. I never tire of it and look forward to reading the novel. There is so much drama to savor. Sandra Dee, despite being saddled with the goody two-shoes virgin image, is definitely NOT living up to that reputation in this film. One of Dee’s best qualities, in my opinion, are her eyes. Her fantastic large, brown eyes imbue Dee with a vulnerable quality. She seems to always have a wanting in her eyes. She just needs someone to take care of, and someone to take care of her. For whatever reason, Troy Donahue, despite not being that great of an actor I really enjoy. I don’t know what it is about him, but he has a quality that I find interesting.
Sometimes, all that will provide comfort is some good old fashioned eye candy. Just something to ogle for a couple hours. One such eye candy (for me) is Errol Flynn. During his heyday, he looks amazing in pretty much everything. Even in the 1950s, when Flynn’s bad habits were definitely catching up with him, though looking older than his age, he still possesses the panache and charisma of his youth. For this entry, I’m going to discuss my favorite Errol Flynn film.
This poster doesn’t do Errol Flynn or Alexis Smith justice!
3) Gentleman Jim (1942) is a biopic that features Flynn as James J. “Gentleman Jim” Corbett. At the beginning of the film, Jim and his friend Walter (Jack Carson) are attending an illegal boxing match in 1890s San Francisco. The match is raided by the police. Jim and Walter find themselves in the paddywagon with Judge Geary, a prominent member of the board of directors at the bank that employs both Jim and Walter as tellers. Jim is able to think quickly and saves his boss from embarrassment.
Later, through a chance meeting at his bank, Jim meets Victoria Ware (Alexis Smith), the socialite daughter of Buck Ware, a wealthy upper-class member of the Olympic Club–the same club that Jim’s boss also frequents. Victoria has arrived at Jim’s bank to collect change for a local game at the club. After hearing Victoria state that she’s on her way to the Olympic Club, Jim charms her into letting him escort her and carry her heavy coins. Victoria, obviously interested in Jim (because duh! who wouldn’t?) and seeing his ulterior motives right off the bat, agrees to let him accompany her to the club. She even treats him to lunch and cigars. Later, Jim meets the Judge and other members of the upper class in the gymnasium.
Errol Flynn and Alexis Smith
Judge Geary and a renowned British boxing coach (who has been hired to evaluate prospects) see a lot of potential in Jim as a boxer. Both men are looking to make boxing respectable and plan to start a boxing club that use the Marquess of Queensbury rules (the same rules still in effect today in the boxing community). These rules were set up a few decades prior in London and were meant to make the matches more even and fair. The Judge and the British coach find Jim’s appearance and polished demeanor as the perfect image for their new fighter. And, if Jim’s good looks and charm weren’t enough, he’s also a good fighter!
Soon Jim gets to work training and quickly finds himself scheduled for his first fight, which he wins. Eventually, Jim gets a manager, Billy Delaney (William “Fred Mertz” Frawley) who books him into even bigger matches. After winning a series of fights, Jim finds himself booked for his biggest fight yet–Taking on the current heavyweight champion, John L. Sullivan (Ward Bond).
“GIVE ‘EM ROOM!”
I love this movie. I love sports movies in general, and especially boxing ones. Flynn is so freaking adorable and hot in all of his scenes. The man even looks good in a union suit! The absolute best Flynn scene is when he falls into the San Francisco Bay and pulls himself out of the water. Ooh la la. Alexis Smith makes a great foil for Flynn’s brashness. Their love/hate relationship is one of the highlights of the film. One of the absolute best parts of the film though is Alan Hale as Flynn’s father. He is hilarious in this movie. Ward Bond is also excellent as John L. Sullivan.
Another type of film that I find comforting is something that is so adorable and so sweet, that you cannot help but feel better. Charlie Chaplin’s most famous character, The Tramp, is so sweet and kind, you cannot help but root for him. In The Kid (1921), even though the audience knows that Tramp’s “son,” belongs to someone else, you cannot help but root for the two of them to stay with each other. They belong together–even if the Tramp can’t provide financially. What he lacks in financial resources, he more than makes up for it in love and kindness. One of the absolute best examples of this is present in my favorite Chaplin film.
4) City Lights (1931). This film is so freaking adorable and sweet, I cannot stand it. Fortunately, I was able to see it in the theater prior to the COVID-19 pandemic. The film was even better on the large screen. To make the experience even better, I got to view a 35mm print. Anyway, I digress.
This is a great movie poster!
The film opens with a bunch of dignitaries and citizens assembling for the unveiling of a new monument dedicated to “Peace and Prosperity.” When the veil is removed from the statue, the Tramp is revealed to be asleep in the lap of one of the figures. After a few moments of hilarity, the Tramp escapes the angry crowd and runs into the city. While in the city, the Tramp encounters a blind woman (Virginia Cherrill) selling flowers. The Tramp is smitten with her, even after figuring out that she is blind. The blind woman mistakes the Tramp as wealthy when she hears a door open and shut on an automobile right as the Tramp approaches her to purchase a flower. She assumes that he’s just emerged from a chauffered vehicle.
Later that evening, the Tramp saves a drunk millionaire from suicide. The millionaire is grateful to the Tramp and declares him his new best friend. The millionaire takes the Tramp back to his home for champagne, and then for a night out on the town. They have a raucuous good time. The next morning, the Tramp spies the flower girl at her corner as he’s driving the millionaire home. He gets some money from the Millionaire, takes the Millionaire’s car, and drives the girl home.
The blind girl (Virginia Cherrill) and the Tramp (Charlie Chaplin)
At this point, a running gag starts where the millionaire is the Tramp’s BFF when he’s drunk, but sober, he has no idea who the Tramp is and wants him out of his house ASAP.
The Tramp continues to visit with the blind girl. It is during one of these visits that he learns that she and her grandmother are one missed rent payment ($22… Oh to pay rent in the early 1930s) away from being homeless. At this point, nothing will stop the Tramp until he’s able to save the blind girl from losing her home.
One of the sweetest scenes ever in film!
This film is so freaking sweet and I don’t want to spoil it by describing the ending. It is perhaps one of the best endings ever in film and with so few words. The ending scene fully illustrates why Charlie Chaplin deserves every inch of recognition and acclaim that he ever received.
Finally, another of my favorite genres is film noir. Some film noir can be romantic in nature, like the Bogie/Bacall films and others can be super gritty (The Asphalt Jungle comes to mind). I love all of them. There’s something about the noir style, the narration, the way characters speak, everything.
5) One of my favorite noir, is probably one of the most famous film noir of all time: Double Indemnity (1944). Fred MacMurray stars as Walter Neff, a seemingly decent insurance salesman who makes his living selling all types of insurance. One day, he makes a house call to the Dietrichson household to remind Mr. Dietrichson to renew his automobile insurance. When Walter arrives, Mr. Dietrichson isn’t home, but his second wife Phyllis (Barbara Stanwyck) is. In one of the all time best character introduction scenes, Phyllis appears at the top of the stairway clad in a towel and her “honey of an anklet.” Walter is instantly smitten.
While flirting with one another, Phyllis asks Walter about taking out a life insurance policy on her husband, without her husband’s knowledge. Walter at first, wants no part of Phyllis’ obvious plan to murder her husband, but soon devises a scheme to write a policy that contains a “double indemnity” clause–which would double the payout, should the policy holder die in some type of accident.
Barton Keyes (Edward G. Robinson) is on the case!
At this point, I cannot decide if Walter is really that enthralled with Phyllis that he’s willing to commit capital murder, or whether he wants to try and put something over on his boss, Barton Keyes (Edward G. Robinson). Keyes is responsible for investigating claims on behalf of the firm, to reduce the amount of payments that need to be paid out. Keyes seems to believe that he knows anything and everything about probability of different causes of death and everything that would negate an insurance claim.
This scene cracks me up. These two are the most conspicuous, inconspicuous people.
Walter inevitably ends up helping Phyllis commit the murder. Throughout the rest of the film, Phyllis and Walter try to cover their tracks as Keyes gets closer and closer to the truth.
I love this film. I love the way that Walter speaks, I love Phyllis’ hilarious wig, and Edward G. Robinson is fantastic. In the scene where Walter murders Mr. Dietrichson in the car, Phyllis has one of the most evil facial expressions in cinema.
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.
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).
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?
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.
Whimsically Classic 