Greenster Reviews

Imitation of Life (1934)

"Follow the Bouncing Pancake"

[10/10 · 25 December 2009]

This great film also deserves a Musical Review if that's all right with Tom Jones....

Early one morning, Miss Bea labors bathing her daughter / Jessie the Baby must go off to day nursery / Bea was a widow / Peddling her syrup to purchase her daughter fine things.

There at the door of the kitchen knocks a poor mother / Willing to work menial task to provide room and board / For her young daughter / Light like her father who took off to run his own way.

Please, don't sigh, Delilah / Fry, fry, fry, Delilah / She would watch Jessie all day / Content to do much with slight pay / And cook up some pancakes to send Bea along on her way.

Five years soon pass, and the bills are paid up at the restaurant / Rain on the boardwalk keeps customers staying away / Enter poor Elmer / For two stacks of pancakes, he'll gladly soon make it all pay.

Meanwhile, Peola is passing for White in the third grade / Storm's coming down, and she'll soak without boots and her coat / Here comes Delilah / Claiming Peola, and giving her cover away.

Cry, cry, cry, Peola / Why, why, why, Peola? / Your mother is not to blame / For there really is nothing to shame / She is your mother, but you hate her deeply the same.

Ten more years pass, and Miss Bea throws an orchestra party / Money pours in, and they really receive their just fee / In walks Steven Archer / A promising suitor fantastically smitten with Bea.

Peola is missing from school somewhere down in Virginia / Bea then tells Steven she must soon assist in the search / But there is Jessie / Who complicates matters and leaves Steven deep in the lurch.

My, my, my, the turmoil! / Why, why, why, the turmoil? / Heartbreak, frustration and strife / Yield a true "Imitiation of Life" / Forgive them, Delilah; they just couldn't take anymore. / Forgive them, Miss Beatrice; they just couldn't take anymore.

The Mad Miss Manton (1938)

Fonda and Levene Meet Stanwyck and the Seven Capital Vices

[9/10 · 27 January 2008]

In the first of their three co-starring vehicles, Barbara Stanwyck and Henry Fonda shine in character clashing along with many illustrious supporting players in this Golden Era madcap Murder Mystery Comedy.

"The Mad Miss Manton" (RKO, 1938) follows the saga of wealthy débutante Melsa Manton (Barbara Stanwyck) and Hilda (Hattie McDaniel), her efficient housekeeper.

Add to the program seven débutantes abiding in the lap of luxury, and supporting their comrade in society: Helen Frayne (Frances Mercer) Pat James (Whitney Bourne) Myra Frost (Linda Perry) Kit Beverly (Vickie Lester) Jane (Eleanor Hansen) Dora Fenton (Catherine O'Quinn) Lee Wilson (Ann Evers).

Peter Ames (Henry Fonda), an ambitious newspaper reporter, Lieutenant Brent (Sam Levene) and Officer Sullivan (James Burke), who are all summoned to investigate the murder of a wealthy business leader, whose body unaccountably disappears, while another mysteriously surfaces.

When Peter and Lieutenant Brent charge Miss Manton and her ilk of lovely Park Avenue débutantes with attempting to pull a prank, Melsa decides to take matters into her own very capable hands, with help from her associates, who, if you read between the lines, may be considered to exhibit characteristics of the Seven Capital Vices.

Although these are not quite developed during its 108-minute screen story, traces of Avarice, Envy, Gluttony, Lust, Pride, Sloth and Wrath are detectable among the fashionable set of peers.

One often expresses her anger toward the behavior of the establishment. One constantly searches for snacks. One devotes her attention to the gentlemen in her sight. Another sort of lies around without much to do, as others bathe in wealth and pride of their collective station in life, and so forth and so on.

Suspects for the film's central crime display effective performances in well-cast roles, most bringing familiarity to the screen: Bat Regan (Paul Guilfoyle) Sheila Lane (Leona Maricle) Ronnie Beldon (William Corson) Edward Norris (Stanley Ridges) Frances Glesk (Penny Singleton) Mr. Fred Thomas (Miles Mander) and Gloria Hamilton (Kay Sutton).

Rounding out "The Mad Miss Manton" cast includes some familiar faces, each bringing a special quality to an all-too-brief scene along the way: John Qualen as the Subway Watchman Robert Middlemass as the District Attorney Grady Sutton as the D.A.'s Secretary Olin Howland as Mr. X Charles Halton as Popsy, Melsa's Lawyer Vinton Haworth as Peter's Secretary Irving Bacon as Mr. Spengler, the Process Server Bess Flowers as a Charity Ball Guest and Gerald Pierce as the Newsboy.

Congo Maisie (1940)

Maisie Multi-Tasks in the Rain Forests -- Backwards and without the Manuel

[8/10 · 30 June 2007]

Quick-witted, fast-talking, wise-cracking and often penniless, Miss Mary Anastasia O'Connor undauntedly takes her nightclub act on the road--usually the very long road--persevering, and performing by the stage name of Maisie Ravier.

Chapter Two of the resulting ten-film series bearing her name, and recounting her saga, finds her itinerary set in the wilderness of the Congo, hence "Congo Maisie" (MGM 1940).

While much of its cast (including J.M. Kerrigan, E.E. Clive, Everett Brown, Tom Fadden, Lionel Pape and Nathan Curry) appears in its story's periphery, the lion's share of this jungle tale concentrates upon its second leads (Rita Johnson, as Kay McWade, and Shepperd Strudwick, as Doctor John 'Jock' McWade), its leading man (John Carroll, as Doctor Michael Shane) and, especially, its ever-lovely leading lady (Ann Sothern, as Maisie Ravier).

This time around, Maisie books her nightclub act at a remote village up river from a western African port. Again impoverished, she cleverly stows away upon a river barge to attempt to reach her destination but is soon discovered by its renter, Doctor Shane (John Carroll).

Evicted from his quarters, but remaining on board, she pawns trinkets for morsels of breakfast, about which time it is learned that the barge must dock for several days because of rising waters.

Stranded from the raft, Doctor Shane reluctantly "rescues" Maisie, by inviting her to accompany him on a three- or four-mile hike through the uninviting wilderness to the nearby fortified medical research station, which he once managed.

Here, Maisie is welcomed by its current operators, Kay and Doctor John McWade (the pretty Rita Johnson and the kind and gentlemanly Shepperd Strudwick). Miss Johnson is often cast as a "foresaken first wife" or "a possessive and haughty other woman." Here, she combines the types in gentle fashion, forlorn from her station in life, and seeking the advances of a handsome suitor.

And Maisie, with her present bag of resources and presence-of-mind perception to figure the score, suddenly finds herself with her hands full, facing the breaking down of her hosts' marriage, a patient in need of emergency surgery, treacherous weather conditions, an impending attack on the fort by tribal natives, simultaneously, while trying to resolve her feud and feelings for Doctor Shane, before the raft sets sail again.

The Proud and Profane (1956)

Deborah, William, Thelma and Dewey Battle Effects of War

[8/10 · 3 April 2007]

An intriguing recounting of the tolls of war from a human standpoint without graphic depiction of battle scenes, this focuses upon the lives of four primary characters stationed in Guadalcanal and/or Bataan, in the South Pacific, during World War II.

"The Proud and Profane" (Paramount, 1956) studies psychological aspects of its characters: Lieutenant Colonal Colin Black (William Holden in a belligerent role), Lee Ashley (Deborah Kerr as a determined force), Kate Connors (Thelma Ritter as a no-nonsense nursing supervisor), Eddie Wodcik (Dewey Martin as an innocent serviceman) and Chaplain Holmes (William Redfield as an altruistic minister).

While Lee volunteers with Kate's Red Cross troop with an ulterior motive in mind, Colin finds himself drawn to her unattainable reserve. Kate provides common sense for Lee to abide by and also security for the nurses and wounded service personal in her charge, as well as for Eddie, whom she treats as her nephew.

Produced by William Perlberg, directed by George Seaton, with its screenplay by George Seaton, based on a novel by Lucy Herndon Crockett, this wartime drama pleasantly buffers the viewer from unwelcome scenes of direct enemy attacks. Filmed in Black & White on location in Puerto Rico, this affords the viewer arrays of tropical scenery and often contains aerial footage of panoramic mountain scenery, as well as its calm coastal plains and lagoons.

Its capable cast handles its material well, with poignant portrayals of those who serve and suffer...in more ways than one.

Blondie's Secret (1948)

This Time Around, Dagwood's the Only Dependable Employee!

[7/10 · 23 October 2006]

This time around, Dagwood's (Arthur Lake) the only responsible employee at Radcliffe Construction Agency--which doesn't sit very well with Blondie (Penny Singleton), who has thrice postponed the Bumstead's annual vacation because Mr. Radcliff (Jerome Cowan) couldn't do without Dagwood's expertise.

"Blondie's Secret" (Columbia 1948), Chapter 24 in this film series marks the first turn for Director Edward Bernds, who continues in this position for the duration. Written by Jack Henley, this one has the family looking forward to a week in a cottage at Lake Hokapoka.

Blondie and Dagwood both dream of vacationing at Lake Hokapoka, he literally, as visions of bathing beauties sharing his high dive brighten his nights, notwithstanding that Blondie would invariably feel jealousy toward any such notion.

But Radcliffe client George Whiteside (Thurston Hall) has other plans for the use of Dagwood's time than spending it away from the office. When he insists that Dagwood revise building plans according to ideas conceived by Dagwood alone, Mr. Radcliffe, naturally, must find a way to postpone the vacation yet again even though it's already September, and Alexander (Larry Simms) and Cookie (Marjorie Ann Mutchie) really ought to return to school.

Radcliffe employee Ollie Merton (Jack Rice) shares a plan with his superior: to sneak Blondie's luggage from the Bumstead residence so that they would have no provisions for any sort of vacation.

Neither have they provisions for meals should they remain in town, for Blondie has already cleaned the icebox. Well, perhaps if she and Dagwood were to shop for groceries the next day, she may consider a brief delay.

When Daisy, however, is alerted to a perpetrator's trespassing, she samples the trousers of his suit. A new plan develops to identify the culprit, which may lead Daisy into hot water with authorities.

Meanwhile, there is a counterfeiting ring going on at this same time. When the grocery store clerk informs Blondie of this, the gangster's moll (holding a purse containing faux moo-la) accidentally switches pocketbooks with Blondie, unbeknown to our heroine.

The confusion which follows leads to a series of odd moments, with different parties attempting to break into the Bumstead residence late the next evening. Blondie alerts Dagwood to the noises which she hears originating from downstairs. Cookie and Alexander hear them afterwards, and then do Daisy's pups.

(Why the by-now-six-year-old puppies don't catch on to intruders before the Bumsteads raises a question in itself. But, perhaps the bigger question regards the living room window, which is shattered around midnight. Early the next morning, when the family exits to await a taxicab, the same window miraculously heals itself, frame, panes, draperies and all.)

(Also, the mailman portrayed by Eddie Acuff is billed as "Mr. Beasley" here, and as "Mr. Johnson" the last time around.)

If "Blondie's Secret" contains some of the largest goofs in this series, it can be forgiven for its charms, which include Daisy's performance at the pound, the gangster's moll's trying to explain the seemingly deliberate mix-up, the radio announcer's reporting upon Daisy's plight, and the taxicab driver's intrigue regarding the Bumsteads' intention to visit Lake Hokapoka.

Blondie's Reward (1948)

Will Dagwood Fall for Another Scam and Face Demotion -- Again?

[7/10 · 23 October 2006]

This time around, Ed Vance (Frank Jenks) and Bill Cooper (Chick Chandler once again) intercept Dagwood (Arthur Lake) outside of a Realtor's office to attempt to swindle the funds which Mr. Radcliffe (Jerome Cowan) has entrusted Dagwood to bid a purchase option upon prime acreage, to offer swampland, thus potentially yielding an event which may lead to Dagwood's demotion to office boy.

"Blondie's Reward" (Columbia 1948), Chapter 23 in this series, marks the swan song of Abby Berlin as Director of the Bumstead film family. Written by Edward Bernds, this one is filled with the desires of various characters to achieve a "Reward" of sorts.

Mr. Radcliffe has the notion to impress wealthy industrialist John D. Dickson (Paul Harvey) with plans to construct a potential plant, thereby hoping to procure that cherished prime Real Estate, to cinch a tentative deal.

What Mr. Dickson wants is for his daughter, Alice (Gay Nelson), to dump her opportunist fiancé, for whom he has no use.

What Blondie (Penny Singleton) wants, in the meantime, is for Dagwood to use his days off from the office to varnish the wooden floors at the Bumstead residence. Dagwood obliges and begins in their dining room, inside which he varnishes himself into a corner and must escape through a window, which causes confusion after a police officer observes this.

Alexander (Larry Simms) and Alvin Fuddle (Danny Mummert), passing football with Alvin's college-age cousin Ted Scott (Ross Ford), are asked to vouch for Dagwood's person in a film relying upon a plot of mistaken identity.

What Alexander and Alvin want is a set of mail-order barbells, in order to practice athletics, as cousin Ted.

What Ted wants, when Blondie enlists him to drive to the Dickson estate, to retrieve Radcliffe's blueprints for Dagwood, is to impress Alice Dickson, which he does by putting her fiancé in his place although Ted is identified as Dagwood Bumstead.

When Mr. Radcliffe receives word of the social blunder, he pleads with Blondie to play along with his plan, which does not include that boxing match between Dagwood and Mr. Dickson, an unexpected visit by Alice to thank Dagwood for his "heroics," nor the return of those con artists.

"Blondie" films can serve as gems of escapism from daily life or from heavier fare--or from nonsense fare. Even as this series winds down, its later chapters may seem a bit more relaxed than their predecessors. But "Blondie's Reward" does hold its own, by proving that its creative staff still manages to add fresh ideas to this series.

The Ice Follies of 1939 (1939)

Lew Ayres Polishes Its Rigid, Icy Surfaces

[7/10 · 30 September 2006]

I really like the Lew Ayres character in "Ice Follies of 1939." His hapless "Take-it-on-the-Chin" wisecracker adds needed dimension to an abbreviated screen play of the "Rags-to-Riches Coney Island" plot.

There are really no great "Lessons to live by" here, as we may find in other films of this ilk and during this period. Seems as though MGM had decided to film a skating show featuring performers who do not act, and to modify it with a fill-in plot centering around actors who do not skate.

Why not star resident beauty Joan Crawford with the up-and-coming James Stewart and young veteran actor Lew Ayres? - seems the reasoning of the moment. After all, she had done struggling performers in the past, and so a behind-the-scenes show within a show ought to prove right up her alley. Joan could then do at least one customary weeping scene, while James could add his token "Yippie!" routine, which seems mandated of his 1930's appearances.

"Ice Follies of 1939" may work a little more readily than it seems to do if its plot weren't as overdone as it were during its release decade. On top of this, it's abbreviated with one shortly-cut scene after another and practically devoid of plausible emotion in the process.

We rarely find Joan and James sharing the same train of thought here; when she is up, he is down. We don't know why these two care for each other, but Lew generally conveys his character's feelings through his bouncing around a room--most of them very small here, at least for him.

In at least two regards, "Ice Follies of 1939" seems dramatically incorrect: first in respect to the studio contract handed to Joan's character and response to her announcement one year later. The film proceeds from there, launching from black & white into Technicolor, which signifies that 1939 may have lasted longer than 12 months, according to this.

On a couple of additional positive notes, this film contains interesting figure skating routines by "The International Ice Follies" and, especially, its male solo skaters. Some of its cinematography during the sequences on ice proves outstanding, affording the film audience with reflections and contrasts. And, of course, Joan Crawford looks radiant throughout in appearance and fashionable wardrobe.

Career (1939)

Midwestern Bank-Crashing Holiday Sudser

[8/10 · 30 June 2006]

When you hear, "Career," starring Anne Shirley, you may conjure images of an effervescent young lady who prepares to embark in the job force of 1939, while encountering standard obstacles of the day, to advance the plot, before you learn that this film concentrates upon nearly everything under the sun except her filling out employment applications.

An uncredited narrator introduces each of this 80-minute film's three parts, corresponding to the holiday of U.S. Independence Day, Thanksgiving and Christmas (eve), those which Ray Cruthers (John Archer) returns from his research studies at Johns Hopkins University, in Baltimore, to his hometown of Pittsville, Iowa.

Part One (approx. 37 minutes) begins with a map of Iowa across the screen, complete with flowing water to indicate the Mississippi River, at the east, as we are told that Pittsville lies in the extreme southwestern corner, along the Missouri River. Much of Iowa's thriving agricultural economy (even in this 1931 setting) is described with introductory visuals, before "Career" opens at the community's Independence Day festivities, at which Mayor Clem Bartholomew (Samuel S. Hinds) delivers his July 4th speech.

When two town ne'er-do-wells, the drunken Mudcat (Leon Errol) and Deacon (Raymond Hatton), debate Clem's office tenure, they stumble into the shoppe of Stephen Cruthers (Edward Ellis), to seek clarification, at which time they stumble across a set of secret old letters, which advances the plot.

Mrs. Amy Cruthers (Janet Beecher) already knows about them but upholds her dignity. Everyone in town somehow knows about them--or learns of their ramifications somewhere along the line. But, the letters aside, Ray Cruthers (John Archer) makes his entrance from Baltimore, to the open arms of Sylvia Bartholomew (Anne Shirley), the daughter of the Mayor/Banker, who happens to have a previous engagement, with Rex Chaney (Charles Drake), to view the evening's fireworks.

Sylvia and her brother, Mel Bartholomew (Maurice Murphy), who rarely appear together in a scene, form an odd alliance with Ray Cruthers in spite of the fact that their fathers, Clem Bartholomew and Stephen Cruthers stand at odds over a long-running rivalry.

Mel Bartholomew, meanwhile, often hits the bottle, much to the dismay of his fiancée, Merta Katz (Rowena Cook, billed as Alice Eden), the daughter of town drunk Madcat.

Madcat possesses a genius to hide beneath a bushel; while he is often seen not feeling much pain, along with Deacon, he has invented an automatic gift wrapper, which Ben Burnett (Harrison Greene) operates at his restaurant/malt shoppe.

When one of Pittsville's drunkards becomes injured in a July 4th accident, Ray Cruthers rises to the occasion.

Hence, as plenty of story lines and subplots are transpiring here, it is up to Ray to decide whether to continue upon his research at Johns Hopkins, or to take on a $300 per week career at a New York City hospital, which he has been offered. An undecided Ray consults his parents, as well as his intended, Sylvia.

Part Two (approx. 23 minutes) commences with the narrator's discussing Thanksgiving and setting this day upon November 26th, 1931, at which point Ray returns, once again to Sylvia and her sleek wardrobe (of styles much more reminiscent of 1939 than 1931 and Park Avenue rather than Pittsville), but Anne Shirley looks really nice throughout.

On Thanksgiving night, the townsfolk wage mob scenes with a run on the bank, rumored to be closing. By now, the contents of those secret letters (from an unseen Adele) are known to all, as well as Adele's identity and her history. Stephen Cruthers firmly establishes himself as "the voice of reason," as Mayor Clem Bartholomew is from now on seen in his capacity of Bank manager.

Thus, Sylvia, Merta and Amy are caught in alliance battles and are forced to take stands and make decisions, which may alter the outcome of civic life.

Part Three (approx. 20 minutes) follows additional narrative and visuals, heralding in Christmas Eve, 1931, and Ray's third return via train to Pittsville.

Little progress has been made in-between-whiles. It would seem that shopping, banking, decision-making are reserved for the holidays here.

Sylvia, in long white ermine, must decide between Ray, Rex or neither, while Merta must decide on a life with or without Mel, who must decide whether or not to ease on the bottle, as must Mudcat, while Amy and Stephen face additional problems relating to the rifts with Clem and townsfolk alike.

Long story short, this script by Bert Granet and Dalton Trumbo, based upon the Philip Stong novel, actually does attempt several sub-plots, which, although working well together in a sudser fashion, may cause one to ponder what "Career" is all about, at least in succinct fashion.

But RKO-Radio Pictures has done well in casting Anne Shirley and company, particularly Edward Ellis and Samuel S. Hinds as Pittsville patriots, as well as Janet Beecher in a truly sympathetic role.

Rowena Cook, John Archer, Maurice Murphy, Charles Drake, along with Miss Shirley, are effective as the youth of 1939, again set in 1931 here.

And Leon Errol, Raymond Hatton, Harrison Greene plus Hobert Cavanaugh (as Jim Bronson, an investor) provide plausible and colorful townsfolk characters.

So, even though "Career" is set in southwestern Iowa in 1931 and somehow lessens its rural flavor from scene to scene, its writing rates above the average programmer, containing philosophies of liberty and justice, as well as dwelling upon the virtue of sympathy.

Thanks a Million (1935)

Excellent Musical in Political Arena with Two-Fisted Wisecracking

[9/10 · 12 March 2006]

A fine-tuned crooner, two dancing sisters, a fast-talking agent, a gin-soaked gubernatorial candidate and an unemployed orchestra troupe collide with a pack of corrupt officials in this well-honed production, often classified as "the greatest political comedy of the Great Depression."

But, in a broader sense, it may well rank as the most entertaining political satire in film history.

Thanks a Million (20th C Fox 1935) would become an early Musical for the newly-formed 20th Century Fox Studio, for which crews constructed Sound Stage #16, a theatre set, to film "a show within a show," casting scores of extras as audience members.

This films's four leading characters arrive from varying entertainment backgrounds.... Dick Powell, a major star of Warner Bros. musicals, as 42nd Street (1933), Gold Diggers of 1933 (1933), Footlight Parade (1933) and Twenty Million Sweethearts (1934), had performed as a tenor in his early career.

Ann Dvorak, a child star in the Silents, had achieved recognition as a leading lady at Warner Bros. In Three on a Match (1932), she, Joan Blondell and Anne Shirley are billed above Bette Davis Warren William, Lyle Talbot, Humphrey Bogart, Allen Jenkins and Edward Arnold.

Fred Allen, host of several radio programs between 1932 and 1949, including "Town Hall Tonight" and "The Fred Allen Show," would arrive from NYC for his first major feature film roll here.

Patsy Kelly, a vaudeville dancer/comedian from childhood, had arrived in Hollywood four years earlier, to co-star with Thelma Todd in a series of comedy short films.

"Thanks a Million" introduces Eric Land (Dick Powell), Sally Mason (Ann Dvorak), Phoebe Mason (Patsy Kelly), Ned Allen (Fred Allen) (Actually should/be Ned "Lymon"), along with Tammany (Benny Baker) and David Rubinoff and the Yacht Club Boys (Charles Adler, Billy Mann, George Kelly, James V. Kern) in its opening scene, aboard a bus being chauffeured (by Herbert Ashley) through a downpour.

As the vehicle's radio receives an instrumental version of the song "Thanks a Million," performed by Paul Whiteman and his Orchestra, Ned challenges the Bus Driver that his troupe could outperform (after a little edging by Phoebe).

As the band prepares, Sally learns from Eric that he hails from this state, which they're crossing en route to New York City, and once swore that he wouldn't have returned without achieving success as a singer.

But soon, they're stranded. During a stop over, Ned schemes employment with Mr. Grass (Andrew Tombes) and other Commonwealth Party's gubernatorial candidate's election committee members to embellish the ticket with entertainment coinciding with speech-making.

This plan partially backfires on the heels of Sally and Phoebe's song and dance performance of "Sugar Plum" and Eric's spectacular delivery of "Sittin' on a Hilltop," no one would stay to hear Judge Culliman (Raymond Walburn).

At a celebration party, with Eric, Phoebe and the Yacht Club Boy's singing a politically flavored rendition to the tune of "Three Cheers for the Red, White and Blue," Ned enters to douse their enthusiasm, delivering an ultimatum from campaign headquarters, thereby redirecting any plans from New City on.

But the plot thickens as Judge Culliman arrives at the next venue not feeling much pain. Enter politicians from the Commonwealth Pary: Mr. Kruger (Alan Dinehart) Maxwell (Paul Harvey), Mr. Casey (Edwin Maxwell), plus Mrs. Kruger (Margaret Irving), who form agendas of their own.

Before the election is decided, more tunes fill the air: Eric and the Yacht Club Boys team for the magnificent "Sittin' on a Hilltop."

Gov. Wildman's (Charles Richman) reelection committee hires Paul Whiteman and his Orchestra, featuring Ramona and the King's Men, to perform "New O'leans."

And with David Rubinoff at his side on violin, Eric delivers the title song, "Thanks a Million," which would go on to become one of Dick Powell's hit records, as well as signature song.

Patsy Kelly and Fred Allen keep the wisecracks coming through to the ending, a scene which ranks among the most highly implausible endings in film history.

But the very premise of "Thanks a Million" is political farce, so this makes it all the more memorable.

Joy of Living (1938)

Plucking Petals with Irene and Douglas Jr.

[8/10 · 11 March 2006]

The elegant and circumspect soprano Irene Dunne, the charming and sophisticated Douglas Fairbanks Jr., the vivacious and witty Lucille Ball, a host of character performers, including Alice Brady, Warren Hymer, Eric Blore, Phyllis Kennedy AND Franklin Pangborn, with a score by Jerome Kern and Dorothy Fields... What more talent could a comedy require to fulfill the screen classics' mold?

"Joy of Living" (RKO-Radio 1938) contains all of this and more, considering the wisecracking antics of Margaret Garret's (Miss Dunne) Assistant, Harrison (Jean Dixon), who helps to advance this film's plot whereas most other characters--including that of leading man Dan Brewster (Douglas Jr.)--are written without very much in the way of dimension.

Here, it is (quite naturally) up to Irene to serve as Moral Center and Douglas (with able assistance from Miss Dixon) to advance the story of Musical stage star Margaret Garret's decision to continue along with her overly-demanding career or to sail away in a carefree lifestyle.

Whether or not she may balance both entities isn't an option granted to Margaret Garret, although Irene would play the character as responsible as the script allows.

Sometimes one wonders why Miss Dunne would pass on a script like "Follow the Fleet" (RKO 1936) - an Irving Berlin scored picture - in order to embark upon a lesser Musical later on. One may speculate that she has already "Been there, done that" with Randolph, Fred and Ginger in "Roberta" (RKO 1935) - also a Jerome Kern scored film; perhaps for the choice of songs, perhaps to co-star with Douglas?

In many another film, Irene Dunne conveys to an audience her characters' motivations and decision-making processes, enriching her pathos therein. Here, she explains to her Assistant (Miss Dixon) her reasons for desiring to support her family (which hadn't much in the way of material wealth before she arose to Broadway fame) and toward her feelings of the moment for Dan, usually when she loves him not.

Margaret's family consists here of parents, Minerva (Alice Brady) and Dennis Garret (Guy Kibbee), sister and brother-in-law Salina (Lucille Ball) and Bert Pine (Frank Milan) and twin toddler nieces, Dotsy (Dorothy Steiner) and Betsy Pine (Estelle Steiner).

Minerva cherishes Margaret's theatre wealth to purchase antiques, Dennis to stock up on alcohol, Bert to sponge idly. Salina, too, depends entirely upon her sister but also serves as her understudy, publicly complaining about the importunity to appear on stage, yet privately gloating over the opportunity to share Margaret's illustrious living quarters.

"Joy of Living" opens lavishly with Margaret, attired in exquisite white gown with a dozen or so tuxedo-clad escorts on hand, to serenade "What's Good About Good Night?" as her show's finale. After being "received" by family and admirers in her cramped dressing room, she exits the theatre to be hounded by a mob of autograph seekers, who uncontrollably begin to usurp her wrap and accessories.

Enter Dan Brewster, to whisk Margaret to the safety of his limousine; yet, from there, upon her appreciative rejection, he begins to stalk the star for his own purposes, which include his attempt to free her of her responsibilities to career, fans and family.

Along the way, Margaret cleverly ushers Dan to a police station, to have him arrested although he does not seem to mind in the least, laughing off this action as he does most throughout the film. According to this script, she could spare his incarceration if only in the event that she would volunteer to serve as his custodian. Okay.

Film quality ranks a little below standard for cinematography in certain scenes although overall fine. Sound quality, however, leaves plenty to be desired.

In short, it's noisy. For one thing, its score wouldn't have made Jerome Kern or Dorothy Fields famous of its own merit. There is much cacophony on the home front from the twins and other distractions, as well as that duck quacking going on.

It's supposed to be a distracting setting in order for Margaret to need a reason to escape if she likes. But if you listen at low volume, then you may miss a deal of conversation involving our soft-spoken stars.

Douglas appears in four comedies in 1938, "Joy of Living," the first and longest. He plays his leading roles in the other three a bit more seriously than as Dan Brewster, here: as Jim Trevor in "The Rage of Paris," at Universal, co-starring the lovely Danielle Darrieux; as Chick Kirkland in "Having Wonderful Time," back at RKO, opposite the glamorous Ginger Rogers; and as Richard Carleton in "The Young in Heart," at United Artists, along with the perky Janet Gaynor, in her last feature film starring role.

Irene, however, makes her sole 1938 feature appearance in "Joy of Living," which she sandwiches between two other RKO productions, "The Awful Truth" (1937), opposite Cary Grant, and "Love Affair" (1939), co-starring Charles Boyer.

Alice Brady marks one of her last appearances in "Joy of Living," with a mere two to follow before her untimely passing. Actually, Miss Brady and Miss Dunne share an age difference of six years, a shorter span than the difference between Irene and Douglas, one of her youngest leading men in a Romance.

So, whether or not you may consider "Joy of Living" a film classic, it still serves as a gem in the Golden Age archives because of the elegant and circumspect soprano Irene Dunne, the charming and sophisticated Douglas Fairbanks Jr., the vivacious and witty Lucille Ball, a host of character performers, including Alice Brady, Warren Hymer, Eric Blore, Phyllis Kennedy AND Franklin Pangborn, plus a score by Jerome Kern and Dorothy Fields.

Blondie for Victory (1942)

Blondie and Dagwood in Uniform, addressing the War Effort

[7/10 · 10 March 2006]

Some ask why Blondie films are not titled instead with Dagwood, who carries much of the action and comedy upon his shoulders throughout this series. Other than finding their root within the Chic Young comic strip bearing her name, these films generally focus upon situations as viewed through Blondie's perspective; it is she who defines each chapter thesis, to provide resolve for the satisfaction of one and all. In this, perhaps the most dated series entry, Blondie's task at hand seems most challenging: to present patriotism on the home front while simultaneously determining responsibility within the roles of lay citizens.

While Hollywood would rise to the occasion of cementing the entertainment industry's roles during the World War II Effort, with actors' enlisting, celebrities' campaigning to sell war bonds, entertainment troupes' traveling to perform with the fox hole circuit, as well as establishing USO Canteen gatherings, "Blondie for Victory" would become this series' opportunity to present a statement for this noble cause.

Here, with a large ensemble of supporting players, we experience a first-hand account of a collection of female military and nursing uniforms exhibited during this chapter's Fashion Show, narrated by Mrs. Holbrook (Nella Walker), and climaxing with Blondie's (Penny Singleton) modeling that of the "Housewives of America." Miss Singleton appears stunning in a dazzling uniform dress, apparently royal blue with red and white accents (although shot in black and white), which she sports throughout this chapter.

"Blondie for Victory" (Columbia 1942) begins its [71 minutes] at the J.C. Dithers Company after most of Mr. Dithers' (Jonathan Hale) office staff has become enlisted and is replaced by members of his elder generation, written--quite unfortunately--as incompetents, whom J.C. cannot readily abide. Because of this and the fact that Mrs. Dithers (even here not yet introduced to the screen) has taken in soldiers as boarders, J.C. enlists Dagwood (Arthur Lake) to conduct business at the Bumstead residence.

Often, we see somewhat implausible events transpiring in Blondie films. Here, in series' installment #12, the Babysitter (Renie Riano) overreacts to Dagwood's returning to assist Cookie (Majelle White). Why wouldn't the Babysitter know that Cookie has a father? Blondie often takes matters into her own hands without consulting Dagwood, while expecting his approval, but would she not have explained anything to the Babysitter?

Meanwhile, Baby Dumpling (Larry Simms) and Daisy and her pups assist Alvin Fuddle (Danny Mummert) in canvassing the neighborhood to collect for a fund drive.

And the Housewives of America, who elect Blondie, naturally, as their chairwoman, gather at the Bumsteads, to witness Dagwood's treading into hot water with the Babysitter, as well as with Alvin, and also with Mr. Dithers, who expects Dagwood to conduct business matters. Comedy fills the air as Blondie attempts to assemble the Housewives of America into formation. Their purpose, above marching and practicing First Aid on Dagwood, is purportedly to keep watch over the dam by night.

And not only does J.C. Dithers, but also do the husbands of the Housewives of America object to their dismissing domestic tasks in the name of patriotism.

After all, these husbands, Dagwood and J.C. included, are portrayed as ignorant to surviving without spousal assistance. When Dagwood hosts Mr. Dithers for dinner, he fumbles the difficult task of opening one can to share between them, leading J.C. to decide to assemble the husbands, to formulate a plan of action. Watch for a blooper in this scene, by keeping an eye on the calendar, which magically changes months from April to May, upon the wall behind Dagwood.

At the meeting of the helpless husbands, a hapless recruit shows to complain about being reared on a farm by aunts and sisters and not receiving male bonding in the service. Pvt. Herschel Smith (Stuart Erwin) gives J.C. an idea, which complicates matters further. Most of the remainder of this film centers around the site of the dam, in the great outdoors, after dark. Mr. Crumb, former Mailman (Irving Bacon), now keeps watch over the water levels, while Blondie and her troops scout an alleged perpetrator (Charles Wagenheim), believed to plan to explode the reservoir.

More trouble ensues when Pvt. Smith's Sergeant (Edward Gargan) arrives to deploy soldiers, causing a chase through the woods.

Ultimately, Blondie and Dagwood gather with representatives of Housewives of America before the Colonel (Russell Hicks), to resolve the roles of--not the woman, not the man, but--the parents of young children with the War Effort.

P.S. "Blondie for Victory" is written by two females, based upon a story by a third, so nobody could blame the actors too much for the use of biased opinion.

Finishing School (1934)

Iron Fists and Velvet Gloves at Crockett Hall

[9/10 · 26 February 2006]

Think about it: a Frances Dee, Ginger Rogers, Billie Burke, Beulah Bondi, Anne Shirley, Jane Darwell, Bruce Cabot film banned by the Catholic Church in 1934 over a theme treated as considerably tame within a matter of decades.

Finishing School (RKO-Radio 1934), produced in January and February of that year, opens with a frame of an application accepting Virginia Radcliff (Frances Dee) to Crockett Hall Finishing School, this dated September, 1933.

For some reason, Mrs. Helen Crawford Radcliff (Billie Burke) neglected to send away her now-young-adult daughter to her alma mater until she decides to embark upon travels with Mr. Frank S. Radcliff (John Halliday), who appears rarely here, while being granted no say in disobeying his scatterbrained society matron, a quintessential of Miss Burke's film career.

Upon her arrival at snobbish Crockett Hall (This institution is thusly billed as a character reminiscent of the Hawthornian Gothic novel), Virginia complaisantly agrees to heed the do's and don't outlined by stern and proper Miss Van Alstyne (Beulah Bondi, made up to appear elder than her current age and less sympathetic than her typical characters although Miss Bondi conveys a degree of likability in developing her character here).

When Virginia is introduced to her new roommate, Cecilia "Pony" Ferris (Ginger Rogers), Virginia expresses surprise that Cecilia, along with the "in-crowd," Ruth Wallace (Marjorie Lytell) and Madeleine Kelly (Adalyn Doyle) not only know the ropes, but pull them at every possible turn.

Young Billie (Anne Shirley, billed as Dawn O'Day) cries to fit in with this "mature" set, but remains largely overlooked (but accepted as a pal to Cecilia--a role which Miss Rogers fans come to admire).

Cecilia sticks up for Virginia, who--to the dismay of Ruth and Madeleine--breaks the bottle of liquor which she had smuggled into Crockett Hall with the notion to conform to Miss Van Alstyne's edict.

But after Virginia accompanies Cecilia and her "Aunt Jessica" (Irene Franklin) upon an outing to the city, the tables turn upon her desires to choose "right" over "wrong."

As she attempts to escape the clutches of a forcible escort, a hotel night busboy, Ralph McFarland (Bruce Cabot), rises to the occasion of returning Virginia unto Crockett Hall, at which point both she and Ralph tread into steaming puddles back at the Finishing School campus, for doing what the viewer realizes is perfectly acceptable conduct.

Dr. Ralph McFarland, an intern at a city hospital, exchanges barbs with Nurse Maude (Jane Darwell) and a milkman in this script resplendent with fast-paced wisecracking (also a hallmark of Ginger's character here) throughout much of this film, which efficiently segues into a subliminal study of Miss Dee's character, whose very mind proves a battlefield between right and wrong in near "Capraesque" fashion.

P.S. In a dormitory scene, Ginger also performs a song which she has reportedly composed: "Never Hit Your Grandma with a Shovel."