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The Holly and the Ivy (1952) – A Movie Review

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Here’s one last Christmas movie review for the season.  It’s a small British film from 1952 with Ralph Richardson cast as Reverend Martin Gregory, a parson in a small Norfolk village.  He is recently widowered and lives with his older daughter Jenny.  His younger daughter Margaret lives in London working as a fashion journalist and his son Michael is in the British Army.  Jenny is in love with an engineer named David Paterson but David has a job offer that would send him to South America for five years.  But Jenny says she cannot leave her aging father alone and refuses to even tell him about her love because then he would sacrifice his needs for the sake of her happiness.

The siblings will be returning home for Christmas along with two elderly aunts and a friend of the family.  The drama turns on the tensions arising out of the grown children’s fears about what they believe are their father’s intolerant religious principles.  The younger daughter lives in London to hide the existence of her illegitimate child from her whole family so that they wouldn’t be burdened with hiding this secret from their father.

During the course of the Christmas visit all these secrets come out and Martin realizes that his manner has made him unapproachable to his children thereby isolating and harming them.  He has frank discussions with his visiting son and daughter and does his best to convince them that he is not an inhuman religious fanatic but a man who loves his children and is not unrealistic about his expectations for human beings and their problems.  And once the secrets are exposed a resolution of the practical problem of Martin’s household needs is very satisfactorily found.

Ralph Richardson’s Martin is quite moving in his portrayal of a man struggling to connect with his children through the distance that his station in life has created.  He shows compassion and humility when his children relate the tragedies that have plagued them and he defends the life affirming nature of his faith and rejects the idea that he has not faced similar problems in his life.  He shows himself a warm human being and dispels the illusion that he has allowed his children to build of him as some kind of caricature of an Old Testament prophet summoning down lightning on the heads of his erring descendants.

All the actors perform admirably including the more ancillary characters like David, the aunts and the family friend.  The script is warm and intelligent and the plot plays out in a streamlined eighty minutes.  In fact, I could have wished it had been a little longer.  As opposed to the bleak cinema that Britain produced in the 1960s this movie, based on a play by Wynyard Browne, is life-affirming and ultimately optimistic.  Highly recommended for Christmas time but really enjoyable at any time of the year.

The Inside Baseball of Film Versions of “A Christmas Carol” – Part 2

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A couple of years ago, in the first installment of this essay, I wrote about the plot devices that were added in the 1951 and 1984 movie versions that weren’t written in Dickens’ novella.  And those two versions are my favorites.  The actors playing Scrooge in each case do a memorable job with the part.  And the productions are very good.

There are several other versions that I have watched several times.  There is a musical version with Albert Finney as Scrooge which has its points.  And the 1938 movie with Reginald Owens as Scrooge is acceptable.  But I’ve never cared for his acting style in the part.

But recently a friend told me he regards the 1938 version as his favorite.  Well, tastes differ so I just chalked it up to that.  But when this came up again during a conversation I asked if he thought Owens was the better Scrooge.  He said no.  What he liked about the 1938 version was the greater screen time given to the Cratchit family.  He thought that Gene Lockhart as Bob Cratchit and the rest of the family made the movie.

Since I had never analyzed the movie in that sense, I decided to give it another viewing.  In the 1938 version Gene Lockhart’s wife Kathleen plays Mrs. Cratchit and his daughter June Lockhart played Belinda Cratchit, one of the daughters.  Watching the various scenes they are in, it’s apparent that the Cratchit component of the story has been amplified.  The Christmas dinner scene is quite long and includes much more detail than any of the other versions.  And several other additional scenes involve Bob, Tim or Peter Cratchit interacting with either Scrooge or his nephew Fred.

And I noticed that Scrooge’s part had also been modified in this version.  Instead of the Ghost of Christmas Past bringing Scrooge to see his corruption by money he stops the ghost after the earlier Fezziwig scene.  Considered in the sense of time on the screen, the Cratchits are actually a larger part of the movie than Scrooge.  I think that is why someone might prefer this version.  It minimizes the amount of time spent with Scrooge.  So, if you aren’t primarily interested in Scrooge’s transformation then this would be the version that you would be drawn to.

Looked at in that light I understand the opinion.  But even though I will admit that the Cratchit family scenes in this version are attractive and enjoyable I have to go back to the story of Scrooge.  That is the center of the story and the reason for the action.

But it does bring up another trivia question.  Which is the best Cratchit family?  The most pitiable Tiny Tim is the one in the 1984 version.  He looks like he may keel over at any moment.  But for the rest of the Cratchit family including Bob I’d pick the ones in the 1951 version.  They seem the most authentic.

One thing that I notice is that no matter how many times I watch the various versions of A Christmas Carol I’m still affected by the emotions.  The Cratchits’ sorrow over Tim and Scrooge’s contrition and almost manic joy at being given a second chance always warm my heart.  Obviously, I’m over-sentimental and probably associate the feelings I felt when seeing these movies in my youth.  But whatever the reason they still work after all these years.  This is a tribute to Dickens’ genius but also to the culture that honored the humanity embedded in the Christmas spirit.  Peace on Earth, good will to men.  Or as Tiny Tim says, “God bless us all, everyone.

Mrs. Miniver (1942) – An OCF Classic Movie Review

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Mrs. Miniver is an American film about the beginning of World War II in Britain.  Greer Garson is Mrs. Kay Miniver, wife of well to do, British architect Clem Miniver played by Walter Pidgeon.  They live in a rural area outside of London on the Thames River where they enjoy a happy home life with their three children and the requisite maid and cook and beautiful home.

Their son Vin is just returning from Oxford while the two younger children are a boy and girl who look to be about six and ten years old respectively.  Early in the story we meet Carol Beldon, granddaughter of Lady Beldon, the local aristocrat who presides over the social world of the proper residents of their town.  Of course, Vin and Carol fall in love.  This sets the stage for the dramatic tension that defines the story.

This is 1939 and war has just been declared.  The realities of this slowly encircle the beautiful carefree life of the Minivers and then pummel it like the nightly bombings pummel their town.  Vin and Carol marry before he enlists in the Royal Air Force.  In a frank discussion Kay and Carol talk about acknowledging that it is very likely Vin will be killed in the war.  Carol is especially adamant that this reality makes her determined to charge with meaning and emotion their brief life together before his departure for active combat.

One of the most affecting scenes in the movie has Kay and Clem huddled in their backyard bomb shelter with their two young children during a bombing raid.  The children are trying to sleep in a small bunk bed while the parents sit up and try to distract themselves with chit chat about a book they enjoyed as children, Alice in Wonderland.  But the bombing runs keep getting closer and closer and finally the concussions are almost on top of them and the children become hysterical and their parents cradle them in their arms and try to sooth them while hell is unleashed around them.  Finally, the shelter door blows open and we realize that the bombs have been landing all around their house.  Finally, the attack ebbs into the distance and they sit dazed but alive.

Vin is given leave and he comes to visit his family.  He and Carol are given a room to stay in in the damaged home of his parents and they go to a local flower show where Carol’s grandmother’s prize roses are competing against a rose named the Mrs. Miniver by a local friend, the train station master.  At the suggestion of her granddaughter’s husband Lady Beldon is grudgingly convinced to allow her rival to win the grand prize.  And this happy moment is quickly followed by news of a massive air raid coming and Vin’s recall to his flight wing.

Carol and Kay drive him to his base and on the return trip home the two women are caught in the wreckage of an aerial dogfight and some machine gun bullets penetrate the car.  Carol is badly wounded and Kay rushes her home and calls for medical help by phone.  But shortly afterward Carol dies and Kay cradles her lifeless body and cries inconsolably.

In the last scene of the movie the townspeople are gathered in the heavily damaged village church and the minister preaches a sermon recognizing the deaths and injuries of so many of the parish including Carol and the station master who won the rose contest.  But he paints the war as a sacred duty to preserve their freedom and provide hope for a return to the happy lives they had before.

In many ways Mrs. Miniver was a war propaganda movie to prepare the American public for the realities of the war that the United States had just joined and to reinforce the bonds of friendship between the United States and England.  The Nazis, in the person of a German paratrooper are painted in a very negative light.  And the bombing campaign was meant to show Americans that fighting the enemy in Europe instead of at home was a great blessing for us.

Greer Garson’s portrayal is very effective.  In fact, the whole family is extremely likable and they naturally draw the audience’s sympathy at each stage of the film.  We are shown them both in their carefree earlier lives and in the midst of great tragedy and they always attract our good feeling for them.

My favorite scene takes place after Clem has been summoned by the local civil defense authorities to take his small motor boat down the Thames River.  He learns that they are looking for volunteers to pilot their boats to Dunkirk to rescue the surrounded British Expeditionary Force in France.  While he is away Mrs. Miniver is captured by an injured German paratrooper and held at gunpoint in her own home while the German demands food and drink and a coat to help him avoid detection once he leaves.  Luckily, he passes out from his injuries and she is able to take his gun and hide it and call the police.  Shortly after, Clem returns from his mission, exhausted, filthy and exultant.  Kay welcomes him and lets him bath and go to bed to fall into an exhausted sleep.  When he wakes the next afternoon, he asks how things went while he was gone and she tells him all was well.  While talking to the cook about the breakfast that Clem wants, she reminds Kay that there isn’t any ham left because she gave it to the German paratrooper.  When Clem overhears this, he is outraged accusing her of lying when she said that things were quiet while he was away.  He says, “What if he had a gun?”  And she flippantly replies, “Oh I just took it away from him.”  Now seeing that she is playing with him, as she bends over to straighten out the bed sheets, he administers a loud slap to her butt.  Now those were the days.  I have often wanted to do that to Camera Girl when she sasses me but she isn’t as amiable as Mrs. Miniver.  Her revenge might be too painful to chance it.  And for that reason, I am especially fond of this scene.

As I said at the beginning this movie is in a sense war propaganda but it was also a way for the Americans to reflect on the shared sacrifices that would have to be made in a war that had been thrust upon them after the attack on Pearl Harbor.  I found the script and the acting to be honest and compelling.  I recommend this movie when you are in the mood for a World War II picture.

Lilies of the Field (1963) – A Movie Review

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Sidney Poitier stars as Homer Smith, a construction worker travelling West toward California who stops in a small town in Arizona because he needs water for his car radiator.  He meets some women working a small subsistence farm who turn out to be nuns who escaped from East Germany and are now attempting to build a chapel for their local Catholic parish of poor Mexicans and a few other locals.  He agrees to do some construction chores for them that they are obviously unqualified to perform but the next day when he tries to get paid they give him an egg and a cup of milk for breakfast and give him another list of chores to start on.

At this point he begins the endless series of disagreements with the Mother Superior who rather than wanting to pay him for the work he has already done is convinced that Smith, or Schmidt as she calls him, has been sent by God to build their chapel for free.  At several points Smith either prepares to or actually does leave the convent, but each time something inside of him makes him change his mind.  As he explains to one of the characters in the story, he had always wished he had the money to go to school to become an architect or an engineer.  He had always wanted to build something of his own design and as unreasonable as it is for him to be asked to build the chapel without pay, the challenge of the project is very attractive to him.

And we also see that as much as he and the Mother Superior butt heads over the project and as impolite and unappreciative of all his help as she is, he has admiration for her faith and courage.  And he enjoys the friendliness and innocence of the other sisters and he spends his free time teaching them English and teaching them to sing some of the Baptist spirituals that he knows from his childhood.  The theme of the movie is a song called Amen which is lip-synched by Poitier onto the vocal by the song’s writer Jester Hairston.

And the story unfolds with Smith finding a part time job with a local construction company that allows him to provide the penniless nuns with the first decent meals they’ve probably had in years.  And Smith drives them to the Catholic Mass in town where the local priest performs an outdoor Mass out of the back of his camper.  There the sisters introduce Smith to the congregation and he is able to get a good breakfast at the local diner from Juan (played by Stanley Adams, a familiar face from the Twilight Zone and Star Trek).

But the dream goes bust when the Mother Superior’s efforts to obtain donated construction materials from wealthy individuals and organizations fail completely.  When Smith asks her about the supplies she explodes in a burst of ungrateful abuse and he quits and drives off.  Now the sisters must walk the miles along the desert highway again on Sundays and the congregation notices that Smith is missing.  Despair descends on Mother Superior and all seems lost.  But three weeks later as they are walking to Mass, Smith appears in his car and drives them to town.  The congregation is so happy to see that he has returned that the Mexican laborers donate adobe bricks that they have made and even offer to assist in the construction labor.

But first they must overcome Smith’s stubborn determination to build the whole chapel himself.  A funny scene is presented where a dozen laborers are sitting around watching Smith lug heavy adobe bricks up a ladder to place them on a wall in the blazing sun.  It is obvious that he is almost exhausted by the exertion and the heat.  Finally Juan brings a brick over to the wall where Smith is working.  Juan innocently states that if he doesn’t want the brick he can walk over it and climb up and down the wall with a brick of his own.  When Smith finally takes the brick the rest of the laborers start carrying bricks over.  But soon they start carrying the cement and setting the bricks themselves.  Pretty soon Smith walks away in frustration as his building is being built by others.

But things work themselves out.  The laborers and the sisters have no real knowledge of how to design a building and pretty soon Smith rescues them from the Tower of Babel that German nuns and Mexican laborers arguing about the placement of windows represents.  Smith takes control as the superintendent and the designer.  He finds himself respected and valued by the Mother Superior, the sisters, the parish priest, the townspeople and is even offered a supervisory job at the construction company that he works part time at.  And the completion of the chapel is a bitter sweet event for the sisters and Smith.  But you can see that he has learned what he is capable of and that it is time for him to move on.  So even though the Mother Superior has plans to show him off the next day at the first Mass and then to try and rope him into further construction projects; a school, a hospital; Smith knows that he will leave that night.  But to make the parting easier he starts another one of their singing lessons.  He sings the verses of Amen while the sisters sing the chorus and he sings the song right out the door and over to his car and finishes it off as he drives away.

This is a sentimental movie with its heart in the right place.  Poitier is a funny likeable character who sells his part admirably.  Mother Superior is played as an overbearing authoritarian who hides her fear behind a gruff mask of commands and scorn.  The other nuns are well played.  Stanley Adams as Juan, the philosophical agnostic who hedges his bets against Hell by helping Smith and the nuns in their project, is generally amusing.  The scenes juxtaposing the African American from the south and the German nuns trying to find common ground around religious music is genuinely charming.  This is a nice small movie for Christmas or Easter or any time of the year when you want something heartwarming but relatively lighthearted.  Recommended.

The Third Man (1949) – An OCF Classic Movie Review

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If someone asked you to name a movie starring Joseph Cotten and Orson Welles, I suppose your answer would be Citizen Kane.  Well, here’s a different answer, “The Third Man.”  And here’s another difference, Welles isn’t the filmmaker here, he’s just a supporting player.  Of course, being Orson Welles in 1948 means that “just” has a little more to it than just “just.”

Joseph Cotton is Holly Martins an American writer of dime novel westerns.  He arrives in Vienna which at the time is an occupied city divided into sectors controlled by the post-WWII victorious allies (the United States, Britain, France and Russia).  This is narrated for us along with the realities of such a conquered place.  The locals survive by supplementing their impoverished legal trades with black market transactions on everything from cigarettes to tires to adulterated pharmaceuticals.  Holly has come to Vienna to work for his childhood friend, Harry Lime (Orson Welles).  It is never explained what exactly he was supposed to be employed as but that quickly becomes an academic question.

When Holly reaches the building where Harry lives, he’s told by the building porter that Harry was run over by a truck and killed a day or two before.  Holly goes to the burial and there we see the film’s other main characters although not all of them are introduced.  After the funeral Martins is approached by two British military policemen, Major Calloway, played by Trevor Howard and Sergeant Paine played with great cockney panache by Bernard Lee.  It turns out Sergeant Paine is a literary fan of Matins’ novels and indirectly facilitates the plot by introducing Martins to a literary society in Vienna that will bankroll Martins’ travelling expenses in return for a lecture on modern literature, a subject with which Martins is sorely unfamiliar.

But what Calloway and Paine are really interested in is warning Martins to leave Vienna to avoid the fallout from the police investigation into the criminal activities of his friend Harry Lime.  Martins is insulted by the statement that his friend was a criminal and decides to stay in Vienna to find out what really was the case with his friend and somehow clear his name with the police.

Through a meeting with one of Harry’s friends Holly finds out about Harry’s girlfriend Anna and he goes to see her to try and get the true story from her.  As Holly and Anna talk about Harry, we find out that she is like Holly an idealistic individual that Harry charmed and dragged into his dangerous but exciting life.  We begin to suspect that the police are right about Harry.  And together Holly and Anna discover some strange details about Harry’s death.  The building porter reveals to them that when Harry was run down by the truck, in addition to the two friends of Harry’s that stayed to give testimony to the police about the accident there was a “third man” who did not stay but rushed away.  And the porter’s story differed from the account that Holly was given by Harry’s friends, in ways that could only be obvious lies.

As the couple begin to ruffle feathers there begins some fallout.  Anna is visited by the police, including Calloway and Paine.  It turns out that she has a passport that Harry manufactured.  And because of this she will have to be deported to the Russian zone for eventual deportation to Czechoslovakia.  Further fallout occurs with the subsequent murder of the porter.  And finally, one of Harry’s “friends” threatens Holly if he continues looking into Harry’s death.  When Holly defies him, some thugs pursue Holly through the nightscape of bombed out Vienna.  He escapes and ends up at Anna’s apartment where we find that he is falling in love with her.  But just when the movie is drifting away from Harry, Anna’s cat down on the street below her apartment signals that a stranger is lurking and when a window in one of the adjoining apartments flashes on, it reveals that the lurker is Harry Lime.  Holly runs out to catch him but Lime escapes into an entrance to the sewers of Vienna.

And now Holly contacts Harry’s friends that he knows Harry is alive and wants to meet him in a public (safe) place; a giant Ferris Wheel nearby in the city.  And sure enough, Harry shows up and they get into one of the cars of the wheel and talk.  And now Holly learns the truth about Harry.  He is the criminal mastermind who runs a stolen penicillin racket.  Holly tells him that the police have discovered that a medical orderly that was in on the penicillin racket was murdered to provide Harry’s “body” for his faked death.  When Holly confronts him with the deaths that have occurred from the diluted drugs he sells Harry reveals just how callous and Machiavellian he truly is.  Harry reiterates his desire to have Holly join him in his criminal enterprise but he also clearly warns him that bringing in the police would be a very dangerous thing for Holly to do.

Holly decides that because of Harry’s poor treatment of Anna he will make a deal with Calloway to allow them to catch Harry in exchange for Calloway fixing Anna’s deportation problem.  When Anna finds out that her freedom is being purchased at the cost of Harry’s betrayal to the police, she rejects it and also rejects Holly’s affection.  She says she will remain loyal to Harry.  Holly then decides to leave Vienna and leave Harry, Anna and the police to their own devices.  But on the way to the airport Calloway brings Martins to the hospital where the child victims of Harry’s drugs are housed.  Their broken bodies fill Martin with remorse and he agrees to be the bait in a trap to catch Harry.  Harry shows up and at the last second Anna shows up and warns Harry away.  A pursuit follows with police guarding all the exits from the sewer system.  Holly, Calloway and Paine are in on the hunt.  Finally with Harry cornered, Holly too openly approaches Harry.  While Paine attempts to pull Holly back out of the line of fire, he is himself fatally shot by Lime.  Calloway manages to shoot Lime as he retreats to a last exit below the street.  Unable to exit the sewer grating he waits as Holly approaches him with Paine’s gun in hand.  Harry looks at Martins and nods his head in acceptance and a shot rings out followed by Martins walking back to the police line.  At the second burial of Harry Lime we see Calloway and Martins.  Anna is there separately.  Calloway has his jeep and is once again supposed to drive Martins to the airport.  But as they pass Anna, Martins tells Calloway to let him out.  The final shot is a long take of Anna approaching a waiting Martins and then continuing on without looking at him at all.

This is in many ways an utterly strange movie, especially from an American point of view.  There is something disturbing to the American sensibility about the degraded and broken aspect of Vienna.  This is communicated in the images of the broken cityscape but also in the furtiveness and guarded nature of the inhabitants’ speech and behavior.  Dishonesty and criminality and just the wretchedness of life in the shattered place pervades the movie.  Also, the film has a soundtrack that is a repetition of a song played on a zither.  This is a stringed Eastern European instrument that I can’t claim to enjoy all that much.

By contrast, the Anglophone characters, Martins, Calloway, Paine and eventually Lime are wholly different.  They exude energy and confidence.  They seem to be bits of normalcy suspended in this fog of hopelessness.  Even Harry Lime, the criminal mastermind has that American quality to speak openly and unashamedly even about his evil.  He swims in this putrid ocean but he hasn’t assumed the coloration of his surroundings.

As I said the story is very strange and I think off-putting.  But the scene at the Ferris Wheel is very interesting.  We get to hear the devil defend his trade.  And that I think is the interesting thing about the movie.  Calloway and Paine are fun in their proper Englishness.  The Holly/Anna relationship really didn’t do much for me.  So, the show is Holly and Harry.  And coming right down to it it’s Harry.

And the essence of Harry is his parting shot to Holly at the Wheel.  “Don’t be so gloomy.  After all it’s not that awful.   But what the fellow said – in Italy, for thirty years under the Borgias, they had warfare, terror, murder and bloodshed, but they produced Michelangelo, Leonardo da Vinci and the Renaissance.  In Switzerland, they had brotherly love, they had five hundred years of democracy and peace – and what did that produce?  The cuckoo clock.  So long Holly.”

So Harry is the charming, interesting devil you know and like.  The point of the story, if there is a point, is that charming and familiar as he is, he’s still the devil and you can’t let him kill kids even for old times’ sake.

So am I recommending the movie?  Maybe I’m a bit of a xenophobe.  I’m put off by the atmosphere of the movie.  And I know that is mostly my parochial tastes.  Because after all this is a film noir and they’re always supposed to exude seediness and unwholesomeness.  I seem to excuse it in many of the film noirs from America.  So, let’s say I call this a good film, which it is, but throw in some cautions for those who are xenophobic like me and despise zither music.

High Sierra (1941) – An OCF Classic Movie Review

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High Sierra was Humphrey Bogart’s first starring role.  He plays Roy Earle, a veteran gangster sent to prison in Chicago for life.  But after ten years one of his old bosses, Big Mac, manages to get him a pardon and arranges for a car and some money to allow Roy to come to California to head up a jewelry heist in a wealthy desert resort where the ultra-wealthy winter.  Mac has recruited a couple of young small-time thieves Babe and Red to assist Earle.  The other part of the ring is the hotel night manager Louis Mendoza who will provide the inside information.

But Roy gets a surprise when he arrives at the meeting place, a mountain cabin park.  Babe has picked up a girl named Marie from a dance hall and brought her along. Roy angrily tells his crew and the girl that she has to go.  Marie, played by Ida Lupino, goes to talk to Roy and convinces him that she is the most trustworthy member of the crew.  She admits that she knows the plan of the heist because Mendoza talks too much.  After a few more incidents between Marie and Babe and Red, Roy decides to have her stay in his cabin and lays down the law with the two young men.

After this a romantic relationship begins between Roy and Marie, although he warns her that love is not a possibility for her with him.  Roy’s heart has been caught by a young farm girl that he has met while travelling to California.  Velma is travelling with her grandfather and grandmother from Ohio to live with her recently remarried mother in Los Angeles.  Roy has had the chance to help the family out as they struggle to pay for the trip cross country.  Their country roots remind him of his own family from rural Indiana and Velma’s unspoiled beauty and unaffected manner charms him.  The girl has a clubbed foot and Roy enlists a mob doctor he knows to arrange for a surgeon to operate on the girl’s foot to repair the problem.  But after the surgery Velma declines his offer to marry him.  She has a boyfriend back in Ohio that she is still interested in.  Roy takes the refusal hard but promises to come back when she has healed from her surgery to see her walk and say goodbye to the family.

Finally, conditions at the hotel are right for the heist.  Marie and Roy take one car and Babe and Red in another.  While Babe and Red are breaking open the safety deposit boxes Roy guards the lobby and Marie is in one of the cars watching for trouble.  She warns them of the approach of a late-night couple arriving at the hotel and Roy holds them on one of the lobby couches along with the bell boy.  But finally, an armed security guard enters.  Roy gets the drop on him but when the scream of the woman on the couch distracts Roy the guard pulls his gun and they exchange shots.  The guard is fatally wounded and Roy is struck on the side.

Rattled by the shooting Mendoza refuses to remain behind to claim his innocence as the plan required and instead goes in the car with Babe and Red.  The two cars take off but the car with the three men takes the wrong road and crashes along a hairpin turn.  Babe and Red are killed and Mendoza injured.  Mendoza is picked up by the police and Roy and Marie return to the cabin without incident.  Roy goes to visit his friend the mob doctor who tends to his wounds.  Then he goes to Mac but finds he’s died of a heart attack.  Following instructions Mac had given him earlier he passes the gems onto a mob contact who gives Roy a little money in advance and the promise that the deal with the big boss would be transacted soon and Roy would get his cut.  While waiting for this Roy goes to see Velma and meets her fiancé whom he immediately takes a strong dislike to.  Velma berates Roy for his jealousy and he leaves.  Now Roy sees Marie’s loyalty and love for him in a new light and promises that as soon as they get their money, they’ll start a new life together.

But all his plans fall apart as the newspapers are full of the story of the heist.  Mendoza has confessed and named Roy as the mastermind of the plot and the murderer of the guard.  Roy puts Marie on a bus to escape the dragnet and promises to catch up with her later when he gets clear.  But Roy is soon identified and the police pursuit corners him in a blocked pass in the Sierra Nevada.  Roy climbs up into the hills and holds the police off with a machine gun.  Marie hears report of the stand-off and heads back to be near him.  A reporter recognizes her from her description and the police try to persuade her to call to Roy to give himself up.  But she refuses.

The police manage to get a sharp shooter with a high-powered rifle on the cliff that overlooks Roy’s position.  And when Roy’s dog Pard escapes from Marie and runs toward Roy’s voice as he banters with the police the dog’s barking reveals to Roy that Marie must be nearby.  He runs out onto the exposed rocks calling her name and is killed by the sniper.

This movie is a sort of combination gangster movie and melodrama.  Even though Ida Lupino got the top billing because of her established reputation at the time really the movie belongs to Bogart.  He plays the part as naturally as any of his later roles.  The plot moves along pretty well and even the Velma plot line isn’t too distracting.  At times I think Lupino is given a little too much melodrama to successfully portray but I think the movie holds up pretty well.  And there are a few character actors in supporting roles; Henry Hull as Doc Banton, Henry Travers as Velma’s grandfather and Donald MacBride as Big Mac that add human interest to the story.  One sort of interesting bit of trivia, the dog Pard was played by Zero, Bogart’s own pet dog.

I think Bogart has half a dozen movies in his resume that are better than High Sierra.  That being said this is a good movie.  I can recommend it.

Mutiny on the Bounty (1935) – An OCF Classic Movie Review

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The true story of the Bounty is an amazing tale. There are sea voyages on wooden sailing ships that took multiple years and girdled the Earth on routes that threaded the Cape Horn and the Cape of Good Hope to get to such amazing places as Tahiti must have been in the eighteenth century.  Then the human drama of a crew finally rebelling against a merciless tyrant and then escaping the whole British navy to start a new life on a remote island from which they could never return.  Bligh’s unbelievable 3,500-mile sea voyage after being set adrift in a life boat.  And finally, the trial of the men who were captured on Tahiti after the mutiny.

Hollywood found the perfect Captain Bligh in Charles Laughton.  His strutting, bellowing Bligh is an inhuman monster of legendary proportions.  When a seaman whose knees are raw sores asks for water to wash the sand of the deck out of his wounds Bligh orders him to be keel-hauled.  That means he was dragged the whole length of the ship bottom against a barnacle encrusted hull.  Naturally he doesn’t survive.

And Clark Gable is an excellent Christian Fletcher.  His defiance of Bligh before the mutiny is measured and prudent but when the outrages become insurmountable, he finally snaps and leads a mutiny that takes the ship and sends Bligh and his loyal followers out onto the open sea.  The movie presents us with Fletcher sailing the ship to Tahiti and allowing his men to take Tahitian wives.  When the British come looking for them Fletcher leads all of them to Pitcairn Island on the Bounty where they start a new life.

Franchot Tone portrays Midshipman Byam a friend of Fletcher’s who refuses to join the mutiny but is forced to remain with the mutineers.  When the Bounty flees Tahiti Byam remains to return with the British but he is accused of mutiny by Bligh and ends up on trial for his life.  According to the movie the trial is the cause célèbre that eventually caused the British Navy to reform their treatment of enlisted men.

Along with these leads there are a dozen other supporting characters that are each engaging and entertaining.  The seamen, the officers, the Tahitians, the Admiralty Court Martial.  Each is given screen time to tell a story.  One of the standouts for me is Dr. Bacchus, the one-legged, constantly inebriated ship’s surgeon who provides medical help and moral support to the victims of Bligh.  His other amusing characteristic is the constantly changing story of how he lost his leg.  One time it was in a sea battle against John Paul Jones.  Next, it’s a French frigate and after that a Spanish galleon.

As I said at the start, the true story of the Mutiny on the Bounty is an amazing tale.  The 1935 movie is based on a fictionalized account.  There are many inaccuracies that have been added to the story.  For instance, Bligh was not the captain of the ship that brought back the mutineers from Tahiti and chased the Bounty.  There is no record that a sailor was keel-hauled and died by Bligh’s order.  And Bligh did not attend the court martial.  But it is a remarkable movie nevertheless and it is still very entertaining eighty-five years after it was made.  I highly recommend it for all fans of adventure stories.

The Films of Alfred Hitchcock – Part 10 – Shadow of a Doubt – A Classic Movie Review

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Hitchcock gives us a crime drama wrapped in a family reunion.  Charles Oakley, played by Joseph Cotten, is being investigated by the police in the northeast United States as one of two suspects in the “Merry Widow” murders.  Three wealthy widows were strangled by an acquaintance.  Charles sends a telegram to his married sister, Emma Newton in California saying he wants to come visit her and her family.  Emma is married to Joseph Newton and they live with their three children Charlotte (Charlie), Ann and Roger. Emma dotes on her baby brother and in her eyes, he can do no wrong.  Her husband Joseph (played by Henry Travers) works at the local bank and is a quiet man who, along with his neighbor Herbie Hawkins (played by Hume Cronyn) enjoys reading and discussing the murders committed in detective novels. Ann and Roger are small children who intersect with the main story only obliquely.  But Charlie is a high school graduate who feels stifled living in the small town of Santa Rosa.  She is named after her mother’s brother, the legendary Uncle Charlie.  And right before word of Uncle Charlie’s arrival reaches them, she has been bemoaning the boredom that is their life and has decided to send a telegram to Uncle Charlie and ask him to visit them.

When Charlie hears that her uncle is coming to stay with them, she is overjoyed.  She takes the coincidence of his plans and hers as fate and is sure that his presence will add excitement and life to her stultified family.  But strange things begin happening and Uncle Charlie’s presence becomes a strange mystery for Charlie to solve.  He surreptitiously rips a page out of the family’s copy of the newspaper and when she tells him that she knows he did it he reacts violently and wrenches the paper from her hand, hurting her in the process.  When the next day two men request and get permission from Mrs. Newton to interview and photograph the family as part of some national survey, Uncle Charlie berates her for her foolishness and tells her that he refuses to be interviewed or photographed.

The survey takers are actually police detectives Jack Graham and Fred Saunders attempting to get a photo of Uncle Charlie to allow witnesses to identify him.  Jack asks Charlie if she would show him around town as part of his survey and she agrees.  During their walk Jack reveals to Charlie what they are really doing and that if the identification is positive, they will arrest Uncle Charlie.  Charlie is in a panic.  She doesn’t know what to believe but all the strange behavior of her uncle leads her to believe that it could be true.  She runs to the library and finds the newspaper article her uncle was hiding.  It is a description of the Merry Widow murder case.  One of the women who was murdered turns out to have the same initials as the inscription in a ring that Uncle Charlie had recently given her.

She confronts him and tells Uncle Charlie that the police are getting ready to arrest him.  She reveals what she found out about the ring and throws it back at him.  Uncle Charlie begs her to let him escape and spare her mother the shock of knowing her brother is a murderer.  She agrees.  But before anything else can happen news comes that the other suspect in the murders was killed trying to escape capture.  Now the detectives are no longer after Uncle Charlie.  We also learn that Jack Graham is in love with Charlie and tells her that he will return to ask her to marry him.

Uncle Charlie decides that he will stay in Santa Rosa but now he comes to the conclusion that Charlie knows too much about him.  He plans to have her die by an apparent accident.  In the first event she almost breaks her neck when an outdoor stair step breaks off under her foot and she barely catches hold of the handrail.  Later on, she finds that the step had been sawn almost through.  Next, Uncle Charlie arranges for her to go into a garage where a running car motor had filled the building with exhaust fumes and the key was removed from the ignition so the engine could not be stopped.  And just as she tried to exit the garage the door slammed shut and was jammed tight so she couldn’t escape.  Luckily Herbie Hawkins happened by and heard her cries and allowed for her rescue by, of all people, Uncle Charlie.  He deftly kicked the shim from the jammed door and put the key in the ignition as he turned it off.  Then he carried the unconscious Charlie into the fresh air where she revived.

Now convinced that she had to get Uncle Charlie to leave she used her uncle’s absence at a party to find the ring in his room.  Seeing it on her finger Uncle Charlie announces that he would be leaving the next day for San Francisco.  But while seeing him off at the train Charlie is maneuvered by him onto the departing train and by sheer brute strength, he drags her over to an open door on the end of a train car and prepared to throw her off the train as soon as its speed is sufficient to kill her.  But at the last second Charlie wrenches herself free and in doing so causes Uncle Charlie to lose his balance and fall off the train directly onto the tracks of an oncoming train.

In the next scene Uncle Charlie’s funeral is going on in the church and Charlie is outside explaining to Jack Graham why she didn’t turn her uncle in to the police.  They both agree that they will keep Uncle Charlie’s secret away from the people of Santa Rosa.

Most critics think that Shadow of a Doubt is one of Hitchcock’s best works.  I tend to agree.  Allowing Charles Oakley to give his feelings about society in general and about his victims at the family dinner table and during a fraught conversation with his niece at a seedy dive bar hits the right notes in this strange juxtaposition of normal family life and antisocial psychosis.  The tension between Charlie’s desire to spare her mother and even in a sense her uncle from the consequences of his crimes and her horror at what he actually was see-saws the movie right to the end.  There are many nice touches from the supporting cast.  I especially enjoy Hume Cronyn and Henry Travers arguing over the advantages and disadvantages of poisoned mushrooms over blunt force trauma as a murder weapon.  It shows that Hitchcock had already embraced his reputation for graveyard humor and didn’t mind letting the audience in on the joke.

And it was fun to see Joseph Cotton as a psychotic killer.  Cotton always seems to show up as the honest, likable hero.  It must have been a relief for him to get to play a monster for once.  He was very good.

If you are a fan of Hitchcock and haven’t seen Shadow of a Doubt do yourself a favor and see it.  And even if you’ve never seen a Hitchcock film, I can highly recommend this one.

Executive Suite (1954) – A Movie Review

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“Executive Suite” is a drama that details the personalities and ambitions of the executives of the Tredway Corporation, a furniture manufacturing company, as they react to the unexpected death of the company president Avery Bullard.  It also showcases the difference between two different kinds of corporate executives.  One is the inspirational leader who recognizes that a company is the intersection of human beings as customers, employees and ownership.  Someone who wants the company to succeed by striving for excellence in all the aspects of running a business.  The other vision is expressed as the narrowest focus on maximizing the stock dividend by any means possible.

The movie has an all-star cast with William Holden, Fredric March, Walter Pidgeon and Barbara Stanwyck as the big names and other fine actors such as Paul Douglas, Louis Calhern, Dean Jagger, Nina Foch, Shelley Winters and June Allyson rounding out the cast in support roles.

Bullard is leaving New York City to attend an executive board meeting at the Tredway factory in Pennsylvania.  He has a stroke and dies on the street in front of the office building where the Board of Directors meeting was just held.  His death on the street is observed from a window by one of the board members George Caswell, played by Louis Calhern.  Caswell take advantage of this insider information (Bullard’s death) to short 3,700 shares of Tredway stock in order to take advantage of the stock price drop that he expects to occur after the news breaks next Monday.  But unfortunately for Caswell, the company is about to report an extremely large stock dividend based on excellent profits.  This will make his short position extremely unprofitable.

As the news of Bullard’s death begins to filter through to the Tredway management, we get to see how each of the five vice presidents responds and what kind of men they are.  Walter Pidgeon is Frederick Alderson, Vice President and Treasurer.  He was Bullard’s loyal second in command.  He never had the drive to challenge any of Bullard’s decisions and he therefore has begun to drift into a more passive role in the company management.  Fredric March is Loren Shaw, Vice President and Controller.  He is currently the dominant force in the company.  Bullard has backed Shaw’s methods to maximize short term profits, even when that has meant producing shoddy product lines.  Shaw also maintains thorough surveillance of his fellow executives.  He knows about their private foibles and uses this knowledge to blackmail them when it suits him.   Paul Douglas is Walter Dudley, Vice President for Sales.  Walt is the epitome of the shady salesman.  He is having an affair with his secretary (played by Shelley Winters) and often ignores his family and business responsibilities to satisfy his own pleasures.  Dean Jagger is Jesse Grimm, Vice President for Manufacturing.  He is an old man who has seen the idealistic practices that Bullard espoused abandoned under Shaw’s penny-pinching program.  He is fed up with the shoddy products his plant has been forced to manufacture and is preparing to retire to escape it.  And finally, William Holden is Don Walling, Vice President for Design and Development.  Don is aggravated that Bullard’s promises to allow him to modernize and optimize the manufacturing processes have been abandoned to pursue short term gain.  His wife   Mary (played by June Allyson) wants him to quit and go someplace where his design talents will be put to good use.  The other two executive board members are stockholders.  One is George Caswell and the other is Julia Tredway (played by Barbara Stanwyck).  She is the daughter of the founder of Tredway and also Bullard’s long-time lover.  She is angry and depressed and looking to escape from all of the anguish she feels about Bullard and her unsatisfied relationship with him.

We watch as Shaw gathers up the votes, he thinks he can collect to assure his election to president.  Dudley’s vote he will get by blackmailing him over his affair with his secretary.  Caswell will sell his vote in exchange for a sweetheart deal to buy company stock and therefore cover his short position.  And Julia gives Shaw her proxy just to escape from the necessity of attending the painful meeting.  Along with his own vote this should give him the four votes he needs.

Meanwhile Alderson and Walling are attempting to stop Shaw.  Not knowing of some of the pressure that Shaw can bring to bear they try to persuade Dudley, Grimm and Tredway to elect Dudley as an alternate to Shaw.  Dudley because of the blackmail he is under of course turns them down.  Walling and Tredway get into an emotional argument because of her very traumatic feelings about the company and Bullard.  And when Dudley is no longer a viable choice for candidate Walling offers himself to Alderson as an alternative.  But Alderson breaks the news to him that Grimm will not vote for Walling because he feels that he is too young and inexperienced.

It all comes down to the board meeting and the voting fails to put Shaw over the top on the first ballot because Shaw had to provide Caswell with proof that he would be given the stock deal he wanted.  Shaw then provides him with this assurance and the meeting prepares to come down to a second ballot.  But before a motion is proposed for a vote Walling questions Shaw about his vision for leading Tredway into the future.

Shaw clearly articulates that the duty of a corporate leader is to do everything in his power to maximize the return on investment to the stockholders.  And he proudly claims that Mr. Bullard completely approved of the “improvements” Shaw had made at Tredway that allowed for the exceptionally large quarterly dividend that Tredway had just recently announced.

Then Walling answers him with a vision of a company thriving on excellence and integrity.  At one point he finds a small table near the wall of the boardroom that was an example of the shoddy craftsmanship that Shaw’s policies had fostered and he rips it apart with his bare hands and reviles a corporate philosophy that throws away the company’s reputation as a manufacturer of quality products to realize a short-term profit.  After this stirring appeal even Shaw votes with the rest of the board to elect Walling president.

I am not an idealist.  I understand that the good guys don’t always win.  I recognize that the market is a dog eat dog reality.  But I also have seen what lowest possible cost manufacturing has done to this country.  Corporate responsibility by American companies to its employees and the public is just as important as responsibility to its stockholders.  I watched this movie for the first time this week and I think the message it makes is very timely.  Add in the responsibility of government to protect American companies from unfair competition from rock bottom labor costs in the third world and you could be talking about a MAGA campaign ad.  And from the point of view of entertainment the movie is enjoyable and well made.  Even though this isn’t a movie I’ve seen over and over I can highly recommend it.

The Films of Alfred Hitchcock – Part 11 – The Lady Vanishes (1938) – An OCF Classic Movie Review

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This was Alfred Hitchcock’s last movie filmed in England before leaving for Hollywood.  The plot involves a train somewhere in central Europe with some British citizens on their way back home.  An old English lady named Miss Froy is involved in some kind of espionage.  She befriends a young woman named Iris Henderson who is going home to marry a rich man she doesn’t love.  When Miss Froy disappears from the train and all the other passengers and crew swear she was never there Iris recruits Gilbert Redman to help her solve the mystery.  There are comic touches that involve a pair of friends named Caldicott and Charters who are obsessed with reaching England in time to watch the National Cricket match.  In fact, the comic bit they did in this film was so popular that the actors, Naunton Wayne and Basil Radford respectively, reprised their characters in a number of films for many years afterward.

Hitchcock builds up the characters with plenty of background and personal details in scenes that take place before the train ride and once the young couple begin delving into the mystery it is obvious that a criminal conspiracy is taking place to kidnap Miss Froy, although no apparent reason exists.  On the train is a noted brain surgeon and he tries to convince Iris that a serious blow to the head that she sustained just before getting on the train is the source of her delusion about the missing Miss Froy.  Later on, we find out that he is the ringleader of the plot.

Finally, Miss Froy is freed and she reveals to Iris and Gilbert that she is a British spy and she must flee the train and go cross country to return to England.  But first she teaches Gilbert a musical phrase that is code for some top-secret information.  The adventure comes to a climax in a gun battle between the storm trooper and the English passengers as they attempt to take control of the train and flee over a border to a non-hostile country.  After several casualties they escape and return to safety.  When they reach England, Iris decides to forsake her rich loveless bridegroom and go off with Gilbert.  But first they head for the British foreign office to give them the musical code message.  But just as they reach the office Gilbert realizes he has forgotten the music.  But then hears the tune being played on a piano in the room they are about to enter and they see Miss Froy playing the tune.

This all sounds like a ridiculous jumble and in a way it is.  There are all kinds of odd things going on as there always are in a Hitchcock film.  A homicidal magician complete with a booth for making women disappear.  A mysterious burn victim with bandages that cover her face who is brought on the train well after Miss Froy disappeared.  There’s a deaf-mute nun in high heels.  A platoon of storm troopers that I guess are supposed to be German.  An avalanche, a murdered singer, clog dancers, a comedic Italian innkeeper who promises things he can’t deliver in four or five languages and scantily clad women.

But it’s actually highly entertaining.  All the little details of the story are well done and diverting.  The various characters are given enough development and even the villains are well rounded characters.  I thoroughly enjoy this movie and highly recommend it.