Herbert Marshall is another one of those names that will elicit blanks stares from most everyone today. When Turner Classic Movies (TCM) included him their lineup of featured stars in the 2014 edition of 'Summer Under the Stars," it was the first I'd heard of him, but after I saw a just few of those films, I became a big fan. Many will cite his fine, deep velvety baritone voice with the upper class British accent as his best asset, and perhaps rightly so. But given the right vehicle and quality direction, he was a compelling, strong screen presence with ability to portray so much more than the staid, suave, and often cuckolded gentleman roles into which he was typecast. I noted with distinct pleasure that TCM had scheduled a day of his rather obscure 1930s films tomorrow (Jan 19th), and I will be looking forward to watching the ones I haven't yet seen -- Make Way for A Lady, and Woman Against Womanon DVR, of course. In honor of Mr. Marshall, and in celebration of his recent turn on TCM, I was inspired to share my favorite five performances of his here.
Marshall was born in England in 1890 to a theatrical family, but came to the profession only after he gave up a career in accounting shortly after college. He then enlisted to fight in WWI and was a casualty of fighting in France, where he lost a leg (some reports say it was his right, but observing his movements closely, it seems to me it may be his left; he never really discussed it publicly). He resumed his acting career after a long convalescence and learning to walk with a prosthetic. He came to Hollywood in the early 1930s and rose to relative stardom with leading man roles as a free-lance actor who never signed a long term contract. Later in life he had numerous character roles and starred in many radio programs. He was known as a polite, charming, if not an attention-seeking personality. He had five marriages, and a somewhat scandalous romance with Gloria Swanson in the mid-1930s, which broke up his marriage to English actress Edna Best. He had two daughters, the first his daughter with Best, who became actress Sarah Marshall. He continued to work almost until the end of his life; he died at age 75 in 1966.
Here are five performances of his I've enjoyed the most, so far, in chronological order.
Jeanne Eagels as Leslie Crosbie
and Herbert Marshall as Geoff Hammond
1) The Letter(1929, D.: Jean de Limur)This is not the much more famous 1940 William Wyler film of the same Somerset Maugham novel, which Mr. Marshall also starred alongside Bette Davis. No, this early talkie was a pre-code version starring doomed actress Jeanne Eagels, and Marshall as the lover. (In the 1940 version, the lover was not an actual role on screen). This was a very early film role for Marshall, and he sinks his teeth into the few moments of screen time he has -- he comes across as a caustic, privileged young cad who is eager to move on from his dalliance with Mrs. Crosbie (Eagels). He does have a few moments of tenderness with his new lover, Lady Tsen Mei. I wasn't as impressed with Eagels, and thought Reginald Owen was one-dimensional as the husband, but it's interesting to watch in comparison to the later version; the ending, in particular is distinctly different.
Kay Francis, Herbert Marshall, and Miriam Hopkins
in Trouble in Paradise
2) Trouble in Paradise(1932, D.: Ernst Lubitsch) This sophisticated comedy is considered one of the best pre-code films and one of Lubitsch's best, as well. It's in my top five favorite films of all time; in fact, it may just be perfect. From the romantic love triangle, to the clever visual and verbal innuendo, some sight gags, terrific pacing, and spot on performances that were ever-so-slightly tongue-in-cheek, you absolutely cannot go wrong with this film. In the first example of Marshall's talent being brought to the fore by the skill of a good director, as jewel thief Gaston Monescu, he is perfectly understated, yet slyly comic here. He's more than handsome and charming enough to cause two gorgeous women (Kay Francis & Miriam Hopkins) to fall for him, believably so. His line readings are a delight. One of my favorite exchanges: Lily: "Who ARE you?" Gaston: "You know the man who walked into the Bank of Constantinople, and walked out with the Bank of Constantinople?" Lily: "Monescu!" Marshall worked for Lubitsch again in 1937's Angel, but that did not have nearly the same magic.
Marshall and Margaret Sullavan bond over coffee in The Good Fairy
3) The Good Fairy (1935, D.: William Wyler). Another comic role of a different kind came to Marshall in this William Wyler film, starring Margaret Sullavan in the "title" role. It's a screwball gem, scripted by soon-to-be director Preston Sturges -- if that provides context about the quality of the writing -- from the play by Ferenc Molnar. Marshall is a delight as a poor legal scholar who is too "honest" to be successful and becomes the unwitting beneficiary of Margaret Sullavan's 'good deed'. He is definitely NOT suave, and has a nervous habit of running a comb once or twice through his beard. He also has a hilarious solo scene in which he prattles excitedly about a new pencil sharpener (!). His chemistry with Sullavan is very strong, and the two make a very lovely couple. Frank Morgan and Reginald Owen are amusing as variations of their stock comic characters.
4. The Little Foxes (1941, D.: William Wyler). Another Wyler film -- he clearly was a terrific director for Marshall. This one was his second film with Bette Davis, and he played victimized husband Horace Giddens to her poisonous Regina Giddens in this adaptation of the Lillian Hellman play about a dysfunctional Southern family. The tone is mostly dark throughout, but it's a riveting production with good performances by the entire cast. Marshall, by turns warm and sympathetic, then angry and righteous, plays the role of a dying man so convincingly that you feel his pain almost viscerally. His subtlety as an actor is revealed when you know he wants to trust his family, but because he's smart, he cannot hide the growing realization of dishonest motives and crimes being perpetrated. Interestingly, Davis and Marshall had a warm relationship off-screen.
Davis & Marshall in The Little Foxes
5. High Wall(1947, D. Curtis Bernhardt). In this noir, Robert Taylor is a veteran with PTSD, employed by Marshall, who finds himself accused of murder. It's a psychological thriller as well, with Audrey Totter as the doctor who tries to help Taylor. In this one, Marshall shows his ability to be slimy, two-faced, and scary. It takes some questionable narrative turns, and I'm not enamored of Taylor's performance particularly, but it showcases the often underappreciated range of Marshall, who in my opinion, really steals the movie.
Don't miss him in the Alfred Hitchcock Presents episode "Little White Frock," or his appearance on the popular "What's My Line?" TV show in which, as the 'Mystery Guest, he gracefully responds to Dorothy Kilgallen's question as to whether he considers himself a 'character man,' with, "The day has come, yes." Video link is below.
Finally, for a greater appreciation of his fight to overcome his war injury, read this article published in 2014 by SAG-AFTRA, image below:
After the October feast of Halloween-inspired offerings, in November the local classic film screenings are a bit less abundant, but many are tantalizing nonetheless. Here is my monthly run-down. For those living in the area, or visiting, please support the local cinemas that provide us a unique experience seeing these older films in the way their original audiences did.
Before that, a quick shout-out to the Coolidge Corner Theatre, who brought back the Berklee Silent Film Orchestra for an encore performance of their new score to the famous 1925 silent film Phantom of the Opera, along with the screening, on Oct 27th. I so enjoyed this!
Somerville Theatre Weds. Nov 2, 7:30 PM: In a reminder that William Shatner had a movie career before Star Trek, the Somerville presents The Intruder (1962), from Roger Corman Productions. I've not seen this one, but the theme is timely as it addresses racism in America, an issue that does not seem to be able to be effectively resolved, nor will it anytime soon. This film addresses the issue of school integration in a Southern town, which was a hot topic at the time. Shatner plays a visitor to the community with an agenda to block integration. Bosley Crowther in the New York Times gave it a mediocre review, saying that it's "crudely fashioned from cliches and stereotypes." But he goes on to say "it does break fertile ground in the area of integration that has not been opened on the screen." Modern audiences must appreciate it more, as it currently sports a 7.8 rating on IMDb. It was directed by Roger Corman from a script based on the novel from Charles Beaumont.
Mon., Nov 7, 7:30 PM: The 1941 film version of Lillian Hellman's play The Little Foxesis devastating, and brilliant. I doubt this one draws sell out crowds today, and I commend the Somerville for screening it in 35 mm. I'm planning to attend, as it co-stars one of my favorite forgotten actors, Herbert Marshall who did his best when working with director William Wyler, and the inimitable Bette Davis. Wyler had been in a relationship with Davis, and had legendary battles with her on set, but she, by all accounts, won most of them. It features Teresa Wright in her first major screen role, and Dan Duryea, Patricia Collinge, Charles Dingle, and Carl Benton Reid. If you want to see a film in which each and every performance is tightly-drawn, nuanced, with a terrific script, this one won't disappoint. It's about a turn of the century southern family undergoing a major internal power struggle over wealth and legacy. Not a happy story, and with the exception of the opening scenes, it maintains a dark tone throughout, "grim and malignant" according to Bosley Crowther. That said, it's fascinating and entertaining. Go!
Herbert Marshall, Teresa Wright, and Bette Davis in The Little Foxes
Fri Nov 11, 7:30 PM and 9:45 PM: A fun dose of 1950s teenage culture is presented in the double-feature screenings of Nicholas Ray's Rebel Without A Cause (1955), and Richard Thorpe's Jailhouse Rock, (1957). Both feature huge stars of the time, James Dean, and Elvis Presley, who both came to sad, untimely ends. But here they are in their prime, which is how, in my opinion, they should be remembered. Both portray anxious, rebellious young men. In the former, Dean plays a high school student who rebels mainly against his family and society, and in the latter Elvis is burgeoning musician who gets into trouble with the law, but then gets his big chance. It's been years since I've seen 'Rebel' and with my appreciation of classic film, and the strong reputation today of Nicholas Ray, I may try to make it back to the Somerville for this one. Jailhouse Rock is new to me, and I love me some 50s rockabilly, so if I can stay awake I would definitely stick around. This one is known for the big set-piece around the Jailhouse Rock song. Another sad side note, Elvis's leading lady in this film Judy Tyler was killed in a car wreck at age 24 just a few days after filming wrapped. Apparently as a result Elvis refused to watch the complete film.
Check out the official trailer here:
Thurs. Nov 3, 7:30 PMA Fistful of Dollars (1964). Clint Eastwood got his start in this, the first in the 'spaghetti Western' trilogy by Italian director Sergio Leone, perhaps best known for The Good, The Bad, and the Ugly. Leone was known for quick cutting between medium shots and extreme close-ups, and his bringing brutal violence to the western genre. This film was on my list to watch during my "Western movie summer," but unfortunately I didn't get to it. I won't see this screening, but would recommend it to fans of Eastwood and Westerns. IMDb summarizes the plot as "A wandering gunfighter plays two rival families against each other in a town torn apart by greed, pride, and revenge." It's being screened in 35 mm, and showing in a double feature with the 1997 film Perdita Durango, starring Javier Bardem.
Sat. Nov 19, 12:30 PM: Henry V (1944). This is the version with illustrious Shakespeare interpreter Laurence Olivier. Filmed in Technicolor and directed by Olivier himself, it is a faithful adaptation of the play. Since at the end of this tale as told by the great master, Henry and England emerge from their war with the French victorious, the film version was partly funded by the British government to fuel positive morale in the public during WWII. Showing here in a digital transfer.
Laurence Olivier as Henry V
Olivier as Richard III
Sat. Nov 19, 3:00 PM: In a double bill with Henry V comes Richard III(1955). Now here is a very different British monarch, controversially sketched by Shakespeare as a deformed villain, and who comes to a different end. This film adaptation is also directed by and stars Laurence Olivier. I've not seen it, but with a cast that also includes Sir John Gielgud,Sir Ralph Richardson, Sir Stanley Baker,Sir Cedric Hardwicke, and Claire Bloom, British film royalty to be sure, it should not disappoint. It's a British color film, also screening in a digital transfer.
Sun Nov 20, 7:00 PM: The new 4k restoration of Orson Welles' adaptation of the Falstaff story Chimes at Midnight, is presented. I had the opportunity to see this a few months ago at the Coolidge, and it's fantastic. I previewed that screening here. It is a bit hard to follow, if you don't speak Shakespearean English fluently, and the sound is famously off in parts, but it has the brilliance of Welles, both acting in a role he considered his favorite, and directing in black and white with his usual expressionistic flourishes. A handsome, roguish Keith Baxter has the lead, and Sir John Gielgud, Jeanne Moreau, Margaret Rutherford all appear in critical roles. It was not a critical success at the time it was released, but it's now considered in the top echelon of the Welles filmography.
This is a first in a series of posts honoring Ms. Olivia de Havilland, one of the great ladies of classic cinema, who is celebrating her 100th birthday this year.
So, you have Leslie Howard, Bette Davis, and Olivia de Havilland in a film, and you end up with ... a screwball comedy? Well, if the movie gets made in 1937 and all three stars are coming off dramatic roles, perhaps it's understandable. The movie is IT'S LOVE I'M AFTER.
In looking for an early and lesser known film of Ms. De Havilland's to watch for the first time, I came across this one and was delighted. All three stars are up to the comic demands of their roles, and despite a bit of over-the-top silliness (not altogether unexpected), I highly recommend the film. It's on DVD from the Warner Archive label.
Leslie Howard, who I've only recently seen outside GONE WITH THE WIND where I find him sadly miscast, is a revelation here. He is in full ham mode as celebrated Shakespearean stage actor who is a stereotypical egotist and in love, although constantly engaged in a snipe-fest with, his leading lady Bette Davis. He prances and poses throughout the film but retains our sympathy while we laugh at him. As for Ms. Davis, her role could be considered a warm up for, or younger version of, her Margo Channing in 1950's ALL ABOUT EVE. Ms. de Havilland is perfect as the young innocent who develops a consuming crush on Howard just by watching him act. She is beyond lovely; her luminous beauty and infatuation are both depicted in the shot in which we see her for the first time watching Romeo's death scene:
"Oh Romeo, drop that poison right now and run away with ME!"
Her frustrated fiance, played straight by a handsome but somewhat wooden Patric Knowles, looks on, not anticipating the lengths he's about to go on trying to win back her affections.
Directed by Archie Mayo, the screenplay makes the most of propelling the plot forward by overtly incorporating plots and dialogue from contemporary and Shakespearean plays. Shakespearean dialogue is also injected with insults when the dead Romeo whispers to his hovering Juliet that she has been eating too many onions again. A play called "A Lover's Triangle" forms the framework of the plot as Howard agrees to Knowles' plan to drive de Havilland back into her fiance's arms by playing the cad and wreaking havoc after moving into her home as a barely-invited guest. Eric Blore as the butler (!) has an unusually large role and makes the best of it, always in an advanced state of frustration trying to keep Howard from indulging the lesser angels of his nature. His comic energy most often comes from bouncing off of Howard, and is at its apex in a scene where he acts and sounds out different types of birds to keep Howard in line (interestingly TimeOut London calls his performance 'execrable'):
Davis is trying to figure out why Eric Blore is doing jumping jacks while making bird calls at a refined garden party.
Apparently this project was initiated by Howard, who wanted to have some fun after several dramatic roles including in THE PETRIFIED FOREST, also with Bette Davis. Warner Bros. had to put pressure on Davis to work with Howard again, as their relationship was rocky, and who had also wanted some vacation time after an exhausting year of dramatic roles. Ms. de Havilland was on her way up, and, unfortunately, had to fend off the advances of Howard quite vociferously during filming. With two beautiful leading ladies, clearly Howard was enjoying every second of the attention he was getting.
Notable tidbits to recommend the film:
--Likability of the three main characters
--Terrific comic ensemble scenes. There is a scene early on where Howard noisily pushes his way into de Havilland's mansion in the middle of the night and is going on loudly about how raised is his 'ire', when all the servants think they hear "FIRE" and come to the rescue with filled water buckets. [Ok, I guess you just have to trust me on that one.]
--Apparently men in tights were a thing to contemporary women of the time: a joke is made near the end of the movie about how women love to see male actors wearing this kind of costume. Uh huh, yeah.
--A film inside joke (and GWTW connection) when de Havilland claims how she had a crush on Clark Gable (!) before the one on Howard's character. "I was in love with Clark Gable last year and if I can get over him I can get over you!" "Who's Clark Gable?"
What I disliked:
--Bonita Granville overplayed her signature spoiled brat part and should have been dialed down several notches, even if this was a screwball.
--Not enough George Barbier, who played de Havilland's exasperated father with perfection, or Spring Byington, as her mother.
--As mentioned earlier, Patric Knowles comes across too wooden here for my taste.
--Eric Blore's extreme characterization - at times - would have bothered me more if not for how well he worked with Howard.
Here are a few key moments from the film:
Romeo (Howard) and Juliet (Davis) battling over who gets the first curtain call
Howard strikes a dramatic pose as he contemplates the next move in his complicated love life
Blore as Howard's faithful, if continually frustrated, conscience
Knowles is dismayed when de Havilland seems unfazed by Howard's caddish ways
George Barbier is at his wits end thanks to his daughter's fascination for uninvited houseguest Howard
Howard tells de Havilland she has too many moles(!)
Herbert Marshall is another one of those names that will elicit blanks stares from most everyone today. When Turner Classic Movies (TCM) included him their lineup of featured stars in the 2014 edition of 'Summer Under the Stars," it was the first I'd heard of him, but after I saw a just few of those films, I became a big fan. Many will cite his fine, deep velvety baritone voice with the upper class British accent as his best asset, and perhaps rightly so. But given the right vehicle and quality direction, he was a compelling, strong screen presence with ability to portray so much more than the staid, suave, and often cuckolded gentleman roles into which he was typecast. I noted with distinct pleasure that TCM had scheduled a day of his rather obscure 1930s films tomorrow (Jan 19th), and I will be looking forward to watching the ones I haven't yet seen -- Make Way for A Lady, and Woman Against Woman on DVR, of course. In honor of Mr. Marshall, and in celebration of his recent turn on TCM, I was inspired to share my favorite five performances of his here. 
5. High Wall (1947, D. Curtis Bernhardt). In this noir, Robert Taylor is a veteran with PTSD, employed by Marshall, who finds himself accused of murder. It's a psychological thriller as well, with Audrey Totter as the doctor who tries to help Taylor. In this one, Marshall shows his ability to be slimy, two-faced, and scary. It takes some questionable narrative turns, and I'm not enamored of Taylor's performance particularly, but it showcases the often underappreciated range of Marshall, who in my opinion, really steals the movie. 
