November is 'noirvember' for classic movie fans. After a spooky October of suspense and horror films, why not follow it up by celebrating Film Noir for an entire month?
Tomorrow, 11/1 at the New England Conservatory, the Boston-based musical ensemble A Far Cry is presenting a concert of music of classic 'American Noir' by primarily European Jewish immigrant composers. The concert will feature adaptations of works of Korngold, Hermann, Barber and more. What a great way to get in the mood for noir!
The Harvard Film Archive has been running a B-Movie series since mid-September, and I'm looking forward to enjoying a few of these films during the third weekend in November. These are examples of true 'B-movie noir', with their tight storytelling and clever directing -- where truly less is more.
Kim Hunter and Robert Mitchum in When Strangers Marry (Photo from the HFA Website)
Sun 11/24 at Harvard Film Archive. HFA is screening a double feature of short noirs directed in 1944 by William Castle: When Strangers Marry andThe Mark of the Whistler. The former is a vehicle for Kim Hunter and Robert Mitchum, and apparently is a murder mystery at its heart, with some melodrama thrown in. The latter features Richard Dix and Janis Carter--I had no idea about the 'Whistler' franchise, spun off from the popular radio series, but Richard Dix and other actors portrayed this fictional character in a few movies in the 1940s, all made at Columbia Pictures.
Marsha Hunt, Claire Trevor and Dennis O'Keefe in Raw Deal. (Photo from the HFA Website)
Mon 11/25 at Harvard Film Archive. The HFA B-movie series continues with a double feature of Raw Deal(1948) and Woman on the Run(1950). Raw Deal is an early entry in the filmography of Anthony Mann, stars Dennis O'Keefe and favorite actresses Claire Trevor and Marsha Hunt. Acclaimed noir cinematographer John Alton is credited in this one. For Woman on the Run, we gat Dennis O'Keefe again, though the film is directed by Norman Foster, a one-time Orson Welles protégé. The leading lady is Ann Sheridan, who is 'on the run'. Assuming I'm not overcommitted in preparing for Thanksgiving, I'll be there!
Use #noirvember on Twitter or Instragram for all kinds of fun stuff.
It's always fun to tell people you're going to Rome...then surprise them further when you reveal it's not actually THE Rome, but rather the small town in central New York. However, the second weekend in August it's the place to be for fans of rare early Hollywood. The weekend festival draws film buffs from many states and Canada, and it was the third time I've attended in 4 years. [Read about my last experience, in 2016, here.] This year the fabulousand swoonworthy British superstar Ronald Colman took center stage as the 'featured star'. Sadly he's not a household name now, but his films are worth checking out. Perhaps his best known films today are: the wartime romance Random Harvest(1942), a terrific version of Dickens' A Tale of Two Cities (1935), or A Double Life (1947). [He obviously excelled in playing dual roles!] Of course, Capitolfest gave us the opportunity to see some very rare Colman films, among other little-seen gems.
From Capitol Theatre website
Colman Films
On Friday evening we were treated to the 1924 silent* Romola, (D: Henry King) co-starring both Lillian and Dorothy Gish, and William Powell as the protagonist/villain. I've been wanting to see this one since I developed a particular fondness (!) for Powell back in 2013. It's a period drama set in Renaissance Florence in which the title character (L. Gish) is torn between her long-time suitor (Colman) and social-climbing opportunist Powell. Some found it long and meandering, but to me it was satisfyingly epic, with the on-location setting in Italy adding an exotic factor. Unfortunately, Colman didn't have too much to do. Powell, despite portraying the villain, got the chance to showcase an undeniable charm that would be his trademark later in his career. Dorothy Gish was fantastic as the poor waif/other woman-- I believe this might be the first film of hers I've seen. [Below, l to r: Colman and L. Gish; D. Gish; L. Gish and W. Powell.]
The second Colman film, Bulldog Drummond Strikes Back (1934, D: Roy Del Ruth), screened on Saturday--this one a sophisticated sound film. As Colman had one of the most mellifluous baritones ever combined with a smooth British accent, I believe most of us attending the festival were eagerly awaiting this one. It ended up ranking as one of my favorites of the weekend, not only because of Colman; this movie, about a murder in post-WWI London, reveled in its simultaneously cheeky, dark, and mysterious tones. Colman was wonderful as the titular war hero-turned detective who just can't leave well enough alone and saves several potential victims of a dastardly extortion scheme, including the luscious Loretta Young. Warner Oland shows why he was the master of Asian (albeit in yellow face) villains in later films--he's just this side of cartoonish to be truly enjoyable in his menace. The pace is snappy and I just didn't want it to end.
Vilma Banky & Colman make an exotic pair in The Night of Love
The Night of Love (1927, D: George Fitzmaurice) This was another Colman silent screened on Saturday evening, and I must say it was a disappointment to me. If you've ever seen the fun Son of the Sheik with Valentino, made only a year before, the Colman film felt largely like a retread, with a similar exotic/romantic kidnapping plot, the same director (George Fitzmaurice), female star (Vilma Banky), villain (Montagu Love), and occasional comic tone. Colman and Banky were paired in several films in the silent era, and this one is rarely seen today, so it was a treat for at least that reason (if not for Colman's curly locks!)
Sunday morning brought the earliest Colman silent of the weekend, Twenty Dollars a Week(1924, D: Harmon Weight). Colman was not yet the big star and was only one in a large cast. Apparently, though, George Arliss was a real star at the time and stood out in the film. This was a comedy of errors and morals, that frankly, I found too convoluted. It involved rival families adopting children and fathers. For those Arliss and Bette Davis fans, you may have seen the remake called The Working Man from 1933.
The last Colman film closed the festival, The Rescue(1929 D: Herbert Brenon). This one came at the time of conversion to sound films, and like many others at this time, was made in both a silent and a 'talking' version. Like the best films of the late silent era, a good story, fantastic cinematography, and star power propelled this one. It was a stunner. Since the only surviving print of the film, minus one reel, resided at the George Eastman House, we were fortunate indeed to see it on the big screen here at Capitolfest. I hope it gets a DVD release, as it is more than deserving. Based on the Joseph Conrad novel of the same name, the film puts Colman to good use as the seagoing hero out to win over friendly island natives while thwarting attempts of his clueless countrymen to mess up existing relations with them and put their lives in danger. A lovely young Lili (billed as Lily) Damita is the 'damsel in distress' who starts out seeming a femme fatale but ends the film as a foolish young woman who is on her way to a more mature womanhood. Highly recommended!
Colman is both dashing and conflicted in The Rescue
Other highlights
The UCLA Film & Television Archive is responsible for the restored version of the 1933 gangster melodrama starring Spencer Tracy called The Mad Game. (1933), which screened on Friday afternoon. I found it quite enjoyable if not Tracy's best performance. It's notable for being one of the first screen appearances of eventual noir queen Claire Trevor -- she was barely recognizable here, at least to this viewer. Judge for yourself in the image below. She blended charm and sass in her role as intrepid reporter with a soft spot for Tracy. I also admired the work of Ralph Morgan (brother of Frank) as an upstanding judge.
Spencer Tracy & Claire Trevor in The Mad Game (from www.moma.org)
One of the reasons to go to a rare film festival is to see gems like The House that Shadows Built, which was a documentary short celebrating Paramount's 20th anniversary in 1931. A Marx Brothers skit not included in any of their films was seen here, as well as the only surviving clips from a movie that was never completed, director Dorothy Arzner's feature The Stepdaughters of War with Ruth Chatterton. Also on the program were some hard-to-see short comedy films, including some Laurel & Hardys (silent and sound), and the side-splitting Your Technocracy and Mine, with comedian Robert Benchley, in which his attempt to lecture on the topic, including nonsensical visual aids, just goes off the rails.
At Capitolfest there is always (at least) one film that is completely outrageous but irresistible. This year it was the audience pleaser It's Great to be Alive!, in which Raul Roulien's character, by a happy accident, survives a plague that wipes out all of the male human species. When he returns from exile, he must win over his disgruntled girlfriend (Gloria Stuart) so that the human race can continue. The film doubled as a musical and featured Edna May Oliver in top comic form as head scientist of the institute confronting the crisis.
Raul Roulien soaks up the love in It's Great to be Alive! Image from moma.org
Perks of Capitolfest
Wendy & Toni
In addition to the films, Capitolfest abounds with charms. Perhaps the most important, the relaxed atmosphere--there is only one theater, which means no lines and no rushing around. Popcorn sells for $2.00, and beverages are free once you've purchased your Capitol Theatre mug (I brought mine from 2016). Most importantly, though, is the opportunity to spend quality time with other film fans, many of whom I know online and/or from the TCM Film Festival -- until next year, guys!
l-r, Wendy, Toni, me, Theresa, Aurora, Alan (author of the selfie)
*All silent films were accompanied by film organists (Dr. Philip Carli, Bernie Anderson, Avery Tunningley) using the in-house vintage (1928) Möller organ.
So here we are, the end of another year! It was a busy one for me as I made a major career change by going into consulting. This means my time is more flexible, but I have a lot of irons in the fire...which is good, because I get to do more cool things, but also tends to mean I don't have as much time to devote to any one thing. I also have to be a bit more finance-conscious. For a variety of reasons, distractions, etc., I didn't watch as many new-to-me films as in previous years. Here's the tally since I started reporting out:
2015: 178
2016: 162
2017: 85
(I use www.icheckmovies.com to record my viewings. Anyone else who uses this service, add me as a 'friend' - jcdohio)
What am I looking forward to in 2018?
Renowned Belgian film director Agnès Varda is coming to the Harvard Film Archive! Varda, who is known for her influential creative style, especially during the French new wave, will be entering her 90th year (!), and she is still producing films. On Friday, Feb 22, she will attend the screening of her 2017 documentary Faces Places (Visages Villages), and on Saturday Feb 23 she'll be present for Vagabond (Sans toit ni loi)from 1985. I expect she'll make some comments and take audience questions. I haven't yet had the opportunity to see any of this 'trailblazing woman's' films, but this is my opportunity, and to get to hear her insights live is certainly a great privelege. The HFA is also screening a number of her other films during the month of February.
The 2018 TCM Film Festival (of COURSE!) in Hollywood, April 26-29. This year, the theme is Powerful Words: The Page Onscreen, promising film adaptations of novels, short stories, memoirs, poetry, or any other written medium. A few films have already been announced, and the entire program won't be available until shortly before the festival starts. This may be my chance to finally see the Laurence Olivier version of Hamlet! Catching up with film friends will be a highlight, as well, and making some new friends. I may also take time away from Tinseltown to catch a Dodgers game before the festival starts. My sources tell me the reigning National League champs are in town! Check out the 1-min promo clip below:
From www.berklee.edu
The Coolidge Corner Theatre hasn't yet announced their 2018 collaboration with the Berklee Silent Film Orchestra, but in past years a world premiere of a new score, played live by this great local ensemble, would happen in May, so I keep checking their website. Last year, their score for Harold Lloyd's The Freshman was incomparable. I hope to see this score released on DVD soon! Their recent scores for Variete and The Last Laugh are now available on DVD and Blu-Ray on the Kino Lorber label.
McFarland Books will releases Derek Sculthorpe's latest biography, this time of film noir queen Claire Trevor. I look forward to reading about this underrated actress whose film career lasted over 50 years. You may know her best as John Wayne's love interest in Stagecoach (1939) or as the sultry singer from Key Largo(1948).
Claire Trevor (IMDb.com)
This is just a sampling of what I know will be another great year of film-watching and blogging. I hope to continue to join blogathons and get involved in more such events to learn about films and film history, and to 'give back' to do my little part to keep classic film alive!
Happy New Year everyone! Gotta get ready to party!
William Powell and Myrna Loy celebrate New Years'
as Nick and Nora Charles in After the Thin Man (1936)
Who doesn't love a charismatic villain? The best villains are those who not only steal all the scenes they are in, but make you root for them by exposing their humanity, vulnerability, or sheer likeability. In one of my favorite examples, Douglas Fairbanks Jr. had a tremendous turn as devilish, dashing 'Rupert of Hentzau' in The Prisoner of Zenda (1937). (By the way, this movie is terrific beyond just Fairbanks, Jr., so check it out if you haven't already seen it.)
Brian Donlevy, publicity photo from Destry Rides Again. (IMDb.com)
I'd seen character actor Brian Donlevy (1901-1972) in a few films from the 1940s before he really registered on my radar, but that all changed when I watched Destry Rides Again(1939). I wrote about this western, starring James Stewart, here, and had commented on how Donlevy really killed it. It turns out that playing deeply flawed characters, protagonists or antagonists, was Donlevy's specialty. Some were straight out villains that were unlikeable but still charismatic (Beau Geste, 1939), villains that were just unlikeable and not particularly charismatic (The Virginian, 1946), misguided tough guys with hearts of gold (McGinty in The Great McGinty, 1940), or corrupt politicians with a sense of humor (The Glass Key, 1942). But his career also saw him assaying strong upstanding guys--two that I enjoyed were: in Two Years Before the Mast(1946),he supported leading man Alan Ladd as the real-life writer who ultimately exposes the poor working conditions aboard sailing vessels in early 19th century; in Kiss of Death(1947)he plays the straight and sympathetic D.A. to Victor Mature's reforming ex-con. If nothing else, his range was wide and he was reliable, and sometimes breathtaking.
Late last year, his first full-length biography, titled Brian Donlevy, the Good Bad Guy, was published by McFarland Books, and does justice to this often overlooked actor's life and career. The author, Derek Sculthorpe, who also wrote the recent bio of Van Heflin that I reviewed here, answered some of my questions about his work, and I intersperse them throughout this post.
Sculthorpe's objective in writing about Donlevy was to "provide a comprehensive and human assessment of his life and career." As with the Heflin book, it's thoroughly researched. The primary focus is on the detailed output of Donlevy's career, and because Sculthorpe watched every available film and television show, he is able to draw detailed insights about his work. It really is a great reference for those interested in film history, as Sculthorpe provides the background of each film's production, a short description, an analysis, and citations from press of the time.
Despite this heavy film focus, Sculthorpe intersperses chronologically those specifics of Donlevy's personal life that he uncovered during his research so that we get a sense of who this man was. For example, with his study of military records, Sculthorpe was able to debunk some of the more colorful stories of Donlevy's service before and during WWI which were fed to the press during Donlevy's early acting career, and which are still part of the lead bio on IMDb.com.
Donlevy with starlet Rita Cansino, soon to become mega-star Rita Hayworth, in Human Cargo(1936) (Photo from: Brian Donlevy, the Good Bad Guy, McFarland Books 2016)
Q. How long did it take you to research and write your book on Donlevy?
Sculthorpe: "It took several months to research. It’s an incredibly time-consuming process. The thing is that once you start writing you begin to find more things. Obviously by the end you have so much. It took about eight months to write. This is so much less than it took for Heflin of course which was about two years or so in total. I learnt so much writing the first one which meant that I knew what to expect this time."
We learn that, in many ways, Donlevy had a career typical of many Hollywood actors of his generation, working until just a couple of years before he succumbed to cancer in 1972 at the age of 71. While he had no real formal acting training, he scored successes in film, the Broadway stage, radio and television. He had a private life that wasn't without its bumps and bruises, and battled alcoholism. He struggled with being typecast as a 'heavy', but often made the best of those roles, and relished those in which he played against type.
Q. What film of Donlevy's that is less well-known would you recommend people watch because of Donlevy's presence?
Brian Donlevy and Susan Hayward on the set of Canyon Passage (IMDb.com)
Sculthorpe: "It’s hard to name just one. I would say Canyon Passage, which was an interesting role. Among the less well-known ones I especially liked 36 Hours to Kill (1936) in which he showed a lightness of touch; he was romantic and jaunty.The Remarkable Andrew (1942) (where Donlevy played the ghost of President Andrew Jackson) because he worked well with (William) Holden and it was something different. Incidentally, in one of his early shorts, Ireno (1932) he had a tiny uncredited role as a drunk which was well-observed I thought. It is very short but is now available on YouTube:"
Donlevy first gained star status with his Oscar-nominated turn as the villain in Beau Geste. But his career reached its apex in the 1940s, where he was under contract with Paramount, and where he made most of the hit films I cited as those catching my attention. Later, as his career ebbed, he worked for various other studios, such as Republic, and ventured into television. His hit show Dangerous Assignmentin the 1950s was based on the radio show of the same name, that Donlevy himself conceived and wrote. In it, he's a debonair but tough U.S. special agent dealing with all kinds of cases of intrigue and adventure. Interestingly to me, he married the widow of Bela Lugosi late in life, after having divorced two wives, and Sculthorpe was in touch with stepson Bela Lugosi Jr., for insights about Donlevy. One gets the sense that Donlevy had a restless energy all his life that propelled him to success, but also perhaps never allowed him contentment with his choices. He dabbled in writing poetry and fiction, and investments in mining concerns.
Q. In reading the book, it struck me that Donlevy’s life and career had parallels to those of Van Heflin, the subject of your earlier book (e.g. talents underused, character actor vs. lead, challenges in personal life such as difficult relationships with children, drinking, etc). Any thoughts about what made them similar, and perhaps more importantly, what was different about the two?
Donlevy with Gloria Stuart in 36 Hours to Kill (IMDb.com)
Sculthorpe: "I think Heflin was a far more intense actor; for him acting was a real craft and he put a great deal into his roles, especially on stage. Those parts were physically and emotionally draining. For Donlevy, it was more of a job I would say, a means to an end. Both were a similar generation, both loners and, as you say, had a drinking problem. As to drinking, it is a common theme, and others such as William Holden and Robert Ryan were comparable. I think that generation were encouraged to keep emotion inside. Conversely, I think this made them better actors. Both sought adventure in their early lives, but the crucial difference was that Donlevy wanted to be part of something (the army), whereas Heflin just wanted to escape and do his own thing. Overall, I would say Heflin turned down a great many more roles than Donlevy. Their attitude to television was revealing; Heflin saw it as diminishing the art of acting in some way. Donlevy was practical and enjoyed one of his greatest successes with a TV series."
Q. If you could play casting director…is there any film role that Donlevy would have been absolutely the best choice for (past or present) that may have showcased his talents better?
Sculthorpe: "I would like to have seen him as Frank Elgin in The Country Girl, (1954) which he only ever did on stage in his “straw hat” days. I know Bing Crosby did it well but Donlevy was said to be unexpectedly good in that role so that would have been interesting."
Q. What is your next project?
Sculthorpe: "My next book is about Claire Trevor, it should be out at the beginning of next year." The subjects I have chosen have not been the most obvious ones, or the easiest to write about. I just feel that the big stars - Marilyn, Cary Grant, Bette Davis et al. have been written about a lot. What more can be said about them? A vast number never made it to their level, but nonetheless have a story to tell. It is heartening to see that there have recently been books about Lloyd Nolan, Richard Jaeckel, Dan Duryea and other less feted people for instance." Sculthorpe added that he would be interested to know which subjects my blog readers would like to see books written about -- feel free to add your thoughts in the comments section.
This post is my entry in the 2017 "What a Character" Blogathon, hosted by Aurora of Once Upon a Screen, Kellee of Outspoken & Freckled, and Paula of Paula's Cinema Club. Check out all the posts to satisfy your curiosity about actors you've probably seen but may not know their names. All these actors deserve to have their stories told for what they gave us on the silver screen.
