BAND OF ANGELS

Clark Gable and Yvonne De Carlo

BAND OF ANGELS (1957). Director: Raoul Walsh.

In Kentucky in the 1880's, Amantha Starr (Yvonne De Carlo) discovers after her father's death that her mother was a slave, she is mulatto (although that term is never used), and she has lost everything, including her father's plantation, to his creditors. She is sold into slavery and acquired for $5000 by the wealthy Hamish Bond (Clark Gable), who treats his slaves with more kindness than others. But Rau-Ru (Sidney Poitier), whom Bond has raised like a son, feels that no amount of kindness can make up for his not being free. Rumblings from up North indicate that the so-called glory days of the South may just about be over.

Sidney Poitier and Carolle Drake

Band of Angels is based on a novel by Robert Penn Warren (All the King's Men), and it had to be much, much better than this film version, which is more along the lines of a Clark Gable Retread of Gone With the Wind than anything else. The shame of it is that there is plenty of provocative material in here, but the picture is a morally ambiguous mish mash that throws scenes at the viewer without any great coherency or momentum. One wishes that many of the characters, especially the black characters, had been better developed.

Amantha sets herself apart from her people

The treatment of racism is also comparatively trivialized and confused, to put it mildly. On the one hand, the film focuses on an interracial relationship (although both characters are played by white actors). On the other hand, Amantha spends most of the movie denying her heritage. Gable's character is also problematic, a slave trader who supposedly buys up slaves to keep them out of the hands of nastier owners out of guilt over his former actions. He mentions the real-life African King Gezo, who sold his own people, but this hardly excuses the actions of white slave traders. In Warren's book Bond comes to a much more satisfying end than he does in the movie.

Gable's performance is professional but comparatively passionless, while De Carlo is somewhat better. Notable in smaller roles are Andrea King as a supposed friend of Amamtha's, Rex Reason [This Island Earth] as a minister-turned-soldier who falls for Amantha, and Torin Thatcher [The 7th Voyage of Sinbad] as an old comrade of Bond's. Sidney Poitier gives the best performance in the film as the servant-son who becomes an understandably vengeful sergeant in the Union Army, and there is also good work from Carolle Drake as Michelle, another servant who seems to love Bond unconditionally. (Ms.) Tommie Moore plays another servant, Dolly, as if she thought she were appearing in an operetta! Robert Clarke and Ann Doran show up in bits and Patrick Knowles plays another plantation owner who nearly has a duel with Gable. Lucien Ballard's cinematography is first-rate, as usual, but Max Steiner's score can in no way be compared to his fine work on Gone With the Wind and other films.

Verdict: Patronizing and contrived, with an interesting plot pretty much muffed. **.

JOAN ON THE BBC

JOAN CRAWFORD ON THE BBC.

Crawford did a late sixties interview for the BBC which covered her entire career and her thoughts on current movies and performers. At first Joan seemed a bit guarded and not relaxed, and complained how the British seemed obsessed with age (apparently some reporters came right out and bluntly asked her how old she was). "I know some people think there are very few things before my time," she said. She relaxed a bit more as the interview with the young admiring host continued, although when she answered a question she didn't always really answer the question, but said -- as stars are wont to do -- what she wanted to say. She talked admiringly of Bette Davis and said she enjoyed working with her on Baby Jane, calling Davis a "fascinating actress" but saying they really hadn't had time to become friends. She was, however, close friends with Barbara Stanwyck, whom the interviewer compared to her, pleasing Joan. Joan apologized in a way for making negative comments about Liz Taylor's personal life, but praised her acting skills, and said, next to Gable, John Garfield was her most dynamic co-star. Joan said that "I never had a sense of humor about myself until I worked with George Cukor." During the interview she is friendly, smiles, makes amusing comments and reacts to same, but it still comes off, understandably considering her years in front of the camera, as if it's another performance. and while it may not be fair to say she is humorless, she is,as mentioned, holding herself in warily. She expresses the wish that pictures had more romance and glamor, and suggests that Warren Beatty is ornery, while admiring Natalie Wood, whom she feels hasn't reached her potential, that there was no longer any help or guidance for actors as in the studio days. Joan talks affectionately of Lionel Barrymore, but while admiring his genius, admits that John Barrymore could be difficult while making Grand Hotel. Basically Joan is ever the professional, and the interview, while not that probing, is a good one. It probably didn't hurt that Joan seems to like the kind of cute interviewer.

Verdict: Joan talks! ***.

WIFE VS. SECRETARY

A pensive Jean Harlow

WIFE VS. SECRETARY (1936). Director: Clarence Brown.

Linda (Myrna Loy) is happily married to publisher Van (Clark Gable), who has a highly efficient and attractive secretary named Whitey (Jean Harlow). Linda doesn't see the pretty Whitey as a threat until her well-meaning mother-in-law, Mimi (May Robson of Bringing Up Baby), puts the thought in her head. As for Whitey, she has an adoring boyfriend in Dave (James Stewart), but she also realizes that she's developed feelings for Van. When Van and Whitey take an unscheduled trip to Havana for business, Linda jumps to conclusions and walks out, making the conflicted Whitey wonder if she has a future with her boss and if she really wants one. Wife vs Secretary is not a bad movie, but its chief appeal lies in the wonderful performances by the entire cast, especially Harlow in a more serious role of a very likable, appealing and decent woman. Myra Marsh of I Love Lucy fame plays a woman who consults with Van, and Gloria Holden of Dracula's Daughter plays Joan, a friend of Van and Linda's.

Verdict: Watch this one for Harlow and other excellent performances. ***.

SARATOGA

Jean Harlow and Clark Gable

SARATOGA (1937). Director: Jack Conway.

Margaret Hamilton to Frank Morgan: "You have no idea what my face looked like before I used your cream."

Frank Morgan to Margaret Hamilton: "I can imagine."

Race track gambler Duke Bradley (Clark Gable) thinks that Carol Clayton (Jean Harlow), the daughter of his friend, Frank Jonathan Hale), is a bit snooty. Carol is engaged to the rich "sucker" Hartley Madison (Walter Pidgeon), but she finds herself drawn to the cruder Duke even as she engages in verbal fisticuffs with him. Will Carol and Duke admit their feelings for one another? This is the slight premise of Saratoga, which also has some bits of business about bidding on horses, switching jockeys at the last minute, and betting on the climactic race, most of which is a little confusing and even a bit on the dull side. This is a shame, because each and every cast member is working at the top of his or her game, and that not only includes the already-named, but Una Merkel as Duke's racing pal; Frank Morgan as her befuddled and jealous husband, who markets cold cream as "Harriet Hale;" Hattie McDaniel as Carol's saucy and lovable maid/companion; Frankie Darro as an obnoxious jockey; and George Zucco (doing a rare turn at comedy) as a slightly strange doctor. Margaret Hamilton also scores in a small role as one of Morgan's unsatisfied customers, and Lionel Barrymore is fine, as usual, working in his befuddled, cranky, old-timer mode.The acting in this is just wonderful and there are some memorable scenes, such as a near-silent one in which Duke communicates to Carol that her father has died. There's a very enjoyable train scene with the various principals taking turns at singing a chorus, their acting skills and personality making up for untrained voices. Despite several genuinely amusing moments, the film has an air of sadness because Harlow died tragically young while making this picture, and her scenes had to be finished with a dubbed double seen only from the back or behind binoculars. The film has an amiable nature, even though the Walter Pidgeon character is treated especially shabby, and Carol doesn't come off like the most likable of creatures.

Verdict: So many fine actors and so many good things in it that it's too bad this really isn't all that memorable. **1/2.

MUTINY ON THE BOUNTY

Clark Gable and Charles Laughton

MUTINY ON THE BOUNTY (1935). Director: Frank Lloyd.

"Mr. Christian, clear the decks of the rabble."

In 1787 press gangs led by Fletcher Christian (Clark Gable) pull men out of taverns and conscript them into the Queen's Navy whether they want to go or not, but Christian proves benign compared to the hideous (in every sense of the word) Captain Bligh (Charles Laughton) of the ship Bounty. While sailing to Tahiti to get a cargo of breadfruit, Bligh displays such cruelty to his men -- he orders a corpse flogged and keelhauls a man who only wanted water for his bloody knees -- that Christian speaks up, earning him the captain's eternal enmity. On the voyage back, Christian can stand it no longer and commands a [somewhat self-serving] mutiny, casting Bligh and those loyal to him out in a lifeboat. This famous true story is compelling, and the film boasts some fine acting, especially from the hateful, outstanding Laughton as Bligh. Donald Crisp also makes his mark as Burkitt, an ex-con turned sailor, and Eddie Quillan and Franchot Tone are also notable. The problem with the film is the matter-of-fact direction, which has no dramatic flair, and one senses things have also been a bit white-washed and sanitized. Still, this holds the attention and has its rousing moments. Gable gives a solid star performance.

Verdict: Story and acting make this worthwhile. ***.

NIGHT NURSE

NIGHT NURSE (1931). Director: William A. Wellman.

"For a beginner, you're not doin' so bad."

Lora Hart (Barbara Stanwyck) wants to be a nurse more than anything, but after initial discouragement is accepted as a probationer in a hospital. Upon graduation, she is assigned to be a nurse to two little girls with serious health issues, as well as a seriously alcoholic and uncaring mother (Charlotte Merriam) -- "I'm a dipsomaniac and I'm proud of it!" she screams. Worse still is the sinister doctor in charge (Ralf Harolde), who seems to be conspiring with, of all people, the chauffeur, Nick (Clark Gable in a small but vital role). A strong, forthright and entirely admirable person, Lora goes to the head of the hospital, Dr. Bell (Charles Winninger), but discovers that "ethics" prevent him from interfering despite the danger to the children. Stanwyck gives another impressive performance as Lora, and has some terrific scenes when, concerned about the little girls, confronts both doctors and especially the deplorable mother, going so far as to knock the woman to the ground! Joan Blondell is her customary good self as another saucy nurse, Gable is swell, and there are good supporting performances from Winninger, Merriam, Harolde, Blanche Frederici as a housekeeper, Vera Lewis as the mostly grim superintendent of nurses, and Ben Lyon as the bootlegger and romantic interest, Mortie. [One can't help but wonder why Lora doesn't just pack up those kids and take them to the nearest emergency room instead of giving one of them a milk bath!]

Verdict: A little absurd but entertaining. ***.

CLARK GABLE: TORMENTED STAR

CLARK GABLE Tormented Star. David Bret. Carroll and Graf; 2007.

It shouldn't be any secret today that many of Hollywood's most famous stars were privately homosexual, and while this may bother some people, a biographer has the right and obligation to be honest about his subject's sexuality. It's the 21st century, after all, and homophobic reactions are dated, to say the least. But there is a big difference between books like Andre Soare's bio of Ramon Navarro and James Robert Parish's tome on Katharine Hepburn and books like this one. Clark Gable may well have been bisexual (as Bret claims) or even a Don Juan homosexual with one sham marriage after another, but as this bio has no source notes or interviews with those in the know, it won't convince anybody of anything. According to Bret virtually everyone in Hollywood is bisexual. While this should be a juicy read, its rag tag collection of unsubstantiated gossip eventually becomes annoying and even tedious. A good book may yet be written about Gable and Hollywood hypocrisy over homosexuality, but this isn't it. There are some good passages, but the whole project has a sensational-at-any-cost feel and is a far cry from serious journalism. Too bad.

Verdict: Don't bother. *1/2.