WEEKEND AT THE WALDORF

Lana Turner and Van Johnson

WEEKEND AT THE WALDORF (aka Week-End at the Waldorf/1945). Director: Robert Z. Leonard. Colorized. 

The stories of several guests at New York's Waldorf-Astoria Hotel are presented, occurring over one fateful weekend, in this semi-musical remake of Grand Hotel. The two main love stories concern: lonely movie star Irene Malvern (Ginger Rogers), who longs for a normal home life and marriage, and war correspondent Chip Collyer (Walter Pidgeon); and stenographer Bunny Smith (Lana Turner of These Glamour Girls) and Captain Hollis (Van Johnson of The Bottom of the Bottle), who may or may not survive a required operation. 

Ginger Rogers and Walter Pidgeon

In the original Grand Hotel a ballerina had to deal with an impoverished baron who wants to steal her jewels, but in this version Irene merely mistakes Chip for a thief, but he carries on the joke a little too far (for her and for the audience). At one point Irene even exclaims: "That's straight out of the picture Grand Hotel!" Other changes make this a movie only loosely based on Vicki Baum's novel, the source material for the original picture. Frankly, this would have been a much more entertaining movie if they had thrown out everything else -- including a sub-plot with Edward Arnold [Crime and Punishment] trying to fleece a mid-Eastern potentate (George Zucco) -- and strictly focused on the touching love story of Bunny and the captain. Turner and Johnson both give lovely and adept performances in this, and the picture really only comes alive when they are on -- although I must admit Xavier Cugat is likable and does a couple of bouncy numbers (he actually was playing the rooftop at the Waldorf at the time). 

Verdict: One half of a good movie. **1/2. 

CRIME AND PUNISHMENT

Peter Lorre and Edward Arnold

CRIME AND PUNISHMENT (1935). Director: Josef von Sternberg.

"You said you'd show me some of your blundering police methods, and you certainly have!" -- Roderick to Inspector Porfiry.

Roderick (Peter Lorre) is a poor but talented writer on criminal psychology who is months behind in his rent. He is forced to bring some of his possessions to a pawnbroker, Leona (Mrs. Patrick Campbell), a loathsome old lady who insults her clients and offers them little money for their items. Roderick hatches a scheme to get the money he needs, but things go wrong almost from the start. Now Roderick has to deal not only with Inspector Porfiry (Edward Arnold of Lillian Russell), who admires Roderick but comes to suspect him, but with his own conscience. One could argue that the movie is a cinematic "cliff's notes" version of Dostoevsky's famous 1866 novel, but the story and its implications and ironic aspects remain powerful. Lorre gives a great performance, nearly matched by Arnold, and there is also fine work from Marian Marsh [Svengali] as Sonya, whom Roderick has fallen in love with; Tala Birell [The Frozen Ghost] as Roderick's sister, Antonya, who is willing to make any sacrifice for him; Campbell as the old lady and murder victim; Gene Lockhart as Antonya's much-older suitor; Douglass Dumbrille as another man who is in love with the sister; and especially Elisabeth Risdon as Roderick's mother, who gets at least one very strong scene when she finds out the truth about what her beloved son has done. One problem with the movie is that our modern-day knowledge of criminology might cause us to look less sympathetically at Roderick. Nowadays we might even see Dostoevsky's anti-hero as a borderline narcissist and even a sociopath -- his crimes are even worse in the book than they are in the film -- and his "conscience" could simply be worry over being caught, thereby proving him not to be quite as superior as he thought.

Mrs. Patrick Campbell originated the role of Eliza Doolittle in Shaw's Pygmailion on the stage.  She was perhaps most famous for her oft-quoted line: "It doesn't matter what you do in the bedroom as long as you don't do it in the street and frighten the horses." More of a theater person than a film personality, she had only six movie credits, of which Crime and Punishment was the last. She did not enjoy working with von Sternberg, possibly because  he (appropriately) made her look horrible on camera.

Verdict:  Some very raw and powerful acting in this. ***. 

ZIEGFELD FOLLIES

Kelly, Astaire and Garland

ZIEGFELD FOLLIES (1945). Director: Vincente Minellli.

9 years after he starred as The Great Ziegfeld, William Powell reprised his role of Flo Ziegfeld -- sort of. In the opening moments of Ziegfeld Follies, the great impresario is seen in Hollywood's idea of heaven pontificating on the Follies, and wondering what they would look like if the Follies still existed today. Voila! First puppetoons are used to depict the original Follies; then suddenly there's a stage and we see a series of acts with contemporary stars such as Lena Horne, Lucille Ball, Kathryn Grayson, Virginia O\Brian, and many others. After about half an hour the movie is almost stopped dead by a long and mostly unfunny skit with Keenan Wynn trying to make a phone call. A later sketch with Victor Moore as a man arrested for expectorating on the subway and Edward Arnold as his lawyer is much better, as is another sketch with Fanny Brice (who was actually in the original Follies) and Hume Cronyn as a couple who have a winning sweepstakes ticket and William Frawley as their landlord. A bit with Red Skelton playing a TV announcer who gets drunk reminds one of the later "Vitavegamin" routine on I Love Lucy. James Melton and Marion Bell sing a duet from La traviata, but are not that impressive. Fred Astaire [Royal Wedding] does two dance numbers with Lucille Bremer [Till the Clouds Roll By], but the highlight of the picture is his dance with Gene Kelly -- the only time the two danced together in the movies. The other highlight is Judy Garland playing an affected star in a production number with several handsome male dancers. Garland also appeared in Ziegfeld Girl.

Verdict: Although this has no story, it still manages to be entertaining. ***.

NOTHING BUT THE TRUTH

Bob Hope and Paulette Goddard

NOTHING BUT THE TRUTH (1941). Director: Elliott Nugent.

Steve Bennett (Bob Hope) works for stockbroker T. T. Ralston (Edward Arnold) in Miami Beach. Ralston's niece, Gwen (Paulette Goddard), gives Steve $10,000 and asks him to invest it for her. Steve tries to double the money by accepting a crazy bet that he will do nothing but tell the truth for 24 hours, leading to hurt feelings and various misunderstandings. Nothing But the Truth is based on a play that had already been filmed in 1929, and critics in 1941 found the enterprise rather creaky but still entertaining. Hope is in top form, as is Goddard, and there is fine support from Arnold; Leif Ericson [Three Secrets] as Gwen's boyfriend; Helen Vinson [In Name Only] as a predatory actress; Glenn Anders [The Lady from Shanghai] as Steve's co-worker; and Willie Best as his valet; among others. The movie has some real laughs and is consistently cute, but after awhile there seems to be more witless running about than anything else. This premise still worked for an amusing I Love Lucy episode wherein Lucy also had to tell the truth for 24 hours to win a bet from Ricky, Fred and Ethel. The same premise was also used for Jim Carrey's Liar, Liar 56 years after the Hope version!

Verdict: Enthusiastic players put this over. **1/2.

LILLIAN RUSSELL

Alice Faye as Lillian Russell

LILLIAN RUSSELL (1940). Director: Irving Cummings.

A young lady with singing talent reinvents herself as "Lillian Russell" to hide the fact that she's on the stage from her mother (Dorothy Peterson), but mama always knows. Like her mother, Lillian is an early feminist as well as a major theatrical performer with thousands of fans and a host of suitors, including Diamond Jim Brady (Edward Arnold) and "J. L." (Warren William of Dr. Monica), but she marries composer Edward Solomon (Don Ameche). Their marriage ends in tragedy, but waiting in the wings is reporter turned newspaper publisher Alexander Moore (Henry Fonda). Russell was actually married four times, and Solomon didn't die as in the movie, but turned out to be a (perhaps inadvertent) bigamist. As Faye herself noted, in this handsomely-produced (but oddly, black and white) movie, nobody ever ages no matter how many decades go by. Although Faye's singing voice could best be described as "pleasant" (and a little too deep at times), she gives a very good performance as Russell, wisely underplaying many of her more emotional scenes. Arnold is excellent in his portrait of the happy go lucky but broken-hearted Brady, and there are good turns from Ameche and William; Helen Westley [Million Dollar Baby] as Grandma Leonard; Joseph Cawthorn as vocal coach Leopold Damrosch; Ernest Truex as Lillian's father (who in real life was actually separated from his wife); and Nigel Bruce as William Gilbert (of Gilbert and Sullivan fame). Aside from the many musical highlights, there is grandma's recounting of a romantic story involving a mystery gift she once received, and a well-played scene between Arnold and William talking about their feelings toward Lillian. Henry Fonda [The Long Night], who usually leaves me cold, is quite good in this, although this was not an assignment he coveted. Old-time vaudevillians Joe Weber and Lew Fields, playing themselves, almost stop the movie dead with their long comedy routine, but as they happen to be very funny it doesn't matter. Eddie Foy Jr. plays his dad in a brief bit.

Verdict: Despite some inaccuracies, this is a highly entertaining and well-acted biopic. ***1/2.

EYES IN THE NIGHT

Edward Arnold and Ann Harding

EYES IN THE NIGHT (1942). Director: Fred Zinnemann.

Norma Lawry (Ann Harding) goes to see her old friend, the blind private eye Duncan Maclain (Edward Arnold), because she's concerned for her stepdaughter, Barbara (Donna Reed), who has fallen for a roue, Paul (John Emery), who was once involved with Norma. Naturally this roue is murdered, but Eyes in the Night is not a murder mystery, unfortunately. We learn early on that Paul was part of a spy ring run by Barbara's friend, the playwright Cheli Scott (Katherine Emery), and they are responsible for his death. Cheli and her cohorts want Norma's husband, Stephen (Reginald Denny), to turn over some secret plans to them under pain of death. With the assistance of his miraculous seeing-eye German Shepherd, Friday, will the sightless Maclain be able to save the day, catch the spies, and turn the plans over to Washington? The trouble with Eyes in the Night is that it has absolutely no suspense or surprises, only coming to life in the final minutes. Arnold [Dear Wife] and Harding [The Unknown Man] are fine, but the zestiest performances are from Donna Reed; Katherine Emery [The Locket]; Mantan Moreland as Maclain's butler; Stanley Ridges as Hanson, the Lawry's butler; and, of course, that amazing dog, Friday. Rosemary DeCamp and Stephen McNally are also good as a couple employed in the Lawry household and also in Cheli's gang. Barry Nelson, Steven Geray and Allen Jenkins have less to do. Three years later Arnold did a sequel, The Hidden Eye, but mercifully this did not become a series. Arnold also played Nero Wolfe in Meet Nero Wolfe in 1936. Director Fred Zinnemann went on to better things. This was Katherine Emery's (no relation to John) first film out of only twelve.

Verdict: Never have 80 minutes seemed so long. *1/2.

DEAR WIFE

DEAR WIFE (1949). Director: Richard Haydn.

In this sequel to Dear Ruth, Bill Seacroft (William Holden) is happily married to Ruth (Joan Caulfield) and living with his in-laws in their big house in New York. Bill's young, naive, but politically active sister-in-law, Miriam (Mona Freeman), doesn't like the current administration in her town and rallies against it before she discovers that her father, Judge Wilkins (Edward Arnold), is going to run for state Senate. Worse, Miriam has started a petition nominating Bill for the same seat! At first Bill, a bank clerk, has no interest in running, but when he learns that a new airport will leave many people homeless, he decides to challenge the judge, a situation which becomes increasingly awkward and threatens his marriage. Dear Wife is predicated on an amusing and interesting situation and builds upon it with its funny script and some fine acting. Holden [Executive Suite] makes the perfect leading man in this, Caulfield [The Unsuspected] is fine, and Arnold and Mary Philips as her parents are wonderful. Mona Freeman plays her part with perhaps too much self-conscious cuteness, but Billy De Wolfe positively walks off with the movie with his irresistible portrayal of Bill's boss and love rival, Albert. There are also memorable bits from Irving Bacon, Harry von Zell, amiable and adept William Murphy, Arleen Whelan, Raymond Roe, and Ida Moore [The Egg and I] as a drunken old lady in court. The best cameo is a sleepy neighbor played by Richard Haydn, who also directed the film.

Verdict: Cute and funny picture with some great performances. ***.

SECRET OF THE BLUE ROOM

SECRET OF THE BLUE ROOM (1933). Director: Kurt Neumann.

"It must be terrible to be a man and have to pretend to be brave."

At a birthday party for his beautiful daughter, Irene (Gloria Stuart), Robert von Helldorf (Lionel Atwill) tells his guests -- Walter (Paul Lukas), Frank (Onslow Stevens) and Thomas (William Janney) -- the story of the blue room in the old castle in which he resides: over the years more than one person has been found dead in the locked room, including his own sister. Thomas suggests that each man (all of whom are in love with the quite lovely Irene) spend the night in the room to prove their bravery. Of course it's no surprise when the first of them turns up missing in the morning, the room still locked. [Without giving anything away, everyone assumes he's gone out the window into the moat twenty feet below, yet he had a key which worked on either side of the door and could easily have exited the room and locked the door behind him.] Then another of the suitors spends the night in the room and ... A police commissioner (Edward Arnold) is called in to find out what's up, and the suspects include the butler, Paul (Robert Barrat of Lily Turner), the maid, Betty (Muriel Kirkland), the chauffeur, Max (Russell Hopton), and the very nervous cook, Mary (Elizabeth Patterson). There's also a weird stranger on the loose scaring the wits out of Irene. The secret of the Blue Room doesn't come as that big of a surprise, but the climactic chase in long-forgotten tunnels beneath the castle is exciting. Secret of the Blue Room is entertaining, atmospheric, and reasonably well-acted by all. Neumann also directed Kronos and many others.

Verdict: A bit creaky but fun. **1/2.

BELLES ON THEIR TOES

BELLES ON THEIR TOES (1952). Director: Henry Levin.

Cheaper by the Dozen was so successful that a sequel was inevitable, despite the fact that the main character played by Clifton Webb died at the end of that movie. In Belles Myrna Loy and Jeanne Crain take center stage as the wife and oldest daughter. Loy's Mrs. Gilbreth, who we learn was also a doctor and engineer like her late husband, is sort of reinvented as an early feminist; Loy seems a little more at home playing the woman than she did in the first picture. Much of the movie details the romantic adventures of daughters Ann (Crain). Martha (Debra Paget), and Ernestine (Barbara Bates). The illegally good-looking Jeffrey Hunter plays a doctor who falls for Ann, and Martin Milner [13 Ghosts] has a smaller role as Al Lynch. The weird butler, Tom (Hoagy Carmichael), seems to have wandered in from a different movie! Verna Felton and Edward Arnold also have roles, the latter as a man who reluctantly goes into business with Loy and has romantic aspirations toward her. Little Jimmy Hunt, who was charming in the first movie, is given no dialogue in the sequel.  At one point the movie threatens to turn into a musical when the whole gang sings a forgettable song about, of all things, beans!

Verdict: Where is Clifton Webb when you need him? **1/2.

MR. SMITH GOES TO WASHINGTON

MR. SMITH GOES TO WASHINGTON (1939). Director: Frank Capra.

Jefferson Smith (James Stewart) is tapped to fill a senatorial seat by politicos who think he'll be easy to manipulate; even his new secretary, Clarissa (Jean Arthur) thinks he's a dope -- at least at first. Smith is befriended by a man he admires, Senator Paine (Claude Rains), unaware that this otherwise decent person will painfully betray him for his own ends when Smith winds up on the wrong side of a shady land deal. Edward Arnold [The Houston Story], Guy Kibbee [Babbitt], and Eugene Pallette are a variety of political types maneuvering behind the scenes, and Thomas Mitchell is an intrepid reporter, Diz. This is a fast-paced, entertaining picture that in its dissection of political corruption, crap, and crumb bums is as timely today  as it was way back in '39, and it gives Stewart one of his best roles. Initially unsympathetic, Arthur also scores, and there's a great supporting cast, topped by a superb Claude Rains who nearly walks off with the movie [as was so often the case] -- his final scenes are mesmerizing. One could argue that when it comes to the famous filibuster climax, Smith was awfully lucky that the wise old president of the Senate (Harry Carey) was in his corner. Among the film's many memorable moments are a dinner table scene with the governor (Kibbee), a whole bunch of kids, and even Baby Dumpling (Larry Simms)! Other cast members include everyone from Grant Mitchell and Pierre Watkin to Ann Doran and William Frawley!

Verdict: A great picture from Frank Capra and his talented company. ***1/2. 

MEET JOHN DOE

MEET JOHN DOE (1941). Director: Frank Capra.

"For the John Does all over the world, many of whom are homeless and hungry."

When her paper is sold and streamlined and she gets fired, columnist Ann Mitchell (Barbara Stanwyck) decides to fake a letter from a "John Doe" threatening suicide for her last submission. The column causes a big stir, increases circulation, and gets Mitchell her job back -- now they have to find someone who can pretend to be the real John Doe. [Only in a Hollywood movie will the man they choose just happen to be as handsome as a movie star!] The guy who gets the job is unemployed, hungry John Willoughby (Gary Cooper), who gives a speech -- written by Ann -- in which he suggests people should act toward one another as if it were Christmas 365 days a year [not exactly a radical idea]. This leads to the formation of John Doe clubs, neighbors helping neighbors, people finding jobs instead of hand-outs and getting off relief, and so on. Then publisher D. B. Norton (Edward Arnold) wants to start a John Doe party with himself as presidential nominee, which does not sit well with Willoughby. Worse, what happens if perchance "John Doe" is exposed as a phony...?

Meet John Doe takes a while to get going and its simplistic premise is never quite as solid as, say, that of Mr. Smith Goes to Washington, but eventually the movie and its various elements begin to click. Although Robert Riskin's screenplay doesn't really give Cooper a fully dimensional character to play, the actor nevertheless gives one of his best performances. Barbara Stanwyck is as terrific as she always is, impassioned and dynamic in equal measure. The movie has some lovely scenes: editor James Gleason talking about his father dying in front of his eyes during the war; Regis Toomey telling Cooper how he and his wife (an uncredited but excellent Ann Doran) reached out to a grumpy old neighbor and it snowballed into a committee of neighbors helping one another with their problems, and "John Doe" begins to realize what might actually be accomplished by his deception. [On the debit side, Walter Brennan's character, who thinks a man is "free" when he's broke, is an idiot and a pure Hollywood concoction.] Irving Bacon and Spring Byington are also in the cast. Capra wasn't able to use the bittersweet ending that he wanted, but the alternative he came up with works nearly as well. 

Verdict: Despite obvious flaws and perhaps an unreal air about it, this is another Capra winner. ***1/2.

THE HOUSTON STORY

Barbara Hale and Gene Barry

THE HOUSTON STORY (1956). Director: William Castle.

Frank Duncan (Gene Barry), a wannabee player, interests the mob in his plan to steal oil and winds up bogged deeper and deeper in corruption. This is an entertaining, fairly fast-paced crime thriller with good performances from Barry and the rest of the cast. Edward Arnold scores as the mobster Paul Atlas, as does Frank Jenks as Barry's old buddy Louie. Jeanne Cooper is customarily saucy and fine as a waitress that Duncan dallies with but it's Barbara Hale who provides the biggest surprise. Usually cast as comparatively bland good girls (a la "Della Street" on TV's Perry Mason) in this she's a sexed-up blond singer and bad girl Zoe and she seems to be having a ball playing the part. Paul Richards is also vivid as Duncan's rival, Gordy. Some exciting chases and fight scenes.

Verdict: Barbara runs off with the picture! **1/2.

EASY LIVING (1937)

EASY LIVING (1937). Director: Mitchell Leisen.

Shop girl Mary Smith (Jean Arthur) is on her way to work and minding her own business when a sable coat drops out of the sky and lands on her head. Before long everyone is convinced that she is the mistress of J. B. Ball (Edward Arnold), the married millionaire who threw the coat off the roof because his wife's spending was out of control. Hotelier Louis Louis (Luis Alberni) invites her to stay in his magnificent Imperial Suite (with five reception rooms and an incredible shower-bath) for $7 a week (all she can afford) but when she finds nothing in the refrigerator she heads for the automat. There she meets Ball's son John (Ray Milland), who's trying to earn his own way in the world, but instead causes a riot when he tries to get Mary a free meat pie. While this isn't necessarily a laugh-a-minute comedy, it has some very amusing sequences (such as the automat riot), interesting characters, and a cute situation. Good performances, especially from Alberni and the incomparable Franklin Pangborn as a shop owner. Esther Dale is also great as Arnold's no-nonsense secretary, who doesn't take any guff from him.

Verdict: Minor-league but fun. **1/2.