BELLE OF THE YUKON

Randolph Scott and Gypsy Rose Lee

BELLE OF THE YUKON (1944).  Director: William A. Seiter. 

Former con man "Honest" John Calhoun (Randolph Scott of Captain Kidd) owns an Alaskan nightclub and saloon which is managed by Pop Candless (Charles Winninger). Pop's daughter, Lettie (Dinah Shore), is breathlessly in love with handsome piano player, Steve (William Marshall), but there is a rumor that Steve may have a wife and children. Then John's old girlfriend, an entertainer named Belle De Valle (Gypsy Rose Lee), turns up as the star attraction at the saloon  -- and with marriage in mind. When Honest John decides to open a bank and importunes everyone to put their money in it, the trouble really begins. 

Dinah Shore and William Marshall

Belle of the Yukon is one of those movies that is perfectly pleasant while it's unfolding, but when it's over you realize that there really wasn't much to it. There's no great plot to speak of aside from the misunderstandings between Lettie and Steve and John and Belle, and attempts to make off with the bank's gold engineered by George (Robert Armstrong) and Sheriff Maitland (Guinn "Big Boy" Williams). The songs by Burke and Van Heusen [Duffy's Tavern] are no great shakes although "A Slay Ride in July" is one that could grow on you. Scott is stalwart but not really a deft comedian; Gypsy Rose Lee (the subject of Gypsy) is okay but nothing that special; Dinah Shore sings quite well and is reasonably appealing; and William Marshall has little to do but look quite dreamy and now and then punch out the sheriff. Charles Winninger and Florence Bates as Lee's companion easily walk off with the movie, which so often was the case. 

Verdict: Amiable if minor-league piffle with some good performances. **1/2. 

THE SECRET LIFE OF WALTER MITTY (1947)

Danny Kaye

THE SECRET LIFE OF WALTER MITTY (1947). Director: Norman Z. McLeod.

Walter Mitty (Danny Kaye) is an editor at a pulp publishing house that puts out magazines of horror and crime. His own life -- living with his unpleasant mother (Fay Bainter) and engaged to an unappreciative fiancee (Ann Rutherford) -- is dull  enough for him to indulge in a variety of fantasies. He imagines himself as a brilliant physician, a famous pilot in the RAF, a riverboat gambler, old west cowboy, and so on. But then he meets a beautiful blond (Virginia Mayo) and his life suddenly gets more exciting -- and dangerous. The blond is named Rosalind, and she gets Mitty involved with deadly spies who are after a book that lists the location of art treasures hidden away from the Nazis. In their attempts to get the book, Mitty almost loses his life on more than one occasion.

Virginia Mayo with Kaye

Walter Mitty holds the attention for the most part, is generally well-acted, and has some clever and amusing moments -- a shot of Whistler's Mother in a bathing suit -- but it just isn't that funny. A routine Kaye does in which he imitates an old music professor goes on forever and hasn't a single laugh. The song numbers by Sylvia Fine, Kaye's wife, are pretty awful. The ever under-rated Virginia Mayo is luminescent, however, and there's some good work from Fritz Feld as a European designer of women's hats. (Kaye later does an imitation of him with some characterizing the caricature as "homosexual," but I doubt if that was the intention.) Thurston Hall is fine as Kaye's boss, who is near-apoplectic at times, and Boris Karloff shows up as a very peculiar psychiatrist.

Boris Karloff with Kaye

Rutherford does a nice job as the fiancee, and Florence Bates is typically on-target and amusing as her somewhat disapproving mother. Bainter [The Children's Hour] makes Mitty's mother a borderline harridan, treating her son like he's a ten-year-old, and she isn't funny enough to make the character palatable; a very good actress but not a skilled comedienne. Gordon Jones of The Green Hornet serial plays a man who has a romantic interest in Rutherford; Konstantin Shayne [The Unknown Man] is a nasty character known as the Boot; and the ever-cadaverous Milton Parsons plays his butler.

Verdict: Kaye running around amiably but not that memorably. **1/2. 

PARIS MODEL

Eva Gabor and Tom Conway 

PARIS MODEL (1953). Director: Alfred E.  Green.

Four women who pick out a fancy dress -- a "Paris model" or a cheaper copy of it -- want to wow their men but wind up getting their comeuppance, except in the last instance. Gogo (Eva Gabor) hopes to hook the wealthy Maharajah of Kim-Kepore (Tom Conway) but her billing the dress to another man may cause a problem -- not to mention the appearance of a gorgeous brunette (Laurette Luez). Betty Barnes (Paulette Goddard) is in love with her boss (Leif Erickson), but his wife, Cora (Gloria Christian), may out-do the grasping secretary in the fancy dress sweepstakes. Marion Parmalee (Marilyn Maxwell) pulls out all of the stops with her husband's flirty boss Sullivan (Cecil Kellaway) in the hopes of getting hubby (Robert Bice of Invasion U.S.A.) the new presidency when the boss retires, but she doesn't reckon with Sullivan's formidable wife (Florence Bates). Marta (Barbara Lawrence) hopes that boyfriend Charlie (Robert Hutton) will propose to her for her 21st birthday dinner at Romanoff's and she may get a little help from "prince" Michael Romanoff [Arch of Triumph] himself.

Secretary vs wife: Paulette Goddard and Gloria Christian

I confess I nearly dumped Paris Model in my latest collection of "Films I Just Couldn't Finish" because the first episode with Gabor and Conway is so lame -- aside from a modestly amusing wind-up -- that I couldn't see spending much more time on it. (One can't imagine either of the Gabor sisters being crazy about having their thunder stolen by another woman.) But once I understood the point of the film, that it dealt with the dress and the stymied manipulations of its wearers -- not to mention that the later segments were more entertaining -- I found this quite enjoyable. The performances are generally good (although Eva Gabor is just plain weird, like a dopey showgirl from another dimension), with Kellaway and Bates taking the acting honors. The film comes full circle with a very funny ending when Tom Conway shows up again as the horny Maharajah. Alfred E. Green directed everything from science fiction (the aforementioned Invasion U.S.A.) to old Bette Davis movies [Dangerous] to Copacabana and everything in-between. Tom Conway's brother, George Sanders, was married to both Zsa Zsa and Magda Gabor, but somehow he never got around to Eva.

Verdict: More fun than you first imagine it will be. ***.

THE CHOCOLATE SOLDIER

Rise Stevens and Nelson Eddy

THE CHOCOLATE SOLDIER (1941). Director: Roy Del Ruth.

Karl Lang (Nelson Eddy) and Maria Lanyl (Rise Stevens) are a married couple in Vienna who appear nightly in a production of The Chocolate Soldier. Karl is generally surrounded by adoring young ladies, but he is still jealous of the attentions his wife receives from other men, and thinks that she has quite a romantic history. He fears it is time for her to take yet another lover and his marriage may be doomed. To test Maria's affections, he disguises himself as an intensely romantic Russian singer ...

Eddy disguised as the Russian

Like Sweethearts, which Eddy did with Jeanette MacDonald three years earlier, The Chocolate Soldier completely throws out the plot of that operetta -- while retaining some of Oscar Straus' music -- and substitutes the storyline of that creaky old standby The Guardsman (which Lunt and Fontanne actually filmed ten years earlier). This plot was recycled for more than one I Love Lucy episode which at least had Lucy and Desi yukking it up. However, to be fair to the leads in this picture, they are both excellent and amusing in their own way. Often damned as a lousy actor, Eddy is actually quite effective in this, including when he is impersonating the love-mad Russian. Stevens, a mezzo-soprano to reckon with and a genuine operatic star (and with a voice far superior to Jeanette MacDonald's ), also proves a delightfully talented and sophisticated actress. Stevens may not have been a stunning beauty, but with her personality, manner and charm -- not to mention her cute appeal -- I have no doubt she had plenty of male admirers (she was happily married for 61 years, however).

Nelson Eddy as Karl

But then we come to the music. The best song, of course, is the gorgeous "My Hero," which is reprised more than once in the movie and deserves to be. Vivian Vance sang this song in the classic "Ethel's Home Town" episode of I Love Lucy, but while Vance had a nice voice, she can't compare to Stevens, who gives a superb rendition, joined in by Eddy, who is also in fine voice, at one point. Stevens is also given a beautiful aria from Samson and Delilah, while Eddy does Tannhauser.  There are other musical interludes, including a weird, unmemorable piece sung by Eddy as the Russian, and a frenetically-edited dance at a drinking establishment.

Rise Stevens

Frankly, the script for Chocolate Soldier is not the chief appeal of the movie, although it does manage to remain amusing and watchable due to the actors and the soundtrack. Florence Bates [The Brasher Doubloon], Nigel Bruce, and Nydia Westman [Forty Little Mothers] add to the fun as assorted associates of the lead couple, and all are very good. Rise Stevens did a version of The Chocolate Soldier for television with Eddie Albert in 1955, which I believe stuck to the original story of the operetta. Stevens had a long and wonderful career with the Metropolitan opera in New York and did very few films, one of which was Going My Way. She did a few operas, such as Carmen, on TV as well.

Verdict: Despite its obvious flaws, this is still quite entertaining. "My Hero," indeed! ***. 

THE BRASHER DOUBLOON

Nancy Guild and George Montgomery

THE BRASHER DOUBLOON (1947). Director: John Brahm.

Private eye Philip Marlowe (George Montgomery of Street of Sinners) is hired by the formidable Mrs. Murdock (Florence Bates) to recover a very valuable coin which he suspects was taken by her own son, Leslie (Conrad Janis). Marlowe is attracted to Mrs. Murdock's somewhat strange secretary, Merle (Nancy Guild of Somewhere in the Night), who seems to be keeping secrets from him. As Marlowe investigates, he keeps tripping over bodies, and uncovers some family secrets and a mysterious death in the past. Along the way he encounters cops, gangsters and gamblers, most of whom have little respect for his health. It all winds up in his office as he unveils the killer and his motives with a piece of provocative film. The Brasher Doubloon is based on Raymond Chandler's "The High Window," and despite being a little too short, is a very good example of both film noir and the detective story. As Marlowe, George Montgomery is excellent -- smooth, handsome and very adept -- but the critics felt he couldn't compare to Humphrey Bogart in the role and he was again mostly delegated to westerns after that. Guild and Janis are on the money, and Bates offers a ferociously dynamic performance as Mrs. Murdock. Roy Roberts is also effective as Lt. Breeze. The picture is full of amusing and sexy scenes such as when Guild holds a gun on Montgomery and orders him to take his clothes off! Director Brahm keeps the movie atmospheric, fast-paced, and suspenseful. Great ending! The Chandler novel was also filmed as Time to Kill some years earlier with Lloyd Nolan playing not Marlowe but Michael Shayne!

Verdict: This long-forgotten movie is a lost gem. ***. 

LULLABY OF BROADWAY

Doris Day

LULLABY OF BROADWAY (1951). Director: David Butler.

Melinda Howard (Doris Day) is a struggling show girl waiting for a big break who has just come back from Europe to see her mother, a big Broadway star named Jessica Howard (Gladys George) who lives in a mansion. Apparently Melinda has been away for quite some time, because she is completely unaware that her mother, far from being a Broadway star, has descended into alcoholism and near-oblivion and is now croaking out songs in a not-so-posh supper club. The mansion is now owned by theatrical producer Adolph Hubbell (S. Z. Sakall), who lives there with his formidable wife, Anna (Florence Bates). Taking pity on Melinda, dance man turned butler Lefty (Billy De Wolfe of Dear Wife), importunes Hubbell to let her stay in her "mother's" mansion, and to try to get her a job in a new Broadway show. However, Hubbell's relationship to the much younger woman is misinterpreted, especially by Mrs. Hubbell ... Lullaby of Broadway is one of Day's best vehicles, an amusing and charming trifle with some classic old tunes and excellent performances all around. Sakall, who can be cloying in some movies, is well-cast and wonderful as Hubbell, and Bates is his equal as his jealous and over-sized wife. De Wolfe also gives a winning performance, although I thought much less of Anne Triola as his girlfriend and the maid; she had very few credits. As the male lead, Gene Nelson [So This is Paris] is perfect, dances quite well, and does an astounding jump from the floor onto the top of a piano! Gladys George [Flamingo Road] is also memorable as the dissipated if plucky Jessica.

Verdict: Day struts her stuff in an entertaining musical. Watch for the sequence with Day's floating head! ***. 

SARATOGA TRUNK

Ingrid Bergman

SARATOGA TRUNK (1945). Director: Sam Wood.

"I don't have money, either, but I know how to turn a trick." -- Clint.

"Common. Common as dirt."  -- Angelique to Clio.

"Shut your mouth -- or I'll send you away somewhere to starve." -- Clio to Angelique.

After her mother's death,.Clio Dulaine (Ingrid Bergman) travels from France to New Orleans with a weird entourage consisting of old Angelique (Flora Robson), who takes care of her as she did her mother before her, and little person, Cupidon (Jerry Austin), who is only a couple of feet tall but feisty and fun. Clio is in New Orleans to get revenge on all of those who turned on her mother, a supposed murderess of her father, but this plot is quickly resolved once she meets cowboy Clint Maroon (Gary Cooper). After a love-hate courtship, Clint leaves for Saratoga and Clio follows, hoping to snare the wealthy if weak, supposedly mother-dominated Bartholomew Van Steed (John Warburton of Secret File Hollywood). But are Clio and Clint really sure that they are out of each other's systems? Saratoga Trunk is a weird movie that loses its focus and grip early on, but offers an excellent performance from Bergman -- who has never been photographed more beautifully -- and a good turn from Cooper. The problem with the film, among many, is that the most exciting scene has to do with a railroad clash -- and crash -- where two trains collide, men jump off the trains, and a rousing fight scene ensues -- unfortunately, none of this has much to do with the main plot of Saratoga Trunk (and the whole business with the railroad is tedious aside from the aforementioned scene). Apparently playing a black woman, British actress Robson [Caesar and Cleopatra] is wonderful as Angelique; Austin offers a winning performance as Cupidon; and there are splendid turns from Florence Bates [Rebecca] as a Saratoga society lady who helps Clio, and Ethel Griffies as the formidable termagant mother of Van Steed, who is out to expose Clio as a phony. Throughout the movie the love-hate badinage between Clio and Angelique is priceless. This is based on a novel by Edna Ferber.

Verdict: Lots of good things in this movie, a striking performance from Bergman, but a half-baked and over-boiled story that doesn't quite work. **1/2.

REBECCA

The unnamed heroine (Fontaine) and Mrs. Danvers (Anderson)

REBECCA (1940). Director: Alfred Hitchcock.

"[Rebecca's underwear] was made especially for her by the nuns at the Convent of St. Clair." -- a rhapsodic Mrs. Danvers

An unnamed young lady (Joan Fontaine) is in Monte Carlo as the companion to the horrible dowager Mrs. Van Hopper (Florence Bates) when she meets the handsome Maxim de Winter (Laurence Olivier), and the two are instantly attracted. The young lady agrees to become the second Mrs. de Winter -- Maxim's first wife, Rebecca, was drowned -- and they set off for his beautiful estate, Manderlay. There the nervous new wife sees evidence of the much more sophisticated Rebecca everywhere, and has to deal with a housekeeper, Mrs. Danvers (Judith Anderson), who loved Rebecca and sees the new Mrs. de Winter as a usurper. Eventually a number of secrets about Rebecca and her death are uncovered ... If there's any problem with this smoothly made and entertaining romance it's that the heroine is a bit too mousy -- after one especially cruel trick played on the unsuspecting victim by Mrs. Danvers, most women would have insisted the termagant be fired, for instance, but Fontaine lets it slide [although she does confront the housekeeper]. However, Fontaine is perfect and lovely in the role, although Olivier's performance, while good, is probably not one of his most outstanding. It could be argued that Judith Anderson overplays a bit too much, bristling "evil" at the very first confrontation, and one suspects Cloris Leachman based her portrayal of Frau Blucher in Young Frankenstein on Anderson in this. It has been suggested that Danvers was in love with Rebecca, but it's just as likely that, like a lot of old-school servants, she loved her mistress platonically and came to strongly, obsessively identify with her. In any case, Danvers' performance is basically good, which is also true of Florence Bates; George Sanders (as Rebecca's "cousin"); Gladys Cooper as a relative of Max's; Nigel Bruce as her husband; Reginald Denny as Max's associate, Frank; C. Aubrey Smith as a colonel; and Leo G. Carroll as Dr. Baker. The finale leaves you feeling somewhat sympathetic towards the unseen title character, and wondering if she was quite so "evil" and what she might have had to put up with as far as Maxim was concerned.

Verdict: Smooth, memorable picture from Hitchcock and producer David Selznick. ***1/2.

MY DEAR SECRETARY

Mowbray and Douglas confer in interesting restaurant

MY DEAR SECRETARY (1948). Writer/director: Charles Martin.

Just before giving a lecture, author Owen Waterbury (Kirk Douglas) bumps into aspiring writer Stephanie Gaylord (Laraine Day). She applies for the job of his secretary after his old one, Elsie (Helen Walker), quits in a huff. Initially delighted to be hired, Stephanie realizes that what she hoped would be an interesting and intellectual position actually just calls for her to be playmate for her infantile employer, whom she nevertheless develops romantic feelings for. Throughout the movie the two make up and break up several times, but never convincingly. My Dear Secretary probably looked good on paper, and it has many amusing lines and a few genuinely funny sequences, but not enough to make it memorable. Douglas and Day are fine, but not as good as the supporting cast, which includes Walker, Keenan Wynn as Owen's agent, Irene Ryan [of The Beverly Hillbillies] as his feisty housekeeper, Alan Mowbray as a private detective, Grady Sutton as another writer, and especially Florence Bates as the delightful landlady. While not quite on their level Rudy Vallee is also good as Stephanie's original boss and suitor. Virginia Hewitt makes an impression as the sexy Felicia, who dates Owen for a time. When asked which famous actress the slinky and beautiful Felicia resembles, Wynn says "Zazu Pitts!" The movie is basically good-natured, but there are some mean-spirited bits and Douglas' character seems to be too stupid to be capable of producing a novel, however bad. [He is definitely a "movie" writer and not a real one.] A highlight of the film is when the characters convene in a restaurant [see photo] in which some of the booths are surrounded by "frames," making them resemble paintings. In his sixth film, Douglas doesn't grit his teeth quite so much, but then this is not exactly intense material.

Verdict: There are quite a few laughs but the film doesn't quite cut it.**1/2.

MEXICAN SPITFIRE AT SEA

MEXICAN SPITFIRE AT SEA (1942). Director: Leslie Goodwins.

Dennis Lindsay (Charles "Buddy" Rogers) takes his wife Carmelita (Lupe Velez) on a second honeymoon cruise but doesn't tell her that he's combining business with pleasure: once again he has to get Lord Epping (Leon Errol) to sign a contract. Also on board are Uncle Matt (also Leon Errol) and Aunt Della (Elisabeth Risdon), not to mention two characters from the previous film Mexican Spitfire's Baby, Miss Pepper (Zazu Pitts) and Fifi, the sexy French gal (Marion Martin). Oddly neither Miss Pepper nor Fifi recognize any of the other characters even though they've already interacted with them. But logic is the last thing to expect in a Mexican Spitfire movie. That being said, it must also be said that this is probably the funniest of the Spitfire features. A particularly amusing sequence has Pitts pretending to be Lady Epping (Lydia Bilbrook) at a dinner party. The presence of Florence Bates as the hostess Mrs. Baldwin certainly adds to the fun. This comedy of errors is certainly silly, but it's also good-natured and has some genuine laugh-out-loud moments. Well-acted by all. Errol is simply brilliant.

Verdict: If only you'd meet such people on cruises! ***.

THE SECOND WOMAN

THE SECOND WOMAN (1950). Director: James V. Kern.

Ellen Foster (Betsy Drake) is visiting her Aunt Amelia (Florence Bates) when she meets and falls in love with Jeff Cohalan ( Robert Young) whose fiancee died in a car accident about a year previously. Jeff seems to have had a steady stream of bad luck ever since, especially since he's met Ellen -- his dog is poisoned, his horse breaks its leg in its stall, his house burns down -- and Ellen wonders if someone is out to get him while Amelia's doctor simply thinks Jeff is nuts and doing everything to himself. The film is well-produced, moodily photographed, and suspenseful as it proceeds to the final revelation. (More on which in a moment.) Drake is very good and makes an appealing, sympathetic heroine. Drake was married to Cary Grant for about 12 years, having met him while co-starring with him in Every Girl Should Be Married. Young is quite good at times as Jeff, even if he doesn't quite have the presence and authority of a Grant and at the climax he's painfully perfunctory when he should be passionate and dismayed. While The Second Woman is never in the league of such films as Rebecca and Suspicion, which it tries to emulate, what really sinks it is the utterly ludicrous denouement, which stretches credulity to the breaking point, asking us to believe that someone would cover up something without at the same time giving the individual a strong and believable enough motivation to do so. John Sutton and Jean Rogers add some spice as a once-married, happily divorced couple who pass in and out of the proceedings. Rogers was in several cliffhanger serials including Flash Gordon's Trip to Mars in which she played Dale Arden. The Second Woman was her final credit.

Verdict: Absorbing, but what a wacky wind-up! **.

THE MASK OF DIMITRIOS

THE MASK OF DIMITRIOS (1944). Director: Jean Negulesco.

A mystery writer named Leyden (Peter Lorre) is fascinated by the tales of a master criminal, Dimitrios Makropolous (Zachary Scott), who was found dead on a beach, and travels to interview people who knew -- and hated -- him. On his journeys he encounters Mr. Peters (Sydney Greenstreet), who wants to know what Leyden is up to without giving away any of his own secrets. Flashbacks illustrate the increasingly violent and cunning career of Dimitrios -- one of the best vignettes details how he helps maneuver a harmless little clerk (Steven Geray) into betraying his country via greed and gambling. But Dimitrios may even have one last trick up his sleeve. Although quite talky, the picture moves fast and features excellent performances from the entire cast; Lorre and especially Greenstreet are a marvel to watch as they emote with great skill and conviction. Kurt Katch as Colonel Haki, Victor Francen as Grudek, Marjorie Hoshelle as the clerk Bulic's wife, are all stand-outs, with Florence Bates and Edward (Eduardo) Ciannelli also offering noteworthy bits. Faye Emerson isn't bad as a discarded woman in Dimitrios' life. Negulesco may not be a Hitchcock (it would be interesting to ponder how the great Hitch would have handled this material) but his direction is quite good nonetheless. Based on A Coffin for Dimitrios by Eric Ambler.

Verdict: Fascinating! ***1/2.