A DOUBLE LIFE

Shelley Winters and Ronald Colman

A DOUBLE LIFE (1947). Director: George Cukor.

Anthony John (Ronald Colman) is a well-known theater actor who is divorced from, but still in love with, his ex-wife, Brita (Signe Hasso of A Reflection of Fear). They have remained friends and co-workers and decide to do their rendition of Shakespeare's Othello. Never too tightly wrapped to begin with, Anthony begins unraveling as the successful show goes on month after month, developing an intense jealousy over Brita (and a publicist named Bill played by Edmond O'Brien), that threatens to rival Othello's equally unfounded jealousy over Desdemona. Is someone going to pay the ultimate price for Anthony's madness, and who will it be? A Double Life has a famous star -- Colman won a Best Actor Oscar for his performance -- and director, but the movie is successful neither as drama nor suspense film. The characters in the script by Ruth Gordon and Garson Kanin are too superficial to make us actually care about anyone, and there is no real tension in the movie, Shelley Winters plays a waitress that Colman dallies with, but this very good actress is hardly given enough to work with in her two brief scenes with the star. Signe Hasso comes off better as Desdemona than Colman does in his okay but often hammy interpretation of Othello. There are people who really love this movie (they go on about it as if were along the lines of he actual Othello) and Colman's performance, but I think Colman has given better performances in much better pictures than this. Betsy Blair has a nice bit as a hopeful actress, and Ray Collins, Whit Bissell, and Joe Sawyer also have minor supporting roles. Cukor has directed better melodramas than this, including Gaslight and A Woman's Face. In the final sequence Hasso seems to be indulging in a bit of silent movie acting! I believe Colman's Oscar was given for his body of work. This bears some similarities to the earlier The Brighton Strangler, which some may actually consider the better movie..

Verdict: See a performance of Othello instead. **.

THEY KNEW WHAT THEY WANTED

Charles Laughton as Tony Patucci

THEY KNEW WHAT THEY WANTED (1940). Director: Garson Kanin.

This is the third film version of Sidney Howard's 1924 Pulitzer prize-winning play, and the only one to use his title. The story line -- later used by Frank Loesser in his brilliant musical theater piece The Most Happy Fella -- concerns a middle-aged vintner named Tony (Charles Laughton) who becomes infatuated with a pretty waitress named Amy (Carol Lombard), and asks for her hand in marriage -- but sends a photo of his younger, better-looking hired hand, Joe (William Gargan), instead of his own. When Amy arrives she's horrified to discover that the man she's been dreaming about is years older, uneducated, and rather homely, but her attraction to Joe is still there -- and vice versa ... Although you wouldn't first think of Laughton for the role of the Italian-American Tony Patucci, he's as superb as ever. Similarly, Lombard might not be considered the best casting but she is also excellent, as is Gargan [Strange Impersonation.] The biggest problem with the movie is that the production code was in effect, and there's an awful lot of moralizing and hand-wringing, and the ending is changed from happy to bittersweet [which kind of works anyway]. There's also an annoying priest, Father McKee (played by Frank Fay, who was Barbara Stanwyck's first husband), hovering over the whole movie like the literal embodiment of a censor. Tony is also a bit of an idiot, drunkenly falling off of a roof as he shows off for Amy [in the original version he is in an accident instead]. Despite its many flaws They Knew What They Wanted works because of the superior performances, good direction from Kanin, and a fine score by Alfred Newman. Karl Malden has a small role as Red. Playwright Howard did the screenplay for Dodsworth. Kanin also directed Next Time I Marry with Lucille Ball.

Verdict: Not all it could have been, but noteworthy for the acting. ***.

IT SHOULD HAPPEN TO YOU

IT SHOULD HAPPEN TO YOU (1954). Director: George Cukor. Screenplay by Garson Kanin.

Recently fired from her job, Gladys Clover (Judy Holliday), who wants to be somebody, decides to use her limited resources to put her name in big letters on a billboard in Herald Square. Her new friend Peter (Jack Lemmon, who was introduced in this film) is appalled that she's wasting her money on an idea that has no real purpose. Indeed, Gladys is not only a moron, but she is so untalented that she can't even read off cue [or "idiot"] cards without sounding mentally deficient. Peter Lawford plays a Madison Avenue man who tries to romance Gladys even as he wants to buy away her advertising space. After much tedium and not a single real laugh, we finally arrive at the movie's obvious point, when Gladys turns down an offer for the Army to name a plane after her. "It isn't just making a name," she says, "it's making a name stand for something." (Wise words for Paris Hilton and her ilk.) I don't believe for one minute that Gladys is really bright enough to come to such a conclusion (anymore than Paris Hilton is). Honestly, although I sat through this entire dull, annoying film I could have left the room at any point, shaved, cut my nails, made a few phone calls, had dinner and shopped, and come back and not missed a single moment of value. Lemmon occasionally overacts; Lawford is as pleasantly bland as ever. The problem with the casting of Holliday is that when you have a dopey-looking person playing a dope, it makes them twice as irritating. Possibly the worst film that Cukor and Kanin ever worked on.

Verdict: It Should NOT happen to you. *.

NEXT TIME I MARRY

NEXT TIME I MARRY (1938). Director: Garson Kanin.

Lucille Ball plays an heiress, Nancy Fleming, who's in love with a gigolo European count (Lee Bowman), but needs to marry an American (James Ellison) so she can inherit her late father's money. Ellison is a road laborer that agrees to marry the gal for a few hundred dollars, but when he learns who she is he's anxious to reach Reno before she does so that he can file for divorce first, avoiding any charges that he's a male gold digger. They wind up traveling together in his trailer, with Bowman trailing along and creating mischief. Lucy -- who displays amble star quality and comedic skill in her first starring part -- and the less talented but effective Ellison play very well together, and there are numerous amusing sequences and funny lines. Minor, but easy to take and fast-paced. One quibble. The Great Mantan Moreland doesn't get enough to do as Bowman's funny chauffeur. Bowman is fine as the oily count.

Verdict: Not great, but worth a look. **1/2.