SOME ENCHANTED EVENINGS

SOME ENCHANTED EVENINGS: The Glittering Life and Times of MARY MARTIN. David Kaufman. St. Martin's; 2016.

Mary Martin went to Hollywood early in her career, but although she appeared and even starred in a few movies, she was dissatisfied with her film work and had much greater success on Broadway. Like many artists, this very talented woman lived for her work, and had a problematic, but ultimately loving, relationship with at least one child, her son Larry Hagman, famous as "J. R" on Dallas. Martin's marriage to her son's father did not last long, but she had a much longer union to her second husband, the mostly gay Richard Halliday, who guided her career when he wasn't alienating people with his temper and his alcoholism. Her shows included One Touch of Venus, South Pacific, Peter Pan, The Sound of Music, and for my money made the best Annie Oakley when she did Annie Get Your Gun on the road and for television. Some Enchanted Evenings also looks at Martin's work in less successful shows, such as the musical Jennie, and the play Legends, in which Martin was teamed with Carol Channing. The book hints at a "special relationship" between Martin and Janet Gaynor (Gaynor's husband, interestingly enough, is the only person quoted in the book who knocks Martin), as well as Jean Arthur, without ever really elaborating.When a reporter spoke to Martin about Larry Hagman, and asked what it's like having an icon for a son, she responded, "My dear, my son is a star. I am an icon." Although the author mentions his husband in the acknowledgments, the book does on occasion betray a kind of amusingly old-fashioned take on LGBT issues.

Verdict: Exhaustive, well-researched, imperfect, but very readable bio of the venerable entertainer. ***1/2.

THE TALK OF THE TOWN

Ronald Colman and Jean Arthur

THE TALK OF THE TOWN (1942). Producer/director: George Stevens.

Leopold Dilg (Cary Grant) has been falsely accused of setting fire to a warehouse and killing the watchman, so he breaks out of jail. He hides out in a house that has just been sold to law professor Michael Lightcap (Ronald Colman), who shows up a day earlier than expected while Nora Shelley (Jean Arthur) is fixing things up. Wanting to be able to feed Dilg while he's hiding in the attic, Nora takes a job as Michael's cook and secretary, while Leopold comes downstairs and introduces himself as the gardener. This strange trio will have to contend with the authorities as they tear the town apart looking for Dilg, who is right under their noses. Meanwhile, which man will Nora ultimately wind up with? You may not find yourself caring all that much, because the script for Talk of the Town is, frankly, beneath the talents of its three wonderful leading players, all of whom are at the top of their game (although one could argue that Grant is a little too insouciant considering the desperate situation he's in).The movie begins with a very cinematic opening depicting Dilg's escape, but then there's an abrupt change in tone as what started out as a melodrama turns into a screwball and borderline slapstick comedy; then there's another shift into melodrama. This might have worked in some of Frank Capra's pictures, but this is an uneasy blend of some genuine laughs with a more serious underlying tone, and the two never quite jell. Glenda Farrell is less obnoxious than usual as the girlfriend of Clyde Bracken, played by Tom Tyler [The Phantom] of serial fame. Edgar Buchanan, Leonid Kinskey, Charles Dingle and Rex Ingram [The Thief if Bagdad] have smaller roles. George Stevens also directed Woman of the Year and many other, much better pictures.

Verdict: Tries to be Capraesque, but fails -- although the leads are all great! **.

IF YOU COULD ONLY COOK

Jean Arthur and Herbert Marshall

IF YOU COULD ONLY COOK (1935). Director: William A. Seiter.

Jim Buchanan (Herbert Marshall) is engaged to Evelyn Fletcher (Freida Inescort), whose chief interest in him seems to be his money. One afternoon in the park Jim encounters job-hungry Joan (Jean Arthur), who assumes he's out of work and importunes him to go with her to answer an ad for cook and butler in the mansion of gangster Mike Rossini (Leo Carrillo of Horror Island). Smitten with the refreshingly sweet and honest Joan, Jim goes along with the gag, although Rossini assumes the two are married. Understandably, all manner of complications occur. If You Could Only Cook is standard, silly, highly contrived screwball comedy stuff, only the laughs don't quite arrive with enough frequency. Arthur and Marshall are both wonderful, however, and their performances are the chief reason for watching the movie. Carrillo is fine, Inescort is given little to do but does it well, and Lionel Stander [Mr. Deeds Goes to Town] is simply gross and typically repulsive as Rossini's good right hand. Jean Arthur and Leo Carrillo also appeared together in History is Made at Night.

Verdict: Slight and over-familiar, but the stars are great. **.

MR. DEEDS GOES TO TOWN

Jean Arthur and Gary Cooper

MR. DEEDS GOES TO TOWN (1936). Director: Frank Capra. NOTE: This review reveals some plot points in the movie.

A wealthy man dies in an accident and leaves twenty million dollars to a content, small-town fellow named Longfellow Deeds (Gary Cooper). Brought to New York by lawyer John Cedar (Douglass Dumbrille), Deeds turns out to be not as dumb as he seems, although he falls for the hunger act put on by newspaper reporter Babe Bennett (Jean Arthur), who at first only sees him as a story and mocks him in the paper. The two fall in love, but when Deeds discovers that Babe was the one behind the articles ... The film ends with a lengthy courtroom scene in which Deeds' sanity is brought into question. Frankly, Mr. Deeds is contrived and phony from the get-go. Deeds is seen as a fine, amiable fellow [who settles arguments with his fists!] but it doesn't occur to him to use the money to help other people until a starving farmer storms his mansion with a gun. When Cedar argues that Deeds isn't really responsible enough to handle twenty million dollars [because he wants to give it all away], the fact remains that Cedar is probably right -- in that Deeds doesn't know the right way to go about establishing a charitable fund. Robert Riskin's screenplay presents the quaint and preposterous notion that all big city dwellers are nasty "slickers" and small-town people are the salt of the earth [sure!]; caricatures wealthy opera fans [as if only the rich are cultured!]; and features a lead character, like John Doe, who never seems entirely real. To say all this becomes quite tiresome is an understatement. Deeds isn't so wonderfully noble -- he doesn't care about the money because he already seems to be well-off, owning more than one home and employing a live-in housekeeper. The only really amusing moments come in the climactic courtroom scene, especially with the little old ladies who think Deeds -- and virtually everyone else -- is "pixillated." Cooper is okay, Dumbrille is excellent, and Arthur as vital and wonderful as ever, the movie's saving grace. But this is far, far below the level of Capra's Mr. Smith Goes to Washington. A further minus is the irritating presence of Lionel Stander.

Verdict: Pure Capra-corn. **.

HISTORY IS MADE AT NIGHT

Charles Boyer and Jean Arthur

HISTORY IS MADE AT NIGHT (1937). Director: Frank Borzage.

Ship builder Bruce Vail (Colin Clive) is pathologically jealous of his innocent wife Irene (Jean Arthur) until finally she's had enough and wants out. Vail will do anything to prevent the divorce, to that end paying Irene's chauffeur in Paris to pose as her lover. Interceding in this phony scenario is head waiter Paul Dumond (Charles Boyer), whose good intentions pave the way for all sorts of problems when Vail decides that he must be Irene's lover and frames him for murder. Believe it or not, it all builds up to a [post] Titanic-type shipwreck. Because of its rather ridiculous plot -- Dumond quits his job to follow Irene to America after knowing her one day, and even drags along the chef Cesare (Leo Carrillo)-- History almost becomes a shipwreck were it not for its romantic intensity and, most importantly, the wonderful performances of the leads. You wouldn't think that Arthur and Boyer would make a good pair, but they play marvelously together and are completely convincing no matter what the story line throws at them -- and it throws a lot. The bit with the ship hitting an iceberg is well-handled on the technical side and the wind-up is moving as well. It's also fun to watch the sharp Boyer taking over an American restaurant and getting everyone to snap to it in record time. Carrillo and especially Clive also offer sterling performances.

Verdict: Quite absurd but also quite entertaining due to the two stars. [It also helps to be an incurable romantic.] ***.

JEAN ARTHUR: THE ACTRESS NOBODY KNEW

JEAN ARTHUR: THE ACTRESS NOBODY KNEW. John Otter. Limelight; 1997.

This excellent biography of the star of Mr. Smith Goes to Washington and many other films not only examines Arthur's famous and not-so-famous roles, as well as her early life and career, but goes behind the scenes of her movies and delves into the personal life of this very private individual. Otter, who obviously admires Arthur, reveals the actress with all her good points and bad without ever being unbalanced or relentlessly negative. The bio is bolstered by many interviews with those who were close to Arthur and knew her well, or who worked with her, and were witness to her often contradictory nature. Arthur was on the short list to play Scarlett O'Hara, was an early feminist and individualist, but she also suffered from almost pathological stage/camera fright and could be difficult to deal with, to say the least. Otter offers interesting explanations for the woman's behavior. Arthur is another star whose sexuality was been called into question, and the author examines rumors of an alleged affair with Mary Martin. [Apparently many people think Martin modeled herself on Arthur, but to me they were so different -- and Martin was basically a musical stage star and singer whereas Arthur was a film figure  -- that I've never seen the connection.] Otter theorizes that Arthur's husband wouldn't have stayed with her for so long [they eventually did divorce] if he knew she supposedly preferred the ladies, but mixed marriages of that type often last for decades, especially if one partner gets something out of the alliance. In any case, the author doesn't uncover any lesbian liaisons so the verdict is still out on Arthur, and who cares? More importantly, this book gives her her due as a unique screen presence and a highly talented actress.

Verdict: Informative, authoritative, and highly readable. ***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. 

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.