GO WEST YOUNG MAN

GO WEST YOUNG MAN (1936). Director: Henry Hathaway.

"A thrill a day keeps the chill away!"

Film star Mavis Arden (Mae West) is on her way to a rendezvous in Washington D.C. when her limo breaks down and she must spend some time in a small-town boarding house. But there she sets her cap for a handsome gas station owner and inventor, Bud (Randolph Scott). However, things are complicated by the fact that Bud already has a girl, and that Mavis' press agent Morgan (Warren William) is paid to keep her away from men because her contract won't allow her to marry for five years. Then there are the other assorted townspeople and boarders and their varying reactions to Mavis. 

Randolph Scott and Mae West

Well, this sure sound like it would make a hilarious movie, and while it's cute and easy to take for the most part, it certainly isn't a classic. Sort of given an actual role to play, West "acts" as if she's doing a sketch on television. When she approaches Bud in a black outfit to seduce him, she looks about as sexy as a dead skunk. (The really funny thing about West's movies -- which I doubt she would ever have admitted to -- was the idea that the chubby, not exactly beautiful West would be the object of desire for so many men.) Elizabeth Patterson nearly steals the picture as Aunt Kate. When asked by her grand-niece if they had "it" in her day, she replies: "They had 'it' all right. But they didn't photograph it and set it to music."

Verdict: Hardly what you're hoping it will be, but not exactly awful. **1/2.

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. 

CAPTAIN KIDD

Charles Laughton as Captain Kidd

CAPTAIN KIDD (1945). Director: Rowland V. Lee.

Captain William Kidd (Charles Laughton) presents himself to King William III (Henry Daniell) and is assigned to keep pirates from attacking a British ship filled with booty. Kidd, of course, has other ideas about what to do with that ship. Kidd gathers a crew of cutthroats under sentence and offers them a pardon if they serve on board his ship. One of these men, Adam Mercy (Randolph Scott), hides a secret: that Kidd murdered his father. When the British ship is destroyed and stripped of her bounty, the beautiful Lady Anne (Barbara Britton) is taken aboard -- she and Adam will form a romantic alliance, but getting away from Captain Kidd may not be so easy. 

Laughton with John Carradine

Captain Kidd is a good movie with a great lead performance. The movie has humor, and Laughton makes the most of it without ever descending into parody. Although he appears briefly, Daniell is wonderful as the king, and John Carradine is also notable as a not-so-friendly associate of Kidd's. Reginald Owen also has a nice turn as Shadwell, a gentleman's gentleman who has been hired to remove all the considerable rough edges from Kidd -- who desires a peerage -- and who winds up allying himself with Adam and Lady Anne. Although they have a lot to do, Scott and Britton are outclassed in this company. Barbara Britton became better-known for her television work on Mr. and Mrs. North with Richard Denning. Gilbert Roland is one of Kidd's crew, as is Sheldon Leonard, whom I didn't even recognize. 

Verdict: Heavily fictionalized but entertaining look at the infamous alleged pirate with an absolutely marvelous Laughton. ***.  

CARY GRANT, DARK ANGEL

CARY GRANT, DARK ANGEL Geoffrey Wansell. Arcade; 2016.

This updated version of Wansell's biography of Grant is a coffee table trade paperback loaded with photographs. The book keeps hinting at Grant's "dark side," which numerous co-stars, friends and directors apparently noticed, but it's never really explored in any depth, although there are details of the actor's problematic relationship with his mother. As usual, the book notes that Grant and Randolph Scott lived together even after Grant's first marriage -- Grant's first five marriages all failed, and his sixth ended with his death -- but is coy about everything else. Apparently Grant was a terrible husband until his more mellow final years. The author does a perfectly workmanlike job of exploring Grant's various film roles, his affairs, and Hollywood career, but whether Grant was gay or bisexual and desperately needed the heterosexual facade of a movie star, or whether he was just the stereotypical much-married Hollywood actor, this book doesn't reveal.  Much of the book covers very well-tread territory.

Verdict: Not bad for what it is, but there's nothing really new here. **1/2. 

SHE (1935)

Helen Gahagan as "She"

SHE (1935). Directors: Lansing C. Holden; Irving Pichel. Colorized version. Based on the novel by H. Rider Haggard.

John Vincey (Samuel S. Hinds), who is dying of radiation poisoning, tells his nephew, Leo (Randolph Scott), that he can find the secret of immortality by finding the flame in a lost civilization which was first discovered by Leo's lookalike ancestor. Leo, Horace Holly (Nigel Bruce), and Tonya (Helen Mack of Son of Kong), whom they sort of pick up along the way, travel through a frigid wasteland and after an avalanche discover the cavern that leads to this lost land. There they find a bunch of unfriendly savages, but they also find -- "She" (Helen Gahagan), the absolute ruler of this weird little empire. She has lived for centuries, and thinks Leo is his ancestor, John, whom she actually murdered many years before. Now she wants to sacrifice Tonya ... She, superior to the sixties remake, has some striking settings, good special effects (for the period), and is well-acted by the two ladies. Bruce is less effective than he was as Dr. Watson, and Scott [Go West Young Man] is embarrassingly awful as the hero. The best scene depicts a thrilling fight on a high precipice that keeps tottering during the battle. Elaborately produced for its time, She was probably an influence, unconscious or otherwise, on such cruel-queen-in-strange-settings movies as Queen of Outer Space and many others. [At least this society has the Arts, evidenced by the dancing and statuary.] This is an entertaining adventure film, but Max Steiner's excellent score probably makes it seem even better than it is. The big gate from King Kong shows up early in the film. A singer and politician, Gahagan only appeared in this one movie.

Verdict: Interesting adaptation of classic adventure story. ***.

SO RED THE ROSE

Randolph Scott and Margaret Sullavan; guess who loves whom

SO RED THE ROSE (1935). Director: King Vidor.

When the Civil War breaks out it deeply affects the Southern Bedford family, run by patriarch, Malcolm (Walter Connolly), who is married to Sally (Janet Beecher), with whom he has two sons (Harry Ellerbe; Dickie Moore) and a daughter, Val (Margaret Sullavan). Val is in love with a distant cousin, Duncan (Randolph Scott), but he seems completely unaware of her feelings whereas George Pendleton (Robert Cummings) has affection for Val. At first Duncan tries to be neutral, which prompts Val to accuse him of cowardice, not exactly the right way to get a romance off to a good start. But then Duncan joins up with the confederacy and off to war he goes ... This is a more or less forgotten Civil War epic made four years before Gone With the Wind, but it's a creditable film, bolstered by fine performances by Sullavan [The Good Fairy], Connolly, and others; Elizabeth Patterson [Lady on a Train] overacts a bit as old Mary Cherry but is also good. On the debit side is a lot of phony glory and the depiction of rebellious slaves as being both lazy and criminal. Johnny Downs [Trocadero] plays a Yankee soldier, a mere boy, who is temporarily hidden by the Bedfords. The film is well-photographed by Victor Milner -- one especially striking shot shows Sullavan running past a tree into the sun.

Verdict: Anything with Sullavan in it is of interest, but this is not a bad movie despite flaws. ***.

HOT SATURDAY

Randolph Scott and Nancy Carroll

HOT SATURDAY (1932). Director: William A. Seiter.

Ruth Brock (Nancy Carroll) works in a bank and has several suitors, but her troubles begin when she goes to a party at the estate of wealthy Romer Sheffield (Cary Grant) and rumors spread about her allegedly spending the night with him. But can she find true love with old family friend, Bill (Randolph Scott of Go West, Young Man), or will those pesky rumors get to him, too? The ending is a little unexpected but not entirely satisfying, as she chooses a man who has already proven to be a heel and doesn't give another guy much of a chance (and has pretty much used him in the first place). With her flat, broad face and cartoon lips, Carroll is an unlikely sex symbol, but her performance is quite good. Cary Grant is excellent, and Scott is okay if not quite in the same league. Grady Sutton [The Bank Dick] and Jane Darwell [The Loves of Edgar Allan Poe] are fine in supporting roles. The pre-code Hot Saturday tries hard to be risque and daring, but it comes off more as confused, and is too short to do justice to its story line and characters.

Verdict: A movie about the private lives of Grant and Scott would probably have been more entertaining. **1/2.

MURDERS IN THE ZOO

MURDERS IN THE ZOO (1933). Director: A. Edward Sutherland. 

Zesty little horror thriller is certainly enlivened not just by a variety of animals, but by the superb performance of Lionel Atwill as a man so pathologically jealous of his wife that he'll do anything to eliminate any rival -- and her. Although Charlie Ruggles supposedly has the lead as a nervous publicist for a zoo, he and everyone else are pretty much wiped out (figuratively -- and in some cases literally --speaking) by the excellent Atwill. Kathleen Burke is the wife with the roving eye who has a date with some alligators. Randolph Scott is a veterinarian. Great climax has a variety of hungry felines on the loose -- guess who's on the menu? There are other creepy crawlies as well. 

Verdict: This would make a great double bill with Black Zoo. ***.

CARY GRANT

CARY GRANT. Marc Eliot. Harmony Books. 2004.

This is a readable if not especially revelatory look at the life of Cary Grant from his troubled early years in England, to his stage career in New York, to his highly successful film career, as well as his involvement with actor Randolph Scott and his four marriages to women. It seems pretty clear to the reader (if not necessarily to Eliot) that Grant was essentially a gay man who, while initially free-spirited and free-thinking and without any special qualms about his sexuality, spent his later years (once stardom came upon him during a much less tolerant period) running from his sexual identity, always eager to preserve his image and the career that gave him so many options, not the least of which was financial. Eliot makes some attempt to explore the man's complexity but despite some details of his long relationship with Scott is less successful keeping an honest tab on his true sexuality. Eliot is not a film historian – most of his previous books were on rock and folk music – so he recycles such ancient canards as John Gilbert not having a voice fit for sound pictures and he classifies Howard Hughes strictly as a heterosexual. At one point he writes that Shirley Temple “had set off a generation of middle-aged men into cold sweats while still a toddler”(!) His descriptions of Grant's looks, appeal and acting ability occasionally border on the poetic but sometimes veer into the pretentious. While the ultimate book on Cary Grant has yet to be written, this is not at all bad for readers who are unfamiliar with previous biographies of the actor.

Verdict: Okay as intro to Grant. **1/2.