HONEYMOON

Franchot Tone and Shirley Temple

HONEYMOON (1947). Director: William Keighley.

David Flanner (Franchot Tone). the American consulate in Mexico City, is besieged by a young lady named Barbara (Shirley Temple) who has lost her fiance, Phil (Guy Madison of Hilda Crane). David eventually reunites the two lovers but every time he turns around there's a new obstacle to their nuptials. Barbara eventually imagines that she's really in love with David, which doesn't sit well with his girlfriend, Raquel (Lina Romay). Raquel's wise, beautiful mother (Corinna Mura) tells her she was worried that things between her and David were going a little too smoothly. Will Barbara get over her crush on David and will she and Phil ever get married? It could be argued that Honeymoon is more frenetic than funny, but it does have some very amusing sequences, and if the movie works at all it's because of the very good performances of the entire cast, with Tone proving an adept comedian. Not to be confused with Lost Honeymoon, in which Tone also starred. Since Barbara and Phil hardly seem to know one another, you get the impression their desperate desire to get married has more to do with their need to get laid than any genuine romantic feelings. Keighley also directed the far superior The Man Who Came to Dinner.

Verdict: Some laughs. **1/2.

THE MAN WHO CAME TO DINNER

THE MAN WHO CAME TO DINNER (1942). Director: William Keighley.

Why are you standing there like the kiss of death?"

The irascible man of letters Sheridan Whiteside (Monty Woolley) breaks his hip while attempting to enter a home for a dinner engagement in Mesalia, Ohio, settles into the library, and stays for weeks, interfering in everybody's lives. This is my second favorite comedy of all time (after A Night at the Opera). Each time I see the picture I realize that there's a quip or joke that got past me on previous viewings. This is a wonderful film version of the Kaufman and Hart play, with superior performances by everyone involved. Woolley makes the most of his acerbic part, and is also completely convincing during his occasional forays into sentimentality. While Bette Davis is a bit mannered, she never over-shadows Woolley (which probably wouldn't have been an easy feat even for her). Ann Sheridan really scores and is very funny as the affected movie star Lorraine Sheldon. Jimmy Durante is great just playing himself, more or less. [He refers to Sheldon as the "umphh" girl; Sheridan was known as the "oomph girl." For one of her dramatic turns, see Nora Prentiss.] George Barbier makes the most of his role as the somewhat vague Dr. Bradley, who's written a lengthy memoir of his life as a doctor. And let's not forget the great Mary Wickes as Miss Preen, the poor put-upon nurse hired to look after Whiteside. Grant Mitchell has perhaps the defining role of his career as Whiteside's unwilling and horrified host Mr. Stanley. [There's also nice work by Reginald Gardner, Billie Burke, and others.] Richard Travis may not have been much of an actor but he has a certain naive quality that fits his character, although one can't imagine "Bert Jefferson" having the intelligence to write a great play "perfect for Cornell." [Travis later wound up in stuff like Missile to the Moon.] One could argue that the whole "Lizzie Bordon" business at the end is a bit tasteless, even cruel, if you take it too seriously. Otherwise this is a consistently entertaining and highly amusing motion picture.

Verdict: A Great Old Movie indeed. ****.

DR. MONICA

DR. MONICA (1934). Director: William Keighley.

Now here's a sick situation. Dr. Monica Braden (Kay Francis, pictured) is a baby doctor who's unable to have a baby of her own. She officiates over the pregnancy of her friend Mary (Jean Muir), unaware that the baby's father is none other than her, Monica's, husband John (Warren William), with whom Mary had an affair! You have to take a few things -- especially the ending -- with a grain of salt, but Dr. Monica is a well turned out soaper with superlative performances and an intriguing situation. Francis is on top of things as the doctor who finds herself in a rather grotesque spot, Muir gives a sensitively drawn performance, and Verree Teasdale is sharp and snappy as their mutual friend and confidante, Anna. Warren William isn't given much of a characterization in this, but he plays as well as ever.

Verdict: Surprisingly effective if you're game. ***.

BABBITT

BABBITT (1934). Director: William Keighley.

Loose adaptation of Sinclair Lewis' novel Babbitt features Guy Kibbee (pictured) in the title role of a family man and real estate entrepreneur who sees a chance to move up in the world by helping out in a shady deal that has to do with acquiring property for a new airport which will not only enrich his coffers but put him in good with his social betters. He also comes afoul of a viperish young lady named Tanis Judique (Claire Dodd) who is not above resorting to blackmail. Babbitt is also ostricized because he sticks up for an old pal (Minor Watson) who is so verbally flagellated by his wife (Minna Gombell) that he winds up shooting her. But Babbitt is fortunate enough to have a very wise and loving wife himself (Aline MacMahon) who not only puts up with his nonsense but bails him out of his problems. Frankly, the movie glosses over all kinds of borderline behavior on Babbitt's part and is certainly morally confused, but on the plus side it's a very entertaining, very well-acted, fast-paced comedy-drama that holds the attention throughout.

Verdict: An entertaining curiosity with great performances . ***.

JOURNAL OF A CRIME

JOURNAL OF A CRIME (1934). Director: William Keighley. From a play by Jacques Deval.

Ruth Chatterton learns that her producer husband (Adolphe Menjou) has fallen in love with a pretty and callow young actress. She takes his gun, goes to the theater, and shoots her, just as a bank robber who shot a teller tries to use the theater as a hide-out. Naturally, the robber is blamed for the mistress's murder, but Menjou finds his gun backstage and figures out the truth. [“Fiend! Fiend!” he keeps saying to his wife once they're home.] Menjou decides not to give his wife up to the police, hoping she'll crack and do the right thing as their relationship crumbles. This is very potent material, but the movie pretty much sticks to the surface and never explores with any depth the shattering emotions going on underneath. The dead girl is virtually forgotten and the teller we see shot early in the movie is hardly mentioned; there's little attempt to examine all the moral issues. One of the most interesting scenes has Chatterton going to see the bank robber convicted of her rival's murder on the eve of his execution, but otherwise the story goes in all the wrong directions, and the film's potential is wasted. Although Chatterton gets stronger as the picture proceeds, another problem with the movie is that both she and Menjou give comparatively perfunctory performances.

Verdict: Missed opportunities. **.