Arturo
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Posts posted by Arturo
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So many people in American audiences automatically assume that the Mexican government has always approved of the Catholic church, but that was not true in many Mexican states during the long revolutionary period.
This film probably would have been a much more well-known and much more appreciated among classic film buffs today, if it had openly stated and made it clear that it was about the revolutionary anti-church days in Mexico. That information should be told in modern introductions to this film.
The Cristiada, or Cristero Revolt (1926-1929), was just one of the worst, and most recent, of a long history of clashes between the Catholic Church in México and anti-clerical governments. Ever since Independence from Spain was consummated in 1821, competing factions for governing the country were usually pro- or anti-Church. The Liberals, as they were then defined, in general were anti-clerical; the Church was seen (rightly) as a reactionary institution (the most powerful and largest landholder), that needed to be removed from being a player in the affairs of the nation. Often, though, it was just greed that motivated the Liberals' attempts to curb the church's wealth, power and influence; they coveted the vast landholdings it owned. Th Conservatives, on the other hand, saw no need to change the status quo. Throughout the first half of the 19th century, the church would grant loans to all governments (and there were many), no matter their political stripe.
Early proposals to curb the Church's power were not very readical. As the Church opposed any abridging of its traditional position, the Liberal proposals got more and more drastic. The rise to power of benito Juárez in the mid-1850s led to Las Leyes de la Reforma (The Laws of Reform-1857), codified into the Constitution of 1857, which drastically curtailed the Church's power and activities. This led to the bloody War of the Reform, which resulted in the liberals winning, and Juárez' Reform laws triumphant. After the hard fought victory, their position had hardened and the anti-clerical laws were immediately implemented in 1861. In México City and other urban areas, many churches, convents and monasteries were closed (they had all become property of the government), put to other uses or torn down. The clergy could not be seen in public in their habits (the Convento of Santa Mónica in Puebla, went undergrond and incognito for over 80 years). This led to the Conservatives, which included a strong Monarchist faction, to search for a European royal to be installed on the throne; hence, maximiliano de hapsburgo. With the power of the French military might, this was accomplished in 1862, and lasted until 1867, when they were defeated once and for all.
In the late 19th and early 20th century, the country was ruled by a dictator, Porfirio Díaz. he rrelaxed many of the anti-clerical provisions of the Reform Laws. While he brough a semblance of stability and prosperiy, he ruled with an iron hand, and favored foreigners over locals; the disparity in the distribution of wealth was quite glaring. many rural peasant and indigenous communities lost their lands to haciendas and foreign investors. The Mexican Revolution which broke out against Diaz in 1910, and resulted from all of these factors, lasted for nearly ten violent years. over one million people perished, another million fled the country, and only a strongman like Venustiano Carranza was able to overcome the various factions, and restore some order. he promulgated the Constitution of 1917, which among other tihings, reiterated Juarez' anticlerical provisions. It wasn't Calles' presidency in the 1920s, that they were strictly enforced; this led to the Cristero revolt, which last for three years and atrocities on both sides. After it was over there were embers of the movement; there was a flareup at the end of the 1930s, in the guise of the fascistic, Sinarquismo movement.
Since then, relations between the Church and state have pretty much normalized. Despite over 90% of the population being at least nominally Catholic, this belies two centuries of often violent struggle between the two institutions.
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MURIETA (1965) with Jeffrey Hunter & Arthur Kennedy. Warner Bros. A Mexican peasant (Hunter) takes out his vengeance on the men who beat him and killed his wife by forming a gang of outlaws to rob the countryside.
Strictly speaking, MURIETA does not fit into the series, since it is about Joaquín Murieta, a resident of 1850s California. The same goes for THE MILAGRO BEANFIELD WAR, about a long-standing rural community in New Mexico. The immigrants here are the invading "Gringos". Remember, the Southwest had been a part of México, with Mexicans having their settled lives disrupted, and often, their lands stolen by "American" settlers (MURIETA deals with one such true story). You can't assume that Latinos and the topic of immigrants are synonymous in all instances. As some of my friends and relatives say, "We didn't cross the bborder, the border crossed us"
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*Yes, RO mentioned that at the end of the film........I missed his beginning intro.......*
I didn't see it the other night, but I really enjoy this movie. Another great movie Cagney didn't do for the same reason was I WAS A FUGITIVE FROM A CHAIN GANG. Of course, Muni got it and did a great job. -
*Gene Tierney proves how effective this can be in that scene Robert Osborne likes so much, the one where she glides down a winding staircase to meet Ty Power, dressed to the nines with the intention of seducing him. And who could resist?*
misswonderly,
I know I can't resist. One of Hollywood's all-time beauties (and that says A LOT) at her most beautiful IMHO. This photo should have been posted in the thread awhile back (that's if it wasn't) about most memorable gowns, and on a recent thread re: someone new here wondering what other glamorous stars in glamorous outfits, besides Jean Harlow, could be suggested to her (him?).
Who said Fox interiors always look like the ceiling is very low?!
Edited by: Arturo on Mar 15, 2012 8:50 PM
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*Arturo, I know that you are correct with this statement regarding Castile (a victim of creative accounting, as well, perhaps). While I don't have box office numbers available, though, I've always been under the strong impression that Prince of Foxes did not enjoy the same popularity with the public that the Mexican adventure had had. I'm pretty sure that film really tanked, which is a shame because I've always rather liked the film.*
I don't have the boxoffice figures either (years ago I've seen some in the trades, but I have never known exactly what some of the jargon actually means, i.e. "rentals", etc.). I do have the impression that POF did decently, but lost money due to how expensive it was. I remember being surprised by figures for Power's next costume adventure, THE BLACK ROSE (1950), insofar that it seemed to do quite well.
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*Has TCM ever showed that film? I would love to see it.........*
Hibi,I believe you are referring to THIS ABOVE ALL. I have the DVD, and have seen it a number of times over the last few years on TV, most likely on FMC or HBO/Cinemax channels. I don't remember specifically if it's been shown on TCM, and I'm not all that savvy in maeuvering around this site to view past schedules. Perhaps someone here who is more adept at this can answer that question. -
*Misswonderly, I believe that Arturo was using the fair haired expression in reference to a person being a favourite, as Ty Power was for years with Darryl Zanuck. It doesn't have anything to do with actual hair colour. After a while Power knew that his star power was starting to go on the decline when it became apparent that Gregory Peck had become Zanuck's new fair haired boy, and the last time I checked Peck wasn't exactly a blonde either.*
TomJH,
Thank you for clarifying for misswonderly. I did not mean it in the literal sense, and I paused as I was typing to see if I should go with the phrase for just that reason.
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*I think that may be the only time they were in a film together.....*
And the only reason they were in a film together is because Cagney was on strike for more money from WB, so the studio borrowed Tracy from Fox Films.
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More reflections:
At roughly 2 1/2 hours long, some of you feel that THE RAZOR'S EDGE was too long to tell its story. It was so intended. Zanuck wanted to showcase his returning star, Tyrone Power, from war duty by casting him in a prestige production, with a powerhouse cast. The operative word is SHOWCASE. He saw how other returning veterans were just tossed into whatever was available, as if that would be sufficient to resume their star status. It may have been, but Zanuck didn't feel that Gable in ADVENTURE, nor Taylor in UNDERCURRENT, for instance, were necessarily served by these films. So he made sure that Power, AND his fans, was given something special after several years away.
It has been mentioned here that both CAPTAIN FROM CASTILE and PRINCE OF FOXES flopped at the boxoffice. Actually, both did quite well. However, they had been very expensive, each costing approximately 4.5 million dollars (among the most expensive movies to that time), so they had a hard time recouping these costs.
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When Vivien Leigh was cast as Scarlett, roundabouts January 1939, Gene Tierney was only 18 years old. She had yet to be cast in her breakout role on Broadway in "The Male Animal", much less been offered a contract by 20th-Century Fox (1940). So she would not have been in the running for Scarlett. Even if she had tested, most likely she would have been considered too green and inexperienced for such an important role. As already mentioned here, she did develop as an actress as her movie career progressed, but at the beginning she was more decorative than talented.
This youth and inexperience mirrored another player, one actually tested, Susan Hayward. A starlet just graduating to featured parts, she was deemed too young and inexperienced by Selznick. Later, in the late 40s, she played a couple of movies with aspects of Scrlett about her character, in TAP ROOTS and TULSA. So while she wasn't ready in 1939, she did a creditable job in similar roles.
IMHO Goddard and Bennett would have done fine (especially the former), but two others on the shortlist (and polarizing figures here), Kate Hepburn and Loretta Young, I don't feel were quite right (especially the former).
One of the things that has been speculated about Leigh's portrayal, that added to it, was that she was on edge over her relationship with Laurence Olivier.
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IMHO one of Tyrone Power's best acting roles, prior to joining the service, is in THIS ABOVE ALL (1942). This wartime romantic drama has him playing a British deserter who refuses to fight for an Empire that still is all about caste and class. Quite a good performance alongside costar Joan Fontaine, both definitely assets in this compelling drama.
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*Jonny, I agree with you about Fox thrillers. They really do rank among the studio's best, with Laura and the far darker Nightmare Alley among that decade's best.*
Ironic that the major studio with the grittiest dramas in the late 40s, and the champion of large scale location shootiing for most realistic fare, also had its artificial musical confections and many costume dramas: not for nothing was it tagged 19th century Fox.
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*I agree that the box office failure of Nightmare Alley was a disappointment for Power. But was it really such a surprise for Zanuck and the studio? I've always been under the impression that the studio gave this film very little push, that they primarily made it just to indulge their (then) top star before putting him back into heroic mold once again. In fact,they were even a bit afraid of Alley's material for fear that it could do damage to Power's screen image. Am I wrong?*
Kind of a self-fullfilling strategy methinks. Say that it'll be a flop, don't promote, and voilá. In fairness, Zanuck did feel that the seedy content would harm his fair haired star. And the boxoffice bore this out as far as DFZ was concerned. When Power would want to do similar projects, Zanuck would point this out to Ty in refusing such roles. So a more and more dissatisfied Power turned in lackluster performances in the costume roles he got (until he started going on suspension for refusing these in the early 50s).
*I've always felt that Power's performance in Captain from Castile, made right after Alley, looks quite disinterested. He was always a professional but Power's lack of enjoyment, I feel, with his projects was starting to show on the screen with in this film.*
If I remember correctly, CAPTAIN FROM CASTILE was filmed first, but the studio had to wait awhile (several months I believe) for there to be sufficient Technicolor film stock to do sufficient prints for its release. In the meantime, Zanuck gave in to Power's pleas to do NIGHTMARE ALLEY, so that something could be on the screen quickly for his fans, and did in fact get released a few months before CFC.
Edited by: Arturo on Mar 12, 2012 8:51 PM
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*I've never been able to understand the reason why Zanuck decided to look elsewhere for a director.*
Zanuck often looked elsewhere, especially when a strong female role was at hand (think GENTLEMEN'S AGREEMENT, THE SNAKE PIT, ANNA AND THE KING OF SIAM all from around this time). At least in THE RAZOR'S EDGE, he used his in-house talent. Although it could have been quite different. Proposed for the lead was Darryl F.'s favorite male at the end of WW2, during Power's absence to same, Gregory Peck (for those who think Ty was wooden in his sincerity, think of how much more expressive Peck could have been-NOT). Also, Maureen O'Hara as Isobel. And musical stars Alice Faye (having just quit and still smarting over her scenes left on the cutting room floor in FALLEN ANGEL) and Betty Grable were offered Sophie (says Grable "are you kidding me?! My fans will expect me to rise out from the ocean with seaweed in my hair and sing" or somesuch in her refusal). Supposedly, even Judy Garland was offered Sophie.
All in all, while the philosophical explanation is sort of muddled, it is a great studio project, back when all departments were firing on all cylinders. The main players give strong performances overall, even John Payne with little to do in his thankless second lead.
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*Studio head, Darryl F. Zanuck did something rather unusual, when he hired Edmund Goulding to direct, instead of the usual 20th Century-Fox crop of noted directors under studio contract.*
Actually, George Cukor was hired originally to direct. He quit over disagreement with Zanuck on the script or storyline.
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*She did "Top Secret Affair" with Kirk Douglas.*
Now there's a comic team---Kirk Douglas and Susan Hayward.
Along with TSA, she starred in another comedy about 3 years later, THE MARRIAGE-GO-ROUND wiht James Mason. The quote I used re; her comedy timing a critic stated when reviewing one of these films (don't remember which just now), probably TSA since both stars were not renowned for their comedy technique. Incidentally, this was originally intended for Humphrey Bogart and Lauren Bacall, before his terminal illness precluded it. -
While THE MORE THE MERRIER is the out and out funnier film, THE TALK OF THE TOWN has more gravitas IMO due to its subject matter. While both were topical during WW2, TTOTT's issues still resonate with us.
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Most of the top actresses in Hollywood's Golden Age were versatile, and were often given roles in most types of genres. Not only the ones discussed here: Stanwyck, Dunne, Colbert, Loy, Crawford, Rogers, Davis, etc. but also others like Kay Francis, Constance Bennett, Joan Bennett, Loretta Young, Marion Davies, Norma Shearer, Lana Turner, Linda Darnell, Rita Hayworth, Ida Lupino, Ann Sheridan, Paulette Goddard, Gene Tierney, Eleanor Parker, Susan Hayward, and many others, proved their mettle, and worth to their studios, by running the gamut in their assignments. Even those identified closely with a specific genre might be given something in another: musical stars like Alice Faye, Deanna Durbin and Betty Grable all did the odd non-musical drama and/or noir.
Of course some excelled in a particular type of film, or were preferred (by the fans, their studio, themselves) in a certain type of film and were mostly given said roles, i.e. the musical stars mentioned above. Others might not have been at their best in say, comedy, like Davis or Hayward ("her lightest touch can stun a horse"), but their versatility was fairly general across most genres. Some had such strong personas that they indelibly brought that to all their portrayals: Hepburn could only play well as a patrician, Dietrich was always Dietrich, Crawford was so "Now" in her image that her one attempt as a star at a costume drama, THE GORGEOUS HUSSY, led both her and her studio to try no further such ventures.
I feel that Stanwyck was probably the most versatile, all things considered. Contrary to what some have posted here, she did any number of costume dramas, and quite convincingly IMHO. Not counting her may Westerns, she was in A MESSAGE TO GARCIA, THIS IS MY AFFAIR, THE GREAT MAN'S LADY, THE MAN WITH A CLOAK and TITANIC, among others. She was also very consistent in her portrayals, always doing her part well (I remember reading someone say that while she was not as good as Bette Davis at her best, she was never nearly as bad as Davis at her worst). But one of the joys of the studio system IMO is that stars were given all types of roles, and generally acquitted themselves quite well.
Edited by: Arturo on Mar 7, 2012 7:46 PM
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*To ARTURO: Dressler would have REALLY been plain in any movie of the 1940's, since she DIED in 1934!!!*
I NEVER said that Dressler was around in the 1940s. Maybe it's not clear in my post, but I was referring to Marjorie Main, since someone was saying she was a character actress, not a star. Below is what I posted.
Marjorie Main, like Marie Dressler, was one of those character actors that become actual "stars". Since the early 40s, MGM was costarring her with Wallace Beery in the hopes that the Dressler/Beery magic might be recreated. But she really became a boxoffice name with the MA & Pa Kettle series; during the late 40s-early 50s the team was usually in the Top Twenty Boxoffice stars, per the exhibitors' poll.
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Wallace Beery hands down.
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didnt see any post for this but Twilight Time is releasing on BluRay this May & June
# *Journey to the Center of the Earth - (James Mason)*
# *The Big Heat ( great Noir ! )*
# *The Wayward Bus*
# *As Good As It Gets*
Im very much looking forward to the first two
I've been looking forever for THE WAYWARD BUS. I thought there must have been a rights issue or something, because I don't think that FMC has ever aired it.
Question- Since I don't have Blu-Ray, will these have a regular DVD release as well?
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Paul Muni played a gangster memorably (what didn't he play!). George Raft was good at it, as were Victor Mature, Richard Widmark, Dan Duryea, Robert Ryan, and Richard Conte.
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IMHO I feel that Joan Crawford gave better performances in A WOMAN'S FACE and POSSESSED (1947). Likewise, Olivia DeHavilland in THE SNAKE PIT, and Susan Hayward in I'LL CRY TOMORROW.
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I don't know if some would classify Main as a "star", or just well liked character actress, where you'll find a lot of the plain ones. As far as THAT goes, the list could get long. As far as "star" goes, *June Allyson *comes to mind.
Marjorie Main, like Marie Dressler, was one of those character actors that become actual "stars". Since the early 40s, MGM was costarring her with Wallace Beery in the hopes that the Dressler/Beery magic might be recreated. But she really became a boxoffice name with the MA & Pa Kettle series; during the late 40s-early 50s the team was usually in the Top Twenty Boxoffice stars, per the exhibitors' poll.
Joan Davis is another very plain actress. While usually just a featured player, she was often starred in B movies in the mid-late 40s.
I agree with June Allyson and Jane Wyman, but also Miriam Hopkins. Allyson and Hopkins also had voices that didn't help in liking them IMO.
And how about Judy Canova, Martha Raye and Ethel Merman. Nancy Kelly was a popular leading lady briefly; she was definitely more plain than most of the girls at Fox at that time.
Whoever thinks Gene Tierney's overbite makes her plain just doesn't know what plain is.
Edited by: Arturo on Mar 5, 2012 1:30 PM
Immigrants Series on TCM
in General Discussions
Posted
*I don't know about THE MILAGRO BEANFIELD WAR, but MURIETA does come up on the TCM database under the keyword 'immigrant.' I composed my list that way. I have not seen MURIETA, but whether it was based on a true story or not, it seems in description at least a bit like a reworking of Robin Hood and thus a bit Hollywood-ized. Now I am curious to see this film.*
The film may come up under the word 'immigrant", and that is my taking exception to this. Joaquín Murieta was a resident of California in the 1850s, shortly after it (and the Southwest) was taken from México after the war with the US. Don't remember how the story goes exactly, but a band of displaced 49ers raped and killed his wife, and beat him. So he directed his anger by committing acts of robbery against "American" persons and establishments, and giving the loot to other dispossessed Californios. Yes, this is a true story, and it sounds something like the Robin Hood legend. In fact, another movie about Murieta (it may have been fictionalized), starring Warner Baxter, was MGMs ROBIN HOOD OF EL DORADO (1936).
My point here is that Murieta, and many other Mexican settlers of California and the Southwest at that time, were not immigrants, but had established roots of up to over two centuries.