rosebette

To weigh in on salty language and other "offensive" material.... I teach English at the college level, and while I understand that many people use the "F" word, sometimes as punctuation, when I see films that use it excessively, I feel as if the dialogue writers are just being lazy. One thing that I enjoy about so many older films is that characters can say something sexually suggestive without using the actual offensive term. A great example is in Footlight Parade, when Joan Blondell says to one female character, "As long as there are sidewalks, you'll have a job." Now, she would have just called that woman a S***, and it would have been much less interesting. I don't really have a problem with sexuality or even nudity if it's in context. Sometimes, films get an "R" rating for nudity, when the rating is completely unnecessary. I remember seeing "A Room with a View," which features a very innocent scene of several men being caught skinny-dipping, so we get to see their jewels briefly, so to speak; therefore, that movie earned an "R" rating. However, many violent films get a PG-13. I had a co-worker who once said he didn't mind his teen age son occasionally seeing a nude scene in a movie because he assumed that one day his son would have sex, which is a normal part of life. However, he was worried about his son as a teen driver seeing action movies filled with fast car chases and gun fights, after which the hero miraculously survives!

Gentleman Jim is a wonderful film and one I haven't seen in a while. The scene with Ward Bond always brings a tear to my eye; these are two of the best performances by both actors. Flynn is the epitome of athletic grace in this movie; it's a joy just to watch him walk down the street in the period double breasted suits. I believe that Gentleman Jim and They Died With Their Boots On were two of the best of Raoul Walsh's movies. Strawberry Blonde is also a delightful movie, and if you're an Olivia deHavilland fan, one not to miss. My old man developed a boyhood crush on her in Robin Hood, and then fell head over heels when she said "'zactly" as the "fast" and independent nurse who wins Cagney's heart and the audience's. I think the 40s was Walsh's peak period at Warners. High Sierra and Colorado Territory (a Western remake of High Sierra) are also terrific films. Walsh had the ability to fill a movie with both action and heart.

My late dad was a great one for predicting stars. He saw Mel Gibson in Galipoli and said that he definitely had star potential. Later, though, after all Gibson's escapades and running off at the mouth, my dad disliked him intensely. Dad spotted Geena Davis in a TV series called Buffalo Bill and said she was headed for bigger and better things. He was right, of course, since she went on to Thelma and Louise, a League of Their Own, and other fine films. However, like many older actresses, she hasn't been able to find many good parts as of late. He was also a big fan of British TV and spotted a lovely young woman on a show called "Darling Buds of May." He couldn't stop raving about how beautiful she was, especially in period (40s and 50s) dresses and hats. The actress -- Catherine Zeta Jones. In his later years, Dad was pretty disappointed in the current crop of leading men. He felt that except for George Clooney, none of them had real star power. He even said that Brad Pitt would have been the equivalent Troy Donahue or Tab Hunter if he had been in the business 40 to 50 years ago.

Thanks for sharing excerpts from this memoir, Tom. It captures every aspect of Flynn's character.--- his charm, sense of humor and fun, and even his flaws and insecurity.

If the picture was taken of Flynn after his African escapades, he could be on the thin side due to malaria. He does look rather thin and drawn, despite the devilish smile.

I had read and heard about Child Bride, and finally saw it on TCM On Demand. I can see why the film is so problematic. Event today, full nudity of an actress that young would be problematic. And unlike other nude swimming scenes of the era, even the precode "Blonde Venus," the camera stays on her fairly close range and for a long period of time. While the movie purports to be "educational", the depiction of women in victimized circumstances --, from the near tar and feathering of the schoolteacher who is in her nightgown, to the fight between the father and mother of the girl, where the mother's breasts are mostly exposed, to the situation of the young girl of the title -- all seem excessive and gratuitous. Even by today's standards, the shots of the young girl would be considered exploitative.

As usual, a wonderfully written evaluation of Flynn's talent and his abilities to take on a variety of roles. I'm not a big fan of "Never Say Goodbye," but I think "Uncertain Glory" is an underrated film that should be re-evaluated. The interplay between Flynn and Paul Lukas are excellent. I think audiences weren't ready to see him as an anti-hero, but he plays this role beautifully. By the way, I just saw "Another Dawn" for Kay Francis' birthday. Not a great film, but Ian Hunter sure was dumb to leave Kay behind with Flynn to look after her. At 27, he was one gorgeous creature who could tempt an angel.

Regarding Miriam Hopkins, I don't intend to slander her, it's just Virginia City is not a great example of a good film or of any of its leads being well-utilized. It's just a generic Warners Flynn western with Hopkins "plugged into" a part that could have been played by Ann Sheridan or Olivia DeHavilland. In fact, maybe DeHavilland didn't get the part because Warners was still "punishing" her for GWTW. I might even venture to agree with some other posters that Warners by the late 30s and early 40s had trouble providing good roles for women other than Davis, who had quite a bit of clout at that time and could also have control over her directors and material (but not after fights and walk-offs in the mid-30s). Olivia deHavilland's better work ended up being for other studios, for example. Of all the early 40s actresses, I would say Ida Lupino came the closest to being offered really interesting parts that weren't just supporting a male lead. Many of the other actresses mentioned, such as Joan Leslie, and even Lauren Bacall, were young actresses employed as "love interest" for a dominant leading man, such as Bogart, Cooper, and Cagney. Sometimes I wonder what Warners was thinking -- except in Of Human Bondage (which was otherwise miscast), did the studio really understand what a talented actress Eleanor Parker was, for example? Compare the typical 40s non-Davis Warners roles to the juicy and compact Warner precode dramas featuring Francis, Stanywck, or even Loretta Young. There's definitely a shift. Also, look at what other studios and actresses were doing at the time -- Claudette Colbert, who was at Paramount and also did some work for Selznick, Jean Arthur, Irene Dunne, Katharine Hepburn (of course), Stanwyck, Myrna Loy, even Ginger Rogers, who came into her own as an actress in the late 30s and early 40s. Even Ingrid Bergman was a loan out to Warners', not a Warners star, and she did lots of great work in other films besides Casablanca. In any case, all these actresses were working for other studios, or as "independents" being loaned out. Also, think of some of the great parts some of these actresses received as they became more mature -- Colbert and Loy had some excellent roles as mature women -- well-developed parts as mothers and wives in the 1940s, whereas Francis is relegated to playing aging golddiggers and divorcees by the time she's 35. In fact, look at the crap Bette Davis got in the late 40s at Warners for an example of how a more mature actress gets treated. I know it seems like a generalization to say Warners was a "Guy studio", but I remember seeing the TCM retrospective of Warners, and coming away with that feeling. In fact, even if you look at the Warners' products of the late 60s, 70s, and early 80s, it seems as if the studio was dominated by action films featuring Clint Eastwood and the like. I remember asking myself, "Is this what Warners became or did it always have this tendency?"

I agree with Hibi on why Kay was "put out to pasture." Other female stars were in their midthirties and considered box office material. For example, Irene Dunne was born in 1898, which would make her over 40 when she was in "Love Affair"! She was continuing to make prestige films for RKO, Columbia, and MGM with strong male leads such as Cary Grant, Charles Boyer, and Spencer Tracy in her late 30s and early 40s. Jean Arthur was born in 1900, making her 39 when she made "Mr Smith Goes to Washington." Most audiences didn't have a clue that these actresses were "middle-aged" because they had such radiant screen personas. Joan Crawford was also in her mid30s by 1939, when she was cast in "The Women." If an actress is working for directors and studios that respect her, then she gets good roles. I think the treatment of Francis says as much about Warners' as it does about Francis. Actors like Bette Davis, James Cagney, and Olivia deHavilland didn't walk out for nothing -- they held their ground for decent roles and treatment by the studio. By the way, I wouldn't consider Miriam Hopkins a "Warners star", but more of a free lancer who made a few pictures there. I also wouldn't hold up "Virginia City" as a better example of her work -- it's a very flawed film (check out Humphrey Bogart with the Spanish accent), and rumor has it Flynn, like many others, disliked working with her!

Kay played a villainous in an early role, The Notorious Affair (1930?), with Billie Dove and Basil Rathbone. In an early scene, she sports a very mannish riding outfit and exerts her "rights" as lady of the house over the stable groom. She then spends the rest of the film seducing Basil Rathbone, a high-strung violinist with a bad Italian accent, and reducing him to nervous exhaustion (wonder how she did that?). It's one of those good/bad films that's great fun to watch.

It's on TCM On Demand online. I think it's pretty standard until Kay comes back to England and meets Errol. She and Flynn are a well-matched pair because he hasn't quite developed that dashing persona, and physically they are just gorgeous together. One evening scene where he's in uniform and she's in a white dress, they are like a couple of Greek gods -- real knock-outs. Absolute crap dialogue can come out of their mouths, but I just enjoy looking at them. Maybe this was the other studio punishment -- pairing Kay with Ian Hunter all the time -- he is a virtuous bore. I also enjoy Kay more when she's the wronged woman, rather than the noble sort, and especially if she's paired with a cad. Confession is as much Rathbone's show as hers, for example, and Claude Raines walks away with Stolen Holiday. She seems to do well in movies where the man is a real rat -- some of the precode flicks with Ricardo Cortez, for example, who just seems to be begging for some woman to shoot him.

Just watched Another Dawn on TCM On Demand. Not a great film by any means, but more action than I expected for a "soaper." Nice score by Korngold, and good use of leftover sets and setup shots from Charge of the Light Brigade. Flynn is gorgeous and rather sweet, also one of the few leading men significantly taller than Kay. Unbelievable plot. Ian Hunter marries Kay, who is grieving over dead lover who was a flyer. Then Ian leaves her behind to go on some military excursion, leaving Kay in the care of his best friend Flynn, who reminds her of dead lover. Of course, what husband in his right mind would leave his wife in the care of this 27-year-old Greek god of a guy and expect nothing to happen? Usual stiff upper lip self-sacrificing action ensues. However, the movie is short and Errol and Kay make such beautiful eye candy that it's worth the time.

Quite a few movies have been set in Massachusetts, but my my most recent favorite is "The Way Way Back" which was shot in the South Shore/Upper Cape area. My family and I often stayed in that area, and the movie captures the beauty, tackiness, and also the claustrophobia of a family "beach cottage" vacation gone wrong.

Apparently, Miriam Hopkins was very temperamental. Many of her co-stars complained about working with her. Francis was the opposite, perhaps her willingness to take just about any role to fulfill her contract led to her decline.

I enjoy Stolen Holiday very much, too, which is also directed by Curtiz, and features a terrific performance by Claude Raines. I think he does steal the picture from Kay, I'm afraid. The interesting thing about both Confession and Stolen Holiday is that the actors who play the "bad boys," Rathbone and Raines, are much more interesting than Ian Hunter, the nice guy she ends up ultimately choosing. Of course, Hunter ends up rejecting her in Confession. Confession is surprisingly frank for a movie that's not a preCode; Rathbone makes quite an elegant stalker/seducer.

I remember reading that Claudette Colbert had this in her contract, and that during the making of Since You Went Away, Jennifer Jones was resentful because she ended up working during her "time of the month."

Wood has a pleasant voice, but it's obviously not a trained one. However, her voice isn't so different from Marni Nixon's in the lower ranges, so they could have blended them, so at least some of Natalie's voice came through.

I missed most of the films yesterday, but checked the schedule. I would have liked to see Another Dawn, just to see Flynn and Francis together. Confession with Basil Rathbone is my favorite Francis film, and I also have a fondness for Mandalay, which is a real preCode shocker, very atmospherically directed by Michael Curtiz. I must admit that over the years, I've developed a girl crush on Francis and love seeing what she's wearing. I think Francis and Warren William suffered a similar fate, both being overused by Warners', which was a workhorse studio. If Cagney, Davis, and others hadn't fought the studio and occasionally walked out for better parts, they would have been in the same boat. William moved to character roles and B-movies, and his ill-health eventually reduced how much he could work.

Saving Mr. Banks is wonderful. I think folks are making a mistake by believing it's Hanks' film. Hanks is providing an amiable characterization of Disney, but it's Emma's show all the way. Also, great ensemble casting -- Paul Giamatti, Bradley Whitford, et al. But the backstory, from the child's eye view, and Emma who is by turns prickly, funny, but revealing some powerful and painful emotions, make the film. I wept with her when she was at the premiere. At this point, I think I'd buy a ticket just to watch her read the phone book. Give this lady another 20 years, and she'll be the next Maggie Smith.

If Claude was the husband, I don't think Madam Bovary would be straying.

I have this feeling that Amy Poehler is Carole Lombard reincarnated and deglamorized. If you watch any of Lombard in less glamorous roles -- Nothing Sacred or the earlier sections of Twentieth Century -- there is definitely a resemblance in coloring, bone structure, and even facial expressions. If you had added a few pounds to Lombard and scrubbed off the 30s pancake makeup, you might see what I mean. They are both beautiful funny ladies.

Stolen Holiday is one of Rains' lesser known performances. I can say I perfectly understand Francis' choice of Hunter in the movie, since Rains is a perfect scoundrel, but a delicious one! I feel about that movie the same way as I feel about Deception -- the movie loses interest and momentum when Rains is offscreen, unless you're a fashion enthusiast and enjoy Francis' wardrobe, which is always a treat!

Rains as Napoleon III and Gale Sondergaard as the Empress Eugenia were a pretty intimidating pair of villains. Another reason why Rains in Mark of Zorro would probably not help that film -- with the trio of Rains, Sondergaard, and Rathbone, Zorro wouldn't have a chance!

Tom, Thanks for this tribute to one of my favorite character actors. Claude is so eminently watchable, and while I'm a Bette Davis fan, I must admit Deception loses interest when Hollenius' character is not on the screen. The restaurant scene is terrific, every waitperson's nightmare. One of my fantasies is that Charlotte dumps Paul Henried in Now Voyager and ends up with Claude. One of my favorites is Stolen Holiday, in which Raines plays a suave European Bernie Madoff type. This film is crisply directed by the usual suspect, Michael Curtiz, and I have to admit that if all the villains in the recent U.S. financial crisis were as charming and clever as Rains, we'd still be in a mess (although some folks think we still are). Mark of Zorro with Rains and Rathbone -- sorry, but at that point, Ty Power would be just another pretty face, as those guys would have "Madoff" with the picture.

Terrific movie and surprisingly moving. Also, a great fantasy -- Cary Grant pays me $300 to spend the night with him. If it weren't for the child, I wouldn't have gone back to Marshall if I were Marlene. BTW, I had just seen the Chinese film The Goddess earlier this fall. Some aspects of that story are very similar to Blonde Venus, but Blonde Venus is much more glamorous, of course.