TomJH

I think this film will be a real treat for those who have never seen it, or those who haven't had a chance to view it in quite a while. All three stars are effective in their roles, in my opinion, but I particularly liked Robert Preston as Macomber. Again, folks, you might record this one. Who knows if TCM will show it again.

TCM will be broadcasting THE MACOMBER AFFAIR. I don't know if it is a TCM premiere, but, if not, it will still be the channel's first showing of the film in many years. This tale of a bickering couple (Joan Bennett, Robert Preston) who attempt to restore their marriage by going on a safari on the African plains remains one of the most intelligent film adaptions of a Hemingway work, in this case his great short story, The Short Happy Life of Francis Macomber. Gregory Peck is the film's top billed star, with Zoltan Korda directing. This film is well worth a view, its relative inaccessibility over the years making it an unjustly little known film to many today. Set your recorders for this one. You won't be sorry you did it.

I've always liked Mister Roberts well enough, regarding it as a good, if unexceptional, dramaedy (if that's the correct word to describe it). The primary reason that I think it is worth a couple of viewings is because of the once-in-a-lifetime opportunity to see those four top male stars working together. Having said that, I also understand MissW's disappointment that the characterization of the Captain is so two dimensional, particularly since the part is played by James Cagney. As a fan of Cagney, I rather wished that the actor had not made his villainy performance quite so cartoony because he was an actor capable of so much more. Since, however, this film is a case of the Captain versus the crew, with the Captain clearly portrayed as the "bad guy," perhaps it was felt that bringing greater complexity to the villain would dilute the audience's identification/sympathy with Roberts, Pulver and the rest of the crew. Having Cagney play Morton as a pompus little dictator with an obsessive love for a palm tree clearly makes it easier for an audience to dislike him for the pip squeak that he is. The price, of course, for that, is that while I think Cagney is still fun to watch in the role (and he was a strong enough personality and actor to stand up to virtually the rest of the cast all by himself), it is still not one of his great performances because of the lack of depth. Bottom line, I like the film well enough, wish Cagney could have brought more depth to his work but, if he had, it could have diluted the impact of the audience making with the boo hiss towards him as a comic villain.

Thanks very much for giving us access to some of your Dad's interview with Miss Colbert. She spoke of how instantly comfortable she felt on stage, though at the same time, off stage, she would be uncomfortable walking into a living room filled with people. Colbert joins a long list of stars, it seems, who were essentially shy, yet had a career living in the spotlight.

Desire is a truly lovely sophisticated comedy romance, noteworthy for the chemistry between Marlene Dietrich, in her first American film without Von Sternberg directing her, and Gary Cooper. It's sly, funny and completely captivating in its charm, thanks to a clever script and the influence of Lubitsch. Having said that, it would have been even more interesting if John Gilbert had been able to play the role of Dietrich's somewhat possessive benefactor. And Gilbert was clearly capable of good character work, as evidenced by his performances in Downstairs and Captain Hates the Sea. This is one of the last photographs taken of John Gilbert, shortly before his heart attack death

scsu1975, I understand what you're saying about the film's main character arriving at a peace with himself. Plus, of course, the resolution, about his mother and sister as lepers. (Anyone remember that Ben Hur spoof on SCTV in which John Candy plays Judah as Curly, and his mother and sister are both in the Valley of the Leopards, complete with spots on their bodies and whiskers? Sorry, I digress). However, I feel it's safe to say that when most people think of Ben Hur the chariot race is the first thing on their minds, whether it's the silent or talkie versions. And, as you stated, those great action set pieces are the highlights of both films. For me, there's nothing that happens afterward that is nearly as emotionally involving as watching Judah drive that team of white horses to triumph. I have to say that both versions of Ben Hur, particularly the talkie, drag for me afterward. I never flip on the TV to watch a section of Ben Hur and pick the film's ending. It's always the chariot race that I will watch time after time. And I strongly suspect that most viewers would feel the same way. To me, it is a structural plot flaw that the highlight of the films occurs so far from their endings.

I think that the chariot races in both versions of Ben Hur rank among the most exciting action set pieces that you are likely to see in the movies. I would rank the two of them on about a par with one another. The disadvantage, of course, with the silent version is that it's effectiveness in that crucial sequence, as well as the overall film, will be impacted by the musical accompaniment. The Carl Davis score, of course, was terrific with this particular version, and added immesurably to the excitement. If a score by another composer is used one day, who knows what the effect will be. One area in particular in which I do think that the silent version is superior to the remake is in the sea battle scenes. The obvious rear screen projection in the '59, with, at times, a blue line appearing around Charlton Heston, for example, when he is on the raft afterward, has always been a distraction to me. I must be honest that I chuckled a bit at how spectacularly clean all the galley slaves looked at they toiled away with their oars in the silent version. Not even a whip mark in evidence, from what I can recall (though I'm willing to be corrected on that). The battles themselves in the '25 version between the Romans and pirates are remarkable for their realism and intensity. This is real death at close quarters stuff. There is a true savagery to this sequence. You have to wonder how many injuries occured among the stunt men. And I love the idea of tossing bottles filled with vipers on board the Roman ships. That will give them a little something extra to think about. Of course, once the pirates board those same ships too, they will be just as vulnerable to those snakes slithering around the deck, as well. So, from a practical sense, it may not make that much sense. But it's still a nice touch, that was not reused in the '59 version. There is also an extra touch of sadism to be found in the silent version too, by the idea of strapping down a helpless Roman prisoner on the battering ram of their ship so that he gets more than a headache when they smash into the side of a Roman vessel. But, let's face it, both versions of Ben Hur have a huge story structural flaw that I assume is a reflection of the Lew Wallace novel. And that is that the chariot race comes well before the film's ending, and everything that follows that spectacular sequence is clearly anti-climactic. This is particularly true of the '59 William Wyler version which has always struck me as going on FOREVER after the big race, and more or less moving at a snail's pace, too. The Wyler remake, in particular, with that later slow tempo, is never a film that I will think of as Ben Hurry. Look at that smooth lily white skin. Not a mark on this prisoner, or any of the others, from what I could see. 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! Great sea battle scenes in the silent version

gagman, thanks for reminding me about the some of the spectacular shots to be found in the final chase sequence in Girl Shy. I knew of Harold Lloyd for his famous building climbing stunts. I didn't know that he was also involved in great chase sequences in his comedies, as well. The one in Girl Shy is particularly impressive. Clearly director Fred Niblo and company must have seen it (in particular the camera in the pit shots as the horses rode over top of them) before staging their own spectacular chariot race in Ben Hur. People understandably rejoice over two Ben Hur chariot races. They should also take a look at Girl Shy's spectacularly exciting wrapup chase sequence.

Bogie reading a copy Dark Passage, the David Goodis novel upon which his third (and least well known) film with wife Lauren Bacall will be based. This is a 1947 film noir thriller that, aside from director Delmer Daves' use of a subjective camera technique keeping its star out of view for the first third or so of the production, is also distinguished by some wonderful character turns by the supporting cast. This includes Tom D'Andrea as a talkative cabbie, Houseley Stevenson as a bizarre plastic surgeon, toothy Clifton Young as a blackmailer, and a scheming Agnes Moorehead. Although seemingly a typical hard boiled Bogart film on the surface, it actually has the actor experimenting with his "cool" screen image to a degree by playing an often frightened man on the run from the law who is not in control of his situation, often having to rely upon the support of others. While the film has its share of plot contrivances, it also remains intriguingly dark in tone, with one of the most splendidly romantic of all final scenes in any '40s production. The film further benefits from some splendid on-location shooting in San Francisco. 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!

crazyblonde, it's true that the visuals of Angels with Dirty Faces are very striking. It was a film in which director Mike Curtiz was working with Sol Polito, his favourite cinematographer. Among the other great looking movies that they made together, both in black and white and colour, were Adventures of Robin Hood, Dodge City, Sea Hawk, Sea Wolf with Eddie G. and, another Cagney, Captains of the Clouds. Angels with Dirty Faces Sea Hawk Sea Hawk Sea Wolf Captains of the Clouds

Andy, while Warners hypocrisy regarding their final message in Angels with Dirty Faces is mind boggling, the film itself still has one of the great classic finales of all gangster movies. A combination of Cagney's performance, Michael Curtiz's direction, Sol Polito's stunning black and white photography with those incredible shadows (a Curtiz-Polito specialty), plus Max Steiner's music made Rocky Sullivan's last mile walk one of the most memorable experiences of all '30s melodramas. You know, James Cagney was known to dislike the gangster roles with which he was associated, and he had no use for those street thugs that he had seen as a kid (though some of them were clearly colourful characters that had an influence upon his characterizations, to a degree). I wonder, though, much as Cagney disliked real gangsters, how much he ever pondered upon the fact that his screen activities as them glamourized those thugs as much as they did. I suppose that he was, ultimately, ambivalent about it. After all, he liked and got along with George Raft, whose underworld associations were a secret to no one. And the reality is that there were underworld activities in Hollywood impacting the studio systems, whether Cagney or others liked it or not. As far as the ending of Postman Always Rings Twice is concerned, I suspect that part of the reason for that death house dialogue by Garfield was an attempt to explain the meaning of the film's title. It's been too many years since I read the Cain novel to remember if it also ended that way, but I rather suspect that it didn't.

crazyblonde, since I'm Canadian, I'm not the one to ask about American cities. However, in Michael Curtiz' second tracking shot in Angels of that same street scene that I posted, the shot starts off with a closeup of someone reading a paper called The New York Mail.

MissW, thank you for bringing up the great Edward G. Robinson (who seems to have gotten sidelined from this thread for a while) and Scarlet Street. It's been a while since I've seen either this film or Woman in the Window but, for me, they are the two films that represent Joan Bennett at her sexiest and Dan Duryea at his sleaziest. I have a great affection for Duryea in one of his pin striped suits (he does wear those, doesn't he, in these films), a smug, smirking, woman slapping heel of the first order. Duryea played these semi-pimp types with a relish. He was a fine actor who could also very effectively play a flawed semi-hero, as well, as he did when we recently saw him in The Burglar (now there's a good little "B" that few know). But when Duryea was a rat to Bennett (and trying to take advantage of poor innocent Eddie G.), well, the man's a pure joy to watch. Street sexy - watch out! Not much doubt who's in control here They're together, behind Eddie G.'s back. That's my man Dan, one of the great sleazy rats of the screen.

*jamesjazzguitar wrote: Great take about the ending (of Angels with Dirty Faces).* Yes, it really is brain numbingly hypocritical of a studio to turn out a great professional product like this film with a feigned message of concern that gangsters not be idolized. Yet the film does everything it can to turn its lead gangster into a hero!

James, I'm sorry if I wasn't clear. I never said that Fallon shooting at Jarrett wasn't credible, from a realistic point of view. I said that it took an incredibly cold blooded individual to do that, and, if he had to do it, it would have been more emotionally satisfying, as suggested by MissW, that Fallon show signs of mixed feelings about killing Jarrett or even just seeing him die. As it stands now, White Heat's ending has Fallon seeming as cold as Jarrett. (And since Fallon's a "good guy," I'd like him to be better than that). But, then, that may just be the foolish romantic in me. Heroes in movies were becoming harder and tougher after the war (looking at Jimmy Stewart in his '50s westerns as an example). It was undoubtedly a greater reflection of reality, I suppose. Still, that doesn't make me like Fallon any more, even though he is a gutsy, smart guy.

crazyblonde, I'm a big fan of Angels With Dirty Faces, as well. While I think that White Heat has Cagney's greatest performance, I believe that Rocky Sullivan in Angels is probably the most quintessential role of the actor's career. He was truly at his peak as a charismatic star with great dramatic ability in this elaborate production, whether bantering with priest pal Pat O'Brien, playing big brother to the Dead End Kids, ready to slap guns with George Bancroft, or displaying great screen rapport with a great screen partner in the form of a young Ann Sheridan, in her break through role. Cagney was also fortunate that a highly dramatic director like Michael Curtiz was at the helm, a man who loved to have great tracking shots in his films, such as he did with the remarkable street set that opened this picture: Just by showing this street scene at the beginning (and what a truly marvelous set it is), Curtiz has immediately established the poverty setting that will be the background for this poverty-drove-them-to-crime drama. I've always been a bit amused by the gall and hypocrisy of Warner Brothers, though, for their message at the end of Angels with Dirty Faces. Rocky goes to the electric chair pretending to be a coward so that the Dead End Kids won't idolize him and consider him to be a hero. But what about the audience watching the movie? Since they all know that Rocky is, in fact, noble by pretending to be a coward (which he clearly is not), they will, in turn, regard Cagney's character in the very heroic terms that the film claims it doesn't want him viewed. And many of them, including street kids, will leave the theatre with their own little fantasies of being just like Rocky Sullivan!

*jamesjazzguitar wrote: In White Heat he goes out at the top of the world with the actual hero looking like a weasel. (so I still say that Fallon's actions were driven by the need to fool viewers that Cagney was a borderline super hero that just wouldn't go down).* James, I think a lot of people might question your assessment. While I obviously agree that Edmond O'Brien's character is extraordinarily cold blooded at the end, others may think that it's necessary for him to be so. And Cagney's lunatic is hardly a borderline super hero. (I'm quite sure the actor himself would have probably been appalled that anyone would have thought that of Jarrett). However, I do see where you're going. Certainly at the end of the film Cagney's death scene does make a Warners star appear larger than life (compared, as crazyblonde did, to King Kong), almost (I said almost) a precursor to those characters in ridiculous modern films that just can't be destroyed. Fortunately, in the case of White Heat, Jarrett is killed, so the film remains rooted in reality and the ending, while fantastic, is still credible.

White Heat's premiere, September 2, 1949, at the Strand Theater in New York City. Little did audiences know what was in store for them: 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! 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!

*MissWwrote: And much as I like O'Brien as an actor, I think the scene would have been more effective if he had shown some ambiguity in his feelings, if not a line of dialogue (that might have been too much), at least by the expression on his face. But no, O'Brien plays it straight, FBI agent getting his man.* Thanks very much for your intelligent, perceptive posting, MissW. And I think your suggestion was a great one. Hank Fallon is the most admirable person in White Heat. Even though the viewer never knows much about his background or the details of his life, Fallon is smart, quick witted, incredibly courageous to infiltrate a hoodlum's gang, even to the extent of the gang leader regarding him as a bit of a soul mate. And Fallon is a dedicated professional doing all that he does in the name of bettering society. Something of an idealized portrait, really, perhaps lacking the depth of a few character flaws to make him more interesting but assisted by the fact that a solid, dependable actor like Edmond O'Brien is playing him. The problem for me with Fallon is, of course, that cold blooded "What's holding him up?" moment, which, in turn, has always tainted my feelings about his character. How much more emotionally satisfying would it have been, as you suggested, MissW, if Raoul Walsh had allowed O'Brien to have a two or three second moment in which the actor had been allowed to portray mixed emotions about Jarrett's death. It could have been a twist of his mouth or his eyes dropping for a moment as he sees the man who had befriended him about to perish. Just something to indicate the Fallon was a little more complicated as a human being, rather than just an FBI automaton out to finish off the job by putting a bullet in Jarrett's head. 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Whenever people discuss the great attributes of White Heat, there is, understandably, a concentration upon Cagney's performance, as well as the brisk direction of Raoul Walsh. Walsh simply directed too many of my favourite films for me to regard him as anything less than, at his peak during the Warners period of his career, a truly great filmmaker. A good celluloid story teller, Walsh was renowned for his action scenes and ability to work well with macho film actors. He could also show, at times, a softer, more sensitive approach to some scenes in his films, creating some genuinely touching moments, and, Walsh cared about his film characters, allowing them greater scope than you might see with some other directors. Which brings me to Virginia Mayo's performance as Verna Jarrett, Cody's conniving, double dealing wife in the film. Mayo was, of course, a great beauty, which was initially her ticket into the movies. The problem for her then became the old familiar tale of stereotyping, and the fact that producers couldn't envision her in roles that required any kind of real acting talent. Even though she was wonderful as Dana Andrews' selfish, shallow wife in The Best Years of Our Lives, she usually got cast in window dressing roles. White Heat, in my opinion, shows just how strong she could be as a dramatic performer. Having a director like Walsh and an actor like Cagney, known for his generosity as a co-worker, must have been a great boon for Mayo in this film. The first shot that Walsh gives us of the actress is a closeup of her, asleep on a bed, gorgeous, of course, but snoring. Snoring clearly tells the viewer that this is no lady as real ladies clearly didn't snore in the movies. Her hair is dishevelled (well, sort of) and she gets out of bed grouchy and complaining. Audiences know already that Mayo is playing one tough dame. (Just how tough and two-timing will become more apparent as the film progresses). My point being, however, is that director Walsh immediately provides the viewer with an insight into Verna in just the first two minutes of Mayo's appearance in the film. What a blessing it must have been for this actress to be working with a director trying to assist her in her characterization. And what an impression Mayo leaves with the viewer, too, right up to that moment towards the end, when she is more than willing to work with the cops to lure Jarrett out of his hideaway, just so long as it gets her a break. What a rat, a beautiful one, to be sure, but still, a rat. (The same one, by the way, who earlier abandoned Cody to take up with Big Ed Steve Cochrane, then, when Cody gets the drop on her, turns around and sets up Big Ed to get a bullet in the back). Through all these nasty activities Mayo is completely convincing. What a cold hearted dame she is. White Heat would be the dramatic highlight of Mayo's career. Mayo brings a brassy, slatternly quality to her hard boiled, gum chewing characterization. You know she'll go with any man until a better one comes along for her. But, let's face it, good as she was, the actress was playing a type of gun moll than no critic or film producer ever thought should be confused with great acting. She then went back to light, frothy roles in the movies. Did none of those film producers notice her terrific work in White Heat? Thank goodness, though, Walsh saw her potential and she was able to shine here, at least. And, to think, she's this good, not overshaowed, when her male co-star is James Cagney, arguably giving the performance of his career. That says a lot about Mayo's talent, too. 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!

*MissW wrote: A lot of human beings -most, in fact - will rationalize to themselves the reasons for doing something they're not morally comfortable with. This is what Joe does.* *He does not hurt anybody - except maybe himself.* Spot on, MissW. Holden's Joe Gillis characterization works so well because the actor, along with Wilder's direction and the writing, is able to portray the complexity of a human being, an essentially decent guy (ie. the Joe that he might have been is seen in his scenes with Nancy Olson) and what he resorts to out of economic desperation. And, at the film's end, he tries to "cleanse" himself by walking away from the money, and the increasingly bizarre and possessive Norma Desmond, only to be shot down. It's been a few years since I saw Sunset Boulevard. Correct me if I'm wrong. But my memory tells him that after Norma hits Joe with the first bullet in his back Holden staggers a bit but still keeps walking away from her. Her second (or is it third?) bullet sends him into the pool. There's something about that act of his, of continuing to keep walking, almost as if he's trying to pretend he hadn't been shot, that makes me sympathize with Joe. He's about to become a dead man but even as he is just seconds away from death he keeps walking, shocked, stunned, I suppose, by the bullet, but still determined to follow through on his emancipation from the possessive woman behind him. It is, however, too late for him. At the end of Sunset Boulevard I feel sorry for both Joe and Norma. Quite frankly, conversations of this manner make me appreciate even more the complexity to be found in Wilder's film, and the fact that it is even an even greater film than I originally realized.

mrroberts, are you saying that you don't have a grudging admiration for the sheer bravura of Cody Jarrett in his final moments? That he is a monster is an incontestable statement. The fact that I do feel a few twinges of sympathy for the monster, though, adds to the fascination of White Heat's ending. However, it would be interesting to know how many audience members feel the way you do about Jarrett's demise, as opposed to my mixed reaction to it. I rather suspect that more have that mixed reaction. I could be wrong, though.

Well, crazyblonde, certainly both Jarrett and King Kong leave a lot of destruction behind them after they're gone. Kong is gunned down by authorities while Jarrett does himself in in spectacular fashion just before the authorities are about to get him. A key difference between them, though: Kong is a lot more sympathetic. 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! Made it, Ma! Top of the Empire State Building!

Actually, James, although both Cagney characters are gangsters, Rocky Sullivan is a total contrast to Cody Jarrett inasmuch as Sullivan is a classic sympathetic "good" bad man driven to his crimes by being a child of poverty. Jarrett, on the other hand, has no "justification" for his crimes and his psychotic behaviour is a reflection of the darkness found in many Hollywood characters in the post-war period. Yet, for me, as I stated earlier, perhaps due to the fact that it is Cagney playing the role and he plays Jarrett's final moments in such a bravura fashion, I do have a certain degree of sympathy for him at the end. That sympathy, of course, is also mixed with a fascinated repugance with the character, as well.

James, I admire Holden's performance as Joe Gillis because of the complexity of the characterization. The audience sees the Joe Gillis that he could have been in his scenes with wholesome Nancy Olson. That's the likeable Gillis that you knows lies beneath the surface no matter what degree of moral repugnance his later behaviour with Norma Desmond may be. Remember, Gillis prostitutes himself due to economic reasons. If he had been doing well as a screenwriter he would not have taken on stud work living with an aged increasingly delusion former film star. While there's no doubt many would regard his behaviour as fairly reprehensible, don't forget that, at the end, Gillis, repulsed by his own behaviour, tries to walk out on Desmond, and for that he will pay the ultimate price. No, James I don't agree that Gillis is an indecent human being. I think he's essentially a good guy who compromises himself, does do indecent things before, at the end, for reasons of self respect, tries to emancipate himself and, perhaps, even redeem himself, to a degree. That he fails in that and is murdered gains him audience sympathy. 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!

James, I don't want to overstate my case by implying that Jarrett and Fallon are exact moral equivalents to one another. Clearly that is not the case. If I was to have either Hank Fallon or Cody Jarrett as a next door neighbour, take a wild guess which one I would prefer by ten million miles. However, being a Hollywood product of the post-war years, involving more realism than the studio system was known for before the war, White Heat, I feel, touches on a certain moral ambiguity with Hank Fallon's FBI mole character. This, of course, would become increasingly more the case with other characters in many genres of films over the years, ranging from crime dramas to westerns. Fallon's duplicitous behaviour with Jarrett, his subsequent "betrayal" of him (at least in Cody's eyes), combined with his steely eyed determination to execute the man who had regarded him as a friend makes that FBI agent a pretty hard case. You can say that he has to do so out of professional necessity, I know. But most men do not possess the same kind of ruthlessness that Fallon has in order to carry it off. Ironically, one of the men who, morally, could have done it was Cody Jarrett. Again, my point, are Fallon and Jarrett really so far apart, in that respect, at least? There is also no doubt that for me, as a viewer, when I hear Fallon utter that "What's holding him up?" line and then take aim again at Jarrett with his long range rifle, my sympathies, at that moment, are clearly with the gangster, laughing lunatic that he may be.