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A Neglected Gem from Raoul Walsh


TomJH
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{font:Calibri}Amazing, isn’t it, when you watch a film that you never really even heard of, and find yourself drawn into it right from the beginning.{font}

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

{font:Calibri}I discovered a little Warner Brothers gem, The Man I Love, filmed in 1945 and held up two years before its eventual release. It’s a difficult film to categorize by genre, part noir (certainly in appearance), part exploration of club life, particularly the jazz scene, part human drama. It was directed by Raoul Walsh in such a smooth, effortless fashion, with his gliding camerawork, that I want to scream out, “Why do people stereotype this man as just an action director?” He could be, on occasions such as this, so much more.{font}

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

{font:Calibri}It’s a film about lonely people, or, at least, those searching for something in the big city, dissatisfied with their existing lot in life.{font}

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

{font:Calibri}The opening scene alone is worth the price of admission, and it’s got to be something of a classic. Two drunks outside a club, attracted to the music inside, are refused entry through the establishment’s locked doors, told that it’s “crazy” people inside having a good time by themselves. Walsh takes us inside and there it is, a smoke filled jazz-tinged session of the Gershwin title tune.{font}

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

{font:Calibri}Walsh shows great respect for the jazz musicians performing. As the camera slowly, lovingly explores this group, the director gives a few of them their own brief moment. The sax player with a closeup of his fingers, the coronet player, the drummer, then back to the coronet player, only this time it's a shadowy closeup of his face. {font}

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

{font:Calibri}The film’s star, Ida Lupino, then starts to sing The Man I Love off screen. Walsh teases the viewers, letting them hear the song’s opening lyrics before allowing them to have their first sighting of Lupino. Even then she has her back partially to the camera as she casually moves to let us see her in profile, a cigarette in her hand, from which she casually flicks an ash.{font}

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

{font:Calibri}No, it’s not Lupino’s voice. She’s dubbed, but the voice sounds right, like it could be her’s, and Lupino, beautifully attired, then gets her first closeup, as a giant cloud of cigarette smoke escapes her mouth. And you can see it in this actress, you can see it in her eyes, that connection with the song that she’s singing (which will also come to represent her character, as it turns out). {font}

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

{font:Calibri}“One day he’ll come along, the man I love.{font}

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

{font:Calibri}“And he’ll be big and strong, the man I love . . .”{font}

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

{font:Calibri}Lupino brings so much feeling to these lyrics with her expression. You’re already ready to believe in her character at this point before you even get to know her. And you see her comaraderie with the musicians, particularly at that moment in the song in which she lights the pianist's unlit cigarette with her own.{font}

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

{font:Calibri}How I wish George Gershwin could have seen this moment that Walsh, Lupino , the cinematographer with that great smoky black-and-white photography, and the set designer, in addition to those real musicians playing there, all bring to his song. This three minute song sequence is a loving tribute to Gershwin’s haunting hurting masterpiece. {font}

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

{font:Calibri}Even if you don’t care for the rest of the film (which I find impossible to believe) you HAVE to see The Man I Love if only for this opening. All those who love jazz, who appreciate films like Young Man with a Horn or Blues in the Night, will find something to love about this introduction that Walsh gave his film.{font}

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

{font:Calibri}There are myriad characters in the film, and I don’t want to bog this brief tribute down by listing them all. Lupino’s character travels from New York City to California to see her family but her character is leaving one bad relationship and now drifting. There’s the sleazy night club owner, well played by Robert Alda, who only has opportunism on his mind, be it with a woman for a night or taking over someone else’s nightclub. Alda's character is fairly despicable, putting the obvious charm on one moment, angrily snapping the next when things are not going his way.{font}

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

{font:Calibri}There’s also Bruce Bennett as a jazz pianist who was ripped apart by a divorce, and remains haunted by that relationship. Lupino, also hurting, finds it easy to make a connection with him but he’s reluctant to commit. Walsh does something with Bennett in this film. {font}

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

{font:Calibri}Bennett , a big boned former Olympian, who made a career in character support in Hollywood, largely at Warners, will never be on anyone’s list of great actors. But there was always a bit of a hang dog sadness about him, and it works beautifully in this part. You can see the pain in his face as he laments over his lost love from the past. There’s also an essential decency about his character (especially in contrast to the sleazy nightclub owner) by which you can fully understand Lupino being drawn to him and wanting to take a chance. Bennett is quietly wonderful in the part. It has to rank as one of his best performances.{font}

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

{font:Calibri}And for a film that is about a collection of people dissatisfied with their lives, an extension of that can be found in this most capable cast, none of whom enjoyed satisfactory careers in Hollywood. There was Alda, initially playing, ironically, George Gershwin in a high gloss biopic before Warners then cast him in supporting roles, often of a sleazy nature, such as in this film.{font}

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

{font:Calibri}Then there was Bruce Bennett, a solid, if somewhat rather dull supporting player for the most part, though effective on occasion, such as in this film, Treasure of Sierra Madre (as Cody) and when playing Mildred Pierce’s former husband. Then look at the rundown of actresses in this film, all briefly appearing in Warners films before largely disappearing, Dolores Moran, effectively cast as a spoiled brat in The Man I Love who falls in with the nightclub owner, Martha Vickers, best remembered today as Lauren Bacall’s thumb-sucking **** sister in The Big Sleep, and Andrea King, leading lady of The Beast with Five Fingers.{font}

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

{font:Calibri}There’s even Lupino. Strong performer that she was, and briefly viewed as Warner’s chief dramatic studio challenge to Bette Davis, after a strong start the studio seemed to lose interest in her. The Man I Love, released in 1947, would be one of her last effective roles before she would become the only actress I can recall who went behind the camera as director when it was apparent that acting opportunities were no longer coming her way. She was a capable director but what a loss it was for all of us that she could no longer find the right roles as an actress.{font}

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

{font:Calibri}The Man I Love is not a great film. There is, however, a wistful melancholy about the production, with a moody ambience encompassing its lost characters, that makes it a highly affecting drama. This is a neglected Raoul Walsh melodrama that deserves a look, and then another. If only for that opening scene set in a nightclub late at night. Trust me on this one.{font}

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

{font:Calibri}images?q=tbn:ANd9GcS3zzQBXiGN2Tgj39NWuK_

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{font:Calibri}A publicity shot for The Man I Love

 

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! 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Tom, it sounds like my kind of movie. I checked it out in the TCM database - here's the link:

 

http://www.tcm.com/tcmdb/title/1140/The-Man-I-Love/

 

However, unfortunately it does not appear to be scheduled for airing anytime soon.

 

But now, thanks to you, I'm aware of it, and I'll be looking out for it. Raoul Walsh! Ida Lupino! Jazz music !

 

ps -Just curious, what made you think of the film just at this time? I checked today's and yesterday's TCM schedule, and it wasn't listed. Also, as I said above, it's not being aired in the near future, at least not on TCM.

I know,l Raoul Walsh came to you in a dream as the Ghost of Undeservedly Forgotten Films and asked you to do a write-up about it.

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Unfortunately, MissW, The Man I Love was just on TCM a couple of weeks ago and I only just saw my recording of it today. It could be a while before it's on again.

 

I'm a complete sucker for Gershwin or Cole Porter so when someone actually makes a good film involving any music of their's I go a little crazy for it. There's no Porter in this film but they sure do Gershwin proud.

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MissW, I have only vague memories of Paris Blues and really can't comment on it.

 

I really love films that attempt to explore jazz club life, particularly if filmed in black and white. Perhaps Young Man With A Horn (which TCM frequently shows) is the dominant illustration of this. That film, to me, truly captures the ambience of those people who seem to live for their music (Kirk Douglas' character a little too much so in that film).

 

Now I don't know how truly jazzy The Man I Love is considered to be as a song. Certainly it's soulful, though, and it's melancholy. There's a bittersweet quality to the music and lyrics that I find haunting. This Raoul Walsh film's opening number really does it justice in my opinion.

 

If you liked Blues in the Night, as I certainly did, I think you'll like this one, too.

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