John Wayne isn't everybody's cup of tea, but thankfully, TCM is running a surprising number of shorts in between the John Wayne movies this week. Two of these shorts are coming up during prime time tonight.
First, at about 10:23 PM, or following They Were Expendable (8:00 PM, 135 minutes plus an extended intro/outro with Scott Eyman) is The Friendship Train. The premise of this documentary is that, following World War II, much of Europe was not only in Europe, but starving as well since the war had screwed up their agriculture so much. This was the genesis of CARE. There were other private relief efforts as well, such as this titular "Friendship Train", which started off in Los Angeles courtesy of Warner brother Harry, and worked its way across the country, picking up aid supplies along the way, until it reahced New York where everything would be put on a ship and sent to Europe. This short tells that story. It's nothing earth-shattering, but a nice little document of what America was like back in 1947/8 when the movie was produced.
The other short is A Lady Fights Back, at about 2:48 AM, or following The Fighting Seabees (1:00 AM, 100 minutes plus an intro/outro). This one is an entry in John Nesbitt's Passing Parade series, although it deals with the present day rather than the past as a lot of the Passing Parade shorts did. The short looks at the Normandie, a ship which started off as a luxury transatlantic liner, or at least 1930s style luxury. But in 1939 the war came, and there wasn't any need for luxury liners. Plus, the Normandie had suffered a fire and would have needed extensive renovations anyway. So the plan was to convert the Normandie for military use, and this short looks at that conversion, or at least as much of it as MGM felt they could show what with military secrecy needing to be maintained, as the film was released in late 1944. There's actually a bit of irony in this, as with the success of the D-Day invasion, the conversion wouldn't be done quickly enough for the ship to be put into military use, which resulted in its being scrapped instead. But all that was after filming had finished.
Wednesday, April 23, 2014
John Wayne isn't everybody's cup of tea, but thankfully, TCM is running a surprising number of shorts in between the John Wayne movies this week. Two of these shorts are coming up during prime time tonight.
Tuesday, April 22, 2014
I should apologize to all of you for not paying closer attention to the main page of the TCM web-site, and not just the schedule pages. If I did, I would have read this page on Star of the Month John Wayne, which very obviously mentions that Robert Osborne is sitting down with Wayne biographer Scott Eyman to discuss those of the Wayne films that will be on in prime time. And if I had read that, I would have made a point of to all of you. As for last night's airing of The Big Trail, I was very impressed by the print, which for the most part seemed quite good. There were a few scenes that didn't look so good, with a line running down it as sometimes happens in old prints, but for a movie that's over 80 years old, who can complain?
Scott Eyman also mentioned the origin of the "Duke" nickname, which I probably should have looked up before posting yesterday. Apparently it came from a dog Wayne had back when he was still the child Marion Morrison. Eyman also mentioned how Morrison got the name John Wayne in part from the Revolutionary War general Mad Anthony Wayne, and in part because John sounded good put together with Wayne. "Duke Morrison" apparently sounded like a more appropriate name for a stuntman, goes the story.
The Big Trail was followed by the 1937 Technicolor Warner Bros. short A Day at Santa Anita. This is one of those shorts that I think I've seen the opening of but have never stuck around for the end, and didn't last night either. But Technicolor shorts from the 1930s, other than the whole Traveltalks series, aren't all that common and probably deserve a mention. Technically, the short has made it to Youtube, but in a version dubbed into Russian. The terrible dubbing reminds me of the semester I studied in Sankt-Peterburg, the former Leningrad, back in 1992. It seemed any time there was a western movie on Russian TV, it was dubbed into Russian, but you could hear the origian dialog underneath. Yikes.
The Searchers is on overnight tonight at 2:30 AM. It's basically the story of John Wayne becoming obsessive to the point of it being damaging for everybody around him in the attempt to rescue his niece from the Indians who kidnapped her as a young girl. It's a good movie, to be sure, but I've never found it quite as good as a lot of the critics do, with the way they heap praise on it. It probably has something to do with so many of them talking about the movie's discussion of racial issues, with the implication being that because it's John Ford coming to grips with race, that automatically makes it a better picture. I was born in 1972, after all of the Baby Boomer stuff on race and civil rights had happened, so I think I come in to movies like The Searchers wiht a different frame of reference than a lot of the critics, not obsessing about race the way many of the older critics seem to do. But, I really wanted to mention tonight's airing of The Searchers because it's another example of TCM's databases not working together. The TCM daily schedule claims that The Searchers is not on DVD, which surprised me since Amazon lists a TCM Greatest Classif Films Collection box set of John Wayne mvoies that includes The Searchers. Certainly, that ought to be available from the TCM Shop. And sure enough, that box set is available at the TCM Shop, too, and in stock.
Monday, April 21, 2014
And so, we finally get to this month's Star of the Month on TCM: John Wayne. Normally, TCM has a Star of the Month one night a week, every week for a month. But with the Film Festival and the week of Fan Programmers and the 20th anniversary among other things, somebody in the TCM programming department decided that it might be better to have a Star of the Month get every weeknight for one week. That's fine as far as it goes, but for better or worse, because of how many movies John Wayne made, TCM is also able to program the daytimes with John Wayne movies, so we're getting almost exclusively John Wayne movies from now until the Mexican Spitfire movies return on Saturday morning.
The John Wayne marathon kicks off with The Big Trail, which looks to have been Wayne's first credited screen appearance; he had been in bit parts in several movies in the year before making The Big Trail. TCM's online schedule indicates that we're getting the Grandeur print, at least if I've read the schedule correctly.
The Big Trail was a financial flop, and one of the results is that Wayne wouldn't become a star at a big studio again until after making Stagecoach (which kicks off prime time on Tuesday at 8:00 PM) in 1939. In the intervening years, he either had bit parts in roles at the major studios, as in Baby Face overnight at 2:30 AM, or bigger roles in B-grade if that westerns, which is what much of the lineup between The Big Trail and Allegheny Uprising (tomorrow at 5:00 PM). A few interesting things in between:
Haunted Gold at midnight. This is a 60-minute movie combining the western with... one of those old haunted house movies, this time with the haunting being of a mine that Wayne is part owner of. Wayne's horse is named Duke, which is where I'd guess he got his nickname from; I'm not the biggest John Wayne fan so I don't know these things.
The Life of Jimmy Dolan at 7:00 AM stars Douglas Fairbanks Jr. who accidentally punches a man who then dies; he has to run away to Utah to keep ahead of the law and winds up on a farm run by an older lady (Aline MacMahon) and her niece (Loretta Young), who take in a bunch of orphans. If this sounds familiar, it's because the movie was later remade as the excellent They Made Me a Criminal.
Sunday, April 20, 2014
After the success of King Solomon's Mines in 1950, studios started making more movies set in Africa. Some, like King Solomon's Mines and The African Queen, did a lot of the shooting in Africa. Others were more restricted to the soundstages and back lots, such as White Witch Dcotor, which you can see tomorrow morning at 11:15 AM on FMC/FXM.
The titular "white witch doctor" is played by Susan Hayward, but we'll get to her in a minute. The movie actually starts with Robert Mitchum, playing "Lonnie" Douglas, a man in Belgian Congo in the first decade of the last century whose ostensible job is to wrangle big African wildlife for zoos in the west. But that's only the half of what he's doing. The other half has him involved with Huysman (Walter Slezak) in a search for the mineral wealth that the region holds -- specifically, gold. They've searched all the districts in the region, except for one, where the warlike Bakuba tribe holds sway. The Bakuba are notorious for their dislike of the white man, and this fierce protectiveness, combined with the fact that the gold isn't anywhere else, leads Huysman to believe the gold must be there.
Into all this walks Ellen Burton, played by Susan Hayward. She trained as a nurse, but after the death of her doctor husband -- something conviently not revealed until a couple of reels in so that we have the chance to get some conflict between her character and Mitchum's -- she wanted to fulfill his legacy of working in Africa to bring health to the uncivilized areas of the word. So she's come to this God-forsaken place since there's a white woman running a medical clinic near here.
Lonnie thinks this is no place for a white woman, especially one not accompanied by a man, and Ellen's naïveté only confirms Lonnie's suspicions. Still, he guides Ellen to the clinic, which is a good thing, since the woman running it is on her deathbed, fairly quickly dying and leading Ellen to run it herself. When Ellen saves the life of a local non-Bakuba woman who has an abscessed tooth, the locals finally give her respect, calling her "Little Mama" after the previous lady, whom they called "Big Mama".
It's all fairly standard and formulaic plot development, leading up to the climax. The son of a Bakuba chieftain is doing his "prove your manhood" ritual by hunting a lion, and gets attacked in the process, close enough to Ellen's clinic that she's the one who winds up treating the kid's serious wounds. (The clinic is between where Huysman has his office and the Bakuba country.) The Bakuba eventually come and take the kid back home to recover, although his condition was serious enough that he's still going to need modern medicine and can only survive if Ellen goes into Bakuba country to take care of him. The Bakuba are grudgingly willing to let her come alone, but Huysman sees an opportunity to get into Bakuba country and get the gold. The Bakuba, of course, aren't about to let a whole bunch of white folk in, so Huysman has Lonnie ostensibly play guide, but use this as aruse to scout out where the gold is. Ultimately, it's not just the chieftain's son whose life hangs in the balance....
White Witch Doctor is, I think, not as good as some of the other Africa movies from the early 1950s. The reason is not because Fox didn't go to Africa to make this; instead, it's more down to the plot. The movie is predictable and oftentimes rather slow in its development. Lonnie and Ellen seem almost ripoffs of the Bogart and Hepburn characters from The African Queen. Mitchum and Hayward both try, and are reasonably competent, but they are dragged down by the script. Walter Slezak is pretty good as usual playing a villain, but he too isn't helped by the script. White Witch Doctor is an OK enough movie to watch once, but it's not anything special. As far as I know, it hasn't been released to DVD, so you'll have to catch the infrequent FMC airing.
Saturday, April 19, 2014
This week's TCM Essential is Laura, airing at 8:00 PM this evening. I believe it's a TCM premiere; at least, I have the monthly schedules going back to July of 2007 and a search of them didn't yield any other matches for Laura other than this month's showing. Gene Tierney stars as the beautiful model Laura, whose murder police detective Dana Andrews is brought in to investigate. Laura kicks off a night of movies starring both Tierney and Andrews, with three movies all of which I've blogged about before.
TCM showed Where the Sidewalk Ends back in 2010 when Gene Tierney was one of the stars in Summer Under the Stars; it gets another airing tonight at 9:45 PM.
The last of the three movies is, I think, also a TCM premiere: The Iron Curtain, at 11:30 PM. (Figuring out whether this one was a premiere was a bit more difficult because several movies have the phrase "Iron Curtain" as part of the plot synopsis.) I recommended it before, although didn't do a full-length post on it as I thought I had, for which I apologize.
With tomorrow being Easter, what's your favorite movie or scene in which candy or chocolate plays a key plot role?
I'll start off with Ian Carmichael learning about how the candy snack "Num-Yum" is made, in I'm Alright Jack.
Willy Wonka and the Chocolate Factory, remade about 10 years ago as Charlie and the Chocolate Factory, would be another good choice, being one of those movies I have fond memories of from my childhood, although I don't think I've watched it in 20 years or more.
Buster Keaton tries to buy a box of candies for his girlfriend in Sherlock Jr., only for his rival to buy her an even better box of chocolates. As Tom Hanks says in Forrest Gump, "Life is like a box of chocolates; you never know what you're going ot get." But Forrest Gump isn't really about chocolate, and isn't a particular favorite of mine.
There's a small scene involving candy in The Grapes of Wrath that's interesting. Pa Joad (I think; it might be Grandpa Joad) goes into the diner portion of what would now be a big service station, except that they didn't have such big things back in the 1930s, so it's more like the little place in The Petrified Forest. There's a container of candies, and Pa asks if they're penny candies, to buy two for the little ones. Ah, the days when you could get anything for a penny. The woman behind the counter points out that they're actually two for a penny. After he and the kids leave, the truckers ask her what she was doing, since the candies are really a nickel each. They then proceed to remark how crazy these people must be to try to make it across the desert of Arizona in the beat-up truck that they're driving. The scene, like much of the movie, is a bit didactic and blunt -- yes, John Steinbeck, we get the point that the Depression and Dust Bowl did terrible things to the Joads and the rest of the Okies. It's still a damn good movie, however.
Posted by Ted S. (Just a Cineast) at 8:18 AM
Friday, April 18, 2014
Today marks the birth anniversary of Hungarian-born American composer Miklós Rózsa, who was born on this day in 1907. Rózsa started off as a classically-trained composer, and in fact continued to do "serious" (that is, non-film) classical composing all his active life. It was in the late 1930s for his fellow Hungarian emigres the Korda brothers that he first composed scores, before working at Paramount with Billy Wilder on such scores as Double Indemnity and The Lost Weekend and then, from the late 1940s, for MGM, where he composed several well-known scores, including the 1959 version of Ben-Hur. Ben-Hur won Rózsa his third Oscar; the first two were for Alfred Hitchcock's Spellbound and 1947's A Double Life, which rarely shows up on TCM. If you were ever wondering what he looked like and were too lazy to look up his photo, well there he is.
I said earlier that Rózsa spent most of the 1950s at MGM, so unsurprisingly, those MGM movies show up reasonably often on TCM. In fact, three of Rózsa's movies are going to be on TCM over the weekend:
Ben-Hur will be on overnight tonight at 2:00 AM;
Quo Vadis shows up tomorrow afternoon at 2:00 PM; and
the 1961 version of King of Kings forms part of TCM's Easter Sunday lineup at 1:30 PM Sunday.
For more information on Miklós Rózsa than you can shake a stick at, you could do worse than to surf over to the website of the Miklós Rózsa Society.
Posted by Ted S. (Just a Cineast) at 7:34 AM
Thursday, April 17, 2014
TCM's weekly schedule is showing shorts a bit further out than the daily schedule once again. TCM is airing Meet Me in St. Louis tomorrow (April 18) at 8:00 PM as part of the 90th anniversary tribute to MGM. Before that, at about 7:50 PM, is the Traveltalks short Visiting St. Louis. At least, it's on the weekly schedule; the daily schedule only has shorts on it for today, and not any further days. I've never understood why there should be such differences between the daily and weekly schedules. I would think that both of them (and the monthly schedule) go off of some master schedule database, and once the shorts are inserted into that, they'd show up on any of the TCM schedules. Apparently it doesn't work that way.
One short airing today is The Rainbow Pass, airing just after noon or just before The Good Earth (12:15 PM). The Rainbow Pass, which I haven't seen before, sounds like an interesting idea, trying to present Chinese theater to American audiences. Unfortunately, it's narrated by Carey Wilson -- I've mentioned before that I don't care for his style.
The 1935 versino of Mutiny on the Bounty is coming up at midnight tonight. I really like this one for the performance of Charles Laughton and to a slightly lesser extent the performance of Clarke Gable. They're not showing the 1962 version, so you can't compare and contrast. I briefly mentioned back in 2010 that it's Brando that is one of my big problems with the 1962 version, much as it is with a movie like Sayonara. Robert Osborne is probably also happy not to see the Marlon Brando version show up, but not Alec Baldwin.
Posted by Ted S. (Just a Cineast) at 7:23 AM
Wednesday, April 16, 2014
If you've been watching TCM, you'll know that TCM has been promoting a special programming marathon in honor of MGM's 90th anniversary, starting tomorrow morning at 6:00 AM. April 17 really is the anniversary of MGM, when Marcus Loew, owner of a chain of theaters, purchased Louis B. Mayer Pictures. Back then, it was still possible for a studio was able to own the movie theaters in which its movies were shown, which changed in the late 1940s when Paramount was found in violation of the antitrust laws for its vertical integration. Loew had already bought Metro back in 1920 and Goldwyn in between, but Louis B. Mayer was apparently the right person in Hollywood to oversee the California side of production. At any rate, this explains why you'll see Loew's mentioned in smaller print on the title screen of a lot of early MGM movies.
I'm sure you all know the basic history of the movie studios, though, and that's not really why I'm posting on the 90th anniversary of MGM, or even posting a day before. TCm is running 49 hours of movies from the first 40 years of the studio, which are the best. The real end probably ought to be with That's Entertainment! in 1974, although the decline really set in sometime after Ben-Hur in 1959. The 1959 version of Ben-Hur will be concluding the marathon at 2:00 Saturday, while kicking it off will be... the 1925 silent version of Ben-Hur. So if you'd like you can compare and contrast both of them. And when you watch the silent version in all its 4:3 aspect ratio glory, you can think about Sydney Pollack and whether he would have gotten the heebie-jeebies watching the chariot race scene. Both versions have been released to DVD, although the 1925 version isn't available from the TCM shop and only a limited number of copies are available from Amazon.
Posted by Ted S. (Just a Cineast) at 7:31 AM
Tuesday, April 15, 2014
TCM is honoring Marie Prevost tomorrow morning and afernoon with a bunch of her movies, even though she was born in November. Not that I'm complaining, though. One of the better movies in the set that I haven't recommended before is Paid, which comes on at 8:30 AM.
Prevost isn't the star; her personal problems prevented her from having a starring career in talkies and ultimately led to her untimely death, which is another story. The actual star is Joan Crawford, playing Mary Turner. Mary is a clerk in Gilder's department store, run by wealthy Mr. Gilder (Purnell Pratt). There's a shoplifting case at Gilder's, and Mary gets arrested for it even though she's completely innocent. Gilder and the DA want to make an example of somebody, and Mary happens to be the convenient example, so when she's found guilty, they refuse to show any leniency even though this would have been her first crime and we know she's not guilty, anyway. For a little shoplifting, Mary gets three years in the clink. As she's going off to prison, Mary vows that she's going to make them pay for theyears of her life that are being taken away from her.
If you remember Mildred Pierce, you'll recall a montage from just after Joan Crawford's Mildred gets a waitressing job from Eve Arden's Ida, with Crawford's voiceover stating that six weeks after taking the job she felt as though she had been born in a restaurant. Well, Crawford's Mary here in Paid brings that same sort of determination to her circumstances, studying law while in women's prison. When Mary gets out, she goes to see one of the friends she made in prison, good-time girl Agnes Lynch (that's Marie Prevost). Agnes is part of a gang of con artists led by Joe Garson (Robert Armstrong), and Mary has an idea for them. What they're doing is penny ante stuff, and illegal. Mary has been studying the law, and while in stir figured out ways to blackmail the wealthy while staying on the right side of the law in doing it. She's got the brains, but she can't do it alone, and that's where Joe and his gang come in.
Of course, there's some conflict in all of this. Mary is really doing what she is as a means to get her ultimate revenge, that being seducing Gilder's son Robert (Kent Douglass/né Douglass Montgomery). Joe doesn't like basically being emasculated in having to give a good deal of control over to Mary, and constantly runs the risk of saying things he shouldn't to the police, who are always investigating and never finding anything. The police eventually come up with a plot to get the gang that involves stealing an artwork from Gilder's mansion. Mary knows it's a trap, and has also fallen in love with Bob, making the finale really complicated.
Mary Turner in Paid is the sort of role that Joan Crawford was quite good at; it's also interesting to see that this is one of the first times she played such a role, having done much lighter stuff for the first five years of her MGM career. Marie Prevost is also memorable, with the rest of the cast being adequate. They do nothing to bring down the proceedings, but they're not particularly memorable either. You could chalk this up to Paid Being an early talkie, and using quite a few actors who had come from the stage. Paid does have some of the problems that a lot of early talkies have, but not to the same extent as many others. The bigger problem is with the plot, which really starts to strain credulity when it gets to the art heist. Overall, though, Paid is a thoroughly entertaining movie, and more than worth a watch.
As you can probably guess from the photo accompanying this post, Paid has been released to DVD courtesy of the Warner Archive, and is available from the TCM shop.