12 October 2017

Perfect Strangers: Love and Victory (A.K.A. Vacation From Marriage)





This little gem is a delightful but unfortunately little known British film from 1944, Vacation From Marriage. (I can't help feeling that one reason it's little known is the stupid title, which has absolutely nothing to do with the story, unless you consider being on a ship that's torpedoed in the Mediterranean a vacation; the original title was "Perfect Strangers.")
Cathy provides a cup of tea despite her cold

It's a wartime story of an average middle class couple, Robert and Cathy, living an average, rather boring life; he's a clerk in a big insurance firm, and she's a housewife. (You know they're not going to seem average for long because they're played by Robert Donat and Deborah Kerr.) He's getting to the age where he puffs a little climbing two flights of stairs to their apartment, and she potters around all morning in her woolen dressing gown, sniffling from a perpetual cold in the head.

But as the film opens, he has been drafted into the Navy, and is just about to leave. They are both worried and uncertain about this. She sees him off to training camp at the railroad station, waving a damp handkerchief as his train pulls away.
Peter at sea

We see Robert next experiencing his first weeks at sea, desperately trying to avoid looking at the swaying masts, and finding himself unable to dine happily on pork and beans. And he is astonished to receive a letter from his wife informing him that she has joined the WRENs, the women's Naval service.

Next we see Cathy arriving uncertainly at her training station, feeling very much out of place. Eventually she is taken under the wing of another girl, the smart and stylish Dizzy, played by Glynis Johns.

Both Robert and Cathyo have adventures on their own -- in fact, both display a certain amount of heroism. He forgets his weak digestion and she forgets her timidity and sniffles. To their own surprise, they find themselves attractive to other people -- he to a glamorous nurse, played by Ann Todd, and she to a dashing architect, played by Roland Culver. As the conflict goes on, both face a daily life that, rather than being routinely boring, tests their abilities and strength of character to the utmost. And both are tied up with their duties, and it so happens that they don't both get leave to return home at the same time until three years have passed.
Dizzy and Cathy, WRENs


When they do finally meet again, it's with trepidation on both sides. Each one thinks of the other as the colorless, dependent, unimaginative person they seemed to be before the war. But on the other hand, when the time comes, neither is entirely pleased -- not at first -- to see how the other has changed, though anybody else would say it's for the better.
Who is this person?

This is a wonderful story, straightforward but with hidden depths, beautifully written by Clemence Dane, and so charmingly played by all the lead actors. And it's the best kind of romantic comedy; it really has something to say, namely that people are stronger, and more resourceful, than they realize, and can achieve more than they thought possible.

This film also sums up the hopes of the Greatest Generation when victory over the Third Reich and the Japanese Empire was finally achieved. Upon completing their wartime service, which was often almost unbelievably difficult and traumatic, most of them hoped they would be coming home to a world of new opportunities and new fairness for everyone. The gradual ruination of those hopes lead to the wave of films noir later in the 1940's.


10 October 2017

Stanwyck and Morgan Triumph Over Tepid Material in A Lost Lady


Stanwyck as Marian, the Lady of the title

A Lost Lady is an interesting failure, if only because expectations for it were so high. It is based on an award-winning novel by the great American author Willa Cather; some critics even consider it her best. But the very act of transferring the impressionistic book to the screen is problematic. Stripping the novel of its dramatic natural setting, descriptive language, and nuance, and, as a film must, reducing the story to chronological fact, lost much of what made the novel special. The sensitive young man who is in love with the main character, and whose viewpoint defines the novel, is reduced to a very minor role, and his observations go unheard. And while in the book these events took place several decades earlier, the film seems to be set in the 1930's, although there's no awareness of contemporary events or the modern world. The characters are obviously rich, but nobody says anything about it. This leaves the plot floating disconcertingly in time. Perhaps the high expectations were unrealistic in the first place; this kind of writing is practically impossible to turn into a film.
Marian's fiancee is murdered before her eyes

Be that as it may, this movie has value, particularly in two fine lead performances from Barbara Stanwyck and Frank Morgan. Morgan was one of Hollywood's greatest artists; he was an actor of almost incredible versatility, able to give a perfectly judged performance in any genre, from romance to comedy to drama to outright tragedy, suiting his characterization to the tone of the film. Unfortunately, it's all too easy to take him for granted; sometimes it seems like he was everywhere, always. Of course, he is best known as the Wizard of Oz (as well as Professor Marvell, the gatekeeper, the cabbie, and all the other characters he played in that classic). Stanwyck was at the beginning of her great career, and her artistry was compelling in film after film.

In this story, Morgan is Dan Forrester, one of four men who love the heroine, Marian, played by Stanwyck. Though not really right for the part -- for one thing, she's too  young -- she gives a lovely, deeply felt performance, making her character complex, thoughtful, and unflinchingly self-aware.
Dan tries to bring her back to life

The narrative is quite straightforward: a woman, Marian (Barbara Stanwyck), is very much in love with her fiancee (Philip Reed), and is shattered when she finds that he has been having an affair with a married woman at the moment when the betrayed husband shoots and kills him right in front of her. Distraught and embittered, she retreats from everyone, and her family persuades her to visit a Rocky Mountain resort in the hopes of regaining her spirits. She remains despondent, however, until she meets another visitor to the area, Dan Forrester (Morgan), a very successful, middle-aged attorney. Slowly he coaxes her out of her shell, and they become very close. He falls in love with her and asks her to marry him. Morgan shows us that Dan is patient, loving, and deeply kind; he does not idealize Marian, although he really adores her. Telling him frankly that she is not in love with him, and that she feels she will never fall in love again, she accepts.
Happy days for Marian and Dan

They are very happy in a quiet way for a few years, until one day a young man, Frank Ellinger (Ricardo Cortez), has to make an emergency landing in their garden with his private plane. He is instantly attracted to Marian, and to her dismay, she finds herself attracted to him, too. Just at this point Dan has to leave town on a business trip. Marian, half-reluctantly, begins to go out with Frank and falls for him. Frank tries to convince her to leave Dan and go away with him; he has no time for her regrets, saying that their feelings are more important than any other commitments. To him, honesty justifies selfishness; if he wants to do something, he thinks it must be the right thing to do. Unfortunately the part of Frank is seriously underwritten; he seems like a generic dashing stranger, with no particular personality. This is no fault of Ricardo Cortez, who was perfectly capable of nuanced performances; he was given little to work with.
The dashing Frank causes confusion

Marian resolves to be honest with Dan, and tells him how she feels. But the next day he is scheduled to begin a strenuous case in court, and he has a heart attack. After this, Marian is conscience-stricken, and decides to stay with Dan until he recovers. But now Dan is despondent and doesn't respond to her affectionate care. Eventually Marian sees a notice in the newspaper that Frank is marrying another woman. She realizes that Dan is the only one who has been straight with her. She  and Dan reconcile, and she tells him she loves him. (This is not how the book ends, by the way.)
Marian is honest with Dan

This is rather unsatisfying as drama; the story is well-paced, and moves right along, but otherwise the directing is nothing special. The script, beyond a few speeches about honesty in relationships, fails entirely to capture them physical  surroundings, which are so important to the book, are not used with particular effectiveness. In other hands, Marian, with her predilection for handsome, lying weasels, could seem rather silly; but Stanwyck makes her devotion to facing her feelings honestly seem brave rather than self-indulgent. Morgan is the personification of constancy; he loves her however vacillating she seems. Their sensitive and intelligent acting is what makes this film special.

04 October 2017

Buster's Other Career -- Baseball

Today's genius, Buster Keaton, was a stage star from his early childhood. His life experience was totally different than anyone else's then and certainly now. He loved performing. I don't think you can be that fantastically creative and not love it.

But he loved something else, too -- baseball. Happily, when it featured Buster the family vaudeville act,The Three Keatons, was very popular and successful. This meant that although they did travel for most of the year, they could settle into a long run at a high-grade New York theater and stay in the same cozy family-run theatrical boarding house. And when Buster wasn't working he could play baseball with the same group of pals year after year.

All his life Buster played whenever he got the chance, including on film sets between takes. Being able to play baseball was almost a prerequisite for being on Buster's film crews!

Here are a few looks at Buster and the Great American Pastime:


Buster at bat











Buster in the outfield


As catcher in a celebrity charity game with Boris Karloff
He's out!

In the outfield

Another great comic athlete, Joe E. Brown, was also a baseball fiend, and in fact almost chose that as a career instead of movies. When Buster and Joe appeared together in an episode of Screen Director's Playhouse in 1955, they happily played a couple of innings between takes.***




Here he is pitching:



And here's a link to the wonderful little documentary Buster Keaton Rides Again, which contains a great scene of Buster and Eleanor enthusiastically watching a ballgame on TV: Keaton Rides Again

And here's a link to The Silent Partner, the 1955 episode of Screen Director's Playhouse that featured Buster and Joe E. Brown.