For this installment of “I Love Lucy in the Movies,” I’m covering Ladies in Retirement (1941) which I watched last night. This is a very good gothic film noir starring Ida Lupino. Also starring in this film was Elsa Lanchester as one of Lupino’s mentally ill sisters. Aside from this film, another thing Lupino and Lanchester have in common is that they both appeared in I Love Lucy. Lupino, to be accurate, actually played herself in an episode of The Lucy-Desi Comedy Hour. I’m counting it because The Lucy-Desi Comedy Hour is more or less a one-hour episode of I Love Lucy.
In 1956, after six years and 180 30-minute episodes, Desilu president and I Love Lucy star, Desi Arnaz, was eager to leave the hectic pace of producing a new episode every week. He had tried to end the series a year prior with “Return Home From Europe” being the final episode, but CBS threw money at him and Lucy to convince them to stay on another year. The ending dialogue in “Return Home From Europe” sounds like it was written to be a series finale. To convince CBS to allow him to pull the plug on I Love Lucy, Desi convinced them to allow him to air I Love Lucy as a 60-minute special sporadically throughout the year. CBS agreed and The Lucy-Desi Comedy Hour was born.
The Lucy-Desi Comedy Hour, while more or less an hour long episode of I Love Lucy, it did have the minor difference in that each episode featured a celebrity who has an unfortunate encounter with Lucy. Logically, it makes sense, as Ricky Ricardo’s celebrity and ownership of Club Babalu makes it logical that he’d either hire these celebrities at his club, or he’d met them previously because of his time in Hollywood.
Ida Lupino and Elsa Lanchester appeared together in 1941’s Ladies in Retirement. In this film, Lupino plays Ellen, the spinster sister of her two mentally ill sisters, Emily and Louisa. Lanchester played Emily. In the film, Ellen receives a letter from the boarding house in London where her sisters are living. The letter informs her that Emily and Louisa are being evicted from the home due to their behavior. Not wanting her sisters to be institutionalized, Ellen brings them to the home on the English moors where she works and lives. Ellen’s employer, Miss Fiske, graciously allows the two sisters to stay in her home, but quickly grows tired of their behavior. Eventually Miss Fiske gives Ellen the ultimatum that the sisters need to leave. Ellen tries to defend her sisters, but insults Miss Fiske in the process, and is fired. Later, taking matters into her own hands, Ellen strangles Miss Fiske to death. She makes it look as if Miss Fiske decided to take an extended trip. Ellen tells her sisters that she purchased the home for them. Eventually Miss Fiske’s absence and Ellen’s behavior arouses the suspicions of her nephew and the maid, Lucy.
Ida Lupino (center) and Elsa Lanchester (right) in “Ladies in Retirement”
The film never makes it clear what mental illness is that that the two sisters have, nor is there any indication that an event may have triggered or caused their mental illness. It is also unclear whether Emily and Louisa are actually mentally ill, or whether they are just eccentric. Elsa Lanchester excelled at playing these slightly off-kilter personalities.
Lanchester made her appearance on I Love Lucy first, playing “Mrs. Grundy” in a season 5 episode, “Off to Florida.” In the episode, Ricky is playing with his band at the Eden Roc Hotel in Miami, Florida. Ricky, Fred, and Little Ricky go ahead to get some fishing in before Ricky has to work. Lucy and Ethel plan to take the train and meet the men down there. However, Lucy has lost the train tickets. To save face, she decides that she and Ethel will answer a “Share a Ride” classified ad to split the travel costs with another traveler who is also headed from New York City to Miami. Mrs. Grundy answers the ad.
Vivian Vance, Lucille Ball, and Elsa Lanchester in “I Love Lucy.”
Lucy and Ethel find Mrs. Grundy’s behavior odd. She prefers to travel at night or early in the morning. She won’t stop for meals, preferring to subsist on watercress sandwiches instead. Later, Mrs. Grundy gets a flat tire and expects Lucy and Ethel to change it while she naps. While looking for tools, Lucy and Ethel find a hatchet in the trunk. Thanks to a convenient radio bulletin about gray-haired escaped hatchet murderess, Evelyn Holmby, Lucy and Ethel jump to the conclusion that this must be Mrs. Grundy. Her weird eccentricities all make sense for a woman on the lam. Later, Lucy and Ethel are asleep while Mrs. Grundy is at the wheel. She also hears a radio bulletin about Evelyn Holmby, except this bulletin has more information. Mrs. Holmby, despite being gray haired, is thought to have dyed her hair red, and is also thought to be traveling with a blond companion. Comedy ensues with Lucy and Ethel suspecting Mrs. Grundy and Mrs. Grundy suspecting them.
This is the funniest episode of the Florida trilogy, with much of the humor coming from Elsa Lanchester. Her sing-songy line delivery, and her delightful eccentricity makes the episode.
Flash forward 3 years to the 10th installment of The Lucy-Desi Comedy Hour, “Lucy’s Summer Vacation.” There would be 13 total. Celebrity couple Ida Lupino and Howard Duff are the guest stars, playing themselves. In the episode, a mutual friend of Ricky’s and the Lupino/Duff’s double books his cabin on the lake–promising it to both of them. Both couples go to the cabin expecting a romantic week with their partner. However, when they all meet, Ricky and Howard hit it off over their mutual love of fishing and see it has an opportunity to fish, since their wives can talk to each other. The men end up spending the entire week fishing, with the women getting stuck cleaning the fish. Towards the end of the week, the women are desperate for some romantic time with their husbands and decide to sabotage the fishing expedition. The joke is on them however, when the husbands decide to throw their wives a bone and plan a romantic evening on the lake. Too bad Lucy and Ida have already sabotaged the boat.
From left to right: Ida Lupino, Desi Arnaz, Lucille Ball, and Howard Duff (hunched over) in “The Lucy-Desi Comedy Hour.”
This episode has some funny moments. Lucy and Ida trying to discreetly plug the holes in the boat (that they put there earlier) with gum and their bodies while also trying to be romantic is pretty funny. There are some good lines. However, on a whole this isn’t one of the better hour long episodes, though it’s not the worst one (I’d give that one to the Milton Berle episode). Often in these hour long episodes, the Mertzes are kept on the sidelines during the celebrity scenes. If there’s a female celebrity, she’s often given the role that we would expect for Ethel. In this episode, Ida is definitely in the Ethel Mertz part. In the Betty Grable episode, Lucy even calls her “an Ethel Mertz with money.” The Mertzes are barely in “Lucy’s Summer Vacation.” I believe they only appear at the beginning to pick up Little Ricky to explain why he’s not in the rest of the episode.
By this point in the series, Lucy and Desi’s marriage was so strained, that they were barely speaking. The tension and stress in their marriage comes through in the last episodes of The Lucy-Desi Comedy Hour, and it makes these episodes less enjoyable to watch. Each episode of The Lucy-Desi Comedy Hour is worth watching, but they are not the same as I Love Lucy. Lucy and Desi would divorce only a year after “Lucy’s Summer Vacation” aired. For what it’s worth, Ida Lupino and Howard Duff would divorce in 1984 after 33 years of marriage.
This blog entry is going to have three parts: 1) My memory of the Drive-In; 2) My answers to the Drive-In Movie List Game; and 3) My highlight of a very funny scene in The Facts of Life (1960) that takes place at a Drive-In.
1. My Memory of the Drive-In
Site of the former North Salem Drive-In, now the Highway Fuel Co. Note that the site has the cone Drive-In shape.
Having been born in 1984, I missed the heyday of the Drive-In. By the time I was old enough to be out watching movies in a theater, or even at the Drive-In, most of the Drive-Ins in my hometown (Salem, OR) were long gone. I performed some research at cinematreasures.org and discovered that Salem had the following Drive-Ins:
North Salem Drive-In, Opened 1954. Closed 1982.
South Salem Drive-In #1, Opened 1953. Closed 1961.
South Salem Drive-In #2, Opened 1970. Closed 1993.
The South Salem Drive-In #2, is the one that I visited when I was in the third grade in 1992. From reading about the history of South Salem Drive-In #1, it sounds like the Drive-In closed in 1961, then was finished off for good by a fire in 1964. The South Salem Drive-In #2 opened in 1970 a few miles away. Interestingly, the original site of the South Salem Drive-In has never been developed and it still has the classic cone shaped plot that Drive-Ins often had. From this bird’s-eye view, it is easy to make out the layout of the Drive-In.
Current bird’s-eye view of the former site of the South Salem Drive-In. It closed in 1961.
As for the South Salem Drive-In #2, I remember the last film I saw was Wayne’s World (1992). I cannot recall any specifics about the experience, and I have to think that we saw another film too since Drive-Ins often show double features. I have vague memories of my dad setting the radio station to pick up the movie, and our snacks that we brought from home. I remember also being able to look around and see glimpses of the other movies being screened.
The site of the old South Salem Drive-In. The building with the pin is the current Regal multiplex. The rectangle on the left still shows the berms from one of the old screens. Another access road is seen on the left.
The old derelict South Salem Drive-In sign that stood for 13 years past the Drive-In’s 1994 closure, finally being torn down in 2007.
The electrical components of the South Salem Drive-In marquee. This is what they looked like after 13 years of sitting unused, out in the elements.
The South Salem Drive-In ended up closing in 1993. In 1994, there was a “mysterious fire” in the projection booth and concession stand. It was officially ruled to be arson, but the community was very skeptical. Later, the same year, another fire all but put an end to any remaining structures at the Drive-In. One would think that the Drive-In closing, and the actual building of the multiplex Santiam 11 Regal Cinemas (the first in Salem with stadium seating!) in 1999, that the South Salem Drive-In marquee sign would be torn down. Nope! Not only did the South Salem Drive-In sign continue to stand for 13 years after its closure, until it was finally torn down in 2007, Regal Cinemas STILL hasn’t built an entrance sign for the theater. The Drive-In sign became something of a Salem landmark. It was only torn down when it was deemed a Safety hazard.
2. My Answers to the Drive-In Movie List Game
1. What is your favorite science fiction movie featuring aliens?
Science fiction and movies with aliens aren’t typically my cup of tea. Occasionally aliens will be fun, like Alf, the Neutrinos in Teenage Mutant Ninja Turtles, and Jeff Goldblum and Jim Carrey in Earth Girls Are Easy. I also like the alien cast of Third Rock From the Sun. However, to answer this question, I do enjoy the original The Day the Earth Stood Still (1951), with Michael Rennie as the alien Klaatu and The Blob (1958) starring the alien, The Blob.
The Blob, star of “The Blob.”
2. What is your favorite science fiction movie that has no aliens?
Again, science fiction isn’t really my thing, but in researching what films were considered science fiction that don’t have aliens, I found that I did enjoy a lot of films on the list. Most of the films I like involved time travel. I love Back to the Future (1985) with Michael J Fox traveling back to 1955 from 1985 and inadvertently preventing his parents from meeting. Time is of the essence as he pretends to be high school student “Calvin Klein” and tries to get his future parents to go to the dance together. The dance is where they met.
3. What is Your Favorite Movie Featuring Action Heroes or Superheroes?
I love Frank Drebin, played to perfection by Leslie Nielsen in the Naked Gun trilogy. He is the perfect spoof of the 1980s/1990s action hero with car crashes, intense student driving lessons, fun Bond-like gadgets, and high stakes missions, like preventing the assassination of Queen Elizabeth II at an Anaheim Angels baseball game. Frank memorably goes undercover as Enrico Pallazo and umpires the baseball game as he looks for which player has been set-up to kill the queen. Aside from the Naked Gun films, I also love the 1980s/1990s Batman films, with Batman Returns (1992) being my favorite. Michelle Pfeiffer is the quintessential Catwoman. I saw this movie in the theater in the third grade and had all the commemorative cups from McDonalds.
Enrico Pallazo showing off his moves in “The Naked Gun.”
4. What is Your Favorite Movie Featuring Outcasts or Antiheroes?
I love The Brady Bunch Movie (1995) and A Very Brady Sequel (1996) featuring the iconic Brady family living in 1990s Los Angeles. The world around them has become grungier and less squeaky clean, but the Bradys remain firmly entrenched in the 1970s. The entire Brady family, dressed to the hilt in 1970s leisure suits and polyester, are ridiculed to their faces and behind their backs, with the family members oblivious to the insults. Marcia is hilariously still popular (despite her dated clothing) but is ridiculed by Doug Simpson “the big man on campus,” and neighbor Eric who says “she’s harder to get into than a Pearl Jam concert.” They think Marcia is such a goody goody because she won’t let a boy put his hand on her shoulder on a first date (that’s third base), let alone sleep with them. Marcia doesn’t even give them a second thought though as her biggest drama is having two dates for the same evening. The Brady family stick out like a sore thumb in the 90s, but you can’t help but root for Marcia to brush her hair 100 times, get Davy Jones to appear at the high school prom and win $20,000 in the talent show to pay their tax bill and prevent losing their home.
5. What is Your Favorite Horror Movie Featuring Monsters?
I love Little Shop of Horrors (1986) with Rick Moranis, Ellen Greene, Steve Martin, and of course, Audrey II. I love that Audrey II is sassy and vulgar and sings the banger, “Mean Green Mother From Outer Space.” The music in this film is fantastic. I love Steve Martin’s “Dentist” song and Audrey’s “Somewhere That’s Green” where she dreams about watching I Love Lucy on the 12″ screen. The Henson Company’s puppetry is fantastic. The puppet itself is also very impressive. The cast is also great. Who knew Rick Moranis was such a good singer?
Audrey II in “The Little Shop of Horrors.” I love the little plants.
6. What is Your Favorite Horror Movie with No Monster?
I am not a big horror fan either, but I do like thrillers or really cheesy slashers like the original Friday the 13th. However, I am willing to give any genre a chance if the film intrigues me. One of my favorite monster-less horror movies is the original version of The Stepford Wives (1975) starring Katharine Ross. Ross plays Joanna and moves from New York City to the idyllic community of Stepford, Connecticut. She befriends the local wives, including Paula Prentiss and Tina Louise. Soon she starts noticing that some of the other wives seem to be robotic, incredibly submissive, and devoid of any distinct personality. Then she witnesses one of the women repeating herself over and over–almost like she’s a broken record. I love this movie. It’s so delightfully beautiful and creepy.
7. What’s Your Favorite Movie Featuring Motorcycles or Cars?
I love Smokey and the Bandit (1977). I’ve seen this movie at least a dozen times, but a few years ago, my sister and I saw it in the theater and it was amazing. This movie is perfection with the cool and somewhat reckless Burt Reynolds as the titular Bandit, and Sally Field as the gorgeous, yet sassy and bitter “Frog.” Paul Williams plays Little Enos. Then Jerry Reed plays not only Bandit’s BFF “The Snowman” who travels with his basset hound, Fred, he also sings the catchy and fantastic theme song of the movie, “Eastbound and Down.” As great as Reynolds’ black Trans Am is and as fun as the car scenes are, this film’s greatest asset is Jackie Gleason as Buford T Justice, aka “Smokey Bear.” Every single thing that Buford T Justice says is hilarious. Some day, I’d love to go into Carl’s Jr that has a Diablo burger and say “Get me a Diablo sandwich and a Dr Pepper and make it quick because I’m in a goddamned hurry!” However, I don’t want a Diablo burger and I also think the staff would have no idea what I’m saying, so I’d just look like a jerk.
Jr. tries to keep Papa Buford’s hat on his head in “Smokey and the Bandit”
8. What is Your Favorite Movie Featuring Gangs or Criminals?
I love film noir, so there are a million films that I love that fit this criteria. One of my favorites is White Heat (1949) starring James Cagney as gangster Cody Jarrett who has a mommy complex and reoccurring debilitating migraines. He is being tailed by FBI agent Fallon (Edmond O’Brien) who manages to get inside Cody’s gang. Cody has an explosive temper and ending. Virginia Mayo who plays Cody’s girlfriend has one of my all-time favorite lines, “Money’s just paper if you don’t spend it.” Other gang or criminal movies I love are The Killing (1956), Gun Crazy (1950), and Double Indemnity (1944).
9. What is Your Favorite Movie Featuring War or a War Setting?
I am not a big war person. However, I love movies about the World War II home front, or if it prominently features war, I’d rather the war have something else like a romance or some other story intertwined and not focus solely on the battle and maneuvers. The actual scenes of war with battles and maneuvers and such don’t usually excite me. One of my favorite war movies is From Here to Eternity (1953) that takes place in the days leading up to December 7, 1941. This movie only really has war at the end, but the audience knows that it’s coming while the soldiers are practicing mundane drills and such. There are also two romances and drama that I enjoy. Another war movie I love is Cry Havoc (1943) about a group of volunteer women (mostly civilians, some nurses) who live together and administer aid and care to the wounded soldiers.
Burt Lancaster and Deborah Kerr in that iconic beach scene from “From Here to Eternity”
10. What is Your Favorite Movie Featuring a Mystery?
I love film noir, Hitchcock, the mystery-comedy movies like The Thin Man series, but my favorite is probably Mildred Pierce (1945) where the mystery of who murdered playboy Monte Beragon (Zachary Scott) is revealed. Mildred Pierce (Joan Crawford), wife to Monte, is brought in for questioning. The entire action of the film is unveiled via flashback. We learn about Mildred’s divorce from husband Bert (Bruce Bennett) and her children, especially her horribly spoiled daughter, Veda (Ann Blyth). Jack Carson and Eve Arden are the buddy comedy that we never knew we wanted as they provide support to Mildred throughout the film. This movie is fantastic and I love Veda. Veda is my queen.
11. What is Your Favorite Movie Western?
I haven’t seen a ton of Westerns, but I am trying to watch more. I love Shane (1953) starring Alan Ladd as the titular Shane. This is one of those typical stranger arrives in town type films. Shane comes to the aid of the local Starrett family, led by Van Heflin and Jean Arthur, whose land is at risk of being taken over by a wealthy cattle baron. Ladd is fantastic in this film as are Heflin and Arthur. Shane is known as a great gunslinger and his presence in town threatens the cattle baron. He in turn hires Jack Palance, another great gunslinger to take on Shane. This film is gorgeous to look at and exciting to watch.
Alan Ladd in “Shane”
12. What is Your Favorite Adventure Film?
I love The Adventures of Robin Hood (1938) with my favorite, Errol Flynn. Despite Flynn not being particularly excited by the role, he was born to play Robin Hood. He is sheer perfection in this film as are Olivia de Havilland as Maid Marian and Claude Rains as Prince John. The Adventures of Robin Hood is as close to a perfect film as one can get. The Technicolor is gorgeous. The costumes are gorgeous. The scenery is beautiful. The action scenes are exciting. The score is fantastic. Everything about this film is perfection.
13. What is Your Favorite Movie Featuring a Female Lead?
My #1 favorite movie of all time is The Long, Long Trailer (1954) starring Lucille Ball and Desi Arnaz. Made in the middle of I Love Lucy, this film plays more or less like a 90 minute long episode, sans the Mertzes. The Long, Long Trailer is hilarious. I have seen this movie at least 100 times (no exaggeration). I wore out two VHS, two DVD, and now I have a blu ray. I’ve seen it on the big screen twice. My favorite part of this film is when Lucy falls out of the trailer, on her back, into a giant mud puddle. The scream she lets out is hysterical.
Lucy tries to cook dinner in the back of a moving trailer in “The Long, Long Trailer.” It does not go well.
14. What is Your Favorite Movie Featuring Beaches and Rock and Roll?
If there’s another type of film I love besides film noir, women in prison, and The Long Long Trailer, it’s teen beach movies–especially 1950s and 1960s teen beach movies. My favorite of the teen beach movies is the OG, Gidget (1959), starring Sandra Dee as everyone’s favorite girl surfer, and teen idol James Darren as Moondoggie. Cliff Robertson plays The Big Kahuna. Gidget features another teen beach movie trope, the luau. James Darren croons two songs, including the title track “Gidget” and “The Next Best Thing to Love.” I also love the sequel, Gidget Goes Hawaiian (1961) with Deborah Walley as a redheaded Gidget and Darren again as Moondoggie. Carl Reiner and Jeff Donnell play Gidget’s parents.
I would be remiss if I didn’t mention the Beach Party movies. I love Beach Blanket Bingo (1965) with Frankie Avalon and Annette Funicello. Linda Evans shows up as “Sugar Kane” a singer with whom Frankie is instantly smitten, much to Annette’s chagrin. Like in all Beach Party movies, Frankie says/does something dumb and Annette is mad at him. Then there’s the world’s oldest teen gang member, Eric Von Zipper, who gets involved. Joel McCrea’s son, Jody, meets a mermaid. And Buster Keaton spends the entire movie chasing a bikini girl. Then there’s my girl, Deborah Walley, playing a skydiving instructor. This movie makes absolutely no sense, but I love it.
For a more serious teen beach movie with rock and roll, I love Where the Boys Are (1960) starring Dolores Hope, Paula Prentiss, Yvette Mimieux, and Connie Francis. The four women play college students who decide to leave their snowy college town for a week long, warm spring break in Florida. Each girl hopes to meet a boy, but each have different goals and personalities. Their beaus end up being George Hamilton, Jim Hutton, a disgusting creep named Dill, and Frank Gorshin. Yvette Mimieux probably gets the saddest, but juiciest part. In between the drama however, are a lot of hilarious scenes and a fantastic title song sung by Connie Francis.
Honorable Mentions for favorite beach rock and roll movies: Dr Goldfoot and the Bikini Machine (1965) with Vincent Price;Beach Party (1963) with Frankie and Annette; Muscle Beach Party (1964) with Frankie and Annette; It’s a Bikini World (1967) with Deborah Walley; For Those Who Think Young (1964) with James Darren, Pamela Tiffin, Nancy Sinatra, Bob Denver, Tina Louise, Paul Lynde (!) and Ellen Burstyn!; Girl Happy (1965); and Clambake (1967) both starring Elvis and Shelley Fabares.
For those who love horror and teen beach movies and would love to see the two combined, I recommend Psycho Beach Party (2000) which follows the Gidget storyline almost exactly, but in this film, Gidget acts more like Michael Myers.
Moondoggie teaches Gidget how to surf in “Gidget”
3. Movie Featuring the Drive-In–“The Facts of Life” (1960)
An interesting movie poster for this film
After I Love Lucy and The Lucy-Desi Comedy Hour ended in 1960, and her divorce from Desi Arnaz, Lucille Ball signed on to co-star with longtime friend, Bob Hope. The Facts of Life (not to be confused with the 1979-1988 television show of the same name) featured Ball and Hope as Kitty and Larry, a pair of friends who embark on an extra-marital affair. Both have issues in their respective marriages that drive them into each other’s arms. Kitty’s husband is always working or gambling. Larry’s wife is so preoccupied with the children, not paying any attention to him unless it has to do with the kids. Every year, Kitty and her husband, Larry and his wife, and another couple all take the same vacation to Acapulco. However, this year, after a series of illnesses and events, Kitty and Larry find themselves on the vacation alone. Eventually, we know it will come to a point where they’ll need to decide whether their relationship is worth breaking up two marriages.
Scene of the Drive-In in “The Facts of Life” (1960)
Despite The Facts of Life being a rather mature film for 1960 and for Lucille Ball and Bob Hope, two actors primarily known for comedy, there is a very comedic scene in this film that takes place at, you guessed it, a Drive-In! Before Kitty and Larry deliberate about whether to divorce their respective spouses for each other, they try to carry on their affair discreetly, under everyone’s noses. One evening, Kitty and Larry arrange to rendezvous at the local Drive-In. However, Larry is detained when his wife, Mary, asks him to go to their son’s scout meeting.
Lucy and Bob Hope rendezvous at the Olympic Drive-In in LA. According to the internet, it is long gone and is now a car dealership.
Larry finally arrives at the Drive-In and climbs into Kitty’s car. They embrace and kiss. However, while they’re kissing, Kitty sees Thompson, the dry cleaner, who makes regular house calls to all her friends’ homes (including Larry’s) in the neighboring car. Thompson of course, recognizes her. Kitty warns Larry about Thompson. Knowing that Thompson can see Kitty, Larry must keep his back to him to hide their affair. After accidentally hitting the horn, causing it to be stuck, and annoying all the neighboring moviegoers, Kitty and Larry decide that they need to leave. To keep Larry’s identity secret, he and Kitty continue to kiss while they attempt to drive a car together with Larry’s foot on one pedal and Kitty’s on the other. Thompson is none the wiser, all he knows is that Kitty was making out at the Drive-In.
Lucille Ball and Bob Hope kiss at the Drive-In before they have to co-drive a car together
Satsuke and sister Mei take shelter from the rain at a bus stop with Totoro keeping watch in My Neighbor Totoro (1988).
As a native of the Pacific Northwest, Oregon specifically, I have seen my share of rain. In fact, NW Oregon (where I’ve lived my entire life) is in the middle of yet another “atmospheric river” event. Basically, we’re getting rain and a lot of it–at least 3″ between yesterday through tomorrow. Personally, I like the rain. It’s relaxing and makes the outside smell nice. Plus, it makes for excellent movie watching weather. As long as the rain stays out of my basement, I am good.
During the last major rain event, just a couple weeks ago, I watched a bunch of excellent rainy film noir and Clue because I love it and it has rain. That rain marathon and this week’s downpour inspired me to write a post about rain in the movies as well as allows me to highlight some of my favorite movies. Right now, I haven’t returned to watching any rainy films, because I’ve been obsessed with playing Pokopia on Switch 2.
Movies have been using rain since almost the beginning to put forth a certain emotion, add suspense, express a metaphor, or even just to add some atmosphere. A rainstorm is often used as a reason for characters to be forced to stay confined in one space, such as in Key Largo (1948). Rain can be used as a setting for romance, such as the famous kiss in the rain between Audrey Hepburn and George Peppard in Breakfast at Tiffany’s (1961). To add atmosphere, rain will often be included such as in Clue (1985), where the characters are summoned to Mr. Boddy’s mansion during a dark, rainy night, and end up caught up in a murder mystery. In this blog entry, I want to focus on some of my favorite rain scenes in films.
Rain is often used to lend suspense to a scene, and where else would you want a lot of suspense and drama? A scene in which someone is driving. Driving in the rain can already be fairly treacherous. Add in a driver who is nervous, angry, distraught, or any other distracting emotion and it’s almost always a recipe for danger, or at least great melodrama.
BEST DRIVING IN RAIN SCENES
Lana Turner has a meltdown in “The Bad and the Beautiful.”
The Bad and the Beautiful (1952). Lana Turner’s Georgia is distraught after discovering that her boyfriend and producer, Jonathan Shields (Kirk Douglas) has been cheating on her with a starlet. She expresses her indignation over his betrayal and he more or less tells her that he can do whatever he wants. He doesn’t owe her any loyalty, because he gave her stardom. Distraught, Georgia gets into her car and takes off on a high-speed race home, through a pouring rainstorm. Anyone who thinks Lana couldn’t act should watch her performance in this scene. She enters the car sobbing, but soon collapses into pure hysteria as the reality of Jonathan’s betrayal and callousness sets in. Juxtaposed against the frenzy of rain and flashes of lights, Georgia’s emotional collapse reaches its apex when she screams and slams on the brakes.
Dead Reckoning (1947). Humphrey Bogart’s character, Rip Murdock, is investigating the death of his friend, Johnny. During his investigation, he falls in love with Coral Chandler (Lizabeth Scott). Unfortunately, he learns that Coral isn’t all she seems and was involved in his friend’s death. Coral and Rip end up in a car together after she accidentally shoots her accomplice instead of him. While Rip drives through heavy rain, he and Coral argue over her intending to kill him. She then pulls out a gun and he hits the gas pedal to floor it. Anyone who has watched a lot of old movies knows that whenever it’s raining and someone is driving recklessly, something bad is going to happen. In this film, Rip ends up crashing head-on into a tree, mortally injuring Coral.
Psycho (1960). This is a classic and for good reason. In this film, Janet Leigh’s Marion Crane leaves Phoenix and heads to California with $40,000 in stolen money in hand. She wants to marry her boyfriend, Sam (John Gavin), but he refuses to do so due to lack of funds. When Marion’s employer asks her to deliver a $40,000 deposit to the bank, the temptation is too strong to resist. This money would solve all of her and Sam’s financial woes. While she originally plans to drive through the night, a rainstorm forces her to seek refuge at the Bates Motel, operated by the young and nervous Norman Bates (Anthony Perkins). Unfortunately for Marion, this is the end of the line.
Rain can also be used to add romance to the scene, because what is more romantic than a classic kiss in the rain type scene. Rain also seems to bring people together–often because they’re forced to seek shelter and each other for warmth.
FAVORITE ROMANTIC RAIN SCENES
Lucy and Desi kiss and make-up in “The Long Long Trailer.”
The Long, Long Trailer (1954). My favorite film of all time features a romantic, albeit cliched (now) romantic kiss in the rain. Tacy (Lucille Ball) and Nicky (Desi Arnaz) spend the entirety of the film more or less on the honeymoon road trip from hell, with one catastrophe after another. The tension and frustration reaches its end when Nicky discovers that Tacy has not only lied to him, but has also put their lives at risk. The couple needs to drive over a high elevation (8000 feet) peak in Colorado. Because of the steep incline and possibility that extra weight could pull the trailer down (and possibly off) the mountain, Nicky tells Tacy that she needs to get rid of all the extra weight she’s added to the trailer in the form of rocks and preserves. Tacy’s idea was that they could collect large rocks from different places they visit and use them to decorate their patio when they reach their new home in Colorado. As a cost-saving measure (to justify the purchase of the trailer), Tacy stars canning fruits and vegetables.
Instead of removing the material from the trailer, she instead distributes it evenly around the trailer, thinking it would solve the weight issue. It does not. Everything comes out. Nicky discovers it. The couple fight and separate. In the pouring down rain, Nicky finally tracks down Tacy (and the trailer) at a trailer park where she’s in the middle of planning to sell the trailer. He opens the trailer door, finds Tacy, but can’t bring himself to apologize. Nicky drives away and suddenly Tacy realizes that she doesn’t want him to leave. She runs out into the rain, in front of Nicky’s car. He stops and gets out. Nicky and Tacy embrace, having made up and reconciled. They run up the steps into their home (the trailer) and kiss.
Breakfast at Tiffany’s (1961). While a lot can be said about this film, ::cough:: Mickey Rooney ::cough:: there are some fun parts as well. The ending of ‘Tiffany’s’ is much like the end of The Long, Long Trailer, with Audrey Hepburn’s Holly Golightly and George Peppard’s Paul (or “Fred Baby” as I like to call him) reconciling and kissing in the rain drenched streets of New York City. However, this scene has extra poignancy beyond the classic kiss in the rain. In a previous scene, Holly very cruelly abandons “Cat” her pet, out in the rain, saying that nobody belongs to anyone–even animals. Her whole mantra throughout the film is that she’s a free spirit, she doesn’t belong to (or with anyone). Paul is the only person her circle to actually care about her and want to help her. Everyone else in her orbit is someone she makes money off of (via trips to the powder room), or someone who takes advantage of her naivete (e.g., Sally Tomato providing her with the “weather report” to pass on to one of his associates).
However, Holly is no better in that she only associates herself with people she believes can do something for her. She’s a phony, her agent says. Paul bitterly tells Holly off by stating that in her efforts to prevent herself from being put into a “cage” she’s put herself into one, because she’s unwilling to share herself or part of her life with anyone. He then gets out of the car, throws the ring (that they’d had engraved at Tiffany’s during their fun day in New York City together) at her. The ring is a symbol of a time where Holly was probably being closer to her true self and not putting on airs. Holly grabs the ring, places it over the ever important (and symbolic) left ring finger and realizes that she (and Cat) belong with Paul. Their kiss in the rain (plus keeping Cat warm) symbolizes their new life together. Holly found where she belongs.
Top Hat (1935) Another one of the Fred Astaire-Ginger Rogers films that features Astaire as a character who initially annoys Rogers’ character until a dance brings them together. In this film, Astaire’s Jerry Travers, a tap dance star, arrives in London to appear in a show for producer Horace Hardwick (Edward Everett Horton). Late at night, he decides to practice his number (on hard floors!) and wakes up and annoys Dale Tremont (Rogers). She comes up to his room to complain and he is smitten. She is less so. Then there’s a case of mistaken identity, with Dale thinking that Jerry is Horace, the husband of her friend Madge (Helen Broderick).
Jerry pursues Dale throughout the film and she continues to be repulsed by him because she thinks her friend’s husband is coming onto her. A rainstorm at the park forces Jerry and Dale to seek refuge under a gazebo, where they dance to “It’s a Lovely Day (to be Caught in the Rain).” As with many of their films, Rogers’ annoyed attitude towards Astaire lessens, as they start to fall in love through song and dance.
Finally, rain can also be utilized to add a certain atmosphere to a film, or to evoke a specific feeling.
FAVORITE ATMOSPHERIC RAIN SCENES
Gene Kelly in what is probably the most famous rain scene of all time in Singin’ in the Rain.
Singin’ in the Rain (1952). This film contains the most iconic rain scene of all and I would be remiss to not mention it. Gene Kelly’s classic dance in the rain to the title song, is perhaps the greatest dance number ever captured and the most joyous. I dare anyone to watch this scene and not feel better at the end. What is happier than a dance in the rain, splashing in puddles, without a single care in the world? The “Singin’ in the Rain” number happens after Kelly’s character, silent screen star Don Lockwood, returns from a disastrous screening of his first “talkie,” The Dueling Cavalier. It co-stars his on-screen partner, the incredibly untalented Lina Lamont (Jean Hagen), who is oblivious to the movie’s awfulness and delivers one of my favorite lines, “I liked it!” Don figures that his career is over until friend Cosmo Brown (Donald O’Connor) and new love, Kathy Selden (Debbie Reynolds) convince him to re-tool the film to be the musical, The Dancing Cavalier, with Kathy providing behind the scenes support to cover up Lina’s inadequacies. Overcome with joy and his new lease on life, Don happily sings, dances and splashes his way down the Hollywood streets, until he’s stopped by a befuddled cop. What a buzzkill.
Clue (1985). This film opens with the six main characters arriving at the mansion of Mr. Boddy, in their color-coded vehicles. The house is tall and ominous, as is the torrential downpour. Inside the mansion, both Mr. Boddy and the chef are killed, leaving the six guests, plus butler Wadsworth (Tim Curry) and maid Yvette (Colleen Camp), to wonder who was responsible. The rain forces other unsuspecting visitors to enter the mansion, like a motorist breaking down in the rain and wanting to use the phone, and a cop investigating the motorist’s abandoned car. It rains the entire time throughout the film, lending a sort of spookiness to the classic mystery of “Who Killed Mr. Boddy?”
Thunder on the Hill (1951). This film takes place almost entirely at a convent. Sister Mary Bonaventure (Claudette Colbert) is in charge of the hospital ward of the convent. A horrific rainstorm closes nearby roads, keeping everyone inside and others out. A woman, Valerie Carns (Ann Blyth), is brought to the convent to wait out the storm due to the closed roads. She is supposed to be delivered to the prison to await her execution for the murder of her brother. However, the washed out road delays the inevitable and she is forced to stay at the convent. As one can imagine, Valerie is not particularly amiable or even polite. Sister Mary does her best to be gracious and empathetic to Valerie, eventually softening her up a little. Through talking to Valerie, Sister Mary realizes that she may be innocent and decides to investigate Valerie’s brother’s death before the rain lets up and the roads re-open.
In this film, the rain adds a harshness and uneasiness to the events in the film. As soon as the rain lets up and the road is passable, Ann Blyth’s character is headed to Death Row for a crime that she may not have committed. Other refugees are unhappy with her presence. The head doctor’s wife, Isabel, is a patient at the hospital and is unhappy with Sister Mary. Lending to the tension is that this same doctor also testified against Valerie in the case against her brother–more or less sealing her conviction. The Mother Superior (Gladys Cooper) is upset that Sister Mary refuses to follow her orders that she not intervene between Valerie and the police. Sister Mary is also holding onto her own baggage–the recent suicide of her sister. The relentless rain, the only thing keeping these people cooped up at the convent, increases the tension and drama.
HONORABLE RAIN SCENE MENTIONS:
Dorothy Malone watches, longingly, as Bogart departs her bookstore in “The Big Sleep.”
The Big Sleep (1946). It rains constantly in this film and only lends to the overall darkness and spookiness of the proceedings. The plot is also a mess, the weather might as well be too.
My Neighbor Totoro (1988). In this film, sisters Satsuke and Mei discover Totoro, a forest spirit, living near their new home. The sisters are living near a local hospital where their mother is convalescing. Totoro and his fellow spirits watch over the girls and intervene when Mei goes missing.
Casablanca (1942). Humphrey Bogart’s Rick stands in the rain, eagerly awaiting Ingrid Bergman’s Ilsa’s arrival, only to be handed a “Dear John” letter. As Rick’s heart breaks, the rain washes Ilsa’s words off the page. His life is over as he knows it.
Red Dust (1932). Getting caught in a monsoon forces Mary Astor’s stuffy Barbara into the home of the rugged Dennis Carson (Clark Gable). Also staying with Dennis? Vantine (Jean Harlow), a prostitute who is none too happy or impressed with Barbara’s presence. Vantine has her eye on Dennis too and does not want to share. However, upon spotting a rain soaked Barbara, Dennis is overwhelmed and seduces her. The rain in this film lends an intensity, further making an already stifling film feel even more stuffy than it did before. This isn’t a cold rain. This is a hot, humid, rain.
The Old Dark House (1932). A common trope in horror or mystery films, this is another movie that uses rain to force people inside. Horror often has people seeking shelter from strangers, and they’re always unusual strangers. In this movie, Phillip and Margaret Waverton (Raymond Massey and Gloria Stuart) are driving in a heavy storm with their friend, Penderel (Melvyn Douglas). They end up seeking refuge from the Femm siblings, Horace and Rebecca. The Femms are very weird. They warn their visitors about their butler Morgan (Boris Karloff), who is mute, alcoholic, and extremely dangerous. Eventually, two more people arrive at the Femms seeking shelter, Sir William Porterhouse (Charles Laughton) and Gladys DuCane (Lillian Bond). As the group stays at the home longer, they start to discover more and more unusual people and continue to be terrorized by Morgan. This is not only suspenseful, it is also very funny. “Please pass the po-tay-toes,” is my favorite line in the film.
It’s been such a long time since I’ve posted last. I apologize to everyone whose Blogathon I missed. I’ve been so busy, pretty much the entire summer that it’s been difficult to find the time, and frankly, the ambition, to write a blog entry. I have a ton of posts I need to write, including the much belated entry about my visit to this year’s TCM Film Festival in April. In July, I attended Noir City: Portland, which was a great event. While I may not have been writing about classic film, I have still been watching it. When I saw the Ingrid Bergman blogathon, I knew I wanted to get back to my blog–I love Ingrid Bergman and the film that I’m going to write about, Gaslight (1944).
Gaslight (1944) is based on Patrick Hamilton’s 1938 play, Gas Light. In 1940, the play was adapted into the UK film, Gaslight. 1944’s Gaslight, starring Ingrid, Charles Boyer, and Joseph Cotten, was MGM’s remake of the 1940 film. I have not seen the UK version nor have I seen/read the play, so I am not going to compare and contrast the different versions. I am exclusively speaking to the 1944 version. Warning: it is impossible for me to discuss this film without spoiling the ending.
Recently, the term “gas light” has emerged as a popular buzzword to throw around when someone discusses a problem with their relationship. It was even named Merriam-Webster’s “Word of the Year” in 2022. Unfortunately, most of the time when the word “gaslighting” is being thrown around, it is being misused. Gaslighting is not about lying. It is not about disagreeing with your partner. Gaslighting is specifically a form of psychological manipulation and emotional abuse where someone essentially starts questioning their sanity, memory, experience, and their overall grip on reality.
Ingrid Bergman notices that the gas lights are dimming.
The title “Gas Light” was chosen because of the gas lights used in Victorian homes. When a gas light would be turned in in one room, it would be dimmed in another room. In all iterations of Gaslight, the antagonist husband knows that turning on the gas light in the attic will dim the other lights in the home, informing his wife that someone is in another room. Also, she will hear footsteps and other commotion coming from the attic. The husband knows he’s got to make her doubt what she’s seeing and hearing–hence the term “gas light.”
Gaslight (1944) opens in 1875 London with a young woman, Paula Alquist (Ingrid Bergman), being escorted away from the home of her famous aunt, Alice, an opera singer. Alice has just been murdered. Flash forward a few years and a now adult Paula is living in Italy, taking singing lessons with the hope of following in her Aunt’s footsteps. However, let’s face it, Paula is not going to become an opera singer. Accompanying Paula’s singing lessons is pianist, Gregory Anton (Charles Boyer). We quickly learn that Paula and Gregory are romantically involved. They marry and soon re-locate to London. Knowing that Paula still owns her aunt Alice’s home at 9 Thornton Square, Gregory insists that he and Paula set up shop there. All of Alice’s possessions also still reside in the attic.
Charles Boyer hires Angela Lansbury to work as Ingrid Bergman’s maid.
Gregory soon hires a young woman, Nancy (17-year old Angela Lansbury in her film debut), who can only be described as “a tart” to be his and Paula’s maid. Upon being hired, Gregory plants it in Nancy’s mind that his wife Paula is losing her mind and to ignore whatever she says. Nancy, also having the hots for Gregory, happily goes along with his instructions. She is very cruel to Paula and seems to take pride in how rotten she can be. Nancy seems to take pride in terrorizing Paula.
In this film, Gregory comes up with various methods to slowly torment Paula, and drive her mad. As an example, he hands her items, such as a brooch to wear, then secretly steals it back. When she’s unable to find it, he chides her on her “forgetfulness.” Later, he removes a painting off the wall and hides it, then accuses Ingrid of taking the painting and hiding it. The poor woman is an absolute wreck by the end of the film. The goal of Gregory’s entire plan is to be able to search through Paula’s aunt’s possessions in search of some expensive jewels she owned. It is revealed in the film that Gregory was actually Sergis Bauer, the man who murdered Paula’s aunt some years earlier. He was looking for the jewels then and was interrupted. His entire marriage to Paula was just a ruse to get back into the home and continue looking for the jewels. He wants to drive Paula mad so he can search for the jewels right under her nose. Talk about playing the long game!
Joseph Cotten investigates Ingrid Bergman and Charles Boyer.
Gregory’s plan seems to be working very well, except for the presence of two busy bodies–Brian Cameron (Joseph Cotten) and Miss Thwaites (Dame Mae Whitty). Paula apparently bears a striking resemblance to her famous aunt. When she and Gregory visit the Tower of London, Brian just happens to be on the same tour. Brian was a childhood admirer of Paula’s aunt. He is drawn to Paula upon spotting her. Further observation reveals her to be nervous and anxious. Brian feels something is “off.” Brian also works at Scotland Yard. Out of concern for Paula and respect for her aunt, he decides to re-open Paula’s aunt’s cold case and goes to work investigating. Miss Thwaites is an older woman, and a neighbor of Paula and Gregory’s. She just happened to meet Paula on a train earlier in the film. She is more or less harmless, but she reveals herself to be a big fan of murder mysteries. She also becomes suspicious of Paula and Gregory when she witnesses Paula emerging from the home and quickly running back inside.
Ingrid Bergman’s tour-de-force performance in the final act where Gregory is caught is the scene which I imagine clinched her Oscar for Best Actress. She is absolutely fantastic in this scene and fully deserved all accolades she received. I love when she starts discovering that he was the one responsible for her mental breakdown while he still tries to maintain the charade. It is only out of his desperation to escape from Scotland Yard when he admits his guilt. Then, Paula brilliantly turns the tables on Gregory and makes him think he’s insane when she can’t find the knife he insists is in the drawer.
PAULA: [The knife] isn’t here. You must have dreamed you put it here. Are you suggesting that this is a knife? Have you gone mad, my husband? I could have set you free, couldn’t I? I could have cut those ropes and set you free. But I can’t find it. What shall we do?…Perhaps I’ve lost the knife as I’ve lost those other things. I must look for it, mustn’t I? If I don’t find it, you’re going to have me locked up, aren’t you?…If I had the knife, I could have had pity. But I could also kill. I could kill as you killed. You killed her as you tried to kill my mind. Without pity. Without pity you killed her as I can kill…Kill! Kill!
I way over-committed to blogging during April and May. I am so late with this post. It might not even be posted on Classic Film and TV Corner Presents’ page; but I wanted to finish it. Turning your homework in late is better than not at all, right? I was on vacation during the time of the blogathon, attending the TCM Classic Film Festival in Hollywood, in fact. I had every intention of writing this post ahead of time and scheduling it to post. Then, I just ran out of time. When I got back, I was tired. I had work. I had game night. Then I was sick for two days. Then I was sent on a last minute (literally, told Friday, left Sunday) work trip to California where I am now.
Anyway, I wanted to write about Ingrid Bergman and her multiple collaborations with Alfred Hitchcock, the “Master of Suspense.” Their first collaboration was in 1945’s Spellbound, which starred Bergman with Gregory Peck. Spellbound was made during Hollywood’s obsession with psychoanalysis, psychiatry, psychology, and all of the other sciences involving the psyche. Some other memorable films dealing with this subject are The Dark Past (1948), High Wall (1947), Now Voyager (1942), The Three Faces of Eve (1957), The Snake Pit (1948), just to name a few.
Gregory Peck and Ingrid Bergman in “Spellbound.”
Bergman portrays Dr. Constance Petersen, a psychoanalyst working at the Green Manors mental hospital in Vermont. She regularly has to reject the advances of her co-worker which leads to her being deemed an ice queen. Her older colleague, Dr. Murchison, ends up retiring after suffering from nervous exhaustion. He is replaced by the much younger Dr. Anthony Edwardes (Gregory Peck). Obviously because he’s the male lead and he’s much hotter than every other guy in this movie, Anthony and Constance quickly become romantically involved. While kissing Anthony, Constance discovers that he has an odd phobia: parallel lines.
After Anthony’s phobia is revealed, Constance is on a quest to learn the truth about Anthony’s phobia. There are numerous twists and turns, complete with an amnesia storyline, a fantastic Salvador Dali-conceived surrealistic dream sequence, some excellent skiing scenes and an interesting look at dreams and psychoanalysis. Fitting with the dream motif, the haunting score featuring a theramin, provides a eerie, surreal feeling.
After Spellbound comes Bergman and Hitchcock’s best collaboration, Notorious (1946) co-starring Cary Grant and Claude Rains. This is an excellent film. A film noir, Notorious, stars Bergman, somewhat against type, as American party girl Alicia Huberman. She is the daughter of a convicted Nazi spy. Grant plays T.R. Devlin an American government agent who recruits Alicia to infiltrate the Nazi ring. She refuses at first; but ultimately relents when Devlin plays recordings of her insisting that she loves her country.
Because it’s Cary Grant and Ingrid Bergman, two actors known for appearing in some of the most romantic Hollywood films of all time, their characters of course fall in love. Hitchcock very adeptly defied the Production Code which prohibited scenes of prolonged kissing. “Prolonged” according to the very puritanical Production Code board meant that on-screen kisses could not last for more than three seconds. Bergman and Grant’s kiss lasted for over two and a half minutes! To get around this, Hitchcock had the actors deliver dialogue, nuzzle, take breaths, etc., every three seconds. Bergman and Grant reportedly felt awkward, but Hitchcock insisted that it was perfect. He was right. This scene is much sexier than if they’d just made out for two minutes.
Cary Grant and Ingrid Bergman circumvent the Production Code in “Notorious.”
Eventually Alicia receives the assignment to seduce Alex Sebastian (Claude Rains), an associate of her father’s. Alex is more than happy to romance the much younger Alicia. Throughout the film, Devlin remains somewhat in the middle, as it’s sometimes not clear whether he’s genuinely in love with Alicia or whether it’s part of his work. Grant is very good at playing both sides. Rains makes an excellent villain. Bergman is of course excellent as the party girl caught in the middle of a love triangle with Devlin and Sebastian, as well as torn between her patriotism and love for her father.
In 1949, Ingrid Bergman completed her final collaboration with Hitchcock, Under Capricorn, co-starring Joseph Cotten and Michael Wilding. This film, unfortunately, is Bergman and Hitchcock’s least successful collaboration. I would even go a step further and say that it wasn’t even a very good film! Nothing seemed to happen until the last few minutes. This film is a period film, which seems like an odd choice for Hitchcock. Bergman doesn’t feel out of place in a period film, as she was very good in her Oscar-winning role in Gaslight in 1944. Unfortunately for Under Capricorn, it is no Gaslight.
Under Capricorn takes place in 1831 Sydney and stars Michael Wilding as Charles Adare, the second cousin of the new Governor, Sir Richard. In the mid-19th century, Sydney is overrun with ex-convicts from the British isles–so it is a rough place to be. Charles is in town because he wishes to make his fortune. He ends up meeting an ex-con, Samuel Flusky (Joseph Cotten), who is now a successful businessman.
Ingrid Bergman is probably the best part of “Under Capricorn,” an otherwise lackluster film.
Charles ends up meeting Samuel’s wife, Lady Henrietta (Bergman). Lady Henrietta is, to put it mildly, a mess. She is a drunk, social outcast, who is on the verge of just going completely insane. Bergman plays her like a slightly trashier version of her character, Paula, from Gaslight, except if she’d also turned to the bottle during her nervous breakdown. Poor Lady Henrietta, like Paula, has a maid who only contributes to her mental illness. Charles ends up befriending Lady Henrietta and helps restore her mental health. Eventually he uncovers a secret about Henrietta and Samuel.
Perhaps Under Capricorn would be more successful if Hitchcock’s reputation as the “Master of Suspense” hadn’t been so cemented in the minds of the audience. It doesn’t appear that Hitchcock intended for this film to be a thriller; however, the poster stating “Alfred Hitchcock’s Under Capricorn” carries the implication that this will be another Hitchcock film in the same vein as Rebecca and Shadow of a Doubt. Nothing happens in this film. Even the secret is kind of ho-hum. I won’t write this film off entirely; but if I wanted to watch Bergman in a Hitchcock film, I’d definitely choose Spellbound or Notorious over Under Capricorn.
In 1979, Ingrid Bergman hosted Alfred Hitchcock’s AFI Lifetime Achievement Award ceremony. The ceremony also featured tributes given by other “Hitchcock Stars” including Henry Fonda (The Wrong Man), Anthony Perkins and Janet Leigh (Psycho), James Stewart (Rope, Vertigo, Rear Window, The Man Who Knew Too Much), John Forsythe (Topaz, The Trouble with Harry), Teresa Wright (Shadow of a Doubt), Norman Lloyd (Saboteur), Jane Wyman (Stage Fright), Rod Taylor (The Birds), Vera Miles (The Wrong Man, Psycho), Tippi Hedren (The Birds, Marnie) and Sean Connery (Marnie), Judith Anderson (Rebecca), and Cary Grant (Notorious, North by Northwest, To Catch a Thief, and Suspicion).
After the whirlwind of actors, Bergman was back with her closing remarks, which she directed towards Hitchcock:
Thank you. We must leave you now, but thanks to film, Hitch’s work never will. Now there’s just one little thing I want to add before we finish this evening. You remember that agonizing shot when you built some kind of elevator–it was a basket or something–with you and the cameraman, and you were shooting this vast party in “Notorious.” And you came zooming down, with your elevator, and your pull focus man…all the way down, into my hand, where you saw the key in a close-up…so that was an extreme long shot to close-up, just the key we saw now. Well, you know what? Cary stole that key after the scene! Yes, and he kept it for about 10 years and one day he put it in my hand and he said, “I’ve kept this long enough, now it’s for you for good luck.” I have kept it for 20 years and, in this very same hand, there is the key! I’m coming over… it has given me a lot of good luck, and quite a few good movies too, and now I’m going to give it to you with a prayer that it will open some very good doors for you too. God bless you, dear Hitch, I’m coming to give you the key.
A couple weeks ago, July 19 through 21st, my husband Jimmy and I were fortunate to get to attend the Film Noir Foundation’s Noir City festival in Portland, OR. The festival was held at the gorgeous 1926 Hollywood Theatre in Portland. Film Noir Foundation founder and president, as well as TCM host, Eddie Muller, presented all three days of the festival. Jimmy and I were lucky to score a VIP pass which got us into all six of the films, plus the special conversation with Eddie Muller event, as well as two cocktail parties with Eddie in attendance.
Friday, July 19 started with cocktails and hors d’oeuvres at the Jade Rabbit restaurant in NE Portland–just a few minutes away from the theatre. The Jade Rabbit was a vegan dim sum restaurant and also home to the festival’s sponsor, Aimsir Distillery. Jimmy and I aren’t vegan, so we weren’t sure what to expect from the food. I’m happy to report that the food (wontons, lumpia, bao, and the siu mai) was amazing! We also had a few cocktails and they were all delicious. The food and drinks were complimentary! Jimmy and I also received copies of Eddie’s Noir Bar cocktail book. We met Eddie and he signed our books. I already have an autographed copy of the book, but I had him write one out to Jimmy and I and the other out to my parents. In addition to the cocktail book, our VIP tickets also came with a choice of one of the two souvenir Noir City Portland posters. Because Jimmy and I were both there, we just opted to get one of each.
The party ended at around 6:30ish and it was off to the Hollywood to see Noir City Portland’s opening film, Gilda (1946), one of my favorites. It was my first time seeing it on the big screen. Also, as part of our VIP experience, we were able to reserve our Gilda seats in advance. Jimmy and I selected two seats in the second to back row of the theatre. This is the best row, as it’s the only row where the seats aren’t in line with the other seats. If someone with a big head sits in front of you, you can still see! It’s a win-win. A suggestion was made after the festival to Jimmy’s and my “friend,” Ted Hurliman, Director of Education & Community Programs, at the Hollywood Theatre who helped bring Noir City to Portland: give the VIP members reserved seats for the entire festival. I wholeheartedly agree with this request.
After the conversation, we were set to watch the three films scheduled for the day: The Window (1949), No Abras Nunca Esa Puerta (Never Open That Door) (1952), and Night Has a Thousand Eyes (1948). Eddie Muller stated that Saturday was the Cornell Woolrich portion of the program. My parents stayed for The Window, based on a story by Woolrich. This was a film that I’d never seen before and it was fantastic. I don’t know why I hadn’t watched it. It was even on my DVR. I think it might have been because the story was centered around a child and often child-centric films don’t do anything for me. However, Bobby Driscoll, famous for voicing Disney’s Peter Pan (1953) and appearing in Disney’s Treasure Island (1950) and Song of the South (1946) was fantastic. Sadly, Peter Pan would be the peak of Driscoll’s success. He died a very sad death in 1968 at the age of 31. ::SPOILER::Villain Paul Stewart’s death in The Window elicited a spontaneous applause from the audience which was a lot of fun.
The Night Has a Thousand Eyes was sold-out, which I figured would happen, since the film stars Edward G. Robinson. This film was screened on nitrate at the Egyptian Theater at this year’s TCM Film Festival; but Jimmy and I didn’t attend because it was screened at the exact time as my #1 favorite film of all time, The Long, Long Trailer. Sorry Eddie G., I love you, but I am not missing my all-time favorite film. I’m happy that ‘Eyes’ was featured at Noir City, because it was a fun film to see on the big screen. No matter the role, Edward G. Robinson is always worth watching. ‘Eyes’ closed out Saturday night.
Sunday opened with The Man Who Cheated Himself. This film was okay, it starred Lee J. Cobb who I’ll admit isn’t a favorite of mine. However, it also had John Dall, who I like a lot more. This was a fine film, it reminded me of Double Indemnity. This film was rescued by the Film Noir Foundation and was released on blu ray by Flicker Alley. I actually received a copy of this film at the conclusion of the festival. However, I already owned it as I bought it some time back as a blind buy. I gave my extra copy to my parents.
The festival closed out with In a Lonely Place. It was obviously sold out, because it stars Bogart. Of course a Bogart film will sell out. I love In a Lonely Place, it was actually my second time seeing it on the big screen. I saw this film last year at Cinema 21 theater in NW Portland. This screening was sold out. Everyone loved Bogart. I also enjoy this movie because my birthday (June 22) is mentioned when the police detective is reading off Bogart’s rap sheet. This is a fact that I mentioned to Eddie at the secret post-VIP cocktail party back at Jade Rabbit that Jimmy and I attended after the festival. Despite having to pay for our food and drinks this time, this party was almost better than the pre-party. Jimmy and I talked to Eddie for a full 30 minutes at least! At one point in the conversation, Eddie mentioned liking An Affair in Trinidad, a 1952 film starring Rita Hayworth and Glenn Ford. I told him that ‘Trinidad’ features my birthday written on a letter Glenn sends to his brother (or the other way around). He finally had to excuse himself from talking to us because he “had to go talk to the other guests.” Jimmy and I concluded our party talking to our friend Ted from the Hollywood. We’ve seen him introduce dozens of films, so it was a lot of fun talking to him. I gave him a lot of suggestions of films to schedule. Lol. Ted also recommended Ride the High Country (1962) with Joel McCrea and Randolph Scott, telling us this is one of his favorite films. Jimmy and I watched it. My post on this is coming later as it’s a very late post for last week’s Western blogathon.
In 1945, established film star Robert Montgomery was given his chance to direct when he stepped in for an ailing John Ford in They Were Expendable. Bitten by the directing bug, Montgomery was eager to switch gears and move behind the camera in lieu of taking on additional acting work. Looking for a directorial project, Montgomery persuaded his home studio, MGM, to purchase the rights to Raymond Chandler’s 1943 novel, Lady in the Lake–another installment featuring famed detective Philip Marlowe.
Dick Powell as Philip Marlowe in “Murder, My Sweet.”
The first actor to portray Philip Marlowe was Dick Powell in 1944’s Murder, My Sweet. Like Montgomery, Powell was looking to make a career change. In the 1930s, Powell became a star at Warner Brothers playing a crooner and/or the juvenile lead. With his young, boyish looks finally starting to mature, 40-year old Powell felt he was a little long in the tooth to be playing these types of parts.After losing the role of Walter Neff in Double Indemnity to Fred MacMurray, Powell got his break when he was cast in director Edward Dmytryk’s Murder, My Sweet at RKO. This ended up being the break Powell needed to transition away from playing the young crooner in musicals and move into the cynical, bleak world of film noir. Film noir turned out to be a great fit for Powell.
Humphrey Bogart as Philip Marlowe in “The Big Sleep.”
A year or so later, Humphrey Bogart, already at home in film noir was cast in The Big Sleep, also based on a novel by Raymond Chandler. Bogart portrayed Philip Marlowe and provided what is perhaps the definitive depiction of the conventional film noir detective. If a film noir-era detective is going to be spoofed somewhere, it’ll usually be a Bogart impression. Bogart had also played another famous film noir detective, Sam Spade, in the 1941 adaptation of Dashiell Hammett’s The Maltese Falcon. Bogart’s performance of Philip Marlowe is iconic, no doubt in part due to his pairing with wife Lauren Bacall. For what The Big Sleep lacks in clarity and coherence, it makes up for in style, dialogue and the charisma of the two starts.
Suffice it to say, after two stellar performances of Philip Marlowe having already appeared on the silver screen, Robert Montgomery had big shoes to fill when he decided to not only direct but star in Lady in the Lake in 1947. Director Montgomery also made another ambitious and perhaps questionable decision: he would film the entire movie from Philip Marlowe’s perspective. Marlowe would never appear on screen, only his voice would be heard. In fact, I believe the audience only sees Montgomery a couple times, when he passes in front of a mirror. Dark Passage, also premiering in 1947, also utilized first-person perspective to tell its narrative. However, I would argue that it is used much more effectively as the reason for not seeing the film’s protagonist and star (Humphrey Bogart) is needed for the plot. Bogart is not seen on camera until his character receives plastic surgery as a means to hide in plain sight from the police.
One of two Robert Montgomery “appearances” in “Lady in the Lake.”
In Lady in the Lake, the first-person perspective comes off as very gimmicky and unnecessary, even if it employs the same narrative point of view as Chandler’s original novel. This perspective was meant to place the reader inside the detective’s head; but is less successful on screen. While I don’t mean to be a wet blanket in regard to Montgomery’s performance, I don’t know that he was the best person to cast as Philip Marlowe. I can’t help but wonder if Montgomery saw Dick Powell change his onscreen persona and wanted to try and emulate his success. Powell’s Marlowe is weary and to the point when calling someone out, but also not above making a clever remark or two. He is also a bit of a romantic as seen in his relationship with Ann Grayle (Anne Shirley). However, I think Montgomery over-compensated for his romantic, good guy screen image when delivering his “tough guy” lines and comes across as a crank, barking orders at people. He lacks the charm, romance and smoothness delivered by his predecessors, Powell and Bogart.
Audrey Totter’s amazing facial expressions in “Lady in the Lake” are worth the price of admission!
Montgomery’s experiment with first person perspective might have been more successful had he chosen to simply direct the film. I think that he also would have been better off abandoning the idea or at least using it more strategically, a la Dark Passage. Seeing Montgomery’s outstretched hand giving and taking items, shaking hands with the other characters, etc. is corny. It reminds me of “The Continental” sketch of Saturday Night Live where we see the action unfold from the woman’s perspective and occasionally see an outstretched hand, donning an elbow-length glove, holding champagne, etc.
The best part of the decision to use first person perspective is Audrey Totter, who plays the female lead, Adrienne Fromsett. She is who initially hires Marlowe to solve the disappearance of her boss’ wife, Chrystal Kingsby. Having Totter’s character looking at Marlowe allows her to do some amazing acting with her face, especially with her eyes. Totter’s facial expressions, with her bugged out eyes and pursed lips make the film worth watching. In the film, Adrienne plays a publishing executive (yay a woman in a high-powered job!) who initially brings Marlowe into her office under the guise of discussing a murder story he’s submitted for one of her company’s publications. However, Marlowe quickly realizes that it was a ruse.
While investigating the disappearance of Ms. Kingsby, we meet the excellent supporting cast. Ms. Kingsby’s husband and Adrienne’s boss, Derace (Leon Ames). Derace is one of Marlowe’s top suspects as his wife had written him a telegram, stating that she planned on divorcing him and marrying another man, Chris Lavery (Dick Simmons). Marlowe then investigates “the other man,” Lavery as another potential suspect. As Marlowe continues his investigation, he starts to believe that Adrienne’s concern about the whereabouts of her boss’ wife might not be genuine. In true film noir fashion, as one door closes, another opens. More and more characters enter the mix and the story takes numerous twists and turns. Lloyd Nolan, Tom Tully, and Jayne Meadows play some of the other supporting characters.
Another great Audrey Totter face scene.
While I was critical of Robert Montgomery’s performance and decision to use first-person perspective earlier in my article, I don’t want to dissuade anyone from watching Lady in the Lake. In fact, I actually quite enjoy this film and own a copy of it. The film is set at Christmastime, so it’s a nice diversion from the multitudes of sappy Christmas films that permeate the airwaves during the holiday season. Lady in the Lake actually opens with “Jingle Bells” playing as the credits unfold. The cheery Christmas music serves as an interesting juxtaposition to the crime and murder that happens in the film.
Aside from the Christmas setting, the story is entertaining. Looking past the film’s perspective, there are a lot of great performances in the film and the story is compelling. It’s not the greatest film noir I’ve ever seen; but it is worth watching. Lady in the Lake, while a box-office success, did not endear Robert Montgomery to MGM nor did it endear him to Raymond Chandler. After the success of Chandler and Billy Wilder’s collaboration on Double Indemnity, Montgomery hired him to write the screenplay to Lady in the Lake. However, after Chandler turned in his 195 page script, Montgomery hated it and hired Chandler’s old co-worker, Steve Fisher to redo the screenplay. Fisher changed the setting to Christmastime and removed all lake scenes, cutting the screenplay down to a mere 125 pages. Chandler was incensed and removed himself from the project, but not without insisting on an onscreen screenplay credit. However, after seeing the final product, Chandler requested his onscreen credit be removed. After Lady in the Lake wrapped, Montgomery would end his employment with MGM, having been there for 18 years, since 1929.
In the same year, 1947, Montgomery would also direct another film noir, Ride the Pink Horse. In my opinion, this noir is superior to Lady in the Lake and actually proves that Montgomery could direct himself in a film if he stuck with more conventional storytelling techniques. Montgomery was able to hire the excellent screenwriting team of Ben Hecht and Charles Lederer. They turned in a superior script and combined with Montgomery’s direction, were able to help guide co-star Thomas Gomez to a Best Supporting Actor Oscar nomination.
Robert Montgomery and his daughter Elizabeth.
Montgomery, like his contemporary and fellow Philip Marlowe, Dick Powell, would only go on to direct a handful of feature films. Montgomery continued to appear in front of the camera as well as behind. Powell would permanently move behind the camera in 1954 after making Susan Slept Here. Both Powell and Montgomery would host their own television anthology shows, Dick Powell’s Zane Grey Theater and Robert Montgomery Presents, respectively. Montgomery would form his own repertory group of performers in 1952 to appear in various episodes of his program. Two of the performers that would go onto fame were Cliff Robertson and Montgomery’s daughter, Elizabeth. Elizabeth Montgomery would go on to become a TV icon, playing Samantha Stevens, a witch, in ABC’s hit 1964-1972 sitcom, Bewitched.
The Luso World Cinema Blogathon is an annual event hosted by Spellbound with Beth Ann and Critica Retro. I’ll admit that I didn’t know anything about Luso cinema, in fact, I didn’t know what “Luso” meant. Research revealed that “Luso” is a prefix used in relation to Portugal and Portuguese culture. From reading through the list of actors/actresses of Portuguese heritage, I learned that one of my favorites, Mary Astor, fits this description.
Mary Astor was born Lucile Vasconcellos Langhanke in Quincy, Illinois on May 3, 1906. Her father was German and her mother was American. Mary got her Portuguese heritage from her mother. Mary was homeschooled by her mother until 1919 when she sent a photo of herself to a beauty contest and became a semi-finalist. When she was 15, she began taking drama lessons and appearing in local productions. Mary submitted her photos to other beauty contests, eventually catching the attention of an employee at Famous Players-Lasky. She was then signed to a six-month contract at Paramount. Mary would eventually make her screen debut in 1921 at the age of 14.
Mary’s career in silent film had its ups and downs. In 1929, she briefly found herself out of work as her voice was deemed too deep for talkies. However, she appeared in a play with her friend Florence Eldridge (wife of Fredric March) which ended up getting her back into films. She started being cast in films again and was on her way to stardom. In 1935, Mary had an extra-marital affair and was later embroiled in a bitter custody dispute with her ex-husband. In many cases, an adulteress’ career would be over, but the scandal seemed to have little effect on her career. Mary would eventually win the Best Supporting Actress Oscar in 1941 for her role in The Great Lie.
Mary Astor’s career reached its peak in the 1940s with her Oscar win and appearance in the film noir classic, The Maltese Falcon, as Brigid O’Shaugnessy. As what happened with a lot of actresses back then, as soon as Mary hit 40 she was seen as a “mother” figure and was often cast in more matronly roles such as matriarch Anna Smith in Meet Me in St. Louis and Marmee in Little Women. Some of Astor’s best roles however come during this time when she took on against-type parts, such as playing a prostitute in Act of Violence or a madam in Desert Fury. Mary made her final appearance in 1964 in the small, but important role of Jewel Mayhew in Hush, Hush Sweet Charlotte.
Mary Astor had a lot of great roles in her long career. Here are my top 5 favorite Mary Astor performances:
Walter Huston and Mary Astor in “Dodsworth.”
#1Dodsworth (1936). In this film, Mary plays “the other woman,” a role which typically isn’t sympathetic and is usually villainous. However, in Dodsworth, Mary’s performance as Edith Cortright and relationship with Walter Huston’s Sam Dodsworth is so beautiful that she is seen as the woman that Sam deserves. In this film, Sam and his wife Fran (Ruth Chatterton)’s daughter is all grown and married. Fran cannot accept being old enough to have a grown and married daughter. Sam retires and hopes to live a life of leisure with Fran. They’re planning on starting their retirement with an extended European vacation. While on the ocean liner, Sam meets Edith and Fran meets a young Englishman (David Niven) with whom she flirts. Sam ends up spending much of his time on the boat with Edith. While in Europe, Fran wants to be part of the jet set, spending her time living the high life while pretending to be much younger. Sam just wants to see the sights. As the Dodsworths find themselves growing apart, through a chance encounter, Sam reunites with Edith.
Mary’s performance in Dodsworth is very charming and sweet. She is what the film needs to offset the vain and materialistic Fran. While she is the “other woman” so to speak, Sam is such a nice guy and Fran is so awful, that we as the audience want Sam and Edith to be together.
Mary Astor and Joel McCrea in “The Palm Beach Story.”
#2The Palm Beach Story (1942). Mary Astor’s performance in this film is unlike any other part that I’ve seen her play. While she doesn’t seem like the obvious choice to appear in a Preston Sturges screwball comedy, Mary is right at home. In this film, she plays the oft-married Princess Maud Centimillia. At the start of the film, she’s on her way home to Palm Beach, FL with her latest conquest, Toto. She pulls up to the dock in her yacht and immediately wants to drop Toto for Tom Jeffers (Joel McCrea). Tom is in town looking for his wife, Gerry (Claudette Colbert) who has traveled to Palm Beach from New York. While on the train to Florida, Gerry meets the Princess’ brother, John D. Hackensacker III (Rudy Vallee). John is instantly smitten with Gerry and takes her back to his home to give her a place to stay.
Mary Astor’s performance as the Princess is hysterical. Even though she’s taken Toto as her lover, she wants nothing to do with him as soon as she spots Joel McCrea. Her disdain for Toto is so clear and obvious, but he’s a dope and doesn’t pick up on it. The Princess constantly has to think of errands to send Toto on so she’ll go away. She’s also very funny when Gerry introduces her husband as “Captain McGlue” in an effort to hide the fact that he’s her husband. When Tom later reveals that he is not Captain McGlue, the Princess says: “Thank heaven for some things. That name!”
Clark Gable and Mary Astor in “Red Dust.”
#3 Red Dust (1933) In this film, Mary plays Barbara Willis, the wealthy wife of Gary (Gene Raymond) who is sent to oversee a rubber plantation in French Indochina. The manager of the rubber plantation is Dennis Carson (Clark Gable). Another visitor to the plantation is Vantine (Jean Harlow), a young prostitute on the lam. Vantine is instantly smitten with Dennis and he seems interested in her until he sees Barbara. Barbara is the polar opposite of Vantine. She is brunette, more classy and ladylike. In contrast, Vantine is a bleached blonde, a brash, and outspoken. Gary ends up coming down with malaria, which puts him out of commission and more importantly, away from Barbara. Dennis spends the week of Barbara’s visit seducing her until she finally succumbs to his advances. Meanwhile, Vantine looks on with intense jealousy.
This is a very sexy part for Mary Astor. She is given the chance to have the hot and heavy affair with the hunky Clark Gable. The entire film is sweaty and it feels sweaty. At one point, Barbara is caught in the rain and is drenched. She then shares a sexy kiss with Gable.
Mary Astor and John Barrymore in “Midnight.”
#4 Midnight (1939) In this film, Mary plays the wealthy Helene Flammarion, the wife of Georges Flammrion (John Barrymore). She is very openly having an affair with ladies man, Jacques Picot (Frances Lederer). At the beginning of the film, Eve Peabody (Claudette Colbert) crashes a concert attended by members of the Parisian high society. She ends up running into Marcel Renaud (Rex O’Malley) who invites her to play bridge with himself, Helene, and Jacques. Eve introduces herself as “Madame Czerny.” Georges enters the room and sees Eve. He pretends to recognize Madame Czerny.
Georges comes up with a scheme to break up his wife and Jacques. He proposes to Eve that she try and break up Jacques and Helene. If she succeeds, Georges will give her a good payoff to reward her for her efforts. He will also give her 50,000 francs and invites her to his and Helene’s home in Versailles for the weekend. Georges also puts Eve up in a suite at the Ritz and buys her a new wardrobe, worthy of her persona as Madame Czerny. Meanwhile, cab driver Tibor Czerny (Don Ameche) is looking for Eve, having fallen in love with her while her drove her around town. When he finally finds her, he is amused that she’s taken on his surname as her fake royalty name.
While Mary Astor is more of a side character in this film, she is very funny in her part as John Barrymore’s unfaithful wife. She has absolutely no discretion in her affair with Jacques. Mary excels in these parts playing a bit of a goody two shoes, but also classy and a bit rigid. She’s also great at delivering her lines with a bit of bitterness, cynicism, while also being very funny.
Mary Astor and Humphrey Bogart in “The Maltese Falcon”
#5 The Maltese Falcon (1941). This is perhaps Mary Astor’s most famous role, that of femme fatale Brigid O’Shaugnessy in John Huston’s directorial debut and Humphrey Bogart’s breakout role. In this film, Brigid introduces herself to Bogart’s Sam Spade as “Miss Wonderly,” but he soon figures out that she’s lying about her identity. She comes to Sam wanting help in finding out the whereabouts of her missing sister. All Brigid can say is that she came to town (San Francisco) with Floyd Thursby. Sam puts his associate, Miles Archer, on the case. Miles is murdered while investigating Thursby’s whereabouts.
Sam sets out to investigate Archer’s death, but is soon thrust into an even larger (more interesting) mystery. He goes to Brigid, now calling herself Brigid having abandoned the “Miss Wonderly” moniker, to find out more information about Thursby. Brigid confesses that she made up the story about her sister and revealed that Thursby was her partner. She also puts forth the theory that Thursby probably killed Archer. When Sam returns to his office, he encounters Joe Cairo (Peter Lorre) who is wanting help looking for a statue of a black bird.
The black bird investigation proves to be a lot more interesting, especially when it turns out that Brigid is acquainted with Joe Cairo. Sam also learns that Cairo and Brigid are part of a gang led by Kasper Gutman (Sydney Greenstreet). Wilmer Cook (Elisha Cook Jr.) is Kasper’s gunsel and eventual fall guy. The ending of the film where Sam calls Brigid out and says she was responsible for Archer’s death. This is Mary Astor’s time to shine. In the scene, she is heartbroken that Sam Spade, with whom she thought she was in love, sends her up the river. She pleads with him to not turn her over to the police, but to no avail. He “consoles” her stating that she’ll probably be out in twenty years. As she descends in the elevator, Brigid’s face is covered by the shadows of bars on the windows.
SPOILER WARNING: If you haven’t seen “Dark Passage,” the ending will be spoiled in this article. It is impossible to talk about Agnes Moorehead’s role in this film without discussing the ending. In a happy coincidence, “Dark Passage” is scheduled to air on TCM’s Noir Alley this Saturday, May 4th at 9:15 pm (Pacific) and on Sunday, May 5th at 7:00am (Pacific).
BOB (to MADGE): Why don’t you leave people alone? You’re not satisfied unless you bother people. Either it’s your family or your friends, people you don’t know…No feelings for you. No feeling at all, except I’m annoyed whenever I see you.
Bruce Bennett as “Bob” and Agnes Moorehead as “Madge Rapf” in Dark Passage (1947)
This quote pretty much sums up every character in Dark Passage‘s relationship and feelings about Madge Rapf, portrayed by the brilliant Agnes Moorehead. She is the town busy body, known to everyone and liked by no one. She gets on everyone’s nerves with her persistence, suspicion, and tendency to insert herself into everyone’s business.
Madge Rapf is the ultimate woman scorned.
At the start of the film, Vincent Parry (Humphrey Bogart, whose voice is heard, but isn’t shown until about halfway through) escapes from the notorious San Quentin prison. As the audience, we only see the events transpire from Vincent’s perspective. He is picked up by a passing motorist, who soon starts to ask too many questions and is knocked unconscious by Vincent. Another motorist, Irene Janson (Lauren Bacall) picks Vincent up and smuggles him past the police roadblock and takes him to her apartment in San Francisco. Irene explains that she followed his case closely and knew who he was when she spotted him. She further explains that her father had been falsely convicted of murder, something that she believes has also happened to Vincent. Irene states that her father’s false conviction has inspired her to take an interest in instances of injustice.
Madge annoys Bob one too many times while Irene looks on.
Here’s where Madge comes into the story. Madge, it turns out, is acquainted with Irene and Bob (Bruce Bennett). Bob is a friend of Irene’s who wants to be romantically involved with her. How Madge knows Irene isn’t made clear, but she knows her, because she seems to know everyone. It is also revealed that Madge is well acquainted with Vincent and was the star witness at his trial. Her testimony, in which she claimed Vincent’s late wife had identified him as her killer, is what clinched his guilty verdict and placed him into a cell at San Quentin. Madge had made romantic advances toward Vincent, and when he rejected her, she delivered the false (but incriminating) testimony out of spite. She has resented Vincent ever since. When Madge hears about his escape and then thinks she hears his voice in Irene’s apartment, she becomes convinced that Vincent is going to murder her.
Vincent, needing to hide in plain sight from the police, takes the advice of a cab driver to visit the office of a disgraced plastic surgeon. At around 3am, Vincent arrives at the surgeon’s office and receives a “new look.” The new look is obviously the face of Humphrey Bogart, so that he can be seen in the film. There is an amusing scene earlier in the film where a photo of Vincent Parry is seen in a newspaper article. The man in the photo looks absolutely nothing like Bogart, which just goes to show how skilled the plastic surgeon is.
Bacall nurses Bogie back to health.
Before getting outfitted with a new face, Vincent had visited the apartment of his friend George, who lived near the doctor’s office. He asks George for a place to stay while he recovers from the surgery. Upon Vincent’s return, he finds George dead on the floor–a victim of murder. Vincent eventually ends up at Irene’s apartment. She assists him during his recovery and helps him with his new look and gives him a new name. Because this film stars married couple Bogie and Bacall, their respective characters start to develop romantic feelings toward one another.
Eventually, Vincent becomes suspicious of Madge, knowing that she has been hanging around Irene’s apartment. He also knows that she knows he’s around somewhere. Vincent shows up at Madge’s apartment to confront her over the deaths of both his wife and George. He presents a document outlining his accusations towards Madge and attempts to coerce her to sign it, which would serve as her confession. Madge refuses, knowing that without her confession, Vincent has no proof of his claims. Madge, still the woman scorned, is also upset that Vincent is in love with Irene.
MADGE to VINCENT: I’ve cried myself to sleep at night because of you. She’s (Irene) got you now. She wants you very badly doesn’t she? She’s willing to run away with you and keep on running and ruin everything for herself. But she wouldn’t care because she’d be with you and that’s what she wants. Well she doesn’t have you now. She’ll never have you. Nobody will ever have you! And that’s the way I want it! You’re nothing but an escaped convict. Nobody knows what you wrote down. They’ll believe me! They’ll believe me!
Agnes Moorehead as “Madge Rapf” to Humphrey Bogart as “Vincent Parry” in Dark Passage (1947)
Madge about ready to leap, she sure showed him!
Then, in the ultimate power play of a woman scorned, Madge jumps out the window and falls to her death. Vincent has a throwaway line where he tells Irene that Madge “stumbled and fell out the window,” however, it is fairly obvious that Madge jumped on purpose. Before she falls, she is seen grabbing something from the desk, presumably something with which to break the window. Then, she jumps. The window was closed and Madge wasn’t very far from it when she “fell.” There’s no way that Madge would have stumbled with such force that she would have broken the glass. The production code prohibited villains from getting away with their crime through suicide. Presumably, including the dialogue about Madge falling out the window was the film’s way of circumventing the production code.
Can you imagine someone hating you so much, they’d jump out a window to their death to avoid helping you?
The ending scene of Madge’s wrath is expertly performed by Agnes Moorehead. The contempt she feels towards Bogart’s character is so well acted and is felt by the audience. I also appreciate that she’s a bit over the top so that we can safely conclude that this woman is a bit bonkers so we don’t feel too bad for her that she dies. I love movies with scenes that come out of left field. The first time I saw Dark Passage, I didn’t expect Madge to jump. With Bogart there, it seemed like shooting Madge would be the obvious solution. For her to dramatically jump out the window instead, right after her speech where she explains that she won’t do anything to help him, was incredibly shocking and awesome.
My post for this event is coming a little early, as I am leaving for the TCM Film Festival in Hollywood tomorrow night! I wanted to make sure I got my article finished before I leave, as I probably won’t have time to do so while I’m in California. I hope to see William Holden in Sabrina while I’m at the festival, but we’ll see. But I digress, today I am not talking about Holden in Sabrina, I am talking about Holden in his breakout role in Sunset Boulevard.
Prior to 1950, Holden’s career was languishing. His first starring role came in 1939’s Golden Boy, co-starring Barbara Stanwyck. Despite Stanwyck’s enormous help and use of her star power to keep Holden from being fired from the production (a kindness that Holden never forgot and repaid his gratitude by sending her flowers every year on the anniversary of Golden Boy‘s first day of production), this film did not prove to be the breakout hit Holden needed to be considered a movie star. He did appear in films with A-list actors such as Humphrey Bogart, Jean Arthur, Ray Milland, Veronica Lake, to name a few, but none of these films would provide Holden with an opportunity to breakout.
William Holden at the start of Sunset Boulevard
After returning from serving in World War II, Holden was placed in a variety of smaller films, where he played what he called “smiling Jim” roles. Holden grew weary of such films and wanted something that would actually challenge his acting ability and give him a different type of role to play. He found that in 1949 when he was offered the role of Joe Gillis, a down on his luck screenwriter in Billy Wilder’s next film, Sunset Boulevard. Wilder’s first choice, Montgomery Clift, had dropped out of the film’s production. Holden wisely saw Wilder’s film as his opportunity to do something different and accepted the role.
My favorite Sunset Boulevard poster.
Sunset Boulevard was the perfect showcase for what would become Holden’s trademark onscreen persona–the handsome and charming, yet flawed man who was cynical of the world around him. His persona is similar to Humphrey Bogart’s except that Holden was classically handsome and could charm anyone with a flash of his smile. Both Bogart and Holden’s characters were often cynical, but Bogart often imbued his performances with a vulnerable quality. Holden’s characters tended to be more heroic and called upon to do the right thing, even if he himself didn’t believe in it. In ‘Sunset,’ Holden ultimately has to do what’s right for Betty Schaefer and his friend (and her fiancé) Artie–even if it’s not what he would have wanted for himself.
Wilder’s film features a very unusual and somewhat macabre framing device–the story’s narrative is told by the corpse of Joe Gillis (Holden), who at the beginning of the film, is seen floating facedown in the pool at silent film star Norma Desmond’s mansion. Wilder’s previous film noir, Double Indemnity, also used a narrator who recounted the previous events leading to that moment. Except in that film, the narrator, Walter Neff, is still alive and is dictating his story into his boss’ Dictaphone. In ‘Boulevard,’ we see the lifeless frozen in time face of Gillis as he goes into his story:
JOE: Yes, this is Sunset Boulevard, Los Angeles, California. It’s about five o’clock in the morning. That’s the homicide squad – complete with detectives and newspapermen. A murder has been reported from one of those great big houses in the ten thousand block. You’ll read about it in the late editions, I’m sure. You’ll get it over your radio and see it on television because an old-time star is involved–one of the biggest. But before you hear it all distorted and blown out of proportion, before those Hollywood columnists get their hands on it, maybe you’d like to hear the facts, the whole truth. If so, you’ve come to the right party. You see, the body of a young man was found floating in the pool of her mansion–with two shots in his back and one in his stomach. Nobody important, really. Just a movie writer with a couple of B pictures to his credit. The poor dope! He always wanted a pool. Well, in the end, he got himself a pool–only the price turned out to be a little high. Let’s go back about six months and find the day when it all started.
William Holden as “Joe Gillis” in Sunset Boulevard
The film then segues into the beginning of the flashback. Joe Gillis is at Paramount trying to sell a story idea he’s written, hoping that the studio will buy it and hire him to write the screenplay. A studio “reader,” Betty Schaefer (Nancy Olson) is already in the office talking to the studio head, advising him to turn down the story. Unfortunately for Betty, Joe overhears the conversation and is upset. Later, when returning home, Joe notices that he’s being followed by a pair of men looking to repossess his car. Trying to outrun and hide from the men, he turns into the driveway of a seemingly deserted mansion, and hides his car in the garage.
JOE: Wait a minute, haven’t I seen you before? I know your face…You’re Norma Desmond. You used to be in silent pictures. You used to be big. NORMA: I *am* big, it’s the *pictures* that got small.
William Holden as “Joe Gillis” and Gloria Swanson as “Norma Desmond” in Sunset Boulevard.
However, the mansion is not deserted! It in fact belongs to former silent film star, Norma Desmond (Gloria Swanson). Norma hasn’t made a film for over twenty years, but still believes she’s every inch the major Hollywood star. She ambles around in her cavernous mansion, filled with luxurious and expensive decor. Photographs of Norma (real photographs of Swanson during her silent film career) in her heyday are prominently placed throughout the home. Evenings are filled with Norma watching herself perform in her films. Norma is determined to make a comeback, despite hating the word “comeback.” She prefers to think of it as a “return,” a return to the millions of people who won’t forgive her for deserting the screen. Norma’s comeback is set to be a new adaptation of Salome, a script that she has written for herself.
The very bizarre monkey funeral sequence.
Norma’s butler, Max (Erich von Stroheim), exists solely to feed into Norma’s disillusions about her level of celebrity. He gives into her every whim, whether it’s holding a funeral for her dead monkey or organizing a New Years Eve party, complete with an orchestra, for no guests. Max to his credit, is cognizant of Norma’s mental state and takes precautions, such as removing the door knobs so that she cannot lock herself inside when she decides to harm herself. Despite how crazy and funny Norma seems on the outside, inside this is a woman who is struggling and is in desperate need of some therapy and mental help. Norma is a tragic figure in this film.
Having heard that Joe is a writer, Norma hires him to help her with her Salome script. Joe finds the writing abysmal, but with his car about to be repossessed, and his rent in arrears, he realizes that he cannot afford to turn her offer down. Norma has Max set up a room for Joe and soon he’s part of Norma’s life. Norma is ecstatic having Joe around and treats him to champagne, and invites him to engage in one of her favorite pastimes–watching her own movies.
NORMA: We didn’t need dialogue. We had faces!
Gloria Swanson as “Norma Desmond” in Sunset Boulevard
Norma entertains Joe with her delightful Charlie Chaplin impression.
The deserted mansion implies that Norma is a bit of a recluse. She does have some visitors, such as “the Waxworks” i.e., her silent film friends who come by once a week to play bridge. This is such a fun sequence, if only to see Buster Keaton, who was known to be an excellent bridge player. He memorably says “Pass” twice during the game. Joe’s continued presence in the home inspires Norma to have Max dust off her old car, a 1929 Isotta Fraschini. By this point, Joe’s work on Norma’s script is long done, and he continues to live with Norma, indulging her fantasies and delusions. She’s tired of Joe’s “dreadful” shirt, his boring sports jacket, and his baggy pants. Norma takes Joe shopping for a brand new wardrobe, and this is the scene that cements Joe’s new status in Norma’s life–kept man. The salesman at the men’s clothing store has a memorable line that sums up Joe’s entire situation when he’s hesitant to allow her to buy him an expensive Vicuna overcoat over the less expensive camel’s hair:
SALESMAN: As long as the lady is paying for it, why not take the Vicuna?
This scene always makes me laugh.
Joe does take the Vicuna and with that starts the second act and one of the most memorable sequences in the film, Norma’s New Years Eve party. She has Max hire an orchestra, put together an enormous spread of food and champagne, everything that would make for a great party. Joe comes down the grand staircase in a beautiful tuxedo with tails and marvels at the scene. He takes Norma’s hand and while dancing, he innocently asks where the other guests are. There are no guests she exclaims, gleefully. Joe realizes that Norma has fallen in love with him. Hmm. Apparently he didn’t realize that when she bought him a brand new wardrobe? Then comes one of my favorite Norma Desmond quotes when she tries to offer Joe a New Years Eve gift:
JOE: Norma, I can’t take it. You’ve bought me enough. NORMA: Shut up! I’m rich. I’m richer than all this new Hollywood trash. I’ve got a million dollars.
William Holden as “Joe Gillis” and Gloria Swanson as “Norma Desmond” in Sunset Boulevard.
Perhaps the only time we ever saw Jack Webb smile.
Joe eventually leaves and heads to the New Years Eve party of his friend, Artie Green (Jack Webb). As an side, I think this film is the most animated performance I’ve ever seen from Jack Webb. But I digress. Artie’s party is definitely a more raucous and less refined affair than Norma’s party for two. While at the party, Joe runs into Betty again and learns that she’s Artie’s fiancée. However, the two start talking “shop” and discussing Joe’s story idea. Betty comes up with a concept that works with Joe’s idea but changes the setting and characters’ occupation. The two seem to develop an affection for one another as they discuss Joe’s story and get excited by its potential. Eventually though, Joe has to leave and return to Norma.
This scene sets up the overall main conflict of the film: Norma’s obsession with Joe versus Joe and Betty’s burgeoning love affair. When Joe returns home from Artie’s, he learns that Norma attempted suicide over his leaving. Feeling guilty, Joe goes to Norma’s room and ends up wishing her a Happy New Years and kisses her. Talk about mixed signals.
Throughout most of the remainder of the film’s running time, Joe is secretly leaving Norma’s home in the evenings and meeting up with Betty at Paramount. The two are excitedly working together on a story treatment that they hope to sell to the studio. Betty tells Joe about her dreams and past which only endears her to him. She also wants to be a screenwriter and hopes this story may earn her a promotion from reader. Joe is endeared by Betty’s youth and optimism and finds himself falling in love with her. This causes him to feel conflicted, as he doesn’t want to steal his friend’s girlfriend.
JOE: How old are you anyway? BETTY: Twenty two. JOE: That’s it–there’s nothing like being twenty two. Now may I suggest that if we’re ever to finish this story you keep at least two feet away from me…now back to the typewriter.
William Holden as “Joe Gillis” and Nancy Olson as “Betty Schaefer in Sunset Boulevard.
Norma returns to Paramount to see Cecil B. DeMille.
Norma’s opportunity to make a “return” seems to come when she’s contacted by Gordon Cole at Paramount. He wants Norma to come down to the studio and talk about Cecil B. DeMille’s next film. Norma had Max deliver her completed draft of her Salome script to DeMille, so naturally, she thinks that Mr. Cole wants her to come down to discuss it. Norma makes her triumphant return to Paramount, despite only being allowed in because the old studio guard recognized her. When she arrives, DeMille is in the middle of shooting a scene for his next film. He has her sit down and while she waits, the lighting man recognizes her and shines a spotlight on her. Then other employees are heard in succession, saying Norma Desmond’s name. This sets up one of my favorite lines in the movie:
PARAMOUNT SECURITY GUARD: Why I thought she was dead!
Betty and Joe start to fall in love.
The final act of the film is where Norma’s obsession with Joe and Joe and Betty’s late night story writing plot lines come to a head. Norma begins to become suspicious of Joe’s late night trips. She finds out about Betty and becomes extremely jealous and telephones her over and over. Joe overhears Norma talking to Betty and interrupts the call. Knowing that he needs to end things with Betty as to not hurt Artie, he tells her to come over to Norma’s home. When he does, he essentially explains to her that he’s the kept man of Norma Desmond and runs her out of his life by pretending to brag and gloat about the lavish lifestyle he’s living with Norma. While we’re led to believe that Joe is just saying these things to drive Betty away and back to Artie, one has to wonder if he truly believes his lie. Despite thinking Norma was nuts at the beginning and just accepting what he thought would be easy money, Joe seems to enjoy his time with Norma. He lives lavishly, enjoys nice food, champagne, her pool, she has everything he wants. It’s easy to see why Norma would be in love with him. He’s young, he’s handsome, he’s charming, he has everything an aging woman would want. I could write a whole article about how Norma Desmond is truly the victim of Sunset Boulevard, despite murdering Joe. But that’s for another day.
Norma’s 1929 Isotta Fraschini
Max finds out the truth about why Paramount wanted to see Norma on the lot. It wasn’t for Salome, but rather they wanted to use her car in a film. Upon hearing the reason, Cecil B. DeMille cannot in good faith hurt Norma’s feelings and tells Gordon Cole to find another car. Once again the people in Norma’s life protect her from the truth. Joe FINALLY grows a back bone and some self-respect and decides to leave Norma’s home. Except she’s a woman scorned and she will not let him leave. While walking past the pool, Norma shoots Joe three times and he collapses, face first into the pool. That brings us back to the beginning of the film.
JOE: Well this is where you came in. Here’s that pool again, the one I always wanted.
William Holden as “Joe Gillis” in Sunset Boulevard.
Norma Desmond’s final scene in Sunset Boulevard is spectacular. The police are on the scene, ready to take Norma in for murder. Hedda Hopper is there, wanting her paper to take her story direct, live from Norma’s bedroom. Reporters with newsreel cameras, to capture Norma’s arrest are huddled around. Every one is there, except Norma’s grip on reality. Her madness has finally reached its peak. Max, no longer complicit in maintaining Norma’s fantasy life, uses her delusions of grandeur against her to lure her into the waiting police car. As Norma’s former director, Max positions himself amongst the newsreel cameras, telling Norma that they’re here to start shooting Salome.
Norma’s descent down the stairs is completely surreal. As she makes her way to the bottom, everyone else in the scene remains completely still. Norma makes her way towards Max, arms reaching out towards the camera. She’s ready to make her triumphant return. Norma makes a speech about how happy she is to be back in front of the camera. She looks completely bonkers as she finally makes her way to her mark to start filming her scene. Reaching out one more time towards the camera she says in an oft-misquoted line:
NORMA: All right, Mr. DeMille, I’m ready for my close-up.
Gloria Swanson as “Norma Desmond” in Sunset Boulevard
