The Bride Came C.O.D. (1941). 92 minutes. Directed by William Keighley. Starring James Cagney (as Steve Collins), Bette Davis (as Joan Winfield), Eugene Pallette (as Lucius Winfield), and Harry Davenport (as “Pop” Tolliver).
The Bride Came C.O.D. is reminiscent of two other films that I have reviewed recently. Like von Stroheim’s Greed, it was filmed in Death Valley when temperatures were high. Like It Happened One Night, it features a wealthy heiress who wants to marry a dashing celebrity of whom her father disapproves, and the plot involves her displacement and an elaborate hunt to locate her.
By the early 1940s, Bette Davis and James Cagney were looking for new material. Cagney had flourished playing gangster characters in movies such as The Public Enemy, and Davis had had great success in melodramas such as Jezebel and Of Human Bondage, but both actors thought a comedy was necessary to move their careers in fresh directions. What they … Read the rest
Easter Parade (1948). 103 minutes. Directed by Charles Walters. Starring Judy Garland (as Hannah Brown), Fred Astaire (as Don Hewes), Ann Miller (as Nadine Hale), and Peter Lawford (as Jonathan Harrow III). Music and lyrics by Irving Berlin.
Easter Parade contains some of stars Fred Astaire’s and Judy Garland’s most beloved routines, including the title song (sung at the film’s conclusion), “Steppin’ Out With My Baby,” and “We’re a Couple of Swells,” the latter of which became an important part of Garland’s concert repertoire. The film takes place over the course of a year in New York, from the Easter of 1912 to the Easter of 1913. Singer and dancer Don Hewes (played by Astaire) has been abandoned by his accomplished partner, Nadine Hale (played by Ann Miller), and stumbling into a cabaret at night, Hewes tells his friend Jonathan Harrow (played by Peter Lawford) that he can make any of the girls performing in that venue into a world-class … Read the rest
I learned that Alfred Hitchcock’s Rear Window (1954) was coming to a theater near my Bay Area residence as part of a nationwide special screening of the film in digital format organized by Turner Classic Movies. A friend and I made time to trek out to the matinee screening on March 25. Oh, dear reader: that afternoon was such a sad commentary on the modern theater-going experience. I distinctly got the feeling that no one was working hard to maintain the gargantuan multiplex that was showing the film. The machine that printed the tickets necessary for admission broke as the clerk was attempting to use it. The manager was called over but could not fix it. It was determined that we would simply be let in to the multiplex and sent to our theater, ticketless, but the staff could not determine through the computer which theater Rear Window was playing in. Phones were produced in an attempt to find the … Read the rest