Review of two Marx Brothers memoirs: Groucho and Me by Groucho Marx (1959) and Harpo Speaks! by Harpo Marx and Rowland Barber (1962)
If you are searching for information about how the Marx Brothers made their films or how some of their most famous routines developed, you will probably be disappointed by both Groucho and Me and Harpo Speaks! In their respective autobiographies, neither Groucho nor Harpo Marx is really interested in providing us with a behind-the-scenes look at their film work. Harpo is, it must be pointed out, particularly generous with descriptions of the siblings’ theatrical tenure and their early days on the road. Astonishingly, though, neither brother really spends much time dissecting his later work in Hollywood.
Yet there is so much rich and wonderful detail given here about the private lives of these two famous Depression-era film stars. Harpo focuses much of his narrative on his youth in New York and subsequent astonishing entrance into the famed … Read the rest “Movies from the Trenches: Marx Brothers Memoirs”
On February 12, 2016, the San Francisco Symphony screened Alfred Hitchcock’s Vertigo (1958) at Davies Symphony Hall with live orchestral accompaniment. Live accompaniment is a popular trend in vintage movie presentation: in similar fashion, a national tour of The Wizard of Oz with live orchestra made the rounds in the summer of 2015, and the San Francisco Symphony plans to perform the ET soundtrack in March of 2016. It seems to me that Vertigo is probably one of the most desirable films to see and hear in this way. Its astonishing score by Bernard Herrmann, Hitchcock’s frequent collaborator, is a symphonic landmark and Herrmann’s personal favorite of his many compositions. Given the high quality of the music (let alone of the film itself, which was ranked number one on Sight and Sound’s 2015 poll of the greatest movies ever made), this seemed the perfect opportunity for me to explore the phenomenon of live soundtrack recreation.
Live accompaniment in the … Read the rest “Movies from the Trenches: SF Symphony’s “Vertigo””
42nd Street (1933). 89 minutes. Directed by Lloyd Bacon. Musical sequences directed by Busby Berkeley. Starring Ruby Keeler (as Peggy Sawyer), Warner Baxter (as Julian Marsh), Bebe Daniels (as Dorothy Brock), George Brent (as Pat Denning), Guy Kibbee (as Abner Dillon), Ginger Rogers (as Ann Lowell), and Dick Powell (as Billy Lawler). Music and lyrics by Harry Warren and Al Dubin.
42nd Street is the first of four movies whose musical sequences Busby Berkeley directed for Warner Bros. from 1933 to 1934. Prior to 42nd Street, Berkeley had directed theatrical productions and short sequences for Eddie Cantor musicals, but 42nd Street was a different sort of vehicle, both for Berkeley and for Hollywood. According to Leonard Maltin, by 1933 movie-going audiences, which had been inundated with musicals since the birth of sound film technology a few years earlier, had grown tired of song-and-dance productions. As a musical that was also a backstage story, 42nd Street offered a fresh … Read the rest “42nd Street (1933)”
Alice in Wonderland (1933). 77 minutes. Directed by Norman Z. McLeod. Starring Charlotte Henry (as Alice), W. C. Fields (as Humpty Dumpty), Cary Grant (as the Mock Turtle), Gary Cooper (as the White Knight), Edna May Oliver (as the Red Queen), Edward Everett Horton (as the Hatter), and Charles Ruggles (as the March Hare). Screenplay by Joseph L. Mankiewicz and William Cameron Menzies.
The 1933 Alice in Wonderland is an important early sound attempt at transforming a fantasy children’s novel into a live-action full-length feature film. It conflates Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking-Glass to bring us a sprawling tale of a girl’s fantastic journey through the strange landscape of her dreams. The screenplay was adapted by Joseph L. Mankiewicz and the visually inventive William Cameron Menzies, and the cast features some of the brightest stars of Golden Age cinema. The film was, however, considered a flop at the time of its release and has never … Read the rest “Alice in Wonderland (1933)”
Holiday Inn (1942). 102 minutes. Directed by Mark Sandrich. Starring Bing Crosby (as Jim Hardy), Fred Astaire (as Ted Hanover), Marjorie Reynolds (as Linda Mason), Virginia Dale (as Lila Dixon), and Walter Abel (as Danny Reed). Story and songs by Irving Berlin. Choreography by Danny Dare.
Holiday Inn is a clever, Christmas-oriented spin on the “let’s put on a show” variety of Golden Age musical. It features Bing Crosby and Fred Astaire as New York stage entertainers. Along with Virginia Dale, they form a song-and-dance trio that at the beginning of the film is slated for its farewell performance. Lila Dixon (played by Dale) plans to marry Jim Hardy (played by Crosby) and retire with him to a farm in Connecticut, but on the evening of their last show she reveals that she is in love with Ted Hanover (played by Astaire) and keen to keep on singing and dancing with him. Crosby recovers quickly and in stride in a … Read the rest “Holiday Inn (1942)”
Cat People (1942). 73 minutes. Directed by Jacques Tourneur. Starring Simone Simon (as Irena Dubrovna Reed), Kent Smith (as Oliver Reed), Jane Randolph (as Alice Moore), and Tom Conway (as Dr. Louis Judd). Produced by Val Lewton.
For a B-grade horror movie about a woman who can transform into an animal, Cat People is a surprisingly sensitive and human story. This film achieves much more than we would expect from a typical B picture. In fact, it offers a mixture of subtlety, sophistication, and inventiveness that would be difficult for any movie to achieve. All throughout we hear the mysterious, part-feline protagonist Irena Dubrovna Reed articulate her loneliness, her need for warmth, and her fear that something evil resides within her. As she puzzles over her true nature, we watch her marriage to her newlywed husband Oliver deteriorate and see how its demise fuels her longing and isolation. It would appear that her relationship with Oliver is the only substantial … Read the rest “Cat People (1942)”
Dames (1934). 91 minutes. Directed by Ray Enright. Musical direction by Busby Berkeley. Starring Dick Powell (as Jimmy Higgins), Ruby Keeler (as Barbara Hemingway), Joan Blondell (as Mabel Anderson), ZaSu Pitts (as Matilda Ounce Hemingway), Guy Kibbee (as Horace Peter Hemingway), and Hugh Herbert (as Ezra Ounce). Music and lyrics by Harry Warren and Al Dubin.
Warner Bros. could have called this movie Gold Diggers of 1934 and its title would have made at least as much sense as the one they settled on. Much like the Gold Diggers movies, which I have reviewed previously (here and here), Dames focuses on characters who scheme to get their hands on an impressive sum of money and the way their lives intertwine with characters who are plotting to raise funds to put on a spectacular musical — all played by the usual Busby Berkeley suspects. The first set of schemers is Matilda and Horace Hemingway, who stand to inherit millions … Read the rest “Dames (1934)”
The Lady from Shanghai (1947). 88 minutes. Directed by Orson Welles. Starring Orson Welles (as Michael O’Hara), Rita Hayworth (as Elsa Bannister), Everett Sloane (as Arthur Bannister), and Glenn Anders (as George Grisby).
The Lady from Shanghai is a sophisticated film noir about the difference between reality and illusion, but one could also say that it is a movie about creepy people doing creepy things in creepy places. For the first-time viewer, it may seem most like a film that is struggling to be coherent in spite of its leaving the audience with many unanswered questions, such as: what does the husband know and when? What are we to make of the wife’s mysterious past in Shanghai, her smoldering glances, and her inexplicable moodiness? Did she marry her husband to protect a secret? Is she in danger? With dialogue such as “Everything’s bad. You can’t fight it” and “It’s a bright, guilty world,” we might wonder where the characters’ bleak … Read the rest “The Lady from Shanghai (1947)”
Scarface (1932). 94 minutes. Directed by Howard Hawks. Starring Paul Muni (as Tony Camonte), Osgood Perkins (as Johnny Lovo), George Raft (as Guino Rinaldo), Boris Karloff (as Gaffney), Ann Dvorak (as Cesca Camonte), and Karen Morley (as Poppy). Produced by Howard Hughes.
“Oh, I knew Luciano and Costello, and even Capone, and lesser lights. It was easy to be in movies and not know them, but almost impossible to be in show business—Broadway—without knowing them, unless you never went out at night to a nightclub and never knew anybody in any form of show business. Unless you were the Lunts or Katharine Cornell, it was virtually impossible not to get to know them—they were so anxious for you to. Capone used to take four rows at the opening night for every play in Chicago and come backstage and see everybody. You couldn’t get to a nightclub without Costello sending over a bottle of champagne, or sit in Lindy’s without Luciano … Read the rest “Scarface (1932)”
Richard B. Jewell published The Golden Age of Cinema: Hollywood, 1929-1945 in 2007 because, as he says in the introduction, he was frustrated by the absence of anything like it on the book market. Jewell is the Hugh M. Hefner (yes, that Hugh M. Hefner) Professor of American Film at the University of Southern California and teaches Golden Age cinema there.
The book has many virtues, and its content tends to be helpful and instructive. Of particular note are the chapters on technology and censorship. Both do a marvelous job of making complex processes fairly cogent: the early attempts at color and sound film on the one hand, the intricacies of the Production Code Administration (a.k.a. the Hays Office, Hollywood’s internal and voluntary censorship office) on the other. The details about the Code, in particular, are fascinating; Jewell excerpts a large portion of the Code itself for our perusal—it is astonishing. I also appreciated the chapter on the star system, … Read the rest “Movies from the Trenches: “The Golden Age of Cinema” (Review)”