Classic movies are not just antiquated films from a bygone era...rather, they are beautiful, well-acted, well-written gems that ought not to fade into obscurity. Truly, Hollywood just doesn't make 'em like they used to!!! I hope you'll discover some must-sees by your visit here.
It Happens Every Spring, from 1949, is a fun little baseball comedy I caught last month for my celebration of the beginning of another Major League Baseball season. Directed by Lloyd Bacon, It Happens Every Spring stars Ray Milland, Jean Peters, and Paul Douglas and features Ray Collins, Ed Begley, Jessie Royce Landis, and Alan Hale, Jr. in minor roles. For anyone who has ever wanted to pitch in the majors, this delightful film is for you.
Vernon Simpson (Ray Milland) is a baseball lovin' college chemistry teacher, who is working on his doctorate degree. Although he and the university president's daughter, Debby (Jean Peters), are in love, because of his poor financial condition, Vernon has been discouraged by her father (Ray Collins) from asking for her hand in marriage.
Convinced that an experimental serum he has developed is going to be bought by a large corporation, Vernon assures Debbie that it won't be much longer until they can be married; hardly have those words left his mouth when a baseball from the university's game comes sailing through the classroom window, knocking into his experiment, and sending the prized liquid all over the floor. Because of the time involved in recreating the project, Vernon is quite distressed by the loss.
Very much by accident, Vernon discovers that the culprit baseball---now saturated by the spilled liquid---is repelled by wood. After two of the university's baseball players are unable to hit a ball rubbed with the compound, Vernon sees an opportunity to revolutionize the game he loves, join the majors, and earn enough money for him and Debby to get married. Without any explanation to anyone (even Debby) as to what he's up to, Vernon requests a leave of absence from the college, heads off to St. Louis, and barges into the team owner's office.
Claiming he can win 30 games and the pennant, Vernon brags that he's the guy they need. Though the team officials think he's just a crackpot, they give him a chance to pitch, and what they see astounds them. Casually rubbing his finger onto the "stuff" and then onto the ball, Vernon's pitches are unhittable, and he puts away one batter after another. Convinced that they have just discovered their sure ticket to victory, the team immediately offers Vernon a contract.
Wanting to keep his true identity a secret, lest the folks back home find out and he get fired from the university, Vernon adopts the name King Kelly. Together with his catcher, Monk Lanigan (Paul Douglas), the new pitching sensation leads his team to a successful season, all the while trying to remain incognito.
Meanwhile, because of Vernon's hasty, unexplained departure and the fact that he has been out of touch, the university has put out a 5-state search for him, and after Debby's mother happens to see him in the company of five men at the train station, she is convinced he's gotten involved with a bunch of gangsters. It all plays out in a very fun, screwball kind of way.
Not a spectacular film, but definitely very cute and loads of fun..a solid 3 stars. The cast is perfect, and each person plays their part well. I was especially charmed by Ray Milland. Some of his expressions crack me up. Though not an Academy Award winner, the film did receive a Best Writing nomination. Those who enjoy baseball comedies ought to greatly enjoy this.
Out on DVD, It Happens Every Spring ought to be fairly easy to track down. Additionally, it is on the TCM schedule for Sunday, June 30th, at 2:30 p.m. (ET).
While meandering around downtown this past Saturday, my son came across this gorgeous painting in a vintage art and decor shop. Obviously, I have taught my young man well, for even without an identification marker, he knew who this was. I'm not sure any of his peers would recognize Gary Cooper---some of them may never have even heard the name---but at least my son knew him, and with the fancy-dancy phone he has, he was able to snap a picture of the beautiful painting for me.
This stunning piece of artwork would look terrific in the movie-themed room I want to create in my house. Alas, though, the asking price is $550...more than a little outside my budget. Oh well...I'll always have my son's photograph downloaded to my computer.
From Britain's Gainsborough Pictures, Ltd., comes Love Story, a wartime romantic drama from 1944. Starring Margaret Lockwood and Stewart Granger, this film bore the title A Lady Surrenders upon its release in the United States. It's a film I had never even heard of until I went on the prowl for some of Mr. Granger's earlier works.
Wanting to do more for the war effort, concert pianist, Felicity Crichton (Margaret Lockwood), purposes to leave her career behind and take a position with the RAF WAC's. In the physical exam required for admission to the corp, it is discovered that the fainting spells she had been having are not due to nerves as she had thought; rather, they are indicative of a fatal heart condition, resulting from her childhood battle with scarlet fever. According to her doctor, death is inevitable...and not far off. Wanting to enjoy every single minute of the few months she has left to live, Felicity journeys to the English coast, taking on the name Lissa Campbell for anonymity.
Also visiting the English coast is Kit Firth (Stewart Granger), a former RAF pilot no longer able to serve, due to an optic nerve injury which has left him with a prognosis of blindness. Although a surgical procedure could repair the damage, the odds aren't in Kit's favor, so he has refused the operation, a decision reinforced by his childhood friend, Judy (Patricia Roc). One of the few people aware of his condition, Judy is secretly in love with Kit and for that reason, views his impending blindness as a good thing, as it will keep him dependent upon her.
Though Lissa and Kit fall in love, in typical melodramatic fashion, neither will reveal their condition to the other. Not wanting to burden one another, they vow a "no strings attached" kind of relationship, which means their love may not even survive the short time they could have together.
Though not spectacular, this film is well worth watching. It is a bit on the slow side, but the story is sweet, Stewart Granger is incredibly handsome, Margaret Lockwood is lovely, and the music is beautiful. Definitely, for me, an enjoyable, 3-star viewing experience.
Love Story is out on DVD and available through Classic Flix. It is also available in its entirety on YouTube.
Blanche Fury, from 1948, is a suspenseful period drama starring Stewart Granger and Valerie Hobson. It's a film which had been in my Net Flix instant queue for many months, and I'm glad I used Mr. Granger's centennial month as an excuse to buckle down and watch it. While not a favorite film, it is definitely an enjoyable and interesting viewing experience.
In 1860's England, proud but poor Blanche Fuller has had her fill of being a companion to rich, crochety old ladies. Ambitious and very strong-willed, Blanche doesn't have the personality to be a successful long-term employee to those who patronize her, so she has left a whole host of positions prior to the one which begins the film. A way out of the despised situation arrives in the form of a letter from her wealthy uncle, Simon Fury. Due to differences of opinion between her father and her uncle, the families have long been estranged; however, Simon is in need of a governess for his motherless granddaughter, Lavinia, and Blanche is offered the position. Accepting immediately, Blanche takes up residence at Clare---the ancestral estate her uncle has recently acquired from the Fury family. (At the time of the property acquisition, Simon Fuller chose to take on the Fury name as well.)
The estate's steward, Phillip Thorn (Stewart Granger), believes he is Clare's rightful owner, as his father was Adam Fury. However, since documentation proving the marriage between his mother and Adam Fury has never been found, his legitimacy is denied, as is his claim to the property. Unwilling to accept such circumstances, Thorn has become obsessed with finding a way to make Clare his own.
Simon's son, Lawrence, asks Blanche to marry him, and through her acceptance, she becomes mistress of the estate. Though Blanche and Phillip Thorn had gotten off on a bad note, they soon become lovers; with Thorn obsessed with obtaining what he believes to belong to him, and Blanche, ambitious and having no love for her husband, the two put in plan a motion to murder those standing in the way of what they want. Whether their plan is successful or not will play out in the balance of the film.
While not a spectacular film, Blanche Fury is, nevertheless, solid and interesting...a definite 3 stars for me. I had never heard of Valerie Hobson prior to seeing her here, but that doesn't matter. She was quite believable as Blanche. I really liked Stewart Granger in his role. Though his Phillip was an obsessed, driven, mostly unlikable man, I enjoyed the way Mr. Granger brought him to life. Plus, he's always great to look at! I might have rated the film higher had there not been some plot developments which I found totally inconsistent with the times. Since I don't want to provide spoilers, I will just say that with the information which came out at the trial, I didn't find the townspeople's response to be in keeping with the era being portrayed. For that reason, I decided to downgrade to 3 stars.
While not out on DVD, the film is available through Net Flix instant viewing and on YouTube.
When Gary Cooper comes to mind, one doesn't generally think "thriller" or "suspense." Similarly, when we think of sitting down in front of an edge-of-your-seat mystery, Coop is not who automatically comes to mind as playing the lead. Well, 1961's The Naked Edge changes our preconceived notions, as Coop is the star, and the film is definitely a thriller. Also starring Deborah Kerr and featuring Eric Portman and Michael Wilding in minor roles, this Michael Anderson film is based on Max Ehrlich's novel First Train to Babylon. Filmed on location in London, it's a title I had been trying to track down for quite some time, and I finally found it on YouTube last week...just in time for a celebration of Coop's May 7th birthday. Truly, this is Gary Cooper as you've never seen him before!!
Having witnessed the murder of his boss, Jason Roote, sales manager George Radcliffe (Coop) is a key prosecution witness at the trial of fellow Roote Air Freight Corporation employee, Donald Heath. It is revealed through Radcliffe's testimony that a large sum of money, from the collection of the COD payments, was expected the evening of the murder, and that in addition to himself and Mr. Roote being present, Heath had volunteered to work overtime and was in the building as well. Shortly after Mr. Roote departed George's office for his own, he was stabbed to death, and alerted to the crime by the victim's cry, George reached the hallway in time to see a man running from the building. Following the retreating figure, George ended up in the building's boiler room, where he discovered Donald Heath. Although the satchel of money was never found, the case is fairly open-and-shut, and the jury soon renders a guilty verdict, causing Heath to lose his composure and shout that he is innocent, that Radcliffe is, in fact, the murderer.
Several years pass, during which George Radcliffe and his business associate, Morris Brooke (Michael Wilding), become prosperous through a successful venture. It is then that the contents of a mailbag stolen five years earlier are forwarded to those for whom they had originally been intended. One of the pieces of mail, which George's wife, Martha (Deborah Kerr), opens is a letter from a Jeremy Clay, claiming that he knows Radcliffe was the man who really killed Jason Roote.
Although Martha insists that she doesn't believe the words of the letter, she is, nevertheless, very troubled by them. Recalling an angry altercation George (whom she calls Cliff) had with a man after the trial, and reflecting on the prosperity which he fell into around that time, Martha begins to get suspicious of her husband. She's not at all sure that he didn't kill Mr. Roote, and it doesn't help that Cliff's behavior is becoming erratic. As Cliff sees it, Martha is acting like a wife who has just begun to suspect a mistress, only her suspicions are worse.
Terrified that her husband is a murderer, Martha begins her own investigation, and the more she digs, the more she is convinced of his guilt. She knows she'll have to turn him in, yet she is also aware that Cliff would never allow her to do that...that he would do whatever it takes to keep her silent. She begins to fear for her own life.
Did George Radcliffe kill Jason Roote? Did he frame an innocent man and then send him to prison with his testimony? Will Martha discover what really happened? Will she go to the police with her suspicions, even if it means turning in her own husband? These are the questions which will play out in the balance of the film. By the end of the film, you will know who killed Jason Roote...and, in the same spirit as in Witness for the Prosecution, you will be asked to not reveal the secret to those who have not yet seen it. (I'm not one for spoilers anyhow, but with the movie's producers requesting discretion, I would certainly not reveal how everything turns out.)
This film is fascinating, and it has some very Hitchcock-esque qualities to it, particularly the scenes on the London streets and the scene in which Martha is listening to a Philharmonic concert on TV, while a man prepares to silence her in the bathroom upstairs. The musical score is terrific and adds greatly to the suspense. Deborah Kerr is perfect as the "I don't want to believe it, but I just can't help it," terrified wife. I thought she played the part with absolute believability. Gary Cooper, on the other hand, seemed uncomfortable in his role. Oh, he wasn't horrible, but he just seemed stiff and wooden. Of course, his character was meant to be mysterious, so that could be it. Or perhaps he was uncomfortable portraying a man who may have committed a murder and is about to commit another. Even more likely, the early stages of his final battle with cancer were upon him here, and he was undoubtedly feeling the effects of them. Whatever it was, my beloved Coop just seemed a bit out of his element here in The Naked Edge.
Despite Coop being a bit off, though, I really loved this film and found every minute of it be exciting. I was quite on the edge of my seat through the entire thing and, in fact, had considered it to be a 5-star film. I realize, however, that my effusiveness is somewhat because of my love for Coop, my excitement at discovering a "new to me" film of his, and the suspense of not knowing how it would turn out. In truth, I don't think repeat viewings (when you know how everything will turn out) will have quite the same effect on me; thus, I think future viewings will see me going with 4 stars, so that is how I am rating it now. Regardless---4 or 5 stars---it's an exciting, interesting, suspenseful, "Gary Cooper as you've never seen him before" film, well worth seeing and which I highly recommend.
There is a real bittersweetness to catching this film, though, because it is Coop's final film. The knowledge that my beloved guy's long and distinguished career had reached its end and that his beautiful, charismatic presence would never again grace the silver screen, is quite sorrowful. Adding to the sorrow is my awareness that it wasn't just Coop's career which was ending...it was his very life. Not long after completion of this film, he would succumb to cancer and depart this world at the too-young age of 60. In fact, The Naked Edge wasn't released in the U.S. until after his death. (His hometown of Helena, Montana, was the first U.S. city to screen it---June 28, 1961---two days before its New York screening.)
The film is not out on DVD, nor is it on the TCM schedule in the near future. However, it is available on VHS, plus it's available in its entirety on YouTube (HERE). Do try to catch it if you can.
The Prisoner of Zenda---so far---is in no danger of losing its status as my favorite Stewart Granger film. Although many blog readers thought Scaramouche---which I caught for the first time last week and will be reviewing later this month---would usurp that #1 position, it didn't. Oh, I liked the film tremendously, and I thought Mr. Granger was more handsome in that film than in any other I have seen (and I think he's always gorgeous---at least when he is clean-shaven); however, The Prisoner of Zenda is so dear to me that it was able to withstand the competition and remain my favorite Stewart Granger film. Loving that film as I do, I thought re-working and expanding on its previous post was a definite must for Mr. Granger's centennial celebration here at They Don'tMake 'Em Like They Used To.
Based on Anthony Hope's 1894 adventure story, The Prisoner of Zenda has seen several film adaptions through the years. Perhaps the best known of them is the Ronald Colman/Douglas Fairbanks, Jr. one from 1937; this lavish Technicolor 1952 version---which stars Stewart Granger and Deborah Kerr and features Louis Calhern, Jane Greer, and James Mason in support---is, according to Robert Osborne, nearly the exact likeness of the 1937 film. In fact, the same script was used, as was the same Alfred Newman score. The only differences, according to Osborne, were a new cast and the addition of technicolor. Many people prefer the '37 film; I, however, have not yet seen that one, so I cannot compare the two and am basing my rating solely on how this particular film affected me.
The film begins just before the coronation of Rudolph V, king of the fictional country of Ruritania. Just happening to be on his way through the country at the time is a distant cousin of the king, an Englishman who also bears the name of Rudolph. Except for the fact that the Englishman has a mustache and is graying at the temples, he is the exact image of the king. (Stewart Granger plays this dual role.) The Englishman is invited to dine with the king on the eve of the coronation. In his usual fashion, the king drinks to excess; later, however, he collapses...having been poisoned through his wine.
King Rudolph's allies know that the king's half-brother Michael, who wants the crown for himself, is likely the one behind the poisoning; they also know that if the coronation does not go on as scheduled, Michael will be crowned instead. Since Rudolph the Englishman looks virtually identical to the king, it is suggested that he impersonate the king for the coronation ceremony, after which time, the effects of the poisoning will have worn off, and Rudolph can take his throne and the Englishman may continue on his journey, with no one ever knowing that it was not the real king who was actually crowned. Convinced that the plan will work, Rudolph the Englishman takes the king's ring and the plan is set in motion, with the real king being hidden away in the wine cellar.
Is Rudolph the Englishman successful at convincing everyone that he is the real king? And what about when he meets the Princess Flavia (Deborah Kerr), the woman promised to the king? Do Michael and his cohorts sit back quietly and allow their plans for Michael to usurp the throne to be thwarted? These are the questions which play out in this exciting little film. The dashing (and beautiful voiced) James Mason portrays one of Michael's partners in crime, and there is a terrific fencing scene between him and Stewart Granger.
According to Stewart Granger's autobiography, Sparks Fly Upward, it was his idea for the remake. While he and Jean (Simmons) were dining with Mr. and Mrs. Ronald Colman, Mr. and Mrs. David Niven, and Deborah Kerr and husband one evening, Mr. Colman ("Ronnie," as Granger refers to him) asked if they would like to see one of his old films, and since Mr. Niven had also appeared in The Prisoner of Zenda, that is the film the guests were shown. Enthralled with the film, Granger announced that he was going to suggest to Dore Schary (Metro) that he buy the rights and do a remake, which, of course, he did and Mr. Schary did. Though Granger had no illusion that "he could ever compete with Ronnie Colman as an actor, at least (he said), he could fight better"...or so he thought. At one point in the filming of the sabre fight, he forgot to "parry to the left" and was caught in the mouth by the sword. Though not a serious injury, it spilled forth quite a bit of blood and required a few stitches; however, the next day, Granger was able to get back to filming, and in only twenty-eight days, this extravagant Technicolor version of The Prisoner of Zenda was completed. "Bloody hard work but great fun," according to Granger. Sensational, captivating, and charming, according to me! I absolutely love this film!
Out on DVD as part of the Literary Classics Collection, The Prisoner of Zenda should be quite easy to track down. Additionally, it is on TCM's schedule for Monday, June 24th, at 2:00 p.m. (ET). Definitely, try to see it...it's an exciting, entertaining, 5-star gem of a film.
Happy viewing!!
NOTE: All quoted material derived from Sparks Fly Upward, by Stewart Granger, G. P. Putnam's Sons, 1981.
Boise Classic Movies (HERE) is continuing on with its once-a-month classic film screening at downtown Boise's historic Egyptian Theatre. I haven't taken in a film there since February, when I went to An Affair to Remember. The March, April, and May showings weren't anything I was interested in (and I didn't consider a couple of them to really be "classic" films, in that they were far too modern to be considered that for me). The scheduled showing for June is Back to the Future, which, again, is far too modern for my taste; thus, I won't be having a big screen experience next month either...but things are looking positive for a July evening at the beautiful historic Egyptian.
Each month, five chosen films are put to a vote (one vote per person), and the film receiving the most votes is the one which will be screened...IF they sell at least 200 tickets. So, really, this is just round one; however, to my knowledge, there has rarely (if ever) been a problem selling the required number of tickets. The ballot has just been unveiled for July's showing...all 5 are epics, 4 of them are ones I would actually go to see, and 3 are David Lean films. Ah, to choose between them...
Lawrence of Arabia---I have never seen this, but my friend DKoren of Sidewalk Crossings has raved about it in a recent blog post. Only a few short weeks ago, she caught it on the big screen in her own city, and she loved every minute of it. I know she would urge me to see this one if at all possible.
Bridge on the River Kwai---This is not necessarily a favorite movie, but I do enjoy it (4 stars)...the big advantage to this one is the opportunity to catch Bill Holden on the big screen. My daughter thinks I'll vote for this one simply because of my beloved Bill. Not sure yet...but she may end up being right.
Doctor Zhivago---Another of the films which has not yet crossed my path, but which has often been recommended as a must-see. I hear that the music in this film is spectacular.
Gone with the Wind---My favorite film of the 1930's and among my top 7 movies of all-time. Seeing this on the big screen would be an awesome experience...but I just watched this with my daughter's sweet, precious (and very beloved to me!), Civil War era-loving friend, Meghan, when she was visiting back in October. Much as I love GWTW---and much as I'd love to see Gable "up close and personal" on the big screen---I'm not leaning to voting for this, simply because I recently saw it. That said, if it wins the vote and is the film shown in July, I will be in attendance.
The Godfather, Part II---I've never seen this and really don't have any desire to, so voting for this is not even under consideration...and should it win and be July's showing, I probably will not be having a big screen classic film experience that month.
So, there you have it...I'm between 3 David Lean films. I have a few weeks before voting closes, so there's still time to make up my mind. Tell me, which of these films would you choose?
