Sunday, December 29, 2019

‘The Apartment’: A Still Perfect View 1960

Shirley MacLaine & Jack Lemmon's careers went all the way to the top in 'The Apartment.'

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The 1960 Billy Wilder comedy-drama, The Apartment, just keeps showing better with time. 
Wilder's work is typically labeled as cynical, which reminded me of a quote that a cynic is the ultimate romantic. If so, perhaps that was Billy Wilder’s general outlook. However, in The Apartment, I'd call his vision honest, with a touch of romanticism.
Jack Lemmon, Shirley MacLaine, and Billy Wilder during filming of 'The Apartment.'

The Apartment was Wilder's career peak, with the film winning best picture Oscar, Wilder as best director, and screenwriter (with I. A. L. Diamond). I adore Wilder’s movies, but The Apartment is Billy’s best blend of the comedic and dramatic, as well as gracefully walking the fine line between risqué and raunchy. Wilder's look at modern day social and sexual mores is sharp-witted and painfully honest, but tempered with a tinge of hope and happiness. 
Lemmon's likeable Bud Baxter does some unlikeable things to get ahead.

The Apartment begins Nov. 1, 1959 and was released the summer of 1960.  Wilder was riding the zeitgeist with his look at post-war America, in the workplace and the bedroom. The Apartment makes a tart response to all the tease of 1959's Pillow Talk and all the sex comedies to come. While the game-changing Doris Day-Rock Hudson bedroom comedy has its pleasures, it presents a Hollywood-ized picture of mid-twentieth century sexual attitudes, palatable for the masses. Pillow Talk is all brightly lit, with pretty people, clothes, immaculate sets, merry music, along with fluffy dialogue and story. This is a stark contrast to The Apartment, with the sterile workplace, realistic characters, smoky bars, rainy streets, and the drab apartment. While Pillow Talk's dialogue has no consequences, The Apartment's pointed barbs cost reputations, jobs, marriages, and nearly a life.
The story is simple: C.C. “Bud” Baxter strives to ride the wave over the multitudes of other faceless workers through hard work AND pimping out his apartment for philandering higher-ups. At first, Baxter’s efforts pay off, but then the situation spins out of control.
Jack Lemmon supplies the booze and the laughs in 'The Apartment.'

Jack Lemmon is the perfect comic everyman as Baxter. He’s viewed as a schnook by his superiors, a heel by his neighbors and bland boyfriend material by his adored elevator operator. Lemmon’s persona was distilled to perfection with his work in The Apartment. Jack’s likeable but not afraid to be a jerk, his physical comedy bits are delightful, and his comic and dramatic timing with the great dialogue here are flawless.
Shirley MacLaine as Fran Kubelik, about to make some changes on New Year's Eve.

Shirley MacLaine can be over the top, but here, she is the model of restraint as Fran Kubelik. With Wilder and Diamond's wonderfully written role, MacLaine is warm, funny, and touching as the adorable young woman who’s stuck in her lot in life. I've read that Marilyn Monroe wished she had played Fran. No doubt that Marilyn would have been just as touching and funny. But the trope back then was that a sexy girl in Fran's situation would have been written as a good-hearted floozy. Fran is written not as a sexy tart with a heart, but just an ordinary girl, trapped by her circumstances. I think it was for the best that Fran was played by the appealing but approachable Shirley.
Fred MacMurray was awfully good at playing the heel, for someone who preferred playing nice guys!

Fred MacMurray was almost always cast as the good guy. It's notable that Billy Wilder got him to play the heel twice, in two of his best films, Double Indemnity and The Apartment. I'll preface this by saying Fred is one of my least favorite film actors. I find MacMurray, like Glenn Ford, competent at best, deadly dull at worst. As exec J.D. Sheldrake, it's disconcerting to see nice guy Fred playing such a hypocritical heel. Lucky for Fred, some of the best zingers in this film are between him and MacLaine. As the exec who is stringing working girl Fran along, his player rationales and her knowing responses still resonate in today's world. MacMurray is quite good here and it's notable that Fred got some flak from fans over playing such a role in this adult movie. After The Apartment, MacMurray embarked on a latter day career of Disney dads and the dad of My Three Sons.
Jack Kruschen is just great as the doc next door, who also prescribes sound advice.

Jack Kruschen plays a bracing character as the doc next door, who comes in handy at a crucial moment in the film. Dr. Dreyfuss is Baxter's conscience and has some memorable lines, and Kruschen plays him with no nonsense, but a big heart.
Ray Walston proves once again that he's best in small doses, as one of the self-centered co-workers, who are the apartment’s temporary occupants. Walston’s caricature comic snark is much more tolerable as an acting side dish than his wearing attempt as a Wilder film leading man, in ‘64’s Kiss Me, Stupid.
Edie Adams surprised me in a character role as the discarded secretary of exec Sheldrake.

Edie Adams has a snappy supporting role as Sheldrake's bitter secretary. Adams has some great lines and though it costs her character’s job, I enjoyed her engineering Fred's comeuppance. Johnny Seven—a name that would make Seinfeld’s George Costanza jealous—has a great cameo as Fran's irate cabdriver brother-in-law.

The Apartment’s supporting cast is stellar, down to bits by future TV faces: David White as a smarmy exec, later perfected as Larry Tate on Bewitched. Hal Miller as the drunk Santa is also in warm up mode, later he played drunk jailbird Otis on The Andy Griffith Show. And Joyce Jameson plays The Blonde, a tweak to memorable Wilder star Marilyn Monroe, and Jameson later played a similar role on The Andy Griffith Show.
For once, a movie ad that sums up the movie accurately!

I could fill this review with Wilder and Diamond's wonderfully witty and knowing lines—but watch this classic for yourselves and enjoy. Aside from the dialogue, the story is one of Wilder's sturdiest vehicles, a model of construction.
My only beef is that the two male leads are a bit old for their roles: a slightly jowly Lemmon was 35 when he played worker bee up-and-comer Baxter, and especially MacMurray, at 52, playing a married man of 12 years, with two young teen-age sons. And Fred was 26 years older than girlish MacLaine, twice her age. However, this is typical for Hollywood, and just a quibble. 
The Apartment has a view of life that could be viewed as an accurate time capsule, but frankly, is still timely. Success over happiness, sex and the workplace, ethical behavior versus getting ahead—it still resonates.
The look when MacMurray's married man tries to give girl on the side MacLaine's Fran
a C-note for Christmas is powerfully played.

Wittily directed, scripted, and performed, The Apartment reminds me of All about Eve. You can find something new just about every time you view these multi-layered classics. Or just enjoy the most memorable moments over and over. 
My friends Bruce and Gwyneth watch 'The Apartment' every New Year's Eve.
Perhaps they have pasta and play gin rummy, too?



Monday, December 9, 2019

‘White Christmas’ Still a Stellar Crowd Pleaser 1954

1954’s White Christmas, while not a classic, is still a pleasant holiday perennial, 65 years later.

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White Christmas is the holiday movie version of a fruitcake, a treat to some, indigestible to others, but for the majority, the idea of the movie is a satisfying enough experience. I find fruitcake and White Christmas one and the same—picking out the icky stuff—whether it’s neon candies in the cake or fast-forwarding anything that involves unappetizing Danny Kaye in the flick. I focus on what’s tasty, and I do like an old-fashioned cake, which White Christmas resembles: Bing Crosby and Rosemary Clooney’s smooth singing, Vera-Ellen’s excellent dancing, mostly great Irving Berlin Songs, a fine supporting cast, and lavish production values—all delightfully delicious.
The "boys" perform for the troops at the opening of "White Christmas."

The plot of White Christmas is as slim as Vera-Ellen’s figure: WWII soldiers Bob Wallace and Phil Davis (Bing Crosby and Danny Kaye) bond during war time and also revere their general, Tom Waverly (Dean Jagger.) Post-war, the duo becomes show biz dynamite, later producing their smash hit shows. They meet a sister act, Betty and Judy Haynes, (Rosemary Clooney and Vera-Ellen), and the sparks soon fly, i.e. Crosby and Clooney, and Kaye and V-E. They follow the sisters to Vermont for a gig, only to find their old general is running a white elephant of an inn, which likely won’t see a white Christmas! The guys brainstorm to bring their show to the inn and Bob/Bing goes on “The Ed Harrison Show” to promote the event. Clooney’s Betty thinks they are just exploiting the General, which causes the only dramatic tension in the film, a silly misunderstanding. By showtime, at the now snow-covered inn, all is resolved.
Crosby, Clooney, Kaye, and Vera-Ellen perform "Snow," charmingly staged.

White Christmas was a top-grossing film of 1954 and made multiple fortunes for Paramount ever since, as the movie became a perennial favorite. This movie-movie was old-fashioned, even in ’54, and that’s part of its charm. Still, had White Christmas been made even a half dozen years later, I doubt if it would have been such a mammoth hit. This film was one of the last hurrahs for studio era Hollywood, when Bing and Danny were at the peak of their movie stardom, and nearly the last movie appearances of Rosemary Clooney and Vera-Ellen. The film was the biggest hit that long-time director Michael Curtiz ever had—and this is the guy who made Casablanca and Mildred Pierce! Interestingly, 20th Century Fox put out their own all-star Irving Berlin extravaganza in ‘54, There’s No Business Like Show Business. While it too was a commercial success, White Christmas made more than twice as much, at half the cost, than Show Business.
One of two all-star Irving Berlin musicals in '54, the other was Fox's "There's No Business Like Show Business." 

Throughout White Christmas, you have to not just suspend disbelief, but take your lumps of coal along with the gems. The film opens in ’44, with Bing and Danny as soldiers, performing for the boys. Overlook that Crosby was over 50 and Kaye was 43, and then Bing soothingly launches into his signature song “White Christmas,” with soldiers thinking longingly of home, a touching moment.
Bob Wallace and Phil Davis' rocket ride to fame, in 'White Christmas!'

After the war, Wallace and Davis launch into a warp speed rise to stardom, in one of those movie montages that always make me smile. In White Christmas’ case, especially so, since it reminded me of the old Bugs Bunny spoof, “We’re the Boys of Chorus.” When the “boys” meet the girls, we are treated to the classic duet “Sisters,” which is then spoofed by Bing and Kaye, with Danny especially having a delightful time camping it up.
'White Christmas' montage to fame reminds me of this!

Soon, the guys are tagging along with the gals to Pine Tree, Vermont, where they reunited with General Waverly, who is now an innkeeper. His hired help seems to consist mostly of the delightful Mary Wickes, a welcome presence in any film. Along with no snow, there are practically no guests. The duo decides to bring their latest show to the inn, with the help of the ladies. The “Let’s put on a show!” cliché is pretty irresistible to me, too!
Luckily, the "Minstrel Show/Mr. Bones" number segues into Vera-Ellen's "Mandy."

Unfortunately, the first number up is “I’d Rather See a Minstrel Show/Mr. Bones.” At least it wasn’t done in blackface, but it still feels mighty dated. But then comes the zingy finish, “Mandy,” a wonderful, upbeat tune that becomes a wow with the dazzling, energetic dancing of Vera-Ellen and John Brascia. Bing and Danny perform nimbly with the accomplished V-E, but when Brascia takes over, wowza! Brascia looks like a dark Richard Egan and is obviously having a great time as he struts his stuff. He also had the distinction of dancing the previous year with Joan Crawford, in Torch Song’s infamous “Two-Faced Woman,” which WAS filmed in blackface.
Even better is when sizzling John Brascia takes over the dancing with Vera-Ellen!

Bing and Rosie have a great rapport when their characters aren’t bickering. A sweet number is “Count Your Blessings (Instead of Sheep).” This is intimately performed when the duo are having a late night snack at the inn. I have never cared for Bing Crosby as a person, but as a performer, Bing’s laid back presence was great in both comedy and drama, and his natural style has aged well. Of course, Bing was blessed with a beautiful voice that served him well for many decades.
Rosemary Clooney & Bing Crosby bring their warm, mellow personas to 'White Christmas.'

Clooney didn’t make a lot of movies, they probably weren’t her forte. Plus, the singer’s natural looks and figure were at odds when beauty and glamour were still everything for a film actress of this era. But I enjoy Rosie’s relaxed style in White Christmas, and her singing is top notch, especially in her big torch number, “Love, You Didn’t Do Right By Me.”
Rosemary Clooney's torch number, "Love, You Didn't Do Right By Me," with gorgeous 20-year-old George Chakiris.

The film’s worst number comes with “Choreography.” Some folks adore Danny Kaye, but I find him insufferable. Kaye’s constant “on” demeanor makes Mickey Rooney look subdued. I find Kaye to be the male equivalent of Betty Hutton, practically begging the audience for adoration. “Choreography” is one of those reactionary ‘50’s musical numbers mocking current trends—here, modern dance and beatniks! Danny and the chorus girls are all done up in black, complete with Kaye in a beret and guy-liner. This reminds me of those “rock and roll” spoof numbers from other ‘50s musicals—also very lame. Director Curtiz too often lets Kaye go into his shtick, and it’s like watching Seinfeld’s “Kramer” go off on a fey tangent. To give Danny his due, Kaye is an agile, energetic performer, and he gets on with Bing quite well.
A little bit of Danny Kaye goes a long way. Above, Kaye camps it up in "Choreography."

The best tunes in White Christmas are the simply staged songs: Bing’s title tune for the boys; Danny and V-E’s nimble The Best Things Happen When You’re Dancing; the quartet harmonizing on Snow, charmingly performed in a train car; John Brascia and Vera-Ellen dancing like dervishes to Abraham; even Rosemary’s Love number is subtly staged, with young George Chakiris getting some face time as one of the male dancers. The showstopper numbers are fun, but the gaudy Fab Fifties colors are nearly nauseating!
Dean Jagger as General Waverly is the heart of "White Christmas."

Dean Jagger is a strong presence as General Waverly, with those brilliant blue eyes, radiating warmth and strength. Jagger provides the substance amidst the blizzard of sentiment in White Christmas. His two big bookend scenes at the beginning and finale of the film provide genuine feeling amidst the fluff. Dean is dynamic.
Vera-Ellen, right, performs "Sisters" with on-screen sister Rosemary Clooney.

Vera-Ellen performs well enough within the conventions of this kind of musical, but she really comes alive in the dance numbers. Plus, V-E looks lovely in her Edith Head costumes, showing off her whippet slim figure. Watching White Christmas hit me that Vera looked a good deal like Mitzi Gaynor, also a dancer at the tail end of the musical era. Another coincidence is that Mitzi was the second female lead of her Irving Berlin movie, There’s No Business Like Show Business.
Vera-Ellen look-a-like Mitzi Gaynor with The Merm in her Berlin bonanza,
'There's No Business Like Show Business.'

Although this semi-remake of 1942’s Holiday Inn was bookmarked for a Bing Crosby-Fred Astaire reunion, it wasn’t meant to be. Fred backed out, then Donald O’Conner got sick, that’s when Danny Kaye took over. I’m surprised frequent Crosby co-star Bob Hope wasn’t considered, or that Paramount didn’t go with their younger musical-comedy team, Martin and Lewis. However, Bing and Danny were at the zenith of their movie stardom in ’54.
Mary Wickes is wonderful as always, with Rosemary Clooney, in 'White Christmas.'

Age is a bit absurd in White Christmas. Jagger refers to Crosby as “son” when they are the same age. Par for the era’s course is the 25 year age difference between Crosby and Clooney. And Kaye’s “boyish” antics are a bit hard to take at age 43. Clooney is the older “mother hen” sister, when she was 7 years younger than Vera-Ellen.
If 'White Christmas' deleted dated numbers like "Gee, I Wish I Was Back in the Army," "I'd Rather See a Minstrel Show," & "Choreography," the result would be a near-perfect 1 hour and 45 minute movie! 

The finale is a fitting wow, though I winced at the lyrics of “Gee, I Wish I Was Back in the Army.” When Clooney sees Bing appeal to his former soldiers on “The Ed Harrison Show,” she realizes Crosby is on the level. Everyone reunites at the inn for the big tribute to the General. While it’s sentimental, Jagger and the cast put it over, with a reprise of White Christmas as the camera pulls away in a dazzling shot of the snow falling outside, the stage show, and the audience. White Christmas has its highs and lows, but ends on a lovely high note.

The fabulous closing shot of 'White Christmas.'




Sunday, December 1, 2019

Joan & John Spark Musical Melodrama ‘Humoresque’ 1946

In 'Humoresque,' John Garfield doesn't play to Joan Crawford's tune!


Humoresque, WB’s 1946 classical musical drama, recalls somewhat A Star is Born. Joan Crawford’s Helen Wright is a socialite on the skids and patroness of the arts; Paul Boray, played by John Garfield, is a brilliant young violinist on his way up. Helen is disillusioned and on the wane—and the sauce. Paul is just as consumed by his music. Despite their sparring ways, Helen and Paul connect, but his soaring career comes between them, and she staggers off into the sunset, much like the falling stars of previous remakes.
Joan Crawford & John Garfield make a strong romantic teaming in 'Humoresque.'
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Though fans and critics loved her more authentic self as the scrappy girl from the wrong side of the tracks, Joan Crawford loved to play the great lady, and MGM occasionally obliged her. But MGM’s “classy” romantic dramas were typically so posturing and plastic, that there’s no grit or urgency. I watched The Shining Hour recently, with Crawford and an all-star Metro cast drowning in high-class soap suds, and I nearly got a brain freeze from my eye-rolling. I feel that Joan’s performance as Helen in Humoresque was overshadowed by her career-changing Mildred Pierce comeback. Crawford gives one of her most restrained performances in one of her most fully-dimensional film roles.
Though Crawford's Helen Wright is one of her most subtle performances, Joan works
the props, i.e. the eyeglasses and brandy snifter.

One reason Crawford’s Humoresque may have played second fiddle to Mildred is that hers is really a supporting role. Though Joan has top billing, she doesn’t make her first appearance until 30 minutes in. But Joan makes the most of her screen time, much like her second lead role as Crystal Allen in 1939’s The Women. The story is really Paul’s, and it’s a tribute to Joan that she holds her own and makes her character memorable without over the top performing of some of her later, lesser vehicles. Joan’s Helen Wright runs the gamut from brittle and bitchy to remote and depressed to love struck to heart sick, and Crawford plays all the characters colors as beautifully as Paul Boray plays his violin.
Joan never looked more stellar post-MGM than she did in 'Humoresque.'

Joan Crawford never looked more superb in her post-Mildred years than she did in Humoresque. Bette Davis’ favorite cinematographer, Ernest Haller, lights Joan brilliantly, filling that famed bone structure with beautiful shadows and soft light. The Crawford makeup is there, but subtle compared to latter day JC cosmetic overkill. Joan’s hair was subject to some later curious coiffures, but looks lush and lovely here. Post-comeback Crawford was feeling her oats and insisted that her favorite MGM designer, Adrian, be borrowed for her costumes. The gowns, while shoulder padded to the hilt, are otherwise simple and chic, and in surprisingly modest supply. In a word, despite the character’s tippling, Joan Crawford looks like a million in Humoresque.
Dreamy John Garfield as Paul Boray, the passionate violinist whose bow comes first.

John Garfield, as passionate Paul Boray, gives one of his best performances. The rebellious star has gained more recognition over the years, but for me, Garfield is right up there with Bogart. In fact, he’s the link between Bogart and Cagney and the later Brando and Dean. I think one reason Garfield is not canonized like Bogie is because Humphrey died a valiant death fighting cancer, whereas five years earlier, Garfield died branded with the scarlet letter of being “Red.” And while Bogie had a few more classics under his belt, Garfield had a pretty strong career, considering he was constantly fighting Jack Warner’s typecasting. An instant star with Four Daughters, John Garfield appeared in hits like Tortilla Flat, The Sea Wolf, Destination Tokyo, Pride of the Marines, Gentleman’s Agreement, Body and Soul, and of course, The Postman Always Rings Twice. Garfield’s style is remarkably fresh and modern: he’s intelligent and street smart, the bad boy who is ultimately a decent man, and handsome, plus sexy as hell. As a bonus, Johnny had those cute jug ears framing his ruggedly romantic face!
Aside from being an intense, charismatic actor, John Garfield was sexy as hell, too!

This movie could have been an overwrought soap and still succeeded. However, director Jean Negulesco gives this movie some great visual touches, stylish segues, and vivid asides about the era depicted. The script by Clifford Odets is smart and adult, especially for the studio system era, based on a Fannie Hurst story (Imitation of Life and Back Street). Zingy repartee from the sharp tongued characters aside, there is intelligent dialogue about an artist’s career taking over their personal lives.
Joanie loves Johnny: Garfield's second romp on the beach in '46 with an MGM diva.
The first was Lana Turner in 'The Postman Always Rings Twice.'

Crawford and Garfield make sparks fly, with her first mocking him while he plays for his supper. He responds by playing “Flight of the Bumble Bee” for movie’s Queen Bee! Unlike typical movie romances, this one is love at first sight—more like first fight. Garfield is one of Crawford’s last leading men who is her equal. Aside from Joan and John at their career highpoints, are these actors:
Bobby Blake (later Robert) is remarkable as young Paul Boray.

Bobby Blake, who later became Robert and starred In Cold Blood, then came belated stardom as Baretta, and even later, infamous for murder, is wonderful here as young Paul Boray. Unlike most phony child star acting of the era, Blake is genuine and soulful as the boy who wants a violin more than anything for his birthday. These scenes could have been pure corn, but with Blake, acting with Ruth Nelson as his mother, their moments are magical. Nelson is a tower of strength as Paul’s fiercely loving, but later disapproving mother, Esther. Her dark, emotional eyes practically burn holes in the screen, as she worries about Paul’s path in life. There’s no sentiment or handwringing here, she reminds me much of Anne Revere, who played the no-nonsense mother of Elizabeth Taylor, seeking her dream as National Velvet. Nelson holds her own with Joan Crawford in their showdown, where the mother disapproves most articulately about why her son should not be involved with a thrice-married alcoholic. Interestingly, Joan and Ruth were both the same age! I remember 1990’s Awakenings, starring Robert DeNiro as a man who comes out of lifelong coma, and his mother is played by… Ruth Nelson! I was knocked out by the fact that Nelson was playing the mother of yet another brilliant actor, nearly 45 years later.
Ruth Nelson is a rock as Paul Boray's loving, but plain-spoken mother.
Nelson played Robert DeNiro's mother 45 years later in 'Awakenings!'

Joan Chandler plays Gina, the nice girl Paul grows up with, who doesn’t stand a chance when the other Joan comes into his life. It’s one of Crawford’s first movies where her female competition is at least 15 years younger than her. Chandler’s sadness in the role seeps into the melancholy tone of the movie. I was sad to read that Chandler’s career didn’t go the way she hoped, and she died at age 57 in 1979, just two years after Crawford passed away.
Joan Chandler and John Garfield have some genuinely sweet scenes in the opening scenes of 'Humoresque.'

J. Carrol Naish is the one throwback to old-style acting in this rather modern post-war movie. He plays Paul’s grocer father in full EYE-talian style. Still, it’s a warm-hearted performance and when he gives in to young Paul’s wishes for a violin, he’s genuine.
Oscar Levant plays a wise-cracking (what else?) pianist who befriends Paul Boray.

I’m usually allergic to the charms of Oscar Levant. The famed Hollywood wit’s delivery of his choice one-liners often seemed flat and charmless. Here, Oscar fares better, as he gets some of Odets best lines. Still, his performance seems like a series of zingers, with him waiting for either laughs or a rimshot. Yet, Levant fits into to the general melancholy tone of the movie, so he didn’t bother me as much as usual.
Paul Cavanagh plays Joan’s wealthy, older, self-described “weak” husband, which reads more like “gay.” Craig Stevens plays a small part as one of Helen’s light weight boy toys, named Monte. A hangover from Mildred Pierce, perhaps?
The bug-eyed John Abbott is an irritated conductor during one of Paul’s early paying gigs. Funny, since he plays a weasel musician in Bette Davis’ Deception, that OTHER musical melodrama WB rolled out the same year. Another milestone in the Bette vs. Joan competition, and Joan’s the winner in this round.
Joan's Helen finally faces herself in 'Humoresque' and hurls another liquor glass!

Humoresque is stylish, smart, romantic, adult, and wonderfully watchable. My one criticism of the movie is that it goes on a tad too long, specifically at the finale, when Joan’s Helen is at the end of her rope, and bids adieu. After an endless phone call with Paul, Helen gets drunk as she listens to his performance on the radio. Then she decides to end it all, with Joan getting one of her most famous film farewells. It could have finished beautifully, with her drowning, and Paul fading back in the scene, playing the violin. But no, then comes Garfield post-mortem, to mourn and spout some absurd lines. Then he argues with Oscar some more, then ultimately goes back to his roots, the old neighborhood. I’m surprised they didn’t have Gina patiently waiting for Paul. This all just goes on from here to eternity. It could have been twice as effective in half the time.
One of Joan Crawford's most memorable finales on film was in 'Humoresque.'
But overall, it’s a minor criticism for a major melodrama that’s been a bit overlooked over the years. Humoresque showcases two powerful stars at their best, with one of WB’ best studio productions to back them up.


This high drama was a career high point for Crawford and Garfield.



Sunday, October 27, 2019

Hag Horror Heaven: ‘Whatever Happened to Aunt Alice?’ 1969

Ruth Gordon VS Geraldine Page in "Whatever Happened to Aunt Alice?"


One measure of a film’s success is by how many imitations it spawns. When Whatever Happened to Baby Jane? was released in 1962, it instantly became a surprise smash. This was because it starred two aging female stars, Bette Davis and Joan Crawford, in a low budget thriller. Baby Jane’s success unleashed a wave of suspense films with aging divas gone wild. Geraldine Page and Ruth Gordon carried the terror torch toward the end of the cycle, Whatever Happened to Aunt Alice?
Ruth Gordon's worst suspicions confirmed in "Whatever Happened to Aunt Alice?"


Baby Jane director Robert Aldrich produced this outing, with Leo H. Katzin at the directorial helm. But Bob’s trademarks are noticeable in the film and its promotion: the grand acting, spine tingling score, and the gimmicky trailer and ads. Also, Aldrich was not above borrowing from prior films, his and others, for Aunt Alice: the put upon housekeepers recall Baby Jane’s Elvira; the villainess dragging her victim along in a car ride is from both Baby Jane and Sweet Charlotte; and the slow sinking of a car from Psycho.
Despite these derivative plot details and the fact we know Geraldine Page is a murderous mistress of her domain from the opening credits, Aunt Alice is a tidy thriller as well as housekeeper.
Nothing gets past the baleful gaze of Geraldine Page in 'Aunt Alice.'

Sidenote: Interestingly, there wasn’t a wave of “he-hag” horror films, starring aging male actors. Imagine a Whatever Happened to Little Caesar? with Edward G. Robertson or Hush, Hush, Sweet Harvey with Jimmy Stewart! Nope, most mature male performers were put out to pasture with westerns.
Geraldine Page as the newly poor widow, Claire Marrable. This poor little widder isn't about to be swept under the rug!

Geraldine Page is a newly destitute widow, Claire Marrable, who relocates to Arizona, to be near her nephew and regroup. Soon, Claire is back on her feet, thanks to knocking off housekeepers after she swindles them out of their life savings. Her latest victim is Mildred Dunnock, ever tremulous and wide-eyed, as the hapless sad sack Edna Tinsley. And with good reason, since Mrs. Marrable treats her housekeepers like personal foot servants. I realize this film came out 50 years ago, but doubt that the era’s household staff was required to keep the lady of the modest ranch house plied with cocktails 24/7, with verbal abuse as their bonus.
Veteran character actor Mildred Dunnock plays Edna Tinsley,
the mistress of the house' latest murder victim.

However, Page must up her game when Tinsley’s pal, Alice Dimmock, played by Ruth Gordon, arrives to apply as the latest housekeeper. Alice is actually there to figure out whatever happened to her missing friend, and finds herself in a battle of will and wits with the indomitable Mrs. Marrable. Maybe they should have called this thriller Alice Doesn’t Live Here Anymore!
Page's Claire Marrable finds shovels not only handy for planting pines, but for cracking skulls, as well.

Stage and film star Geraldine Page is considered one of the great actresses. Page was also one of the most idiosyncratic performers and could ham with the best of them. In this slim little suspense tale, Geraldine is gaga as gorgon Mrs. Marrable. And I mean that in a great way. Page pulls out all the stops and she’s imperious, garrulous, querulous, demanding, commanding, neurotic, and psychotic, as the widow who wants to plant her pine tree and watch it grow! Especially every time she puts a housekeeper six feet under for their money. Page has some pretty plum dialogue as the delusional grande dame. And Geraldine gives each line, word, and syllable, that distinctive staccato reading, punctuated by her trademark raucous laugh, every time she gets away with anything. This star character actress has a number of great lines, a number of them involving her appreciation of alcohol. My favorite, however, is at the finale: “I’d make a very handsome pine tree!”
You might want to dial m for murder, Ruth!

Surprisingly, Ruth Gordon, no stranger to over the top acting, plays it surprisingly straight as Alice. Gordon is feisty as ever, but Ruth is also restrained. More importantly, while her Alice is wily, she’s also a straightforward, empathetic soul, which Gordon effortlessly conveys. It’s also a much-needed contrast to Page’s unrelenting barrage of bitchery. The main surprise in this film is therefore: Which worthy adversary will defeat the other?
Ruth Gordon was 72 at the time of making 'Aunt Alice,' fresh off her Oscar win for 'Rosemary's Baby.'

Although this ABC Film was released in theaters, it feels like an elevated TV movie. Especially during this time, when the late ‘60s and early ‘70s saw a lot of golden girls from the Hollywood studio era take their horror act to television. This is no knock on Aunt Alice. Despite young co stars, Robert Fuller and Rosemary Forsythe, playing in competent TV style, the film makes no pretense but to be a simple suspense story, with roles for veteran stars Page and Gordon to rock.
Who's Afraid of Claire Marrable? We all are, said her housekeepers!

The greatest surprise was that Geraldine Page was only 44 when this film was made, compared to Ruth Gordon, who was 72 at the time! I’m assuming with the gray wig, Page was supposed to play older. But still, no “aging” makeup seemed to be required—I guess this is why Page was considered a character actress. It’s also a reminder how actors aged more naturally, back in the day. Ironic that Mrs. Marrable catches Alice without her wig and derisively laughs at her, since Page is obviously wearing a wig herself. I also found it amusing that Page’s wig looked a lot like another film harridan, Elizabeth Taylor’s Martha, in Who’s Afraid of Virginia Woolf?
ET wants her wig to come home, stat!

Aunt Alice is based on a book “The Forbidden Garden” by Ursula Curtiss, who also wrote the story that I Saw What You Did was based on, with Joan Crawford. I’m surprised that nobody thought of Crawford for Mrs. Marrable, who was closer in age for the part than Page and also knew a thing or two about herding household help! What with Crawford’s guide to gracious living, “My Way of Life,” in the works, perhaps Joan and Mamacita could have starred in Whatever Happened to Aunt Alice? Kidding! Still, I can totally hear Joan imperiously demanding, “Mrs. Dimmock, are you aware that the cocktail hour has come and gone?!”
A shame Joan Crawford didn't play Claire Marrable instead of subbing in 'Secret' for daughter Christina.
'Whatever Happened to Aunt Alice?' started shooting about the same time.

For its 50th anniversary, Whatever Happened to Aunt Alice? got the BluRay treatment in early 2019, so you get to see Geraldine Page and Ruth Gordon in all their glory. More suspense than “hag horror,” this close relative of the genre is still highly entertaining and well worth a watch.
'Whatever Happened to Aunt Alice?' got especially good personal reviews for the stars, Page and Gordon.