Seeing Stars in Screwball Comedy ‘Out of the Blue’ 1947

 

Virginia Mayo, George Brent, and Turhan Bey--just three of the stars of 1947's
silly but fun slapstick comedy, "Out of the Blue."

Out of the Blue is a post-war, B+ budget comedy that I had never heard of until I stumbled across it recently online. I watched this 1947 screwball farce for the stars: George Brent, Virginia Mayo, Turhan Bey, Ann Dvorak, and Carole Landis, billed in that order. They all do their best and seem to be having great fun.

George Brent's harried hubby can't even catch a break at breakfast with his
bossy wife, played by Carole Landis. From 1947's "Out of the Blue."

While re-watching Out of the Blue for this review, I realized that the comedy was sort of a preview for the coming decades of TV sitcoms. George Brent, usually a dull romantic lead to high-powered movie divas, is henpecked husband Arthur here. Carole Landis is his nagging wife, Mae. Of course, he utters the classic line to his bossy spouse: “Yes, dear.” Their neighbor is playboy artist David, played by Turhan Bey, who has a parade of models coming through his apartment. Virginia Mayo is Deborah, who visits Bey about breeding his dog, a problem pooch for neighbors Arthur and Mae. However, Bey is more interested in breeding with Mayo! And when Landis visits her sister for an overnight trip, Brent wants to get off his leash, too. 

Virginia Mayo inquires about Turhan Bey's stud fee--for his dog! He has other ideas,
 from 1947's "Out of the Blue."

This is when Brent's harried hubby meets interior designer Olive, played by Ann Dvorak, in a swanky bar. Brent should have realized that Olive is off her nut just by her getup—which is a cross between Carmen Miranda off-stage and Joan Crawford's Straitjacket character in her hoochie mama moments! Don Loper also designs a gaudy, on the nose opening costume for dog breeder Virginia Mayo, as well! The post-war prosperity inspired some fanciful design in Hollywood and beyond.

Ann Dvorak's costume is as over the top as her comedic performance, as
George Brent's fatuous attraction, in 1947's "Out of the Blue."

And here's Don Loper's first costume for Virginia Mayo's dog breeder 
in 1947's farce, "Out of the Blue."

When Brent's Arthur meekly flirts with over the top Olive, whose fatuous attraction will not be ignored for the rest of the movie, he soon regrets leading her on. The bespectacled, handsome nerd is a nod to Cary Grant's character in Bringing Up Baby, who gets stuck with Kate Hepburn's daft character. This would later be repeated in What's Up, Doc? with Ryan O' Neal and Barbra Streisand, and Madonna's Who's That Girl, where she comically bedeviled Griffin Dunne. I personally don't find the trope of mild-mannered man tormented by a crazy lady all that humorous. And if you switched the roles, where the man is the wacky one, and the woman the target, it wouldn't be considered at all funny.

Ann Dvorak as the overtly flirtatious Olive, in 1947's "Out of the Blue."

I didn't know whether to admire or be appalled by Ann Dvorak's audacious performance. She was obviously a talented actress, but she goes really BIG here. Perhaps she goes for broke because it was near the end of her film career. But When Olive is thought to be dead after a fall, I was relieved. But oh no, she soon comes to, and starts yammering again! 

Ann Dvorak is down for the count, but not totally out, in 1947's "Out of the Blue."

George Brent plays broadly, too, mainly in reacting to overt Olive and Carole Landis as controlling Mae, the sitcom nag. She's quite good too, in this atypical role. I wonder if her hair was darkened so that she wouldn't be competing with the star blonde, Virginia Mayo. Virginia is comfortable in comedy, from all those Danny Kaye movies? And she looks utterly delicious here, especially modeling a swim suit in one scene. Creamy blonde Mayo and her love interest, Turhan Bey, certainly make a pretty pair. Bey gets to show off his physique in a couple of scenes and seems game for all this comical nonsense. Elizabeth Patterson and Julia Dean play the old biddy busybodies who add to the confusion, reminding me of the old ladies in Arsenic and Old Lace, with a touch of Bewitched's nosy Gladys Kravitz.

No, George Brent isn't reading the reviews for 1947's "Out of the Blue."

Carole Landis, at right, finally gets told off by meek hubby George Brent,
in 1947's "Out of the Blue." With Ann Dvorak beside Landis.

Despite less than two years in age difference, Landis' career was nearly over, even before her untimely death the following year at 29, compared to Virginia Mayo hitting her peak. Mayo had become a decorative comedic leading lady during the war years with Bob Hope and Danny Kaye. While Mayo's career was often based on her looks, Virginia had a full decade of stardom, before the inevitable decline. Still, Mayo appeared in two bonafide classics, The Best Years of Our Lives and White Heat, plus a lot of popular favorites. Brent was nearing the end of his leading man days as was much younger Bey. It might surprise you to know that Bey, of Turkish and Czech descent, was born in and retired to Vienna, Austria. Ann Dvorak had one more scene stealing role, as the washed up model in Lana Turner's A Life of Her Own, before she retired from film in '51, and happily lived her days in Hawaii. Singer/pianist Hadda Brooks, who later performed in In a Lonely Place and The Bad and the Beautiful, performs the title tune here and it’s quite lovely.

Virginia Mayo is very fetching, especially opposite Turhan Bey, in 1947's farce
"Out of the Blue."

The plot is utterly silly but also quite watchable, if you like star watching and stylish lifestyles, as depicted by Hollywood from a bygone era. I noticed some behind the scenes credits from Warner Brothers talent, which Out of the Blue is reminiscent of, with their frantic farces. Of course, Brent, Dvorak, and Mayo appeared in many WB movies. Out of the Blue is no masterpiece, far from it, but fun fluff when your brain needs a night off!

Vocalist/pianist Hadda Brooks performs the lovely title tune, in 1947's
romantic comedy, "Out of the Blue."

 

Stewart Hit His Stride in ‘Mr. Smith Goes to Washington’ 1939

James Stewart as Jefferson Smith, who's down but not out, in 1939's comedy-drama,
 "Mr. Smith Goes to Washington."

I never watched Mr. Smith Goes to Washington until 2025 for evolving reasons. First, I was not very political in my younger years, so the subject matter didn't interest me. Later, when I did become more invested in politics, I thought a Frank Capra movie on the workings of Washington, D.C. would be too sentimental and clichéd. Finally, after the last ten years of non-stop US political turmoil, I decided to seek comfort in Mr. Smith’s political journey.

I was taken aback watching Mr. Smith Goes to Washington. While there was sentiment in this cinema classic, it is heartfelt. What really surprised me was how strongly the political corruption was portrayed, and how powerful still is Mr. Smith's disillusionment with the system. The latter is especially so when he collapses on the senate floor, and only then is there a positive resolution. 

In Mr. Smith Goes to Washington’s last act, the naïve senator is railroaded by corrupt politicians, and it is great story telling. While some of the David and Goliath aspects of Smith and his young supporters versus the aging fat cats might be considered corny, there have been similar real life incidents in recent US election cycles that show dirty tricks haven't changed all that much: biased press inciting the masses, running the opposition literally off the road, and treating the opposition with aggressive strong arm tactics. 

James Stewart and Jean Arthur make a marvelous team in 1939's
"Mr. Smith Goes to Washington.

The political story of Mr. Smith Goes to Washington is surprisingly in-depth and adult. The scene where Washington insider Clarissa Saunders explains the cycle of creating a bill to Jefferson Smith is snappy and priceless. The opening, with a death of a politician, the first concern is who will replace him! Young Mr. Smith’s tour of the Washington monuments might make you feel downright patriotic. The scene where Smith is thrown under the bus in the Senate to deflect blame for corruption feels very current. And when Jefferson goes to lick his wounds at the Lincoln Memorial, with Saunders touched by Smith’s tears, it is genuinely affecting. So rare for an actor of this era to show his emotions, but that was one of James Stewart’s strengths as an actor. And of course, Stewart’s great monologue, where he filibusters to make his voice heard, and innocence believed. This set piece is very powerful, which we just witnessed the power of a filibuster in real life, recently.

James Stewart gives his heart and soul to the role of Jefferson Smith in 1939's
comedy-drama, "Mr. Smith Goes to Washington."

The entire cast of Mr. Smith Goes to Washington is terrific. In the title role as Jefferson Smith, this is the embodiment of James Stewart's screen persona. Director Frank Capra cast him because he immediately saw that Stewart’s small town genuineness was perfect for everyman Smith. Jimmy is authentic throughout, as his character is put through the wringer. Movie making in 1939 was considered the peak year in film. In any other year, Stewart would have won the Best Actor Oscar. He got a makeup award the next year for The Philadelphia Story. But hey, that guy who played Rhett Butler lost out in ’39, too!

Jean Arthur plays pragmatic yet spirited reporter Clarissa Saunders, who comes to
 believe in James Stewart's new senator, in 1939's "Mr. Smith Goes to Washington."

Jean Arthur plays the experienced, pragmatic reporter and performs in an understated style, rather than the quirky fusspots she later played. Jean’s nervous energy plays well against Stewart’s laid-back demeanor. Arthur’s Clarissa Saunders has a subtle character trajectory, going from cynical disbelief of innocent Smith to admiring his integrity, to falling in love with him. Jean plays each phase beautifully without a false note.

Frank Capra’s perennial favorites are here: This is Jean Arthur’s third time as a Capra leading lady; there’s Thomas Mitchell as Arthur’s fellow reporter; H.B. Warner as a politician; Edward Arnold, perfectly cast as charismatic but corrupt businessman named James Taylor; and Beulah Bondi’s first time out as Jimmy’s Ma. Stewart appeared in three Capra film, and like the later It’s a Wonderful Life, he's serenaded with Auld Langsyne. 

Beulah Bondi is once again Jimmy Stewart's loving Ma in 1939's comedy-drama,
"Mr. Smith Goes to Washington."

Capra always had marvelous ensemble casts in his films, this may be the best: Guy Kibbee as the pliable politician who surprises by picking Stewart’s Jefferson Smith as the next senator; Harry Carey, so wryly expressive as the president of the Senate; Eugene Pallette, very funny as Chick, who’s in charge of herding Smith; and best of all, Claude Rains as Senator Joseph Paine, who was best friends with Smith’s father, but is now conflicted between corruption and conscience. Rains gets to run the gamut in his juicy supporting role: subtle, grand, gentle, glib, charming, rotten—everything! My only criticism with Claude is that his hair was dyed a distractingly snow white. At almost 50, Rains was still 20 years older than Stewart, believable enough as a contemporary of Smith’s father. Finally, look for a very young Jack Carson as a reporter.

Whose idea was it to dye Claude Rains hair snow white at 50 for his role in
1939's comedy-drama, "Mr. Smith Goes to Washington?"

There was a fair amount of location shooting for the era in Mr. Smith Goes to Washington, and the images are powerful. In particular, those of James Stewart gazing at Abraham Lincoln—two lanky icons! This entire sequence evokes some powerful feelings. The meticulous reproduction of the senate chamber is striking, a most impressive and convincing set. The script is filled with memorable lines, several worth repeating today! Sidney Buchman and Myles Connolly were Mr. Smith’s screenwriters.

Two icons gaze at each other in 1939's "Mr. Smith Goes to Washington."

I love this scene, where Jimmy Stewart looks on in awe at the Lincoln Memorial,
in 1939's "Mr. Smith Goes to Washington."

At just over two hours, Mr. Smith sags just a bit in the middle. The Jean Arthur and Thomas Mitchell quasi-romance could have been trimmed a bit. And that cutesy bit with Stewart’s Smith continually dropping his hat in front of Senator Paine’s glamorous daughter is a bit much.

Frank Capra, an Italian immigrant who hailed America, created a great movie with Mr. Smith, about how the fight for democracy is never-ending. While the homespun aspects of this story might put some viewers off, the bigger picture of Capra’s storytelling still resonates deeply. Even for those who call his work “Capra-corn” or naively populist, well, the man had his point of view. And Frank Capra expressed it skillfully in his work.

James Stewart with director Frank Capra at the Lincoln Memorial
for a scene in 1939's "Mr. Smith Goes to Washington."

The machinations of monopolies, big business buying politicians, and dissenters getting crushed, all seems very familiar and timely, sad to say. To get his message across, Capra wisely didn’t pin identifying labels on the crooked politicians and money men.

Mr. Smith Goes to Washington was promoted and hailed as Capra’s best work in 1939. For once, the Hollywood hyperbole was correct. This indeed was Frank’s last film that was both critically and commercially successful. He had more money makers later, but very few critical hits. One film that was underrated at the time later became his signature film, It’s a Wonderful Life.

"Mr. Smith Goes to Washington" was indeed director Frank Capra's greatest hit!

Here’s my look at Frank Capra’s American version of A Christmas Carol, It’s a Wonderful Life: https://ricksrealreel.blogspot.com/2016/12/its-wonderful-life-still-has-wonder-70.html

And here’s Jean Arthur, where this time she’s the idealistic politician, visiting war-torn Berlin, in Billy Wilder’s comedy-drama, A Foreign Affair: https://ricksrealreel.blogspot.com/2023/05/billy-wilders-adult-foreign-affair-1948.html

 

Jimmy Stewart was perfectly cast as the idealistic new senator, Jefferson Smith,
in 1939's Frank Capra classic comedy-drama, "Mr. Smith Goes to Washington."

Kate Hepburn’s Signature Role: Tracy Lord in ‘The Philadelphia Story’

 

Katharine Hepburn as Tracy Samantha Lord in her 1940 comeback,
MGM's "The Philadelphia Story."

I am not a great Katharine Hepburn fan, though I have admired aspects of her life and career. Aside from being slightly allergic to The Great Kate, I am also not a fan of drawing room comedies. I just watched 1940’s The Philadelphia Story for the first time. As I approach 66 years, I’m trying to make up for missing many classic movies, despite considering myself a life-long film fan.

So I watched The Philadelphia Story mainly out of curiosity, since this was hailed as Kate's great comeback. I can now see why. Katharine Hepburn arguably played her greatest role as Tracy Lord. It is the perfect distillation of the Katharine Hepburn persona, sparkling as the champagne Tracy imbibes too much of the night before her wedding.

Katharine Hepburn with frequent collaborator, director George Cukor, on the set
of MGM's "The Philadelphia Story."

Like a lot of classic stars, I first saw Katharine Hepburn in latter day movies in my younger years of the '70s and '80s. Hepburn did some fine work later in Suddenly, Last Summer, Long Day's Journey into Night, and The Lion in Winter; with her other films, I was averse to the sentimental Kate of Guess Who's Coming to Dinner?, On Golden Pond, and those last TV movies where she played her persona self to the point of self-parody. Most of her '30s work I find unwatchable, though she was great in Alice Adams, Stage Door, and a few others. Katharine Hepburn was often badly cast or chose badly. No surprise that she was among the film stars labeled box office poison in 1938.

On Broadway, Katharine Hepburn got BIG top billing
in "The Philadelphia Story."

For Katharine Hepburn's film comeback, she got second billing
in 1940's "The Philadelphia Story."

The oft-told backstory in a nutshell: after a string of bombs and even a couple of last films that got good reviews, the public and critics finally had their fill of a flighty/eccentric/haughty Hepburn. Kate was in dire need a comeback. So, Hepburn hired Philip Barry to write a play for her. Based on an incident involving a socialite friend of Barry’s, with Hepburn’s prodding, the character became more like Kate! She found the backing to get Barry’s The Philadelphia Story on Broadway and it was a hit, with future film stars Joseph Cotten and Van Heflin. Kate got Howard Hughes to buy the film rights for her so she could take it to MGM, with herself as part of the package. The result was a smash for film version of The Philadelphia Story, followed up by a studio contract for Hepburn.

After a string of film flops, Kate Hepburn was among the stars labelled "box office poison." Kate was down but not out, when she came back in "The Philadelphia Story."

The big question was why didn't this commercial and critical hit get Kate a second Oscar? Well, the competition was tough that year, with Bette Davis in The Letter and Joan Fontaine’s breakthrough in Rebecca. Yet, it was Ginger Rogers who won for Kitty Foyle. At the time, Rogers was very popular with fans and the industry, making a smooth transition from musical to comedy/dramatic star. Kate was making a comeback from Siberia. However, I think Katharine Hepburn's vehicle holds up much better and is better-remembered today. 

The MGM production is top-drawer: George Cukor directing, Joseph L. Mankiewicz producing, script by Donald Ogden Stewart, a snazzy score by Franz Waxman, with Kate radiantly photographed by Joseph Ruttenberg, in gowns by Adrian, and hair styled by Sydney Guilaroff. Oh—and Cary Grant and James Stewart as Hepburn’s leading men. Plus, a great supporting cast, including Ruth Hussey. The resulting film of The Philadelphia Story is studio era style at its finest.

It didn't hurt that Katharine Hepburn had two popular new stars in Cary Grant
& James Stewart as her leading men, in her comeback, "The Philadelphia Story."

Katharine Hepburn’s comeback was the greatest of those stars fighting the “box office poison” label. Joan Crawford countered hers by taking on the smaller, but juicy villain role in The Women. Marlene Dietrich took a break from moody fashion plate posturing to perform in the raucous western Destry Rides Again. With Katharine Hepburn, she stepped down her pedestal to become the more accessible Kate. But really, the change was not all that drastic from her previous ‘30s persona, just recalibrated to be more generally appealing. It reminds me of how Doris Day’s image makeover in Pillow Talk was considered such a departure for her. Except for the emphasis on glamour and sexuality, Pillow Talk wasn’t that much different than the previous year’s Teacher’s Pet.

With Katharine Hepburn’s Tracy, she is essentially a heroine, but a judgmental one. And on the eve of her wedding to a respectable dullard, some champagne and flirtatious frivolity makes her realize that she’s only human, too.

Cary Grant and James Stewart do fine work, despite Kate's first preferences for Metro’s kings, Clark Gable and Spencer Tracy. Grant had polished his persona as “Cary Grant” perfectly by this time and it plays wonderfully in this romantic comedy, as C.K. Dexter Haven. Though Dexter has a drinking problem, he scolds Tracy for not being more understanding. That attitude obviously doesn’t play well today. Ironically, Hepburn would soon be an understanding companion to alcoholic Spencer Tracy! Aside from needling Kate’s Tracy to come off her pedestal, Cary’s Dexter obviously still adores her. Their banter is razor sharp and witty.

Cary Grant as C.K. Dexter Haven in 1940's "The Philadelphia Story."

Stewart, after his breakout year in 1939, entered the ‘40s as a boyish leading man with great appeal. As down to earth reporter Mike Connor, who becomes enchanted by Tracy, James Stewart is just fine. He’s charmingly skeptical and goofily besotted by champagne and this society girl. I do think his Oscar win for The Philadelphia Story is a makeup award for missing out for ‘39s Mr. Smith Goes to Washington, as did Jimmy himself. But hey, Clark lost that year for his signature role, Rhett Butler in Gone with the Wind!

Is James Stewart wishing for his Oscar in "The Philadelphia Story?"

Ruth Hussey is a sardonic delight as photographer Liz Imbrie, who accompanies Stewart’s reporter to cover the society wedding of the year. Hussey is expert with the comic lines, but also imbues certain lines about Stewart’s Mike that are touchingly wistful.  She won a Best Supporting Actress Oscar nomination for her intelligent, modern style and holding her own with star Hepburn.

Ruth Hussey was Oscar-nominated & James Stewart won the Oscar, as visiting magazine media, to cover the society wedding of the year,
in 1940's "The Philadelphia Story."

There are a number of clever, fun touches in The Philadelphia Story, thanks to screenwriter Stewart’s script and George Cukor’s smart, stylish directing. An example is that brilliant and brief setup, where Tracy and Dexter split up in the film’s opening scene on their front steps.

Love the opening scene of 1940's "The Philadelphia Story!"

Tracy Lord became a basic boilerplate of the type of women Hepburn would play in her best mid-career vehicles. Kate would play strong-minded women who by the finale, were softened by love. This was much like the character arc Rosalind Russell would play in her career woman roles. This would satisfy most mainstream audiences and the audiences who loved such spirited female stars could believe that transformation was just to appease her leading man’s character. Such was life on film in Hollywood’s golden age!

There’s a lot to like about the film adaptation of The Philadelphia Story, but you will love Katharine Hepburn at her leading lady best, adored by three co-stars!

I love this romantic shot of Grant's Dexter finding Hepburn's Tracy asleep in the car, after imbibing too much champagne, in 1940's "The Philadelphia Story."

Here’s Kate in her second outing with Spencer Tracy in a suspense drama, 1942’s Keeper of the Flame:

https://ricksrealreel.blogspot.com/2025/05/tracy-hepburn-team-in-rare-drama-keeper.html

And here is my look at Katharine Hepburn in her only villainous role, as Aunt Violet in Tennessee Williams’1959 Suddenly, Last Summer, with Elizabeth Taylor and Montgomery Clift:

https://ricksrealreel.blogspot.com/2018/03/suddenly-last-summer-1959.html