Thursday, July 25, 2019

Writing & Women Don’t Mix For ‘Youngblood Hawke’ 1964


Suzanne Pleshette is James Franciscus' beautiful conscience in 'Youngblood Hawke.'



A type of soap opera that Hollywood doesn’t make any more—for better or worse—is 1964’s “literary” melodrama, Youngblood Hawke. The sudsy saga was based on Herman Wouk’s bestseller, film-friendly author of The Caine Mutiny, The Winds of War, and Marjorie Morningstar. The 700-plus page novel was whittled down for length and censorship, but still clocked in at 2 hours and 20 minutes. The resulting film was largely panned, loved as camp, but still has its serious fans.
Despite what critics said, the romantic trio of 'Youngblood Hawke' is more lifelike than here.

James Franciscus plays the title role of a Kentucky boy wonder/writer who comes of age in the NYC literary jungle. Suzanne Pleshette is his loyal editor who loves the man even more than his purple prose and Genevieve Page is the worldly socialite who is just hot for the southern stud. The medium-wattage trio is bolstered by a big cast of veteran character actors and future familiar TV faces. They put over this over-plotted and sometimes preposterous soap opera.
The main problem with 'Youngblood Hawke' was while James Franciscus was appealing,
his charisma didn't exactly leap off the screen much less across a room.

Youngblood Hawke was originally to be in color and star Warren Beatty. Though most dramas were still shot in B&W, such lavish soap operas by Delmer Daves and Ross Hunter usually got the Technicolor treatment. When promising movie star Beatty dropped out, WB then cast television star James Franciscus, and they cut the budget and filmed in B&W. Some film writers/historians have bemoaned the loss of Beatty, but Warren was an especially drowsy onscreen presence in the ‘60s. Hawke is supposed to be a force of nature, which Franciscus frankly wasn’t, but neither was sleeping Beatty. Though burly Rod Taylor would have hewed closer to the novel’s Hawke, rough-edged yet vulnerable Steve McQueen might have been a perfect film compromise.
James Franciscus as Arthur "Youngblood" Hawke

The story of Youngblood Hawke was inspired by Thomas Wolfe. Legendary for Look Homeward, Angel, Writer Wolfe was a North Carolina lad who died of pneumonia at age 37. Here, “Youngblood” aka Arthur, drives a coal truck for the family business by day, and feverishly writes all night. As his mother dukes it out with her brother-in-laws over mineral rights, Youngblood finally gets the call that his manuscript has been accepted. He is whisked off to New York City Dec. 23, signs a contract Christmas Eve, attends his first fancy cocktail party that same night, and finally, goes home with one of the film’s leading ladies. Several guests mention Hawke will always remember Dec. 24—no kidding! That’s how this whole movie unreels, where a tragedy is immediately followed by a triumph, or vice-versa. For instance, after a final breakup with the married socialite, Arthur gets a telegram that he’s won the Pulitzer Prize. Quite a consolation prize!
The rags to riches saga of 'Youngblood Hawke' has some evocative NYC location filming.

The movie is truly a hodgepodge of the good, bad, and the ugggh. In a nutshell—what’s good? There’s rock solid Suzanne Pleshette, evocative location shooting and photography, nifty production values, and a stellar supporting cast. And despite their uneven portrayals, Franciscus and Page have their moments. What’s bad? The Hollywood “smart” dialogue is hilariously hokey. What’s ugggh? Some of the situations and characters are such eye rolls that they undermine what’s worthwhile about Youngblood Hawke.
James Franciscus as struggling writer/truck driver, who frequently takes his shirt off!
Mildred Dunnock as his mama.

James Franciscus generally got panned as Arthur “Youngblood” Hawke. The kneejerk criticism is unduly harsh, to me. We’re not talking director Delmer Dave’s fave Troy Donahue here. Franciscus was a genuinely handsome, intelligent, sincere actor and brings those qualities to the role. He is also boyishly charming, as he enters the new world of NYC. Franciscus is effective in his quiet scenes, especially with his two female co-stars. A set piece where Arthur gets publicly roasted by a literary critic for his latest tome is subtly handled. However, what Franciscus lacked was the spark and rough edges that make Hawke so irresistible to the NYC literary crowd. Franciscus comes off as patrician and gentlemanly most of the time, and when he goes into his country boy routine for some of the big scenes, it’s overdone.
Franciscus' Hawke gets publicly panned by Edward Porter's acerbic critic,
as Pleshette's Jeanne Green glares daggers.

Ultimately, James Franciscus just isn’t dynamic enough as Youngblood Hawke, and wasn’t charismatic enough for film stardom. Paul Newman and Robert Redford played similar roles at the beginning of their careers and were just as wooden. But both actors were cultivating a cool, anti-hero image, whereas Franciscus had his feet planted in the ‘50s style of handsome leading man who’s a solid, but at times, stolid actor. Hence, Newman and Redford went off to become better actors and cool movie stars, and Franciscus went on to TV stardom.
Suzanne Pleshette shines as savvy and sympathetic editor Jeanne Green.

Suzanne Pleshette is sympathetic and refreshingly natural as career woman Jeanne Green. I wish Pleshette had a more substantial film career. She was very attractive, starting off as a snub-nosed version of Elizabeth Taylor. In fact, she’s sports the same bubble do that ET unfortunately made popular. Yet, Suzanne’s warmth, humor, and no-nonsense personality are all her own, and Pleshette should have gone farther in feature films. But this was the ‘60s, where actresses were carrying movies less and less. The already established actresses benefited from the studio era, branding them with strong images: Doris Day, Audrey Hepburn, Sophia Loren, and Elizabeth Taylor, etc. Pleshette’s essential normalcy may not have made her a top ‘60s movie star, but this quality was key to her becoming a popular TV star in the ‘70’s, as Emily in The Bob Newhart Show.
Let's just say that Frieda Winter (Genevieve Page) isn't as sensible as romantic rival Jeanne.

I wasn’t charmed by Genevieve Page as Frieda Winter, though she got some of the best reviews from critics. I found her accent hard to understand, especially when she was lobbing bon mots. And Page has a habit of crinkling her nose and giggling coyly as she seduces Hawke, which I found off-putting for this alleged woman of the world. Frieda’s character motives and backstory seem more like plot machinations or to garner sympathy. Frieda is far more upset when caught with Arthur by his mother, than earlier in the film, when they are walked in on by her young son! I found her character tiresome and Page less than charismatic. Apparently, the role was originally for an older actress, like Gene Tierney. A Mrs. Robinson type would have been more intriguing, and a way to underscore that Hawke is out of his depth.
Suzanne Pleshette & James Franciscus share a rare happy moment in the super soap 'Youngblood Hawke.'

Some of the tragedies are just tragically lame. For example, when Frieda’s young son commits suicide, due to boarding school bullies taunting him over gossip about her affair with Hawke, he hangs himself by jumping off a stack of Arthur’s doorstop novels. Or when Arthur collapses from overwork and falls into a ditch on the way to the mailbox, to send off his latest draft!
After Hawke's golden boy luck begins to run out, Arthur takes a scenic walk to clear his head.

One of the biggest head scratchers, as it’s a major plot point, is why Arthur takes his new found wealth and invests in his uncle’s latest development project. It’s established at the movie’s opening that Arthur’s uncles have been ripping off him and his mother from their share of the profits mining coal on Hawke’s property. Yet, Arthur goes into business with the dirtbag?
Socialite Frieda has a yen for Youngblood Hawke, and who can blame her?

It also seems unlikely that prominent socialite Frieda Winter would brazenly pick up Hawke at a huge Christmas party on the It Boy’s first night in town, and not set off a firestorm of gossip. In fact, publisher Ross Hodge comments that it was the first time he ever saw Frieda leave a party with anybody but her husband.
What knocked me out is when one character mentions near the finale how much Youngblood Hawke has experienced in one year… I just assumed it took place over several years, and it still felt like several lifetimes!
A toast for Youngblood Hawke. That's Mary Astor second from left. The dark, handsome guy is Robert Aiken, whose agent was predatory legend Henry Willson, who first dubbed him Ford Dunhill. Guess that's classier than Tab or Rock!

In the end, it’s the cast that will help you suspend disbelief over the (mis)adventures of Youngblood Hawke. Aside from James Franciscus’ earnestness, Suzanne Pleshette’s pragmatic persona, and Genevieve Page’s Gallic allure, there is the stellar supporting cast.
Kent Smith, as Paul Winter, Sr., Frieda’s wealthy, older husband, is once again WB’s resident bland, put upon male. Don Porter is sardonically amusing as Ferdie Lax, the literary lawyer who takes on Hawke. Porter is a scene stealer, especially in his big scene, railing against Hawke’s soon to be ex-publisher. Lee Bowman is authoritative as Jason Prince, the first publisher who signs Hawke on. Mark Miller is a refreshing ‘60s movie male, as Ross Hodge, a tough business man who is still a good guy. Mildred Dunnock, often the quavering noble type, this time out is a kick ass Southern mama. John Dehner chews the scenery and cigars as Hawke’s shyster uncle, Scotty Hawke.
I love that sexy little look in Franciscus' eyes when he gazes upon his dream girl, Frieda Winter.
Eva Gabor plays the literary hostess with the mostess.

Edward Andrews is campy fun as Quentin Judd, the literary critic, given to public performance-style critiques. Mary Astor brings authority and class as legendary actress Irene Perry. And Robert Aiken, once one of notorious agent Henry Willson’s boys, later star of Russ Meyer epics, is here Hawke’s literary rival, Howard Fain.
Franciscus and Pleshette are joined by other actors who also found fame on TV: Hayden Rorke of I Dream of Jeannie, Werner Klemperer from Hogan’s Heroes, and Eva Gabor of Green Acres all show up, as well.
Author Herman Wouk, who passed away in May of 2019.
Depending on your mood, Youngblood Hawke is a tall tale made highly entertaining by the old-school WB production and the fine, familiar cast. Or, this loony literary epic will have you looking for a good book to read.


Aside from the obvious, this shot of Franciscus in the pool is noteworthy, because the camera uses Hawke's underwater POV to see people standing around the pool, predating 'The Graduate' by a three years.

FYI: I put all the movie overflow on my public FB  movie page. 

Friday, July 12, 2019

Robert Wagner’s Killer Charm: ‘A Kiss Before Dying’ 1956

Joanne Woodward falls for Robert Wagner in a BIG way in 'A Kiss Before Dying!'


Ira Levin’s first novel, A Kiss Before Dying, boldly had a charismatic but killer sociopath as its protagonist. Levin, author of Rosemary’s Baby and The Stepford Wives, got Kiss published in 1953, a year and half before The Talented Mr. Ripley, Patricia Highsmith’s classic charming villain. Boyishly handsome, clever, devious, and desperate in his desire to join ranks of the rich, Levin’s Bud Corliss and Highsmith’s Tom Ripley are practically twins.
Mom had A Kiss Before Dying recorded and we watched out of curiosity, because as a teen, she worked at Manistique’s Oak Theater when this 1956 version came out. This was the first time for me, plus I never saw the ’91 remake.
*A slew of spoilers ahead, needed to write about Kiss’ story and characters.
Love how Wagner's Bud comforts Woodward's pregnant Dorie with cigarettes!

Kiss gets right down to it: Wagner’s Bud consoles girl friend ‘Dorie,’ Dorothy Kingsmith, who just found out she’s pregnant. Bud seems solicitous, but unduly concerned as to who knows. The situation of the upwardly mobile boy and the hapless, pregnant girl is reminiscent of A Place in the Sun, which came out five years prior to Kiss. The difference here is that the girl is not poor, but from a wealthy family. Bud wants to marry into money, but knows that her stern father is all about propriety. Bud wants his entrée into the Kingsmith clan to be smooth.
Bud's reaction when he sees Dorie walk into class the next day, after giving her special 'vitamins' to take!

So, instead of offering to pay for an abortion, Bud decides to kill Dorie. First, Bud decides to poison her and goes to great lengths to procure the chemicals, and tries to pass it off as vitamins for the mother-to-be. Then, after tricking her into writing what could pass as a suicide note, he mails it—but Dorie decides not to take Bud’s little helper. Since he’s already sent the letter—he then proposes to her—when he sees that the municipal building is very tall, with a handy roof. Inspiration from desperation! Bud deliberately times their trip during the lunch hour, and then suggests they check out the view while they wait…
Bud wants Dorie to do her imitation of 'Cat on a Hot Tin Roof!" 

After Bud dispatches with Dorie, he moves on to her sister, Ellen. From here, the movie loses momentum, as it becomes a matter of Bud constantly trying to cover his tracks. Also, Joanne Woodward gives the film’s only performance as someone who resembles a real person. Otherwise, the film is a cast of cardboard cutouts: Jeffrey Hunter, as an assistant college professor who just happens to work part time for his chief of police uncle. You can tell that Hunter’s character is smart because he wears thick glasses and smokes a pipe! With his dark, slicked back hair and black horn rims, Hunter’s Gordon Grant reminds me of Clark Kent. And Hunter works the horn rims and pipe like a community theater newcomer clinging to his props. Fox starlet Virginia Leith gives a robotic ‘50s starlet performance as the second sister.
Doesn't Jeffrey Hunter look smart with his horn rims and pipe, solving murder mysteries?

George Macready, who will always be Gilda’s suavely sinister husband, has little to do except offer rote reactions. The same goes for Mary Astor as Bud’s working class, doting mother. Mary and Joanne’s characters sport two-fer poodle cuts, a trend Joan Crawford once noted only looked good on teenage girls and real poodles, but Mary’s hair has been dyed Lucy Ricardo red, to boot!
Mary Astor, as Robert Wagner's mother, refuses to open her eyes until her hair grows out!

The redeeming character is Dorie, played by Joanne Woodward. If you can get past her hideous curls, Joanne’s rich girl is gentle and almost child-like. Dorie seems far too trusting of Bud’s line of bull, but Woodward’s character is empathetic and likeable. Still, Dorie almost seems like a cartoon doormat, with Bud tricking her into all kinds of traps that seem obvious. One that he doesn’t plan is when she takes a header down the sports bleachers and comes up smiling! Joanne’s natural, modern acting style is a sign of cinema things to come, compared to Virginia Leith’s studio charm school of acting.
Joanne Woodward as Dorie, pregnant and with a poodle cut!

Joanne kept reminding me of "Christina Crawford!"

It’s also fascinating to watch Robert Wagner at his heartthrob peak, melding his smooth, slightly smarmy style with the play-acting psycho, Bud Corliss. Robert Wagner was one of those ‘50s actors who really didn’t progress beyond his heart throb build up. By the ‘60s, the feature film parts became few and far between. Like fellow film lightweights George Hamilton and Roger Moore, television saved the day, with TV series or appearances that allowed the former pretty boys to maintain their maturely handsome looks, while lightly spoofing their image. For Wagner, it was first with It Takes a Thief, and later Hart to Hart.
Joanne Woodward as the slightly air-headed heiress and Robert Wagner as the cool killer.

As Bud Corliss, Wagner’s shortcomings as an actor actually work in favor of his character. Bud oozes charm and always has a corny line for the woman in his life. Wagner’s cultivated voice always sounded slightly phony, mocked hilariously by RJ’s own mini-me, Rob Lowe, in the Austin Powers movies. RJ’s studio-taught mannerisms all make his sociopath pretender especially believable. While Kiss is a far-fetched noir drama, but compare Wagner’s Bud to Monty Clift’s climber in A Place in the Sun, and the difference in the talent level is obvious. Wagner was not an accomplished dramatic actor, but a studio star that got by on good looks and charm, for awhile—just like Bud Corliss. Lucky for Wagner that TV success was down the road.
Here's a candid of very young and handsome Robert Wagner, without the greasy kid's stuff.

Though Bud’s military service is noted, it’s a shame that the film version of A Kiss Before Dying doesn’t recreate the novel’s defining incident with a Japanese soldier, which shows Bud’s thrill of power over someone. This explained how Bud became a ruthless killer.
A Kiss Before Dying is truly a mixed bag of treats. On the goodies side, the use of Cinemascope, Lucien Ballard’s imaginative camera work, lots of Arizona location shooting, and an evocative look at mid-50s USA, all makes Kiss look like the perfect postcard of the past.
Robert Wagner's horseback riding apparel--love it or hate it?
Robert Wagner goes side saddle with the film's other sister, played lethally by Virginia Leith.

On the yucky Kiss side is the strange opening credits, with lots of illustrated magenta lips and baby blue font, accompanied by a peppy theme song. All fit for a romantic romp, but not a suspense flick about a cold-blooded murderer! The song is later played on the restaurant jukebox, and Wagner even hums the cheesy tune to himself several times. Plus, there are a number of amusingly odd moments: when Bud pitches Dorie off the business building roof and holds his arms out in a maestro pose just a bit too long; whenever Bud offers pregnant Dorie a puff of his cigarette when she doesn’t feel good; or RJ’s hipster horseback riding outfit and girly poses; and most especially, when a matronly woman in a see-through blouse and white bra saunters past Bud, and plops down in a chair, during an especially dramatic moment.
This nasty little film noir, in eye-popping color and Cinemascope, is worth a watch, especially since A Kiss Before Dying came out in the wholesome ‘50s.
Robert Wagner "photo-bombing" co-star Jeffery Hunter!




Monday, July 1, 2019

Eva Marie Saint: Secret Weapon of ‘North by Northwest’ 1959

Eva Marie Saint as mystery woman Eve Kendall, subtle & seductive in 'North by Northwest.'


North by Northwest is one of my all-time favorites, yet I hesitated to write about this cinema chase classic. What else is there to say about the famed Hitchcock film?
As I watched North by Northwest again, I realized the secret weapon is Eva Marie Saint, as mystery woman Eve Kendall. It also happens that Eva Marie Saint turns 96 on July 4, so it seems fitting to pay tribute to the actress’ talents in the Hitchcock classic. FYI, North by Northwest premiered 61 years ago, July 1, 1959, which made me want to write about this gem even more!
Eva Marie Saint paid tribute to that gorgeous red dress at a recent Oscars appearance, still looking stylish!

Like fellow movie star Audrey Hepburn and television’s Mary Tyler Moore, Eva Marie Saint was the thinking man’s sex symbol of her era: smart, charismatic, fun, good-hearted, and lovely in a non-stereotypical way.
'North by Northwest' played up both the suspense and sex angles of this Hitchcock classic.

Hitchcock found his ideal film blonde in Grace Kelly, starring in three of his films. Then Grace retired from the screen, going from movie queen to real life princess. The Wrong Man starred his next muse, Vera Miles, who inconveniently kept having babies. Next, Kim Novak starred in Vertigo, whose vulnerabilities made her perfect casting as the enigmatic blonde. After Saint in North by Northwest came Janet Leigh’s sympathetic, brisk presence in Psycho, and finally, Hitch’s protégé Tippi Hedren, who had the look but neither the talent nor charisma to be the next Hitchcock blonde. From the mid-1960s on, audiences no longer found cool blondes teasing fire beneath the surface enthralling. Evaluating the actresses, Miles has yet to receive revision, Psycho is one of Leigh’s key roles, and Novak and Hedren now have their defenders.
As elusive Eve Kendall, Eva Marie Saint got a chance to play someone other than a nice girl.

What about Eva Marie Saint? In her day, Saint was well-liked by fans and critics, and well-received as a Hitchcock blonde. But between Kelly’s iconic legacy and the latter day evaluation of Novak and Hedren, Saint’s been a bit overshadowed. I think that Eva Marie Saint is a bit like Dorothy McGuire, both of whom were lovely in an accessible way, skilled, effortless, and naturalistic. Both Eva and Dorothy had more of a foot in modern day acting than their contemporaries. They had quiet personal lives as well, not for public display, and have since been a bit overlooked and underestimated as actors and stars.
Saint's Eve and Cary Grant's Roger Thornhill weren't strangers on a train for long!

What Eva brought to North by Northwest, encouraged by Hitchcock, was an understated, confident, smart sex appeal. Brains and beauty were a hallmark of the Hitchcock blonde. After playing several sweet young things, Eva got to play the bad girl/good girl role as Eve Kendall. Eva’s Eve initiates an introduction to Cary Grant’s man on the lam, while aboard the 20th Century Limited. Sparks and risqué repartee fly with Eve and Grant’s Roger Thornhill, but many twists and turns follow their further meet ups. Saint’s subtle changes in Eve’s supposed character benefited from her Actors Studio training, and was visually enhanced by Saint’s smooth makeover, guided by Hitchcock. North by Northwest presented her as a subtle siren who lures Cary Grant’s leading man. The scenario of the ambiguous female and the distrustful male, by the way, was reminiscent of the roles Grant and Ingrid Bergman played in Notorious.
However, romancing Eve isn't as easy as it seems!

As Eve, Eva Marie Saint skillfully goes from a seductive stranger on a train to two-timing traitor to redeemed heroine, performed in a stylish but straightforward way. North by Northwest was the twilight of an era when actors still acted in elevated studio system style, such as Lana Turner in the same year’s Imitation of Life. Eva acts with panache, but not with quotation marks.
Eva Marie Saint, as Eve, heading toward the film's famed climactic sequence.

In one of Pauline Kael’s essays on classic films, the famously cranky critic took a swipe at Eva Marie Saint in North by Northwest, writing that Eva looked embalmed. Since Kael was not a Hitchcock fan, this isn’t surprising. Still, I take exception to that evaluation. Hair and makeup were cartoonish on nearly all the ‘50s female stars. In contrast, Eva’s sleek, simple hairstyle and sophisticated but subtle makeup brings out her best qualities, including those huge blue eyes. Her whole look is sleek, including the lovely clothes Eva and Hitch picked from pricey NYC stores. That includes the striking black frock with red overlay flowers that is proper in the front and party in nearly backless back!
The famous red and black dress, from a NYC shopping trip with Hitch & Eva Marie Saint.
The dress symbolized Hitch's preference for sexy to be subtle.

Despite the difference in their training, Saint from the Actors’ Studio and Grant from the Hollywood studio system, Eva and Cary got on quite well. Cary Grant was generous to her, with his star perks. Grant made sure that the lighting flattered fair Eva as well as tan Cary, and that when he approved publicity photos, they favored both of them.
As a relative newcomer to films, established star Cary Grant had Eva Marie Saint's back.

Saint has commented that her character comes into the story a bit late, something I noticed too, in this enthralling but tad overlong film. Eva as Eve comes in at the 45 minute mark of the 130 minute film. At the time, Saint’s husband told her to consider the script as a whole, not just the size of her role. Janet Leigh found that out she took her part in Psycho, despite the character getting dispatched less than half way through.
Eva Marie Saint performs the role of Eve with style, without falling into the era's outdated acting style.
Once Eva’s character is introduced, Eve Kendall and Roger Thornhill zigzag around each other, which added a genuine romantic tension on top of the espionage thriller’s stakes. Eve Kendall is a forerunner to the modern movie heroine and benefits greatly from having a multi-faceted performer like Eva Marie Saint to essay her.

FYI: I put all the movie overflow on my public FB  movie page.