'Back Street' 1961

 

Susan Hayward & John Gavin in "Back Street." Susie's vehicle all the way!

John Gavin's unhappy hubby oughtn't have let Vera Miles' virago wife take the wheel!

The ’61 remake of Fanny Hurst’s Back Street is the third retelling of the teary tale and a favorite of Susan Hayward fans. The first two starred Irene Dunne (’32) and Margaret Sullivan (‘41), so a case could be made for any of the three, as to who was the most noble Fanny Hurst film mistress.

This big screen soap is one of a string of glossy remakes created by glamour fan/producer Ross Hunter: Magnificent Obsession, Imitation of Life, Back Street, and Madame X. The first two were directed by Douglas Sirk, who gave his mainstream soaps subversive subtext. Back Street was directed by David Miller, who was skillful at directing veteran actors to best advantage, but was a straightforward studio director.

Susan Hayward dominates the third version of "Back Street" like a true movie diva.

Backstreet is the tale of a promising young woman with dreams of being a fashion designer, but whose life is altered by falling in love with a married man. In the original story, the woman is compromised by giving her life over as the other woman, and literally living a “back street” life as his mistress. In this update, Susan Hayward’s Rae Smith has her own flourishing career, but eventually agrees to be on call as the married man’s lover. John Gavin’s Paul Saxon is trapped in a loveless marriage to drunken shrew Liz, who wants to remain a rich wife to this department store heir. The main premise here is the film’s major weak point. The two illicit lovers are gaga for each other at first sight, yet he won’t divorce the wife for his children’s sake and the independent career woman runs to his beck and call at the drop of a hat. Even in this early ‘60s era, a rich couple no longer in love would just discreetly live separate lives and not upset the apple cart.

Susan Hayward & John Gavin's characters love is picture perfect in "Back Street."

But this is a Ross Hunter production, so suspension of disbelief is mandatory for his “suffering in mink” sagas. Such coincidences as the main characters running into each other at the most dramatically opportune times (like Hayward’s helping up Miles’ drunken character just as her husband runs over to assist). Or staring into department store windows just as the other lover happens to walk up, reflection in the glass. There are also lovers’ dramatic phone calls, with phones that conveniently match the color scheme of their costumes and décor! And the usual missed opportunities of lovers who can’t seem to get together, soap opera style.

This Back Street was a moderate hit and Susan Hayward’s most successful latter day starring role—though her guest role as Broadway barracuda Helen Lawson in Valley of the Dolls in ‘67 was her biggest all-time hit movie.

John Gavin & Susan Hayward make a handsome couple in "Back Street."

As Rae Smith, Susan is sympathetic and warm as the designing woman with big dreams. Hayward was 43 when Back Street was filmed and she looks lovely, as photographed by Stanley Cortez. Unlike her later ‘60s outings, Hayward’s hairstyles are simpler and look softer, and Susan looks sensational in Jean Louis’ clothes. As the wife from hell, Vera Miles gets to be glamorous, after her drab turn in Psycho. Jean Louis’ costumes for the two women are chic. Also interesting is that both women were cast against type: Susan made a career out playing tough cookies, whereas Vera Miles almost always played warmly classy in her career. Here they play opposites, and both are just as good at it.

Vera Miles, as the rich bitch wife, gets to look glam in Jean Louis outfits.

Susan Hayward sure looks much more subtle in Back Street than Lana Turner did in Imitation of Life. Both films are rags to riches tales, told over a number of years, But Susan doesn’t have that fuzzy-focused and shellacked look that Lana required. Both also shared a co-star in their respective Ross Hunter sagas—John Gavin. Gavin was a decade younger than Lana and 14 years younger than Susie. Tall, dark, and handsome, Gavin looked good opposite both of them. Both actresses were “playing young” in the early sections, and Gavin was given a spray of silver in his hair for the later scenes. Though the age difference was noticeable, it was far more common for aging male actors of the day—especially Gable, Cooper, and Astaire—to co-star opposite women often 25 years younger!

Susan Hayward, a rare chance to play glam, as a designing woman, in "Back Street."

In Where Love Has Gone three years later, Hayward would replay the playing younger bit, again as a WWII era woman in love, growing unhappier up to current day… and age! And that would co-star another young actor, Mike Connors.

If you’ve watched enough Universal TV shows and movies from the ‘60s and ‘70s, you’ll notice the back lot sets look familiar. Also, the huge picture window in Susie’s “country cottage” reminded me of Rock Hudson’s DIY mill dream home in All That Heaven Allows. The recreating of far flung locales, mixing location shooting with artificial back lot exteriors and soundstage interiors, was quickly becoming passé. Still, Hunter’s productions look fabulous, no matter how fake. The sets, costumes, furs, the jewels, hair and makeup, all are total glam.

John Gavin & Susan Hayward bump into each other, over drunken Vera Miles, in "Back Street."

Ross Hunter always gives his leading ladies great support with his favorite familiar faces. Though she’s the same age as Hayward, Virginia Grey plays Susie’s big sister in Back Street. Ross called Grey his “good luck charm,” and she appeared in many Hunter productions. One of MGM’s most beautiful starlets, Virginia never got to the next level, and I don’t know why. I will say, by the ‘50s, Grey’s bone thin appearance and heavy makeup made her appear much older. Note the scene where Virginia’s reading/writing letters to sister Susie, and her eyelashes look like awnings!

John Gavin & Susan Hayward have a most discreet moonlit dip in "Back Street."

John Gavin confirmed what seemed apparent in Imitation of Life. The “next Rock Hudson,” while pleasant enough in the lighter or romantic scenes, turned to stone in dramatic moments. As Paul’s life hits the crisis stage, with a crazy wife, Gavin goes deadpan. While Rock Hudson was no Brando in the emotional department, Hudson grew into a warm leading man. I’ve read that Gavin was resistant to appearing shirtless and uneasy in love scenes. Perhaps Gavin didn’t want the “Baron of Beefcake” label that Rock Hudson had to live down, or perhaps he was just inhibited. He certainly seemed that way emotionally too, on screen.

Director David Miller was no Douglas Sirk, but he does borrow his reflective imagery.

Other Hunter favorites are Charles Drake as Mr. Nice Guy who wants to marry Susie’s Rae, but she falls head over heels for a married stranger! Reginald Gardiner is her “acerbic” designer boss. Natalie Schafer plays a gossipy client. Hayden Rorke is a big client of Rae’s. They all play their parts well, within the stereotypes of this soap.

But it’s Vera Miles who gets to bust out and let loose in Back Street. As Liz Saxon, Vera gets to snap, snarl, screech, and wreak havoc as Gavin’s virago of a wife. Liz is a lush and also adulterous, too, but makes it clear that she’s in it for the long haul, and doesn’t want to be another ex-wife with a payout. A cardinal sin in any mid-century soap is a mother who hardly notices her children. And though she seems to play fast and loose herself, the minute she finds out that Paul is seeking comfort elsewhere, Liz is on the warpath. This gives Vera several big moments, sparring with her unhappy hubby, and later, Rae herself. After her drab role as Janet Leigh’s sister in Psycho, Miles makes the most of her flashy role.

Vera Miles, as John Gavin's drunken wife in "Back Street," is ready to rumble!

Back Street’s ending seems like a dead end to me, and probably seemed so in its day. But that finale, with Rae’s comfort derived from nobly sacrificing, was standard studio-era Hollywood, which was swiftly coming to an end. Hunter found that out later when the sentiments of Madame X didn’t make the grade

Today, Back Street can be viewed as “feel sad” fun or camp, or both. Either way, this movie is an exercise in mid-century Hollywood style.

Back Street fans! This movie finally comes out on Blu-Ray on 8/10/21.

For more: https://www.kinolorber.com/product/back-street-blu-ray

Like I said, "Back Street" is Susan Hayward's vehicle all the way!

Here’s my take on Susan Hayward’s further descent into swanky soap operas, Where Love Has Gone:

https://ricksrealreel.blogspot.com/2020/08/where-love-has-gone-1964.html

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

Check it out & join!  https://www.facebook.com/groups/178488909366865/

“Old Yeller” 1957

 

"Old Yeller" from 1957 was a live-action Walt Disney favorite for generations.

As a ‘70s kid, I thought Old Yeller was the best movie ever, filled with humor and heartbreak. This film came out two years before I was born, but it was a perennial TV favorite growing up, on The Wonderful World of Disney. I watched this Walt Disney favorite recently for the first time since I was a teen, after I had just lost my dog to cancer.

How does Old Yeller compare today to my memory? Let’s just say everything’s pretty black and white in this beautiful color movie. Perhaps if Uncle Walt had hired a William Wyler or John Ford to direct, Old Yeller may have had more nuance and resonance. But Disney typically hired competent journeymen directors like Robert Stevenson, for stringent control over cash and creativity.  

Still, Old Yeller is a solid “boy and his dog” movie. And for me, the dated aspects of the film are not central to the action. I’m not hung up that the mother defers to the husband, that the family uses guns, or that the settler family live near Indians after the Civil War. This is a ‘50s movie about a past era, made by conservative Walt Disney—I wasn’t expecting a progressive documentary. Yes, it’s a grimace today that the little brother gets an Indian headdress and tomahawk as a gift from returning Pa. But I was not overly perturbed since I was probably the last generation of kids who played Cowboys and Indians, back in the early ‘70s in Upper Michigan.

"Old Yeller" soon becomes a valued part of the Coates family.

In a nutshell, Old Yeller comes into the Coates family’s lives after father Jim leaves on a long cattle drive. At first, Old Yeller has a reputation as a loveable scoundrel, stealing food and getting after female dogs. But the rogue changes his ways as he bonds with the family, first with little brother Arliss, who is as much a wild thing as Old Yeller. However, the dog eventually gets the approval of older brother Travis, who is looking after the family in his father’s absence.

Though Old Yeller’s original owner shows up, he can see how strongly the dog has bonded with the boys, and lets them keep him. Old Yeller’s great at fending off wild or unruly animals, but meets his fate when a rabid wolf injures him while trying to protect Katie Coates and a neighbor girl. Against the mother’s better judgment, she lets Travis put Old Yeller in quarantine. After a couple of weeks, the boy is horrified to see that his beloved dog is now snarling and foaming at the mouth. Standing in as the man of the family, Travis feels it is his job to put Old Yeller out of his misery.

"Old Yeller" gets rabies after fighting off a sick wolf to protect Mrs. Coates.

Old Yeller, based on the best seller by Fred Gipson, was snapped up by Walt Disney, and Gipson co-wrote the screenplay. Old Yeller was Disney’s Christmas movie for ’57 and was a huge hit, and enjoyed several re-releases.

I must say that half of the scrapes that Old Yeller rescues the Coates family from are because of their own foolishness. Especially Arliss, who chases after bear cubs and tries to let rabid Old Yeller out of his pen. Even Travis, going after wild boars, just after he’s told that rabies is rampant in their neck of the woods. Not only do they attack Travis, but nearly kill Old Yeller.

In my house, our beagles wouldn't have passed the test of being tempted with venison!

As a kid, I was fascinated by rabies, since it turned up as a plot line for several TV shows. First Old Yeller, then reruns of Mom’s fave hip western The Monroes, where their community was terrorized by a rabid wolverine in “The Forest Devil.” I was riveted because my Michigan’s state animal is the wolverine! There was also a Bonanza episode, “A Time to Die,” with Ben Cartwright’s lady friend afflicted by rabies. She’s played by Vera Miles, who I’ve joked was the favorite TV female guest star during the ‘60s and ‘70s. Both episodes are on YouTube. Yeah, I was that weird kid who rushed home to watch Dark Shadows!

Spike as Old Yeller was incredibly expressive and energetic!

The action sequences with the animals hold up remarkably well and that is a tribute to famed animal trainers Rudd and Paul Weatherwax. Rudd was especially renowned, via his work with Lassie. And the performance they achieve with Spike, who plays Old Yeller, is terrific. Watching this dog perform, I loved him more than ever—a belated Oscar for Spike, please!

Dorothy McGuire, in her first Disney outing, as Katie Coates in "Old Yeller."

Old Yeller was the first time top-billed Dorothy McGuire appeared in a Walt Disney movie, which she followed up with Swiss Family Robinson in ’60 and Summer Magic in ’63. Some scoffed at the ‘40s dramatic actress now playing mother roles, but these big budget films were even bigger hits. At 41, Dorothy looks realistic as a pioneer woman, yet is attractive as ever. I do wish there was a bit more toughness in Dorothy’s Katie Coates as there was with her Katie Nolan in A Tree Grows in Brooklyn.

Bathing in the family's drinking water with "Old Yeller" is just one of Arliss' antics!

Kevin Corcoran's Arliss listens to a deal for "Old Yeller," made by his former owner.

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This was the first time up to bat in feature films for Disney TV stars Tommy Kirk and Kevin Corcoran—they eventually co-starred in five films together. I realize that Kevin Corcoran was directed to play Arliss as a “lovable” little devil, as he became popular on Disney TV playing a similar character, “Moochie.” A little of Corcoran’s Arliss, with his caterwauling voice, brash behavior (walking on the kitchen table?), and lack of common sense (tackling a baby cub to claim as his own!), goes a long way. As a kid, we thought Arliss was a hoot, but as an adult, I wished that Arliss would get a time out.

Tommy Kirk as Travis Coates. The scene where he realizes "Old Yeller" has rabies.

The real gem of a performance is Tommy Kirk as Travis Coates. I vaguely recall him from various Disney movies on TV and Tommy seemed personable, but didn’t make a strong impression. Kirk was from a past Disney generation, like Annette Funicello, and I then thought the cool Disney stars were Kurt Russell and Jan-Michael Vincent! When I watched Old Yeller just recently, I was amazed at how natural Tommy Kirk was as Travis, especially compared to Corcoran’s over-the-top Arliss. Kirk’s regular guy appeal, humor, and empathy shine throughout, especially in the scenes where he tries too hard to hold down the fort while Dad’s away. And once Travis bonds with Old Yeller, Kirk is most endearing when the farmer boy and the trusty dog work together. When Old Yeller gets rabies, Kirk’s acting is powerfully real, with the climactic scene where he must do the deed.

Try not to get a tear in your eye during this famous death scene in "Old Yeller."

Fess Parker, Disney’s Davy Crockett, plays father Jim Coates. He’s second-billed but only appears at the beginning and end of Old Yeller. During the film, he is on a cattle drive. Still, Parker gives the fatherly pep talk to Travis, who mourns Old Yeller. Parker later went on to another hit western, Daniel Boone. And Chuck Connors, as Old Yeller’s original owner, did so well holding his own against kids and a dog, that TV producers made him The Rifleman the following year.

Fess Parker as Jim Coates urges Travis to see the "good parts" of life in "Old Yeller."

As a kid, most folks in the Upper Michigan town I grew up in didn’t have money to take their pets to the vet. So, when their time came, the older boys or men in our families would take them out in the woods and shoot them. That seems horrifying today, but that’s the way it was back then, and Old Yeller’s fate had a powerful effect on me as a kid.

Travis Coates and his trusted companion, "Old Yeller."

Recently, I had to euthanize my very own Old Yeller, my golden Cockapoo, named Ginger. She was diagnosed with lymphoma this spring. With medication, Ginger made it until June 12, living 14 ½ years, a great run for her breed. She was not in pain, but my sweet girl didn’t want any of her favorite foods, but only wanted to sleep. Making the decision to end Ginger’s life was one of the hardest things I’ve ever had to do. And Old Yeller immediately sprang to my mind. I’m grateful that I didn’t actually have to pull a trigger. At the vet’s office, Ginger was in my lap, where the doctor first sedated her, and finally gave her a shot to euthanize her. It was peaceful for Ginger, but such a jolt for me, when I felt Ginger’s body go still.

Like Travis, I have struggled with getting over the “bad parts,” lamenting that people-loving Ginger and I were cooped up for a year during the Covid shut down. Still, as hokey as Jim Coate’s advice sounds, it’s really just that simple: look for the “good parts” of life and not let the “bad parts” take over entirely.

As old-fashioned as Old Yeller may seem to some folks today, the basic story of human beings love for their animal and the obligation to do right by them, no matter how hard, is still true.

Here's my "Old Yeller, " Ginger the Cockapoo. She was 8 here, cooling off in
Lake Superior, when she was first back full-time in Upper MI. 

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

Check it out & join!  https://www.facebook.com/groups/178488909366865/

Till the End of Time 1946

Guy Madison & Dorothy McGuire team up for 1946's "Till the End of Time."

RKO’s Till the End of Time is a post-WWII drama about veterans who return home and readjust to civilian life, which anticipated instant classic The Best Years of Our Lives by four months. While not of the same caliber, Time’s virtues are at least its own, as it came first.

This was Guy Madison’s second film and first starring role, after his eye-catching cameo in David Selznick’s wartime drama, Since You Went Away. Till the End of Time has much in common with that home front war drama, too. Again, while smaller in scope, Time has that same sentimental take on family and patriotism, but is occasionally leavened by clear insights on readjusting soldiers.

The stars of "Till the End of Time," in true movie fashion, are instantly gaga
for each other--though in this case it's not hard to see why!

The romance between returning Marine Cliff Harper (Guy Madison) and war widow Pat Ruscomb (Dorothy McGuire) is predictably instantaneous. This film was a big hit, what with new heart throb Guy and fresh leading lady Dorothy.

What makes Till the End of Time interesting, at least by today’s standards, is the snap shot of the post-war era, even with its gloss. You get a somewhat realistic look at how people lived, the social values, and how veterans were treated upon returning home. There are a number of small scenes that are heartfelt, such as the vet at the counter suffering PTSD or Bill Williams’ amputee refusing to wear his prosthetics, or Dorothy’s war widow getting unfairly judged about her morals.

McGuire's Pat & Madison's Cliff talk down a vet with a case of PTSD in "Till the End of Time."

The cast, with many familiar faces, is a major plus. Guy Madison is no master thespian, but that’s not why he was chosen for the role of Cliff, the all-American boy. Guy’s line readings are indeed amateurish, but he has a genial charm, plus Madison was one of the most handsome men to step in front of a movie camera. It’s interesting that Guy was only three years older than Rock Hudson. While both actors’ agent was the notorious Henry Willson, who gave them their movie monikers, their studios handled them quite differently. Universal gave Rock the slow build up and Hudson honed what talent he had. David Selznick’s studio made few films and he just flesh peddled his actors out—three appear in this film. So, it was sink or swim for Guy Madison. 

The extent of grooming Guy Madison for stardom seemed to not go beyond
 photographing his beautiful face and body.

"I don't remember this scene in the script!"

Finally, it was Time’s second male lead who inadvertently demonstrated why Madison’s movie career soon fizzled—Robert Mitchum. While handsome men continued to get the buildup in Hollywood, it was the anti-heroes and rugged actors like Mitchum who led the way in post-war Hollywood: Mitchum, Lancaster, and Kirk Douglas, etc. Mitchum’s sardonic manner made him the next Bogart, while Madison went straight to TV and B westerns. As Cliff’s likeable but hell-raising best pal, Bob’s a scene stealer.

This photo has gotten a bit of notoriety, but don't worry,
Robert Mitchum's character just has a metal plate in his head!

I’ve noticed in film reviews and comments that Dorothy McGuire gets criticized as “dowdy” and “too old” as a leading lady for Guy Madison. Well, McGuire’s Pat IS supposed to be older than boyish Guy. A whole six years—horrors! As for dowdy, Dorothy often played unglamorous and later, motherly roles—but her looks were usually glamorous but subtle. As alleged mantrap Pat, RKO gives her the ‘40s glamour treatment with big hair and clothes that engulf her, but McGuire still shines through. For comparison, check out how chic McGuire looks in the next year’s Gentleman’s Agreement. Dorothy is miscast as the neighborhood femme fatale, but she requested the part. Frankly, McGuire plays it no differently than her other leading lady roles, so Pat is smart and sympathetic. And if she’s lonely and wants to have sex, why shouldn’t she? Surprisingly, Pat isn’t required to pay for her “sins” at the movie’s finale.

Dorothy McGuire as war widow Pat in "Till the End of Time."

Jean Porter, an audience favorite of the ‘40s, took over the role of nubile neighbor Helen for Shirley Temple, who got married instead. Porter is even more annoyingly perky than Temple, and gets a lot of screen time love from future husband, director Edward Dmytryk. Except for Eddie’s lavish attention to Jean’s skating and jitterbugging skills, Dmytryk directs a pretty tight film here, especially in the Marines’ homecoming scenes.

I had the same reaction as Guy Madison listening to Jean Porter's prattle!

Bill Williams is suitably bitter as Perry, the injured Marine. Like Madison, Williams later played a TV cowboy, Kit Carson. Bill married Perry Mason’s Barbara Hale, and their son, William Katt, was TV’s The Greatest American Hero.

Bill Williams as Perry, the amputee Marine, in "Till the End of Time."

Watch for Blake Edwards as the shop boss who Madison’s Cliff gets huffy with. Edwards later went on to direct Breakfast at Tiffany’s, The Days of Wine and Roses, and 10, to name just a few of his films.

The rest of the cast, like Tom Tully and Ruth Nelson as Cliff’s worried parents, Selena Royle as Perry’s mother, William Gargan as the Sgt., Richard Benedict as the vet with PTSD, and many other familiar faces, all play their parts well.

Till the End of Time may not be a timeless classic, but it’s a sincere snap shot of an important time in our country’s history.

Guy Madison and Dorothy McGuire gaze admiringly in "Till the End of Time."

For more on Dorothy McGuire, here are my other reviews of her films:

The genuinely romantic The Enchanted Cottage: https://ricksrealreel.blogspot.com/2018/05/the-enchanted-cottage-1945.html

The beautiful A Tree Grows in Brooklyn: https://ricksrealreel.blogspot.com/2017/10/a-tree-grows-in-brooklyn-powerful-story.html

The teen sex camp classic A Summer Place: https://ricksrealreel.blogspot.com/2019/08/a-summer-place-still-steamy-silly-1959.html

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

Check it out & join!  https://www.facebook.com/groups/178488909366865/