Robinson, Dietrich, & Raft’s Star Power Gives ‘Manpower’ a Boost 1941

 

"Manpower," with mega-watt star power of Marlene Dietrich, Edward G. Robinson,
 and George Raft. 

Raoul Walsh was a WB director up to the task of putting high-voltage stars like Edward G. Robinson, Marlene Dietrich, and George Raft through their paces in the action triangle, 1941’s Manpower. Walsh specialized in masculine stories, but also with strong female characters. The star trio is game here, but the script is strictly by the numbers.

Bachelor # 1! The lovable lug Edward G. Robinson, gaga for Marlene Dietrich,
in 1941's "Manpower. "

Bachelor #2! George Raft's tough guy plays hard to get, but so does Marlene Dietrich,
  in WB's "Manpower."

In a nutshell, Robinson and Raft play Hank and Johnny, best buddies who work as California electrical line men. Hank is lovelorn but keeps up a steady patter of girl talk; Johnny is a man of few words, but actually gets the girls. Their job is fraught with danger, often brought on by deadly weather. First, Hank’s leg gets electrocuted, and later, Johnny takes a bad fall. In between this, Johnny’s voice of doom old pal, Pop Duval, asks him to take him to his daughter, Fay, who’s getting out of prison. Raft and Dietrich’s characters have an instant love-hate attraction. This is complicated when Pop’s gloomy prediction comes true and he gets fried on the job. When Hank and Johnny go to Fay to give her the bad news, guess who also becomes gaga for Dietrich’s tough cookie? From there, Manpower alternates between the men’s dangerous occupation and their preoccupation with her.

Marlene Dietrich has her hands full in 1941's "Manpower!" With George Raft
and Edward G. Robinson. 

Off-camera, there was friction, as well. Raft resented being third-billed, while playing the lead. He also didn’t like the way Robinson was performing certain scenes together. And rumor had it that Raft was romancing Dietrich, and was suspicious that Eddie was smitten with her, too! It all came to a head when the boys got into a heated argument and shoving match—all captured on-camera by a visiting Life photographer! For more dish, here’s the skinny: https://starsandletters.blogspot.com/2018/12/controversy-on-set-of-manpower.html

 

George Raft and Edward G. Robinson play besties in 1941's "Manpower."
Off-camera, things got a bit beastly between the two stars.

Much of WB's They Drive by Night, from the previous year, had the same talent: director, writer, producer, composer, and several of the cast members. Part of what enlivened They Drive by Night was a juicy subplot lifted from 1935's Bordertown, with Paul Muni as the male lead and Bette Davis as the unhappy wife who bedevils him. Night’s Ann Sheridan and Ida Lupino were far more realistic leading ladies in a WB melodrama than languid and lacquered Marlene Dietrich. Not that Marlene is bad, just very miscast. And what would possess her Fay to marry a homely little man who has a thankless job as an electrical line man?

Eve Arden's fellow "hostess" reacts to Marlene Dietrich’s Fay and her ambivalence
 over marrying a man she doesn't love, in 1941's "Manpower."

The men of 1941's "Manpower!"

The juvenile way the Manpower guys obsess about dames and sex non-stop, plus Marlene’s character is referred to as a "kid" who makes a lot of dumb life decisions is an eye roll, since Eddie G. was 47 and Marlene and George were 40 at the time. That being said, they all play well, given the clichéd characters and script.

No-makeup scene with Marlene Dietrich in 1941's "Manpower." Okay, I didn't say
 anything about false eyelashes and a wig!

Amusing when Marlene gets out of the joint and her first request is to hit a drug store to buy makeup—mind you she's wearing false eyelashes like awnings! From there on, Dietrich's face is painted like a kewpie doll, whether she's working, sleeping, or making morning biscuits for her new husband! Sitting next to fellow clip joint girl Eve Arden—normally made up, Marlene in her mannequin makeup and wig looks like she’s from another movie. 

And she can cook, too! Marlene Dietrich as Edward G. Robinson's blase bride,
in 1941's "Manpower."

Whether horny, drunk, or throwing punches, over-zealous Eddie seems a bit absurd and not especially convincing. Especially when he socks Ward Bond, who's a head taller and built like a brick shithouse! Eddie's energetic emoting is in stark contrast to Marlene and George's deadpan style. And Dietrich is not the only one clinging to '30s makeup—Raft is still wearing generously applied guy-liner and eye shadow!

Handsome George Raft, with smoky eye makeup to go with his non-stop smoking,
in 1941's "Manpower. "

And George Raft's tough guy act, throwing punches and furniture at the least provocation, trash-talking Dietrich's character non-stop, and slapping her up near the climax, doesn't age well at all.

George is getting angry! From WB'S 1941 action flick, "Manpower. "

Edward G. Robinson beating the competition,  in 1941's "Manpower."

Alan Hale is more annoying than usual with his "lovable" buffoon persona. He’s even more over the top here than as the bumptious boyfriend of Stella Dallas or the crass hubby of Ida Lupino in They Drive by Night. There's way too much comic relief, to the point they might as well have brought in The Three Stooges, what with Hale, Frank McHugh, and Walter Catlett, going so overboard.

Alan Hale is the alleged comic relief in WB's "Manpower."

I always loved the WB depiction of the working class during their golden era. A highlight is the diner scene, where the guy behind the counter calls out the orders to the cook in slang. And if you took a drink every time George Raft calls Marlene’s shady lady “sister,” you’d be sloshed! And the girl talk at the Midnight Club clip joint is zingy. Manpower is quite watchable, just rather unoriginal. 

George Raft and Ward Bond are hands-on help when Edward G. Robinson
gets zapped in 1941’s "Manpower."

My look at Marlene Dietrich in a similar role, but with a far better script, in Billy Wilder’s post-war comedy/drama, A Foreign Affair:  https://ricksrealreel.blogspot.com/2023/05/billy-wilders-adult-foreign-affair-1948.html 

Love this montage of George Raft's Johnny recovering in the hospital,  as a nurse
gives him a cigarette! 1941's "Manpower."

Charismatic Steve McQueen is ‘The Cincinnati Kid’ 1965

Steve McQueen tries to keep his cool as "The Cincinnati Kid."

There were many talented hands involved with the poker playing epic, 1965’s The Cincinnati Kid. However, Steve McQueen is the winner, in the title role. McQueen isn’t just cool, but also effortlessly natural and emotionally understated as the man who has something to prove.

Like Paul Newman, Steve McQueen knew the power of his piercing blue eyes.

A common criticism of The Cincinnati Kid is that Paul Newman’s The Hustler from 1961 is a much more powerful story. That should go without saying. To me, the similarities between the two films are superficial:  both title characters struggle to make a name in their game; both are going up against a veteran champ in their respective sport. Otherwise, the movies are apples and oranges: Newman’s film is a stark, realistic black and white drama; McQueen’s movie is a stylish, colorful crowd-pleaser. The Hustler is a classic; The Cincinnati Kid is great entertainment and holds up well 50 years later.

A smile from the usually laconic Steve McQueen, as "The Cincinnati Kid."

I’ve only seen a few of Steve McQueen’s films because many of them are genre flicks. However, from what I’ve seen, I’m always knocked out by McQueen’s naturalistic performances. As The Cincinnati Kid, Steve’s card player is tough, but only when he has to be. Though he has ethereal Tuesday Weld and erotic Ann-Margret in his thrall, McQueen’s bad boy truly only wants Weld. When he strays once with A-M, he sees that it’s a mistake. In the typical male star vehicle, it’s a given that the hero can beat up any man and bed every female in sight. Steve McQueen differed from his greatest competitor, Paul Newman. Growing up, I always thought of them as the same type. While McQueen’s beat-up good looks and blue eyes are irresistible, Steve was no male beauty like Paul. I like Steve’s style during the ‘60s, much more than Newman’s cocky anti-hero. McQueen reminds me of an updated version of Bogart and Garfield. The final scene where the Kid admits that he’s done, tonelessly matter of fact, is just one of many understated moments by Steve McQueen in The Cincinnati Kid.

The scene when Steve McQueen's "Cincinnati Kid" quietly admits defeat is powerful.

Edward G. Robinson’s performance as veteran gambler Lancey Howard is one of his best—and one of Eddie’s most restrained. Nicknamed “The Man,” Howard knows that “The Kid” is coming down the pike. When Howard rolls into New Orleans, he’s like visiting royalty. I love watching Robinson as Lancey, like a Cheshire cat, taking everything in with great stillness. His poker face is quite entertaining, contrasted with those half-asleep eyes that miss nothing. After a game with a sore loser of a rich man, a game is set up that includes The Man and The Kid. During that third act poker game, Robinson gets to genially spar with former WB co-star Joan Blondell, and his interaction with younger star McQueen is understated and riveting. Eddie was quoted that he admired McQueen, that he was a throwback to the WB stars like himself, Bogie, Cagney, and Garfield. Robinson was totally right.

"I'm still the top stud poker player, see?" Edward G. Robinson as Lancey Howard
aka The Man in 1965's "The Cincinnati Kid."

What a shame that Edward G. Robinson didn't get an Oscar nod for his subtle, dryly humorous performance. This and his final turn as Sol in 1973’s Soylent Green were most worthy for Best Supporting Actor Oscar nomination consideration. The fact that Eddie got zero Oscar nominations in his film career is one of the Academy’s blindest blunders.

One-time WB stars Edward G. Robinson & Joan Blondell reunited as a card shark
& card dealer in 1965's "The Cincinnati Kid."

Aside from Steve McQueen, Ann-Margret, and Tuesday Weld, with their modern style, there's a lot of period detail for a ‘60s movie that wasn't a costume picture. McQueen has his designer hair cut, but his clothes are timeless, except for that cool rain jacket in the opening scenes. And Weld’s hair is very ‘60s hippie chick, but she’s otherwise in character. Then there’s Ann-Margret as Shooter’s young wife, Melba. I like A-M overall as an actress and she seems like a class act as a person. But her shallow kitten with a whip gets old really fast. Compared to the natural performances and physical appearance of the rest of the cast, Annie’s tidal wave of dyed red hair, awning-sized false lashes, and her purring/hissing cat in heat act stands out in the wrong way. Totally ‘60s in a ‘30s set movie, Ann-Margret’s performance is ironically the one thing that is dated in an otherwise authentically atmospheric film.

Ann-Margret as Melba the Cat? As Karl Malden's faithless wife, Melba even cheats
at jigsaw puzzles! From 1965's "The Cincinnati Kid."

Tuesday Weld’s Christian, a country girl in New Orleans, is her quirky, child-like self. But as the good girl to Ann-Margret’s vamp, Weld has a more genuine rapport with McQueen’s character. The Kid’s bathtub scene, when Christian explains a foreign movie that she’s just seen is one example of their charming interplay.

Tuesday Weld & Steve McQueen have a sweet rapport in 1965's "The Cincinnati Kid."

The cast of The Cincinnati Kid is simply incredible. Karl Malden is a flawed good guy, Shooter, coerced into cutting the cards in the Kid’s favor, because of debts incurred by his trampy wife, Melba. Malden’s empathetic, as always. Rip Torn, of the John Cassavetes/Ben Gazzara department of creeps, is the poor sport money man who wants the Kid to take down reigning ancey. Joan Blondell has her likeable broad routine down pat by now as card dealer Lady Fingers. All the actors get their moment to shine: Jack Weston as grouchy Pig; plus Jeff Corey, Dub Taylor, Cab Calloway, Karl Swenson, Milton Selzer, and Burt Mustin. Uncredited but remarkable is Ken Grant as the little shoeshine boy who always wants to challenge the Cincinnati Kid in a penny pitch.

Ken Grant is winning as the shoe shine boy who dogs "The Cincinnati Kid."

The shoe shine boy who idolizes and challenges "The Cincinnati Kid," 1965.

The movie’s tight yet intriguing visual style is courtesy of director Norman Jewison, editor (future director) Hal Ashby, and versatile cinematographer Philip H. Lathrop (Touch of Evil and Point Blank). Jewison was an actor’s director who was also a great storyteller and it shows here. The story, though it revolves around cards, is really about what the stakes are for these characters in the game. You notice every character, even if they are only reacting to the major players, a hallmark of a Jewison movie.

Director Norman Jewison at right, listening to his star, Steve McQueen, on the set of
 "The Cincinnati Kid." Tuesday Weld is in the middle of the talk.

The Cincinnati Kid was from a novel by Richard Jessup, a writer with a tough upbringing, similar to star Steve McQueen. Sadly, both men died young, two years apart, from cancer. The crisp and humorous script is by old pro Ring Lardner, Jr., first time off the black list, and newcomer Terry Southern, who came into his own in the ‘60s. Lalo Schifrin provides the score, with Ray Charles singing the theme song.

An amused beef from me: Why didn't Jewison reshoot the scene where McQueen throws Malden up against the door, after the Kid finds out Shooter is favoring him with the cards? When Steve slams Karl, the entire wall wobbles!

Rip Torn, so good at playing villains, is rich SOB Slade in "The Cincinnati Kid."

Some movie critics and film fans have complained about card games as a subject matter and the impossible odds of The Kid and The Man’s last hands. Personally, I find card games incredibly boring. The game scenes here were filmed with great skill and I was much more interested in the players’ motivations than their card hands.

The Cincinnati Kid is a crowd-pleaser, you’re either all in, or you’re out.

Here’s my look at director Norman Jewison’s 1967 ensemble masterpiece, In the Heat of the Night: 

http://https://ricksrealreel.blogspot.com/2020/06/in-heat-of-night-1967.html

 

"The Cincinnati Kid" is on its game as great entertainment.

Ginger Rogers Goes Big in ‘Tight Spot’ 1955

Ginger Rogers & Brian Keith star in the crime film noir sleeper, "Tight Spot."

 

Tight Spot is basically a “B+” movie that made a bit of money, thanks to its low production costs, and good word of mouth upon release. For Ginger Rogers, Tight Spot offered the versatile/veteran star a throwback to her brash, street smart roles of the early ‘30s. The gritty little noir was released in 1955, just as male lead Brian Keith was making his mark in movies.

Tight Spot was based on a stage play about a female prison inmate who is pressured to testify against her gangster ex-lover at an upcoming trial. The feds think it would be easier to soften the con up at a hotel under police protection, rather than the city’s jail. Nearly all the action takes place at the hotel, which adds to the hothouse atmosphere, but also feels a little stagey. Whatever, there’s hardly a wasted moment, what with Keith’s cop and Rogers’ con sparring, gangsters plotting, and the clock ticking until the big court date Monday morning.

Cop Brian Keith buys prisoner Ginger Rogers a pretty frock.
Fed attorney Edward G. Robinson doesn't seem impressed! The trio in "Tight Spot."

Ginger's chatty con recalls her start as a model at age 16—Rogers was 43 when Tight Spot was filmed. Hmm, that’s a lot of laps for a swimsuit model and gangster’s moll. Roger’s character is probably 30-ish, which makes Sherry’s sobbing to a prison matron, after the gangsters attack, a nod to her lost innocence. But with a middle-aged woman bawling like a motherless child, it seems absurd. Especially since Katherine N. Anderson, as matron Mrs. Willoughby, was a decade younger than Rogers. Eve McVeagh, eight years Rogers’ senior, plays the “big sister” Clara, who escaped their troubled family home via marriage. Their reunion scene has Sherry and Clara in a family dysfunction smack down, far before Jerry Springer. By the way, Anderson is still alive at 98!

Ginger Rogers as Sherry Conley, former model and gangster moll in "Tight Spot."

As Sherry Conley, Ginger Rogers gives her all and then some, much like the latter day Joan Crawford during this time frame. Gloria Grahame or Jan Sterling could have played Sherry in their sleep, but like Joan, Ginger was hired for her residual marquee value. Leonard Maltin aptly likened Rogers’ brassy banter to Judy Holliday in Born Yesterday. Whether you’re entranced or enervated by such diva dramatics, no one could accuse Rogers of walking gingerly through Tight Spot. And like Crawford, Ginger's cropped hairdo provided a stark comparison to the over-made up face of 40-something Rogers. It works for the character (which I don't think was the intention) but couldn’t have served Ginger well with '50s audiences. And that dress that Keith's cop picks out for Rogers’ Sherry—polka dots, Peter Pan collar, and a bow—perfect, for a child! There’s also an incongruous mix between Ginger’s glamour mask—including long, painted nails—after just getting sprung from prison at the last minute, while her frumpy frock is still wet from laundry duty. Speaking of Crawford, Lucy Marlow, who got roughed up by Joan’s Queen Bee the same year, plays “Prison Girl” in Tight Spot, who gets the inside scoop from Ginger’s inmate. Small world!

Ginger Rogers works up a sweat as a prison inmate in "Tight Spot." 

Brian Keith, as cop Vince Striker, is well on his way with his patented laconic, rumpled persona. Keith is restrained and of the modern school of acting and this makes an interesting contrast with Rogers’ old-school performance.

Brian Keith as cop Vince Striker in "Tight Spot."

Edward G. Robinson is solid as always, with a more restrained character and performance, as the federal attorney. Lorne Greene is in his suave oily period as gangster Benjamin Costain, before he became saintly Ben Cartwright on Bonanza. Look for Kathryn Grant, the future Mrs. Bing Crosby, as the bride whose honeymoon is interrupted by gangsters running roughshod at the hotel.

Ginger Rogers' inmate resists Edward G. Robinson's attorney to testify in 'Tight Spot.'

Interestingly, director Phil Karlson and screenwriter William Bowers both excelled at the film noir and western genre. Though Karlson was known as strong, economic director, he never graduated to “A” films, like so many name directors who honed their talent in “B’s.” However, he worked with some diverse stars: Abbott and Costello; early Marilyn Monroe; Elvis in Kid Galahad; and Dean Martin in two Matt Helm films. His last film, Walking Tall, was a huge hit, which benefited him financially. And Bowers had a long career writing mostly westerns for TV and film, though he had a few solid noirs under his belt.

Ginger Rogers' prisoner cries her eyes out after a gangster attack in "Tight Spot."

As for Tight Spot’s story, better to focus on the taut tale of the prisoner who’s targeted before she can testify, rather than the hokey attraction between the cop and the con. I take the conventional romance with a grain of old time movie salt, since this was the '50s, filtered through Hollywood’s lens. But the pair falling for each other within a span of a weekend is a bit dicey, even back then. There’s also a nifty twist and a realistic ending. Tight Spot would make a great double feature with Storm Warning, for Ginger’s down and dirty noir outings.

Here’s my look at Ginger, in one of her best dramatic performances, with Doris Day and Ronald Reagan, standing up to the KKK, in Storm Warning: https://ricksrealreel.blogspot.com/2019/05/ginger-reagan-doris-day-vs-kkk-in-storm.html

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

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

Washed up? No way! Ginger Rogers drives this star vehicle home!

!

‘House of Strangers’ 1949

Edward G. Robinson wasn't large, but he's in charge as the patriarch of 'House of Strangers.'

House of Strangers is not Joseph L. Mankiewicz’ typical cinematic cup of tea, but the director does great work in this family melodrama. The ’49 film plays to Mankiewicz’ strongest suit: character dynamics. From 20^th Century Fox, House displays Mank’s trademark snappy dialogue and refreshing adult attitudes.

Robinson's controlling papa pits his sons against each other throughout 'House of Strangers.'

A fine ensemble cast resides in this House. Edward G. Robertson gives his all as the overpowering papa. He plays Gino Monetti totally old school—you love and hate him at the same time. The patriarch claims to do everything for “the family,” but by the finale, Gino’s need to control has cost him everything. Edward’s performance may be too “Eye-talian,” but in a fiery performance, he brings this flawed character vividly to life.

Edward G. Robinson gives his all as larger than life Gino Monetti. 

I knew Eddie that had never won an Oscar, but was SHOCKED to find out that he was never even nominated, for any of these Robinson performances: Little Caesar (the role that made him a star!), Dr. Ehrlich’s Magic Bullet, Double Indemnity (wow!), Scarlet Street, The Woman in the Window, The Sea Wolf, Key Largo (double wow!) All My Sons, House of Strangers, and in his last, as Sol, in Soylent Green. Robinson did receive an Honorary Oscar, given in true half-assed Academy style, when Eddie was dying. Robinson passed away before he could accept.

Richard Conte comes on strong as the cocky, favorite son Max Monetti. 

Richard Conte is so good, but was he ultimately typecast because of his ethnicity? Both Conte and Robinson were later considered to play The Godfather. But Coppola thought outside the box with Brando, and Conte appeared as another “Don,” Barzini.

Susan Hayward is snappy and sexy as Irene Bennett, the rich young woman who’s attracted to bad boys. Her character has a serious side, too, wanting Max to be his own man, and stop following his father’s commands. Susan is superb, in what could have been a dull leading lady role, given great verve by Hayward.

Richard Conte and Susan Hayward make a dynamic duo, whether fighting or kissing!

The attraction between favorite son Max Monetti and sexy socialite Irene Bennett is fiery, magnetic, and love-hate. Richard Conte and Susan Hayward sizzle in the roles, though I kept wondering if Frank Sinatra and Ava Gardner were yet a couple, as this film duo would have been right up their alley!

Luther Adler has the perfect mug to play Edward G. Robinson's son! As oldest son, Joe.

Luther Adler, with a pickle puss that made him perfect to play Edward G. Robinson’s son, is Joe Monetti. He is the eldest who is tired of being second best to father’s fave, Max. Also grating is that he is treated like a lackey by Gino. Adler’s a chilling cold fish here, though you can hardly blame the character.

Then there's Efrem Zimbalist, Jr. as the charming son. Was this guy ever NOT handsome?

Efrem Zimbalist, Jr. is incredibly handsome and all smiles as the go-along, get-along son Tony Monetti. Debra Paget, in her first film, is incredibly lovely and sensuous as Max’s fiancé. A wow since Debra was only 15 years old at the time! Diana Douglas—first wife of Kirk, mother of Michael—plays the dissatisfied wife of eldest son, Joe.

Love how Robinson's Gino is always threatening to pull a Ralph Kramden on future in-law, Hope Emerson.
My money's on Hope! That's lovely Debra Paget in the middle, at 15!

Hope Emerson is humorously cast as Debra Paget’s mother. Emerson was often typecast as the villain due to her imposing height and face. Future in-law Edward G Robinson is always threatening her, though Emerson could knock Eddie flat with her pinkie finger!

The story origin for House of Strangers goes all the way back to King Lear, with sons instead of daughters. The direct story for this film came from a novel, with a script by Phillip Yordan, which director Mankiewicz massively overhauled. The story’s been regularly repeated, from Broken Lance, to The Sons of Katie Elder, and especially, The Godfather. Nothing against the above films, but House of Strangers is an unsung near-classic.

Max Monetti & Irene Bennett at a boxing match. They're no strangers to sparring!

The director’s decision to do some location shooting in NYC’s Little Italy goes a long way in providing some atmosphere. Typical of the era, though the film is set during the Depression era, the look is post-war ‘40s. Still, the Little Italy scenes look far more real than 20^th Century Fox’s prettified back lot.

The story, told mostly in flashback, is tautly told, with great atmosphere. House of Strangers makes you feel like you’re peeking in the windows of the Monetti clan.

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

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

It's not a pretty picture for Robinson's Gino Monetti by the end of 'House of Strangers.'