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."

Bette Davis a Winner in 1939’s ‘Dark Victory’

Bette Davis in the memorable finale of Warner Brothers' "Dark Victory," from 1939.

For Bette Davis and Hollywood, 1939 was their zenith year.

Bette finally started to get consistently better roles two years before, after her famed Warner Brothers lawsuit. In 1939, Davis appeared in Dark Victory, Juarez, The Old Maid, and The Private Lives of Elizabeth and Essex.

My post on "Dark Victory" is part of the CMBA "Cry Me a River: Tearjerkers Blogathon."
Mine is on the first day, May 12, here: http://clamba.blogspot.com/

As for WB and the rest of the studios, 1939 was considered the golden year of the studio era system. The Oscar nominee categories overflowed with classic candidates. And the studio system flourished through the WWII era. 1946 was Hollywood’s biggest year in movie attendance, when the war was over. Davis' biggest commercial hit, A Stolen Life, was released by WB that watershed year.

Bette Davis is the heiress & George Brent is her doctor in 1939's "Dark Victory."

Dark Victory was taken from an unsuccessful play, so WB's top screenwriter, Casey Robinson, used it as a starting point to whip up a classic confection of cinematic romance. Much like Davis' later Now, Voyager, Robinson wrote a romantic yet grownup screenplay for Bette Davis.

The three stars of 1939's "Dark Victory": Geraldine Fitzgerald, George Brent,
and the top star, Bette Davis, as Judith Traherne.

The WB star was 30 when Dark Victory was filmed. For once, Bette wasn't playing older or nasty and her character, Judith Traherne, is just 23. Dark Victory’s story is quite simple, really. Judith finds out that she is seriously ill. At first, the full prognosis is kept from her, but she finds out anyway. Upset at first, she comes to accept her fate with grace, and embrace the time she has left. This basic premise worked well again over 40 years later with Love Story. The major difference was the man and woman’s wealth status were swapped.

Bette Davis is mercurial rich girl Judith Traherne in 1939's "Dark Victory."

Though Bette Davis is one of my favorites, I’ve never seen Dark Victory until 2025. Why? I don’t enjoy movies where the main character is dying.  I’ve only seen clips of Love Story and have never watched Terms of Endearment all the way through.

I especially like how Davis’ whirlwind of an heiress is portrayed. A character staple in screwball comedies, they were often taken down a peg by the leading man, like a screwball version of The Taming of the Shrew. In Dark Victory, the good doctor does his professional and personal best by Judith, with patience and love. It’s this more modern approach that makes Dark Victory so appealing.

Director Edmund Goulding uses Bette Davis’ jittery intensity well for the scenes where she initially diagnosed and later, when she finds out the tumor is terminal. And it makes her more subdued scenes of happiness in life and later acceptance of her plight so refreshing to watch.

Now a full-fledged star, Bette Davis could dictate her own hair and makeup. Davis looked magnificent as the headstrong heiress. Her favorite designer, Orry-Kelly, created a wardrobe that was both realistic and glamorous—yet in character. When Judith is settled at her country home, Davis sports simple sweaters, skirts, and flats. Bette looks timeless in her casual wear. When she gets to dress up, Davis looks divine, especially as photographed by Ernest Haller, her favorite cinematographer. If this film had been made at MGM with Norma Shearer, it would have been over the top luxury every step of the way. I always appreciated WB’s more realistic approach to glamour. Also, Max Steiner composed a beautiful score that was popular and Oscar-nominated.

Bette Davis & George Brent's fateful newlyweds in 1939's "Dark Victory."

What really surprised me was how warm and gentle George Brent was as Dr. Frederick Steele, who becomes devoted to Davis' society girl. His quiet strength is a good contrast to Davis' headstrong Judith. He and Davis have a great rapport, which benefited from their off-screen attraction. They made 11 films together and later reunited in The Great Lie with Dark Victory director Edmund Goulding. Also, George Brent is at the peak of his matinee idol looks here, too!

George Brent is the empathetic Dr. Frederick Steele in 1939's "Dark Victory."

Geraldine Fitzgerald is Ann, Judith’s secretary and best friend. Fitzgerald is very naturalistic in look and manner, so she seems quite contemporary. Her Ann is sensible to Judith’s mercurial personality. Fitzgerald and Davis have a natural rapport and became friendly off-camera, too. And Gerry was Oscar-nominated the same year for supporting actress, as Isabella in Wuthering Heights. Fitzgerald made the two films back to back and they were released the spring of 1939.

Geraldine Fitzgerald is Ann, the secretary & best friend of Bette Davis'
horse-loving heiress in 1939's "Dark Victory."

Humphrey Bogart and Ronald Reagan are iconic names today. Back in 1939, they were up and coming names, who came into their own in the early '40s. Thankfully, their roles in Dark Victory don't weigh heavily on the story, because they're both rather bad in this otherwise well-acted movie, for different reasons. Bogie plays the Irish horse trainer with an obvious accent. His character feels barely sketched out. As the cocky stable hand who yearns for the impetuous rich girl, he was no Heathcliff from that year’s Wuthering Heights! Ronald Reagan plays Bette's drinking buddy/maybe boy toy, with little depth at all. Ronnie's attempts at playing a Gig Young-type charmer who drinks are amateurish. 

Humphrey Bogart as the Irish horse trainer to Bette Davis' spirited heiress doesn't
 exactly inspire comparisons to "Wuthering Heights!" "Dark Victory" from 1939.

Edmund Goulding’s direction is understated and grownup, so the sentiment is not over the top. Goulding handled challenging material like Dark Victory, Grand Hotel, The Razor’s Edge, and Nightmare Alley quite well.

Bette Davis' Judith Traherne with one of her playmates, mildly played by
Ronald Reagan, in 1939's "Dark Victory."

The Dark Victory finale is genuinely touching and subtly done, when Bette’s young wife sends her husband off, and then her best friend. Judith says goodbye to her dogs, then after the maid helps her upstairs and into bed, she asks to be left alone. Her vision quickly fading, she goes to sleep, as the camera goes out of focus and Max Steiner’s score swells. Major tearjerker alert!

As often the case when the studio glory days were on the wane, they often did color remakes of the ‘30s and ‘40s classics. Susan Hayward starred as the Dark Victory heiress in 1963’s Stolen Hours, filmed in England, with British co-star Michael Craig. It’s watchable and Susan is sincere as the heiress. Stolen Hours was not a hit. Perhaps because Susan was trying to play younger, as kid sister Diane Baker was over 20 years younger, and leading man Craig was a dozen years junior. Susan is beautifully photographed and looked far better than contemporaries Vivien Leigh and Lana Turner during this period. But she didn’t look like a young woman who’s cheated out of life, so Stolen Hours looked like a stodgy rehash.

Susan Hayward's remake, "Stolen Hours," from 1963.

The failure of the ’63 Dark Victory remake might have signaled that such a soapy story was old news. In 1970, this was proved otherwise, offering hip young couple Ryan O’Neal and Ali MacGraw, very contemporary in an otherwise old-fashioned Love Story, a box office smash.

"Love Story" from 1970 proved
there's nothing new under the sun!

And while I adore Elizabeth Montgomery, I have no desire to watch the 1976 TV remake that’s 2 and ½ hours long! Even with Anthony Hopkins as the doc and Michele Lee as the best friend, that’s too much, as both earlier versions were about 1 and ¾ hours longs—plenty on both counts.

Anthony Hopkins & Elizabeth Montgomery
are fine actors, but a 2.5 hour version of "Dark Victory?!"

The message of Dark Victory is timeless, that it’s more important how much you are living your life, not how long you are going to live. And that message is a positive prognosis of life!

The tear-jerking scene when Judith realizes her vision is going, signaling her
 impending death, in 1939's "Dark Victory."W/ Geraldine Fitzgerald & Bette Davis.

Here’s my take on Bette Davis’ other great romantic role, as Charlotte Vale in 1942’s Now, Voyager:

https://ricksrealreel.blogspot.com/2018/02/now-voyager-1942.html

Bette Davis with Paul Henreid, in "Now, Voyager."

"Out of the Blue" is a silly but fun bit of post-war '40s fluff with an interesting mix of stars: George Brent, Virginia Mayo, Turhan Bey, Ann Dvorak,& Carole Landis. Married man George Brent picks up comically deranged designing woman Ann Dvorak! Focus on the stars in this slapstick comedy, my look here: 

https://ricksrealreel.blogspot.com/2025/07/seeing-stars-in-screwball-comedy-out-of.html 

The lighter side of George Brent in "Out of the Blue!"

Bogie & Bacall's Chemistry Brings Depth to ‘Dark Passage’ 1947

 

Humphrey Bogart & Lauren Bacall in 1947's "Dark Passage," the duo's third film.

The 1947 WB film noir Dark Passage is highly entertaining, but the whirlwind story is filled with back to back coincidences and chatty supporting characters. The movie will leave you breathless but unbelieving at what has cartoonishly transpired.

Convict Vincent Parry (Bogart) is determined not to rot in San Quentin, and escapes to find the real killer of his wife. From the get go, Parry’s path is filled with the most convenient coincidences. The stacked deck plot specifically comes from nosy people who go way out of their way to aid or deter Bogie’s escapee. 

After escaping in the back of a prison truck, Parry is later picked up by a grinning goon, who gives him the third degree from the moment Parry gets in his car. It doesn’t help that Bogie's wearing only a sleeveless undershirt (he's no Gable), prison work pants, and muddy shoes. After the radio announcer conveniently reveals his identity and the tell-tale details, they tussle from the car and Bogie drags him into the roadside bushes. 

Bogie's convict has the misfortune of being picked up by this goon, in "Dark Passage."

After Bogie takes the driver’s clothes, who comes along but Lauren Bacall? As Irene Jansen, she's an artist who just happened to be out painting landscapes. Jansen just happened to hear about the escape, just happened to be driving by, and just happened to be a champion of Parry, when he was getting raked over the coals by the press during his murder trial. The "just happened" trope is a constant throughout this flick. As stylish and adult as Dark Passage plays, I rolled my eyes more than a few times at the blizzard of coincidences!

Look who happened to be out painting landscapes while a convict escapes?
Lauren Bacall finds Humphrey Bogart in the bushes in "Dark Passage."

Jansen smuggles Parry back to her stylish Deco apartment building (which still stands on San Francisco’s Montgomery Street). It turns out Irene’s interest in his case stems from her own father's murder trial of his wife. While Irene goes out for a new suit for Parry, her nosy friend Madge knocks on the door. Turns out that her testimony is what got Parry imprisoned—small world. Madge, a vision in leopard skin, pounds on the door but gives up, yet is suspicious. In one of several dumb moves, Parry raises the blind to look at her, and she stares back, twice!

All spiffed up courtesy of Irene, Parry decides to get plastic surgery, on a tip from a very gabby cab driver, who takes his cause for no good reason. Parry looks up an old buddy for post-surgery shelter, as he doesn't want to impose further on Irene. George, a musician, knew Parry’s wife, as well as Madge, who he despises. 

Off to the plastic surgeon, who likes to yak as much as the cab driver, and looks like he's been preserved in alcohol! The doc’s a guy who you wouldn't let give you a shave, much less slice your face. Once anesthetized, Parry has a drugged nightmare worthy of a William Castle thriller. Afterward, the doc gives him a list of detailed care instructions. The good news is that the surgeon reassures Bogie he can still drink and smoke.

Would you let this guy give you a shave, much less plastic surgery? "Dark Passage."

Bogie looks quite unflattering in his bandaged state, big woeful eyes, and thin face and lips—kind of like a Chihuahua, post-cosmetic surgery! Parry gets back to his pal's only to find he's been murdered, with the musician’s horn. Natch, Parry handles the instrument, leaves prints, and flees. 

Rumor has it that Jack Warner was unhappy that his top star was only heard the
first third of "Dark Passage," and looked like this for the middle of the film!

Not at all conspicuous climbing up multiple fights of steep stairs in San Francisco, he passes out when he reaches Irene's. Under her tender care, she is totally in love at this point, despite his being the suspect of murder #2. Their lovey-dovey convalescence is interrupted by an unexpected visit by Madge. She's panicked by Parry being on the loose (who's hiding in Irene's bedroom.) Madge shrilly insists that she stay with Irene, who couldn't be less delighted. Then here comes Bob, Irene's sort of boyfriend. Bob is played by Bruce Bennett in his typical glum style. He too was familiar with Parry's case and unfortunately, Madge.

Bogie's plastic surgery is such a success that he doesn't even have scars or puffiness when Bacall removes the bandages. It is stressed that the surgeon made Bogie look older, good thing since Bogie looked far older than his 47 years! It’s amusing that Parry’s “before” photos in the newspapers outweighs Bogie by about 30 pounds. That prison grub must have been grueling!

Beefy Vincent Parry, before he becomes the beef jerky that is Humphrey Bogart,
in  1947's "Dark Passage."

He no sooner stops at an all-night diner than a cop's suspicions is instantly raised. A chase ensues and Parry hides out at a hotel. Parry's first ride comes knocking, looking for a blackmail payday. Once again car buddies, they tussle once more, where scrawny Bogart dispatches the lunkhead off a steep cliff. That is now murder number #3, though Bogie claims innocence of the suspicious demises of his wife and friend.

Agnes Moorehead as Madge, the cougar dressed in leopard skin, in "Dark Passage." 

Parry goes back to Madge’s to get the truth out of her. With every minor character on their soap box, musing about life, truth, and happiness, there is little time for Agnes Moorehead's monstrous Madge. She appears briefly at Irene's door, then in the middle to barge in and act incredibly annoying, then in the finale, where she pulls out all the stops. As skillful as Agnes is at acting, this feels like a Carol Burnett spoof, rushing through to the climax. Madge falls through a window to her death, and Bogie flees the scene looking totally suspicious. In the finale, Bogie's Parry decides that it's hopeless to try to clear himself of four deaths—good call. So, it's off to Peru to livin’ life incognito!

Involved with four deaths, Bogie's fugitive is off to Peru, in 1947's "Dark Passage."

In a phone call to Bacall’s Irene, detailing how to find him, Bogie's Parry sounds like Morgan Freeman giving Tim Robbins prison-style GPS The Shawshank Redemption. Bogie sips a cocktail in a swanky nightclub, their song comes up, and there’s smiling Lauren Bacall, and the lovebirds dance off into the Peruvian sunset.

Lauren Bacall is more relaxed than in her earlier film outings. Remember, she made her film debut just three years earlier in To Have and Have Not. Here, Bacall is more a sympathetic character and not as snarky. I never thought Bacall had much versatility as an actress, but within that range, she was quite striking. 

Bacall is also quite lovely at just 23. Apparently a trust fund baby as well as Bogie's Baby, Irene paints and teaches children's art classes, which doesn't account for a lovely pad and stylish wardrobe. I liked that while Bacall was quite glam here, her face doesn't look like a mask and her beautiful hair isn't bleached to the nth degree like most Hollywood blondes. She looked real—and really beautiful.

I always found Lauren Bacall one of the more natural glamour girls of the 1940s.
Except for the winged eyebrows, Bacall's style is very contemporary.

I totally get Bogie's sexual appeal and while he looked rather frail and rough when not lavished with soft close-ups (those weren't given just to the ladies), his very expressive eyes, distinctive voice, and charisma made that very clear why 19-year-old Bacall fell for 25 years older Bogie in To Have and Have Not.

After a couple decades of hard living, Bogie began to settle down to a happy marriage
 with Lauren Bacall. At 47, Bogart required a toupee and soft lighting to disguise
his premature aging. From 1947's "Dark Passage."

A more candid shot of Humphrey Bogart, reading "Dark Passage."

Delmer Daves’ direction and writing try to tie up all the loose ends and contrivances, unlike Howard Hawks’ The Big Sleep. But it all feels like warp speed storytelling! Maybe some of those screenwriter-friendly supporting speeches should have been cut.

Bogie, Bacall, and director/screenwriter Delmer Daves look at some film footage.

Some film fans geek out over certain films' techniques and style. While that stuff is enjoyable, the story and the acting are what matter to me. Robert Montgomery’s Lady in the Lake is virtually unwatchable, with the actors overreacting and the constant camera movement over the top. Or Hitchcock’s Spellbound, because of the mostly-deleted Salvador Dali sequences, ignoring the hokey Hitch psychoanalysis. There’s also Alfred Hitchcock’s Rope, a technically handsome production, with its long takes and handsome set. Unfortunately, the stilted story and acting come off like a filmed ‘40s Broadway play. Of all these movies mentioned, Dark Passage pulls off Bogie’s pre-cosmetic surgery POV and post-surgery camera work the most subtly.

Dark Passage is really an exercise in style, with a strong production and cast. If only the film’s story was as authentic as its two iconic stars.

Here's Bogie with another sultry blonde from the same year, my look at Dead Reckoning, with Lizabeth Scott: https://ricksrealreel.blogspot.com/2024/10/bogie-lizabeth-scott-in-derivative-dead.html

 

Bogie and Baby, going in for the clinch, in 1947's "Dark Passage."