Characters we like ...

10 character actors? OK - but I am not including the well-known ones (stars in their own right) like Claude Rains, Thelma Ritter, Agnes Moorehead, George Sanders, Eve Arden, Judith Anderson, Jim Backus, Ward Bond, Walter Slezak, Hermoine Gingold, Elsa Lanchester, Mildreds Dunnock or Natwick, Beulah Bondi, Betty Field, Fred Clark, John McGiver, Lee J Cobb, or Hitch favourites Leo G. Carroll or John Williams. Then there's also types like Arthur O’Connell, Howard St John, or Dean Jagger and the very individual Maria Ouspenskaya, Florence Bates, Marjorie Main, Margaret Hamiulton and Mercedes McCambridge. We have already done Alice Pearce – see label. These 10 are always a pleasure to see and have enlivened many a movie ...

Jessie Royce Landis (1896-1972). Jessie always amuses and had a great way of delivering throwaway lines, as Grace Kelly's mother in TO CATCH A THIEF, or in a perfect Hitchcock joke, Cary Grant's mother in NORTH BY NORTHWEST (she was only 7 years older than him); she was also mother to Tab Hunter in THE GIRL HE LEFT BEHIND, and Tony Perkin's doting mum in GOODBYE AGAIN. She mothered Grace again too in THE SWAN (a character-filled delight with Agnes Moorehead and Estelle Winwood); other roles included AIRPORT in 1970 and as a ritzy contessa in BON VOYAGE in 1962. 

Norma Varden (1898-1989), with her comic face and manner Norma was always a treat. She is Lady Beekman with that tiara in GENTLEMEN PREFER BLONDES, gets almost strangled by Bruno in Hitch's STRANGERS ON A TRAIN, and bumped off by Ty Power in WITNESS FOR THE PROSECUTION, also in many films (159 credits on film and tv), like JUPITER'S DARLING, YOUNG BESS, NATIONAL VELVET. 

Mary Wickes (1910-1995). "Dora, I suspect you are a treasure" Bette says to nurse Mary in NOW VOYAGER. Indeed, she was - from THE MAN WHO CAME TO DINNER to SISTER ACT via WHITE CHRISTMAS, and THE MUSIC MAN among her 140+ credits including lots of television. Mary wisecracked through them all and had few peers as a scene-stealer as she told it like it was. 

Martita Hunt (1899-1969). Imperious dowager Martita was born in Argentina but enlivened many a British movie, particularly GREAT EXPECTATIONS, and BECKET, SONG WITHOUT END, DANGEROUS EXILE, ANASTASIA, BUNNY LAKE IS MISSING and was young Dracula's mother in BRIDES OF DRACULA in 1960. She remains the definitive Miss Havisham. It was fun too seeing her joining the dancing in THE UNSINKABLE MOLLY BROWN in 1964! Alec Guinness who knew her well has a nice chapter on her in his memoir "Count Your Blessings"

Margalo Gillmore (1897-1986). Margalo was a nice middle-aged middle-class lady. She also did duty as another mother to Grace Kelly, in HIGH SOCIETY, and was Clifton Webb's nice sister in WOMAN'S WORLD in 1954, other credits include the British comedy UPSTAIRS AND DOWNSTAIRS in 1959, and THE TROUBLE WITH ANGELS in 1966 

Charles Bickford (1891-1967). We like Charles a lot, he anchors the 1954 A STAR IS BORN as the studio head Oliver Niles, a standout in his 140+ credits, as is his Major Terrill in THE BIG COUNTRY in '58. Also dependable as Lee Remick's stern father in DAYS OF WINE AND ROSES, young Tony Curtis's protector in MISTER CORY in 1957, and in Huston's THE UNFORGIVEN in 1960. His career goes back to starring with Garbo in ANNA CHRISTIE in 1930, in movies then since the early talkies, and in hits like SONG OF BERNADETTE, DUEL IN THE SUN, and THE VIRGINIAN on tv from 1962-68.

Jack Carson (1910-1963). Jack was deliciously nasty as Libby the vicious press agent in A STAR IS BORN, one of his many facets as a popular character actor. He was also ideal as Gooper, the other son in CAT ON A HOT TIN ROOF, and with Joan Crawford and Ann Blyth in MILDRED PIERCE in 1945. He had a long relationship with Doris Day too. Jack was a popular guy and clocked up over 130 credits. The extras on the STAR IS BORN dvd show him as the compere of the Hollywood premiere welcoming all the stars of the day, including Doris, Joan Crawford and most of Hollywood.  (Above: Bickford and Carson with Garland and Mason).

Henry Daniell (1894-1963). Supercilious Henry is probably best known for his Baron de Varville in Garbo's CAMILLE, or the nasty Mr Brocklehurst in JANE EYRE in '44. As IMDB puts it "a suave, well-bred villain who could kill an enemy or start a war with a certain air of upper-class disdain, as if all of this effort was beneath him". His many other credits include THE PRODIGAL, THE SUN ALSO RISES, THE PRIVATE LIVES OF ELIZABETH AND ESSEX, THE SEA HAWK, HOLIDAY, SIREN OF ATLANTIS and the Judge in LES GIRLS. He often featured in Cukor films (even a moment in THE CHAPMAN REPORT) and died on the set of MY FAIR LADY.

Thomas Gomez (1905-1971). Heavyset Gomez was another busy character actor, who died following a car accident. I watched him the other day in THE GAMBLER FROM NATCHEZ and he amused too in THE CONQUEROR. Other roles included KEY LARGO, THE FURIES, MACAO, TRAPEZE, SUMMER AND SMOKE, and lots of television and starring on Broadway.

Jay C. Flippen (1899-1971). Jay C. was instantly recognisable and always pleased, like his gangster caught on television in ITS ALWAYS FAIR WEATHER in 1955, often out west as in WINCHESTER 73, IMDB again says: "one of those distinctive faces you know but whose name escapes you while viewing old 50s and 60s movies and TV. His distinctive bulldog mug, beetle brows, bulky features, and silver-white hair were ideally suited for roles as criminals and rugged adventurers". Other roles included THE KILLING, THE WILD ONE, OKLAHOMA!, THE FAR COUNTRY, WILD RIVER, HOW THE WEST WAS WON, CAT BALLOU. 

There;'s also those comedy supporting types like Tony Randall, Elliott Reid, Tommy Noonan, Gig Young, and David Wayne (who co-starred with Monroe twice and is in 2 other early MM's at Fox). 
'Heavies' are a separate category, usually supporting in westerns - we like those nasty turns by Lyle Bettger, Jack Elam, Royal Dano, Claude Akins, Neville Brand and sometimes Rory Calhoun. Sometimes heavies crossed over to become stars: Lee Marvin, Bronson, Borgnine ….

The Opposite Sex, again

A story of love, revenge and Jungle Red nail polish.

In 1936 the public flocked to see the stage play of Clare Boothe Luce’s THE WOMEN. In 1939 MGM turned it into a huge film hit starring Norma Shearer, Joan Crawford, Rosalind Russell and seemingly every other female star on the lot. Then in 1956 the studio remade it, adding songs, men (the previous versions featured only women) and glorious colour and Scope to THE WOMEN. Re-christened THE OPPOSITE SEX it entertained audiences all over again with the deliciously catty tale of elegant wives who “substitute fashion for passion and the analyst’s couch for the double bed”. The star-packed cast in headed by June Allyson.  She plays Kay (called Mary Haines in the Norma Shearer original) a perfect wife and mother who discovers her husband has been having a fling with mantrap showgirl – the glamorous and malicious Crystal Allen (Joan Collins – a good substitute for the original Joan [Crawford]). To win him back, she must learn to use her claws without ruining her manicure. So Dolores Gray. Joan Blondell, Agnes Moorehead, Ann Sheridan and Ann Miller teach her the fine arts of gossip, innuendo and backstabbing. Its witty, wicked fun!

It looks good too – all those ‘50s gals in those ritzy ‘50s outfits – Dolores in particular as catty Sylvia wears some stunning creations – dig that green number !  Allyson by contrast look rather wan and badly hair-styled (unlike in say WOMAN’S WORD in ‘54). La Collins (maybe the only cast member still alive and in our face at 82 – she is on this week’s Graham Norton Show here) get to wear some flash outfits too, and has an amusing music number set in the tropics, with lots of bananas. Helen Rose dressed them all. There’s also Carolyn Jones, Charlotte Greenwood and Alice Pearce as the Jungle Red saleslady spreading all that gossip. Agnes Moorehead is a blast as the Contessa Kay meets on the train to Reno for her divorce.

The plot is nicely twisted too, its Sylvia who takes up with and bankrolls Buck Winston (not the Contessa as in the original) and the climax at the nightclub is nicely worked out. Kay is a retired band singer (cue a few musical numbers by husky Allyson) and her husband a theatre producer, employing those showgirls like Crystal who is manipulating him nicely until Kay fights back …. The bitchslap above is a posed shot – its done differently in the film. Dolores Gray of course steals every scene, one can hardly take one’s eyes off her – like her other appearances in ITS ALWAYS FAIR WEATHER, KISMET and DESIGNING WOMAN. 

THE OPPOSITE SEX, directed by David Miller, remains a lot of fun - it may be  Trash Classic but its a terrific one - I have seen it lots of times since I was a kid, and lots on it here. I was given a free copy of the 2008 latest remake of Luce's original, but could not be bothered to check how bad it was. 

Forgotten '60s movies: Dear Brigitte

DEAR BRIGITTE is another of those gloopy comedies 20th Century Fox turned out in the early '60s featuring James Stewart, and directed once again by veteran Henry Koster. Here in 1965 Stewart (plus hairpiece) is the quirky professor and poet, who lives with his family on a riverboat. He always has a smart, spunky wife (its Maureen O'Hara in MR HOBBS TAKES A VACATION in '62, Audrey Meadows in TAKE HER SHE'S MINE in '63 (which I have not seen, but will before too long) and here it is Glynis Johns - last teamed with Stewart in 1951's NO HIGHWAY (also directed by Koster, who also helmed Stewart's HARVEY). There, Glynis was the air hostess helping Stewart's boffin about that dangerous flight ... here, they could be that married couple 15 years later ....

There is also of course a blonde daughter who again (as in MR HOBBS) has Fabian as a boyfriend. Fabian was amusing in HOUND DOG MAN and NORTH TO ALASKA but often ended up playing second banana to older stars like Stewart, Wayne, Crosby etc. Glynis (still here in her 90s) shines here, after her mother role in MARY POPPINS, I met her the next year 1966 when she was doing a play in London, and remember her enormous false eyelashes!  Wonderful Alice Pearce is also amusing here as the lady in the unemployment office with an eye for Professor Stewart ...

In DEAR BRIGITTE the professor's son Erasmus (freckled Billy Mumy) turns out to be a maths genius, attracting the attention of crooked John Williams. Erasmus though has no musical talent but writes letters to French star Brigitte Bardot - surely though he could not have seen many or any of her films? The plot takes us to Paris for the highlight of the film - a few minutes with Brigitte herself who appears very charming and friendly here and she even gives Erasmus an adorable little puppy! It is all pleasant, forgetttable stuff, so forgettable in fact that I had not seen it since its 1965 release and it never showed here again! 

We loved Stewart in the '30s: MR DEEDS and DESTRY; in the '40s: his Macaulay Connor in THE PHILADELPHIA STORY, his films with his old pal Margaret Sullavan, his George Bailey in Bedford Falls in ITS A WONDERFUL LIFE; in the '50s with those Anthony Mann westerns, and Hitchcock classics - 1958 saw his last leading man roles in VERTIGO and BELL BOOK AND CANDLE, then 1959 saw the start of his older character roles in ANATOMY OF A MURDER. He did some more westerns: Ford's THE MAN WHO SHOT LIBERTY VALLANCE is highly regarded (though I never cared for it myself, he seemed too old here for a start), HOW THE WEST WAS WON, SHENANDOAH, and those Fox comedies where he was the bumbling parent - rather an acquired taste now.  The best of his later roles was as the doctor with the equally aged John Wayne in THE SHOOTIST in 1976, where it was touching seeing the two old warriors having a last hurrah. (He died aged 89 in 1997).

Some more Brigitte:  with Robert Hossein in LOVE ON A PILLOW or THE WARRIOR'S REST in 1962 - which was a tedious chore to sit through, while BB and  Henri Vidal in COME DANCE WITH ME, 1959, is an absolute delight, totally charming with BB going undercover as a dance instructer to save her dentist husband from blackmail by scheming Dawn Addams; and with Vidal again and Charles Boyer in UNE PARISIENNE, 1957, another pleasant comedy by Michel Boisrond. 

We liked BB a lot in 1967's TWO WEEKS IN SEPTEMBER, at BB label...

In truth BB's career was winding down by then, 1965 - she had one great movie left, Malle's delightful arthouse hit VIVA MARIA with Moreau, in 1966, and I liked her TWO WEEKS IN SEPTEMBER from '67, but that dreadful Spanish western SHALAKO trashed her and the rest of the cast in 1968, and she had finished with movies by 1973, as she devoted her time to her animal welfare interests. 
BB sang too - I remember having a disk of hers "Sidonie" from the early '60s.

Lucy Schmeeler: "She's a grand girl"!

Let's end the year by picking up some sailors, going on the town and celebrating a great comic talent. Happy New Year !

Lucy Schmeeler (Alice Pearce) is the super-plain room-mate of Brunhilde Esterhazy (Betty Garrett) in the 1949 MGM musical ON THE TOWN, a perennial favourite I can enjoy anytime. I do not know Leonard Bernstein's original but it seems some of the songs were junked for the movie (but doesn't that always happen, as in FUNNY GIRL or CABARET?).

We enjoy following our 3 sailors on shore leave in late 40s New York, and the real locations help. Gene Kelly, Frank Sinatra and Jules Munchin zoom around the city and the underground train system, Gabe (Gene) sees and falls for "Miss Turnstiles" (a monthly pin-up) whom he imagines is a celebrity, while she (Vera-Ellen at her loveliest) turns out to be from the same small town as his! Jules gets entangled with ritzy Ann Miller who has a thing about "Prehistoric men" and Jules' face fits just right, as they cause havoc at the museum and the dinosaur (or Dinah Shore!) collapses! Frank teams up with taxi driver Brunhilde - Betty Garrett who woos him back to "my place" - where Lucy Schmeeler ["she's a grand girl" says Betty with vitriolic sweetness...] is staying in with a cold. Betty finally gets to her leave so she can get close to Frank. They are supposed to be looking for the elusive Miss Turnstiles, but Gabe finds her at the rehearsal halls and they do that lovely dance to "Main Street" ....

Later they all team up at the top of the Empire State Building and head off "On The Town", this sequence is bliss as they visit one crowded nightclub after another where the revue girls always sing "thats all there is folks, and goodnight to you, we hope your enjoyed our .... revue" as the last girl always shoves her rear end in their faces... Miss Turnstiles has to flee though to her late night job as a coochie dancer at Coney Island, after Gabe gets stuck with Lucy Schmeeler who joins them for a riot of a number and some other sailors from the ship mistake her for Gabe's girl, so they will have a lot to tell the other guys back on the boat ... Gabe takes Lucy home and has to let her down gently as he is in love with Vera --- poor Lucy is back to her laundry lists and won't wash for a week after Gabe kisses her! Her plain character is being patronised of course but its part of the fun here.

Things work out ok at Coney Island and the 3 girls see off the 3 gobs back on their boat, as another flock of sailors disembark to explore "New York New York its a wonderful town"!. That's it in a nutshell, but it is so infectious and a sheer delight from start to finish [screenplay by Comden & Green] - a key musical then with Kelly and Stanley Donen co-directing, paving the way for all those 50s musicals ... including SINGING IN THE RAIN and IT'S ALWAYS FAIR WEATHER (see post at musicals label) where their partnership broke up!

Alice Pearce's Lucy is a scream - Alice was a terrific comedienne, she was also Olga the "Jungle Red" manicurist spreading all the gossip in THE OPPOSITE SEX in 1956, [Dolores Gray label], that delicious musical remake of THE WOMEN, which I like so much. She was highly regarded also on tv, appearing in the BEWITCHED series, but she died aged only 48 in 1966. She also played Lucy Schmeeler in the original Broadway production of ON THE TOWN.

That iconic shot of Donen (below) with Kelly & Sinatra ...