"Hollywood was capable of hurting me so much."

Today is the 40th anniversary of Joan Crawford's death. It seems like a good time to talk about Feud: Bette and Joan, which I've been wanting to do.

The Hollywood Reporter contacted Olivia de Havilland, the only person still alive who is portrayed in the series, to ask her what she thought about it. Here is her reply:

"Having not seen the show, I cannot make a valid comment about it. However, in principle, I am opposed to any representation of personages who are no longer alive to judge the accuracy of any incident depicted as involving themselves."

This sums up my own feelings about certain biographical pictures. I am very judgemental about the accuracy, to the point where I find it a distraction. I was all excited about The Tudors until I read that the writers combined Henry VIII's two sisters into one character. Nope! Never even started watching it. I tried watching the recent Masterpiece Theater series Victoria, but I couldn't really get into it, even though I couldn't spot any glaring inaccuracies.

Old bio pics I don't fact check as much. I've written about several of them that I enjoy. I don't know why it's only the modern ones that have me checking for accuracy. I debated about whether I wanted to watch Feud at all, and decided to give it a try. I ended up watching the whole series to see how it ended. I'm not sorry I did, but I don't think I would watch it again.

David Canfield wrote a review of the series for Slate and said that "Crawford [...] was [the] heroine." While I agree that the story spends the majority of its time with Joan Crawford, especially in the last episode, I would disagree that she's the heroine.

• Over dinner, Joan confesses that she seduced her own stepfather at the age of 11. Bette says she was a virgin until her first marriage in her mid 20's.
• Joan colludes with Hedda Hopper to not only spread nasty rumors about Bette during the filming of Baby Jane, but to try (and succeed) to deny Bette the Oscar for her performance. Meanwhile, kind Bette bails Victor Buono out of jail when he is busted at a gay porno film. (And if that scene is not based in some fact, it's just plain mean to Buono.)
• Joan drunkenly throws herself at director Bob Aldrich several times and is rebuffed. He then drives to Bette's house and hops into bed with her.
• While Joan is being humiliated during the making of Trog, reduced to changing her clothes in a van, Bette is lovingly visiting her mentally challenged daughter Margo at the institution where Margo lives.

I'm not sure there are any heroines in this story. I've read the book on which the series is based, Bette & Joan: The Divine Feud by Shaun Considine. Neither one of them comes off well in the book. While I think that while the Feud series tried to portray Joan more sympathetically on the surface, underneath was the same old malice.

On other topics of Joan, I also recently read My Way of Life and A Portrait of Joan. I can see why the lifestyle book is a "camp classic" today; it's way over the top. It's interesting that Joan spends so much time talking about how to hold on to your man, when she succeeded so well on her own for most of her life. I did like the little tidbits of personal things she herself enjoyed; I picked up a bottle of one of the perfumes to which she "remained faithful," Estee Lauder's Youth Dew. It smells amazing. I didn't expect the autobiography to be 100% accurate, but I did find her tone in both books to be kind of charming. It feels like you're sitting down and having a talk with her. And really, isn't that all any true fan could want?

Rest in peace, Joan. Your fans still remember you, which I think would make you happy.

A Dispatch from Reuters

I think I have a new favorite classic film sub-genre: biographical films starring Edward G. Robinson. Yesterday I saw A Dispatch from Reuters, the story of Paul Julius Reuter and how he started the famous news wire service with some passenger pigeons. I'm beginning to think I love Eddie G. in these kinds of roles more than the gangster films. Although Johnny Rocco is hard to top. 


The real Julius Reuter, also
well known for his sideburns.

 

Like another Eddie G. biopic I love, Dr. Ehrlich's Magic Bullet, Robinson here plays a character completely unlike any of his gangsters: an industrious, hard working man who wants to speed up the dissemination of news not for any profit, but because "the news belongs to everyone." He starts out providing stock prices via carrier pigeons, and just to be as fair as possible, he locks the subscribers in the room while he reads the prices, and then lets them out all at once so no one has an advantage over anyone else. This leads to some hijinks where one banker tries to cheat by tossing the prices out the window to his office boy; Reuter notices this and next time, gives the wrong prices and doesn't correct himself until he sees the office boy run away.

The story reaches its climax when Reuter is the first, by over 7 hours (because he has built his own telegraph line from Ireland to England), to get the news of Lincoln's assassination. He won't hold it back, not even to save his best friend from losing a bundle in the stock market. The news starts a panic, but when no other source can confirm it, the brokers decide Reuter made it up to crash the market, and that leads to a session of Parliament where the members argue about whether Reuter can or should be punished. Right when it gets the most tense, however, a messenger comes in with the news that Lincoln has, in fact, been murdered. All the MPs have egg on their faces, but they do apologize to Reuter, and the movies ends on this great triumph.


Sadly, Robinson did not grow
similar sideburns for the movie.

 

One person I felt was kind of unnecessary to the film was Eddie Albert, who plays Reuter's friend Max. They're in business together from the start (back in the days when the local village children call Reuter "the pigeon fool" and throw rocks at him), but Max is lazy and irresponsible, at one point letting all the pigeons get away. He does provide contrast by making Reuter/Robinson look all that more industrious, but I don't think he brought much else to the film, and Reuter looks hardworking enough on his own.

As always at Warner Bros, there is all kind of character actor goodness to be found in this film, including Otto Kruger (Reuter's father-in-law), Albert Basserman (Reuter's partner Geller), Nigel Bruce (Sir Randolph), Montagu Love (John Delane, head of The Times), and Gene Lockhart (Bauer the banker).



Ah, bio pics!

How I love a good one from the 1930s. And there were so many interesting ones back then. Who cares if they played a little (okay, a lot) loose with the facts? If I want facts, I'll read a book! ;) When I watch a movie, I want to be entertained. And I certainly was by the movie I saw today, a bio pic of Florence Nightingale called The White Angel.

Robert Osbourne felt it necessary in one of his introductions to point out that Kay was known as "the Wavishing Kay Fwancis" around the studio due to her speech impediment. To be honest, I didn't notice it until he pointed out (introducing Mandalay), and then during that film all I could do was listen for it. I didn't think it was as bad as he makes it out, although it's definitely there. However, during The White Angel, I never once thought about it, in main part due to the great story and Kay's acting. I thought the story was well told without being overbearing, as old movies can sometimes be.

Last month was Kay Francis month on TCM, and as a result I've been watching a lot of her movies lately. I think I've found my new favorite pre-Code actress (formerly Barbara Stanwyck); I think Kay's films from the early 30s are some of the best examples of pre-Code. She's a doctor! In more than one movie! You didn't see that very often. Of course she's also lovely to look at and dressed beautifully, but I enjoyed her performances for more than that. I'll be doing a few more entries on her in the near future, I think. Her other films I've seen lately include:

Dr. Monica
Mary Stevens, M.D.
Jewel Robbery (with William Powell, yay!)
Confession
Another Dawn (with Errol Flynn, yum)
Guilty Hands
Mandalay

Do I see another box set request on the horizon? I think I do, Ted Turner! (You can leave out Guilty Hands, though. That was kind of meh. Lionel Barrymore sure can chew some scenery, though.)

Dr. Ehrlich's Magic Bullet

I'm skipping ahead of myself to talk about Dr. Ehrlich's Magic Bullet. I love a bio pic if it's done well, and this one was. One of my litmus tests: after I see the movie, do I want to learn more about the person? Would I buy a biography of them, if one was available? In this case, the answer was yes. There were so many interesting bio pics back in the 30's and 40's: Marie Antoinette, The Barretts of Wimpole Street, and Queen Christina, to name just a few. (Yes, I realize these movies all took liberties with the facts.) And there are many more fascinating stories to be told; Hollywood, I'm looking in your direction. Why not find someone interesting and historically important, like Paul Ehrlich, and do a bio pic of them, rather than Mission Impossible 4 or a remake of a classic film that was fine in the first place, and yes I mean you, The Women. Ugh, let's not go there. I'm not even going to link it. The trailer commercials I'm seeing now make me grit my teeth.

Anyhow, back to the movie. I was really surprised that the film revealed the true subject of the bulk of Ehrlich's research: syphilis. After all, this is the Code age of Hollywood, (the film was released in 1940) when references to venereal disease were specifically forbidden (along with a bushel of other things). I can't imagine how this one got by Joe Breen, whose enforcement of the Code was "rigid and notorious." They do actually use the word "syphilis" (despite what IMDB would have you believe); there is in fact one amusing scene when Ehrlich, at a society dinner with a potential benefactress, is asked what he's working on, and he matter-of-factly says, "Syphilis." Everyone at the table stops cold and gasps; several reaction shots are shown. (His benefactress is not bothered at all, and does end up funding his research.)

While it's not stated outright that the men (and only men, although one female patient of another doctor is mentioned) Ehrlich treats caught the disease by sleeping around, it is hinted at in oblique ways; Ehrlich tells one patient he can "never get married," and the patient later kills himself.

However Warner Bros. got this one by the censors, I applaud them for doing so, because it is a film well worth seeing. The movie is also stuffed with character actor goodness, including appearances by Otto Kruger, Donald Crisp, Sig Ruman, Donald Meek, Henry O'Neill, Harry Davenport, and Montagu Love.

The Barretts of Wimpole Street

Yesterday I watched the 1934 movie "The Barretts of Wimpole Street," with Norma Shearer, Charles Laughton, and Frederic March. Today it is chilly, and pouring rain. On the surface, these two facts may seem unrelated. To me, however, the nasty weather makes me envy Norma Shearer, who got to play most of this role reclining on a beautiful chaise lounge in front of a toasty fire with Flush, the adorable cocker spaniel, curled up in her lap. Right now, that sounds like heaven. (I can't find a picture of Norma in the role, but her lovely chaise lounge looked something like this, only more old-fashioned, with the buttons set deep in the upholstery).

I liked the movie quite a lot. Norma was very good as Elizabeth Barrett Browning, and looked just gorgeous in those long curls. I thought Maureen O'Sullivan was too shrill as her sister Henrietta. I understand Henrietta's thwarted love affair and conflicts with their father were to lend drama to the story, but O'Sullivan gave it too much drama, in the scenery eating style you often see in old movies. When she shrieks at her father, "Is it nothing to you that I shall hate you for this to the end of my life?" and he answers, "Less than nothing," I was actually a little bit on his side. And her crying jag as she clings to his knees...dear, please get up and show some dignity. For all our sakes. I found O'Sullivan delightful as a "modern" girl, Dorothy, in "The Thin Man." There, her energy works well with the character. Here, in this period drama, she seems out of place.

It has been said that the scenes between Elizabeth and her father were toned down to lessen the suggestion of his incestous feelings for her. Charles Laughton famously replied, "They can't censor the gleam in my eye," and he was so right. It's rather subtly done at first; you don't get the idea right from the start that he's panting after his own daughter. He just seems like a big old control freak, who dominates over all his children. As the movie progresses, more and more hints come out that Elizabeth is his favorite child, in both (relatively) good ways and really, really bad ways. He's a master at manipulating her (and the rest of his children) with guilt trips.

Then there is the scene near the end, right before she runs away to marry Browning, where her father grabs her and goes on and on about how the family will move away to the country and Elizabeth will be his confidant and his comfort and...okay, now it's extremely icky. Sneaking out of the house with only the clothes on her back and her dog suddenly seems like a great idea. And she does. In a final touch of evil, Laughton orders one of Elizabeth's brothers to find her dog, take it to the vet, and have it destroyed. Henrietta triumphantly informs her father that Elizabeth has taken the dog with her.

Frederic March as Robert Browning...eh, March has never really done anything for me. He was good in "Anna Karenina," and "Susan and God," but I never see a movie listing and think to myself, "oooh, Frederic March, yay!" You don't actually see Browning much in the movie, so March made his usual non-impression on me.

Overall, I would recommend this movie, and was disappointed to learn that it's not out on DVD yet. In my world, it would be released as a Norma Shearer boxset with the following other movies (I'm only choosing ones that have not already been released on DVD):

Idiot's Delight (seeing Clark Gable perform "Puttin' on the Ritz" should be on every classic movie lover's list)
Strange Interlude
Romeo and Juliet
Riptide
Private Lives

Two of Norma's movies have recently been released on DVD as part of the Forbidden Hollywood, Vol. 2 collection: "The Divorcee" and "A Free Soul."

50's Musicals and Queens of England

In that order. It was a triple feature this weekend...first up was The Band Wagon, something I bumped to the top of my Netflix queue when I got a hankering for some Fred Astaire, after watching Gene Kelly: Anatomy of a Dancer. I know, go figure. I also bumped Singin' in the Rain to the top, so that was my Saturday double feature, a pair of 50's musicals.

I like musicals, as a general rule, although I'm not really one of those people who's nuts about them. I'll pick a good weepy 30's drama first. And I prefer my classics in black and white; once the studios went Technicolor, boy, did they go color. Hot pink and neon green and electric blue and that day-glo yellow "Casino number" set from Rain...pass me the sunglasses. Some of the color combos on the costumes, too...no sane human wears those combinations. I prefer a nice, silvery-toned black and white film, thanks. Plus, the dancing they do in some of these musicals is too avant grade for my taste. Give me Astaire and Powell doing a tap to "Begin the Beguine" rather than Gene Kelly slinging Cyd Charisse around while the brass blares. Not that there's anything wrong with that kind of movie, it's just not my first choice.

So, with that in mind, I sat down to watch The Band Wagon and, finally, Singin' in the Rain, one of those movies people always talk about: "You haven't seen it? Ever? What is wrong with you?" I very much enjoyed the premise of Rain, with the story being about the transition from silent movies to sound (although that did make the Casino number seem even more out of place). Fred's starting to look a little creased around the edges in Wagon, but he still can dance, and how. Gene's character of Don Lockwood reminded me of Harry Palmer from For Me and My Gal, one of my all-time favorite movies, ever. And, of course, Gene is extremely easy on the eyes. Especially mine. ;)

Today it was one of the movies from the Errol Flynn box set, The Private Lives of Elizabeth and Essex. I've been especially looking forward to this one because I have a great interest in Tudor history, I have a whole shelf of books in my library on the subject. I was impressed by how Bette Davis looked, and also her acting, although I thought there was a bit too much begging for a queen in the scene where she sees Essex for the last time before his execution. Errol Flynn, always good in tights, and an all-around wonderful job as Earl of Essex. I can already tell this is one I'll be watching over again quite often. As in Warner's release of The Adventures of Robin Hood, they put together on the DVD a "Warner night at the movies," with a cartoon, newsreel, preview (of Dark Victory), and a short subject. It really sets the atmosphere of going to the movies, and having it be a whole event, which to me is a part of what watching classic movies is all about.