Reviews

"Autumn Crocus" was the first play of UK writer Dodie Smith, using pseudonym A.L. Anthony. The West End hit starred Francis Lederer in the Novello role, with Martita Hunt and Fay Compton who repeated the school teacher role in the 1934 film. Intriguingly, this 1931 plot was borrowed (or inspired?)American playwright Arthur Laurents whose 1952 play, "Time of the Cuckoo" with Shirley Booth also had a spinster school teacher seeking romance on her first trip abroad, and finding it with a handsome local. (The UK teacher longs for the Alps, while the US teacher goes for Venice.) I utterly adore Ivor Novello, but sadly must report that, in the light of modern sensibilities, here he does NOT play a romantic or sympathetic figure. Rather, he is comes off as a smarmy serial seducer of fragile tourists. To avoid a spoiler, I won't add to my list of his casual cruelties. Technically a beautiful film and an exquisite performance by Fay Compton, but today's audiences would cheer and clap rather than grow misty eyed at the conclusion.

"Time of the Cuckoo" was then filmed as "Summertime" in 1955 with Katharine Hepburn as the teacher, the seducer (Rossano Brazzi)being somewhat less caddish, thus allowing more poignancy. Then Richard Rodgers, with Stephen Sondheim and Arthur Laurents, turned the plot into the less-than-successful musical. "Do I Hear a Waltz?" Since most older woman today are single by choice and have traveled extensively, we are unlikely to see any further reincarnations of this plot.

Franciska Gaal came to stardom in Europe for her portrayal of Katharina in a much darker though no less romantic German film called Katharina Die Letzte -- Catherine the Last (a pun on Catherine the First, Empress of all the Russias). In the German version, Gaal as the schlub of a scullery wench is much dirtier, more clumsy, and totally believable as an overlooked bumpkin skivvy. Her metamorphosis through loving the blackguard cad is, therefore, more amazing and heartrending. Dear Franchot Tone is hardly believable as a immoral seducer, out to marry an heiress only for her money and willing to betray the innocent country girl to obtain his black ends. His German counterpart oozes villainy and smarminess, forced by Katherina's utter belief in his goodness to mend his ways until the ultimate scene. All the same jokes are there in the Hollywood version, scene for scene, but the morphing of the villain into a hero in the German version is what makes that film an exalting and memorable experience, traveling from dark cynicism to -- yes -- a happy Hollywood ending!

Although I can't speak German, alas, I had no trouble following the gist of this big, fabulous, fun musical. Marika Rokk was 46 when she filmed it and makes teen-aged Debbie Reynolds look like Whistler's mother. The gist of the story (I think) is that Rokk (sorry, Amazon doesn't let me to make umlauts without disconnecting me) is the owner and/or star of a South American nightclub. Unbenownst to her, the managers/bosses are gangsters and drug runners. Her daughter arrives in a school uniform (ndicating innocent sexiness), bringing along the boy she hopes to marry. However, the boy's stern papa back in German objects strongly. Marika discovers through a photo that she knows the man -- a former lover? Are the young couple brother and sister? This is skipped over, so perhaps not. Marika decides to fly with the youngsters to Germany and get papa's approval. The gangsters decide to include a shipment of heroin in her luggage. In Germany, Marika assumes various identities and disguises, most involving huge dance numbers in wildly colorful costumes. Her astute comic timing and ability to mug while being gorgeous gets full play. All ends well for the good guys, of course. This is basically a Twentieth-Century Fox musical in German, and totally enjoyable even for us non-German speakers.

The costuming for this film must bring a smile to the face of anyone familiar with fashions of the 17th century. The film's action occurs in 1660, but Fairbanks and his colleagues wear jerkins fitted to the waist, stylish about 1620-1630, but apparently considered more dashing than the loose smocks and petticoat breeches of 1660. Then Maria Montez arrives, wearing a gown clearly from the 1880 Wild West costume rack in the Wardrobe Department. To atone, her second frock is only a century out of kilter, something from about 1750.

I found the sound-stage exteriors very claustrophobic and phony, and I noted only 3 instances when I felt the "Ophüls touch," for example when the shutter blew open and closed, alternately revealing and concealing the lovers as they approach their first kiss. I'm also puzzled why Max Ophüls is listed as "Opuls" in the credits, but perhaps that is a phonetic rendering to eliminate the umlaut?

A fabulous confection. A prima donna hires a man to pretend to be her lover so as to protect her from an unwelcome suitor. Unbeknownst to her (the key to most comedy), he is a tenor in disguise. The musical battle between real-life husband and wife Jan Kiepura and Marta Eggerth to Mozart's "Turkish March" is a singing and comic tour-de-force. And the title waltz will have you dancing out of the theatre -- or just in front of your VCR. Kiepura, who did not age quite as well as his effervescent wife, here looks youthful and is in excellent voice. Eggerth is perfection as always. This film was available on commercial SECAM video some years back which is where I got it. It is certainly a major oeuvre of both stars and their director.

The TV prints of this film cut the "let's put the show on here" finale which included the brilliant star Julian Eltinge. Thus I was thrilled to acquire the new DVD so that at long last I could hear his fabled singing voice. His performance in the available silent Madame Behave had made me a dedicated fan, but finding more of his work has been frustrating. Alas -- Eltinge, along with prominently billed Broadway stars Trixie Friganza and Grace La Rue are STILL missing from the commercial DVD of this film, although he is mentioned in PR and on the box! We DO get to see Eddie Leonard (in black face!) and Blanche Ring (Does anyone actually view these films before promoting and selling them?)

I was really excited about this 6-part series when it was announced by BBC-America. The first two episodes aired in prime time, then suddenly it vanished and I tracked down subsequent episodes at odd times on the weekends. The final episode -- promising to reveal which of the many educated guesses by the students proved successful and which didn't -- aired ONLY in the middle of the night! I set my timer to tape it, but my visiting daughter walked through the room after I was asleep, saw the digital box on, and "helpfully" turned it off. Blank tape. ARGHH! BBC-America subsequently reran the first three episodes from midnight to 3 AM, but hasn't rescheduled the final three episodes. I am burning for a DVD version to be released in any country so I can find out how the story ends. (Also, I strongly disagree with the "take" of the other reviewer of this show on who showed what expertise. The "drama" of David's enormous ego may (or may not!) have been staged to create viewer interest. Hmmm. Anyway, LOVED what I learned from the show so far!! The dating-the-chair test was splendid, and I would have gotten only 4 out of 6, despite my years watching Antiques Roadshow, fooled by the Georgian revival chair.

Many are aware that Viktor and Viktoria was remade in the U.S. as Victor/Victoria, but an English-language remake was made the following year in the U.S. starring Jessie Matthews and Barry McKay. The film follows the German script closely including the scene with the geese, but allows McKay to be in on the impersonation much earlier. Intriguingly, neither the German nor UK version contain a single hint of homosexuality -- female and male impersonation were simply accepted theatrical forms. No nudge-nudge wink-wink. One of the more poignant and droll scenes in the German film is when the ambitious thespians descend several flights of stairs in a seedy theatrical booking building, singing to a joyous martial melody that they will climb ever higher and higher-- as they descend and descend.

This is a B Hollywood rip off of the plot of two very stylish 1932 European musicals: Ich Bei Tag und Du Bie Nacht (Me by Day and You by Night), directed by Ludwig Berger and produced by Erich Pommer. Score by Werner R. Heymann. German version starred Käthe von Nagy and Willy Fritsch. Simultaneously filmed French version was "A moi le jour, à toi le nuit" (For me the day, for you the night) with von Nagy in same role and hero played by Henry Garat.

I haven't had the pleasure of seeing Rafter Romance, so I don't know if they bought the rights to the music, but probably not. One of the charms of the European version is that the hero works nights (thus needing a bed by day) as a projectionist, so the story occasionally switches to the one on screen. In the end, when the lovers discover they have been bedmates and decide to marry, they honeymoon in the cinema audience, watching a huge mittel-Europa operetta wedding on screen.

Anyone could enjoy this film without speaking a word of French (assuming no subtitles.) The action is clear with long dialogueless passages reminiscent of silent films, making complex plot points entirely visually. The hero makes a living by kidnapping dogs from rich people, then returning them for the reward. He falls in love, serves time in prison (in a crazy comedy sequence), sings a song, and finally reforms and gets the girl. Simple, sweet, and enjoyable -- all qualities that require massive talent and effort on the part of the participants to achieve!

To demand greatness of a film like this is to misunderstand the function of a programmer. Breakfast in Hollywood is popcorn for the mind, a pleasant interlude with some great characters actors (ZaSu Pitts, Beulah Bondi, Billie Burke, Raymond Walburn, Hedda Hopper) and a chance to see Nat "King" Cole and the King Cole Trio on the screen very early in his career (though carefully segregated from the rest of the cast.) Spike Jones does two numbers with the City Slickers, a wartime romance provides a bit of drama although the war is technically over, and there is even a cute dog. The inimitable ZaSu Pitts is worth the price of admission all by herself! The plot, such as it is, is a sort of comedic Bridge of San Luis Rey, following the lives of A HALF DOZEN people attending the radio broadcast. The stories are funny, romantic, or dramatic -- and no one dies at the end! Pure escapism, nicely done.

Using the almost standard plot device of "Madame Behave" with Julian Eltinge and Billy Wilder's "Some Like It Hot," this drag romp puts the he-man hero in a situation where he can only survive by posing as a female. Shakespearean actor La Rue is drafted into WWII and appearing in a camp show in France when the Nazis advance. He will be shot as a spy unless he continues in his female costume. Soon he is trying to escape in the company of randy English schoolgirls. La Rue's enormous charm and just plain likableness (which I have also observed on stage) keeps the endless double entendres good clean fun. For example, amorous Nazi general: "You're all woman and something more!" Danny: "You're right!"

The raw ingenuousness of this primitive film makes it a charmer in my book. Child actress Binky Stuart is adorable. The wildly illogical plot is a fairytale that allows the characters to leave Ireland's poverty (for reasons that don't stand up to scrutiny), experience the luxury of New York City (a, and then return to the beauty and simplicity of their previous lives, happier and wiser. There is the wicked aunt threatening the happiness of cute child, the lovely colleen (almost unrecognizable young Maureen O'Hara)pledged to one man but loving another, etc. etc. Much fun!

This vehicle for the talents (such as they were) of the adorable young Anna Neagle is surprisingly specific about orange-seller Nell Gwynn's rise to power as the favorite mistress of Charles II. Although the bawdy laugh and swagger affected by pure-as-snow Anna portraying little Nell is somewhat unconvincing, the film is fast moving and loads of fun. No Hollywood moral ending here.

I just saw this in the basement of the British Film Institute in London, and it is indeed a lost cultural treasure. Diminutive comedian Lupino Lane recreates his stage rôle of Bill Snibson with pert Sally Gray as his Sally. In the scene where humble cockney Lane tries to move about in his voluminous House of Lords' robe with train, he makes it a living thing. He gets more out of 14 yards of velvet than Fred ever got out of Ginger (and that's saying something!) Only two songs from the original stage production are sung: "Lambeth Walk" and "Me and My Girl," but other songs lurk intriguingly as background music. The BFI print has French subtitles, many capturing the puns of the original. For example, in English--

Hostess: "I'd like you to meet Mr. & Mrs. Leer."

Bill: "I know your relatives, the Chandles."

In French subtitles--

Hostess: "I'd like you to meet Mr. & Mrs. Lyre." (also pronounced "leer")

Bill: "I know your relatives, the Harps."

Peers and cockneys dancing "The Lambeth Walk" together in finale could have been more excitingly photographed -- but Lupino Lane proves himself an unsung National Treasure!

The film reveals its stage origins by offering two separate stories/acts. In the first part, country-mouse and family drudge, Jessie Matthews tries to keep up disintegrating stately home of England while coping with dithery father. She also covets handsome Gene Gerard, radio announcer fiancé of her more glamorous but shallow sister Kay Hammond. At end of "act 1," Jessie announces she is sick of poverty and is going off to become a nightclub performer! Act 2 finds her in Biaritz, substituting for a fake Russian countess/nightclub chanteuse who, unbeknownst to everyone, has a boyfriend sought by police. Erroneous arrests follow. Further complications provided by Jessie's dithering father who confuses silly-ass Kenneth Kove with Jessie's real love, Gene Gerrard. All ends happily, of course. Songs are "Out of the Blue," "Let's Be Sentimental," "I'm the Hit of the Show," "Dear Old Pearls." The very young Jessie is gorgeous and dances like a moonbeam.

So wise, so funny, so touching. I laughed my way through two Kleenex and my stomach muscles still hurt 24 hours later. A wry commentary on how perception is far more important than reality. Also on how hatred and violence are usually the result of ignorance that leads to misperceptions. Yet, the ending is life-affirming, a real feel-good movie. (Even the cute kitten.)

The nearly four hours running time passes in less than five minutes! My friends and I were so engrossed and entranced that we sat riveted on the edge of our seats throughout -- a superb example of old-fashioned great movie making, totally involving the audience in the plot while delighting with color, music, dance, drama, romance, comedy. All the way home, we couldn't stop talking about it, and now, 4 days later, I'm still bouncing off the ceiling. (Do I sound like a press agent? For this movie, I'd take the job.) I knew nothing about cricket and still know nothing, but I was totally engrossed in the life-and-death struggle with sport-as-metaphor-for-war on the screen. Now my biggest goal in life is to find a video of the film so I can re-experience its charms, hopefully with English subtitles.

After the big success of "Keep Fit" in 1937, Basil Dean rushed its stars, George Formby and Kay Walsh into another topical vehicle, "I See Ice" which capitalized on the ice hockey craze then hitting England. While Cyril Richard may seem an odd choice for the romantic jock-villain, the film is fast-paced with lots of good slapstick and some lively songs. George Formby in top form if not in his top material, and Kay Walsh is delicious.

Every serious director seems to have one frivolous gem of a comedy in him. Bergman had Smiles of a Summer Night. Hitchcock had Mr. and Mrs. Smith. This is von Sternberg's. The sometimes starchy "Miss Grace Moore" is relaxed and charming. Kriesler's tunes are as buoyant and sleek as the decor. Rich and sweet as a Viennese pastry and total escapism -- if one can forget the sad fate of the real-life Cissy who was mistreated by husband and mother-in-law and eventually assassinated. Another Hollywood deviation: Cissy was noted for her gorgeous hip-length black hair. Moore has short blonde curls. Oh, well, forget such petty details and let's have another delicious, delirious waltz.

More than a vehicle for the popular George Formby, this pleasant musical offers star turns by comedienne Florence Desmond and the inimitable Alistair Sim, plus an appealing tot called Binkie Stuart. Based on a Russian play, this plot has George trying to discover which of a half dozen chairs his late and eccentric aunt has hidden his inheritance in. Of course, the chairs have been sold at auction, requiring George to pursue them various locales, each allowing a Marx Brothers-type comic sequence.

British star Pat Kirkwood is a delight in her only Hollywood film. A simple plot is diluted by sticking in opportunities for a half dozen other talents to do bits which are then diminished by cutting away to others chatting! Cugat and Marina Koshetz are wasted. Ms. Kirkwood says that on the first day of shooting, Van Johnson greeted her congenially and told her, "This picture is going to be a real stinker, so we might as well have a few laughs and forget it." Actually, the film is rather fun if you accept it as a light-weight, and Kirkwood's bouncy song "Love on a Greyhound Bus" is worth the price of admission. (Singer-dancer Van Johnson neither sings nor dances!)