Archive for Allen Jenkins

Doc C.

Posted in FILM with tags , , , , , , , , , , , , , , , , on October 23, 2020 by dcairns

I always assumed the writers of THE AMAZING DR. CLITTERHOUSE named it, and its protagonist, with a dirty joke because they assumed none of the ubercatholics at the Breen Office would get it. Co-scenarist John Huston, in his memoir, devotes one line to the film, acknowledging it exists but saying no more. All his other comments concerning Litvak are to do with horse racing — the two men were heavy gamblers, and there are some amazing stories about that, but nothing that really illuminates the A.L. filmography.

Apart from the title, the other mystery here is the ending, which likewise ought by rights to have been forbidden by the censor on the basis of “crime must not pay.”

Asides from these two points, this is a near-perfect film, with surprising fluidity of tone and a straightfaced quality absent in other WB crime comedies, eg A SLIGHT CASE OF MURDER or BULLETS OR BALLOTS (though it’s been a while). Edward G. Robinson is very calm throughout, as the scientist who tries to investigate criminal psychology by committing crimes himself (since he naturally doesn’t know any crooks). Once he meets Claire Trevor, Humphrey Bogart and their gang, some broader schtick does ensure — after all, Allen Jenkins, Curt Bois, and other great scene-stealers are around (for Clitterhouse to test). Jenkins’ hysterical mutism is good for some broad yocks.

Then there’s murder, and one of the best trials since Alice in Wonderland. The story is very neatly worked out — minor characters like the nurse, patient and police chief are dropped in early, disappear for the central business with the gang, but come back for delightful curtain calls at the end. John Huston, Barre Lyndon and John Wexley are the writers. Wexley’s name was only vaguely familiar, but he was a Litvak fave, it seems, working on CONFESSIONS OF A NAZI SPY, CITY FOR CONQUEST, and THE LONG NIGHT. Only Peter Viertel worked up nearly as many (if you include his uncredited polish on THE JOURNEY).

With Litvak I expect zip pans and expressionistic touches — this movie has one of each, but they’re good ones. The zip pan reveals a surprise Bogie to Trevor, the expressionistic touch is an alarming POV shot from someone who’s received an overdose of sedatives…

Ah-hah! It was a PLAY. So blame the prolific Barré Lyndon.

I think this might be the most Hustonesque — if that is a thing — script job pre-MALTESE FALCON. It’s all about irony, and it’s the story of a kind of failure: a criminal psychologist who becomes both a criminal and a madman in the course of his work.

Ah-hah two! John Wexley, Huston’s collaborator, is interviewed in Patrick McGilligan’s Tender Comrades, which belongs on every cinephiles shelf. On Huston: “Johnny was very verbal. But he wrote strange, jarring things the character never would say. I liked a lot of it, but it didn’t belong. We were dealing with how gangsters would speak and also with a psychologist who joins the gang–he becomes enmeshed and lives a double life–and it never sounded like gangsters or a doctor; it sounded like Johnny Huston. It wasn’t anything great one way or another, but we always had to go back and fix what he did. I had to be awfully discreet about it with [producer] Bob Lord. That lesson may have helped Johnny later; he didn’t do that kind of writing when he did The Maltese Falcon.”

On Litvak: “We became very warm personally. He would tell me all about his problems with women. He had a place in or near Malibu, and we preferred to work at his place.” In fact, Litvak also got a visit from Michael Curtiz, who then modelled the amazing house in MILDRED PIERCE on Litvak’s home.

On Jack Warner: “He was a vaudevillian. I had an argument with him about costs on Clitterhouse. I had a scene where the gang of thieves rob a building to get some minks, and Eddie goes with them. Bogart tries to kill Eddie, locks him in a cold-storage vault. Bogart thinks he’s dead; fortunately, Eddie gets out. We wanted a surprise end to the sequence. It’s a decisive sequence, because next Eddie goes after Bogart. Because I was from New York, I knew that there are elevators that come up on every sidewalk. So in this scene the cops would be standing around, and the top cop would say something like, ‘He must be hiding somewhere.’ The sidewalk opens up, and Eddie comes up in the elevator, debonair, right in the middle of the cops. Eddie says, ‘No one down there,’ lights a cigar, walks off. It would get a big laugh.

“But I got a note from Jack Warner saying ‘We don’t have those elevators [on the lot]. We’d have to dig a hole and get a crank to bring him up. It would cost too much.’ We were already shooting. I called him up and said, ‘What kind of peanut brain are you? Fourteen hundred dollars is all it would cost. I’ll pay it myself.’ That changed his mind. I called Lord and said, ‘Deduct it from my salary.’ Lord said, ‘I’ll pay half.’ Warner finally paid.”

On adapting the play: “The play had an ending, but I invented a trial at the end of the film and a bewildered jury–was Clitterhouse sane or insane? People would leave the theater with that humorous question in their minds.” A smart move: I imagine the Breen Office was as perplexed as the film’s jurors, and so they couldn’t condemn the film’s blatant immorality because it’s not precisely clear whether or not crime pays. Brilliant.

CLITTERHOUSE channels the Warner house style very nicely, but it isn’t realy like any other film I know. Just a really unusual tone, or tones. Another Litvak film I wholeheartedly recommend.

THE AMAZING DR. CLITTERHOUSE stars Caesar Enrico ‘Rico’ Bandello; Gaye Dawn; Fred C. Dobbs; Jonathan G. ‘Goldie’ Locke; Battling Burrows; Pearl Fabrini; Doctor Treating Knute; Carson Drew; Inspector Crane; Franzi Kartos; Detective Tom Polhaus; Paul Cezanne; Mrs. Truesmith; Detective Bates; the voice of Drake McHugh; ‘Slapsy’ Maxie; and Angelica ‘Angie’ ‘Angel’ Evans Conway (scenes deleted).

The Manipulator

Posted in FILM, Politics with tags , , , , , , , , , , , on July 17, 2020 by dcairns

A really good double feature — THE MIND READER and THE DARK HORSE.

The former has Warren William as mentalist, starting as a failed sideshow hustler and discovering the psychic gag as a way to hustle at a higher level. Very snazzy direction from Roy Del Ruth with a lot of Dutch tilts and some sweeping crane shots. William as maybe the worst scoundrel of his professional career, since his act actually ruins lives and kills people, and he reforms once then shamelessly backslides. Put it this way, he’s so bad, the movie can’t exonerate him at the end, and he has to go to prison.

Allen Jenkins’ last line is wonderfully bathetic: “Gee, boss, it seems a shame you’re going away just when beer’s coming back.”

Good little role for Clarence Muse: as always, he deserves more. Unrewarding sappy gf part for Constance Cummings, a brief sighting of the bewitching Ruthelma Stevens, wheeled on to glower accusingly before the elevator shaft beckons.

THE DARK HORSE (dir: Alfred E Green) is a key work in the Warner precode mission to FULLY DOCUMENT AMERICA: it’s about the biggest racket of them all, politics, and shows how a brainless candidate (Guy Kibbee in his apotheosis, above) gets more or less accidentally nominated and how the machine gets behind him to transform a rustic chump into something the electorate can be fooled into voting for. In charge of that transformation: Warren William, of course.

Arguably there’s too much about WW’s love life, which is of course amusing but not 100% central to the political issues. Actually, issues are not discussed (the candidate has no platform), but the one big issue — the failure of American politics to produce worthy politicians, the packaging, instead, of chumps — kind of fades in the second half. Bette Davis is the romantic interest but she must have had an envious eye on the bad girl part, which Vivienne Osborne triumphs in. I don’t know why she wasn’t bigger.

No Jenkins in this one, but it has Frank McHugh so that’s fine: the schmoe quotient is filled.

Asides from WW, the hidden connection seems to be screenwriter Wilson Mizner, who was working himself to death at Warners from 32-33. His name is wonderfully seedy: I somehow picture him typing in fingerless gloves and a raincoat.

Warren William Weekends

Posted in FILM with tags , , , , , , , , , , , on May 30, 2020 by dcairns

Fiona and I have been having Friday evening watch parties with friends… for some reason we’ve settled on Warren William as the centre of the cinematic universe. We started with the Lone Wolf series, to which we may return like a lone wolf to its vomit, but we moved on to GOLD-DIGGERS OF 1933 where he gets to play a fatuous character instead of just playing a regular character in a fatuous manner (I LOVE WW’s fatuousness) and thence on to his Perry Mason films, which are of a slightly higher standard than the Lone Wolves — less generic, more eccentric. Since Mason doesn’t have a regular comedy sidekick or any regular co-stars, he gets to more comedy himself and this is no bad thing. Though of course Eric Blore would always be welcome.

Speaking of casting irregularities, we wound up watching THE CASE OF THE BLACK CAT which does NOT have WW in it. Riccardo Cortez who, like WW, had unsuccessfully played lead in a version of THE MALTESE FALCON, unsuccessfully plays lead here. He’d soon start directing films for Fox, not one of which is available even as an illegal download. That’s how good he was.

But the first film in our double-feature, THE CASE OF THE CURIOUS BRIDE features a really ebullient turn by WW with professional sidekick Allen Jenkins backing him up, and strong support from character wizards like Olin Howland, Warren Hymer and Maya Methot. Michael Curtiz directs with a rocket up his arse and somebody’s just handed editor Terry Morse a shiny new optical printer so every scene ends with a zoom-in and blur effect FOR NO REASON. Morse later got the job of shoving another Perry Mason, Raymond Burr, into GODZILLA: KING OF THE MONSTERS. Stick with me, kids, it’s not much fun but it’s educational.

GOLD-DIGGERS OF 1933 stars Michael Lanyard; Lady Fingers; Hattie ‘Mom’ Frink; Peggy Sawyer; Philip Marlowe; Scattergood Baines; Caterpillar; Kitty Foyle; Screwball; Sir Alfred MacGlennon Keith; Chico; Sgt. Dickens; Max Jacobs; Montague L. ‘Monty’ Brewster; Sermon; Helen St. James; and the voice of Winnie the Pooh.

THE CASE OF THE CURIOUS BRIDE stars Philo Vance; Doris Kane (Leo); Perry Mason; Vivian Rich; Jonathan G. ‘Goldie’ Locke; Steve Wilson; Lt. of Detectives Dundy; Inez Cardoza; Angelface; Mr. Davis – Schoolteacher (twice); Judge Thatcher; Uranium Prospector (uncredited); Peter Blood; Zedorah Chapman; Aramis.

THE CASE OF THE BLACK CAT stars Sam Spade; Tommy Thomas; Marie Donati; ‘Snoop’ Davis; Player Eating Bonnie’s Chicken (uncredited); Wild Bill Hickok; Colonel Skeffington; Sheriff Prettywillie; Mr. Waterbury; and Wax Figure (uncredited). Let’s face it, this wasn’t a stellar cast.