Archive for Clifford Odets

Country Matters

Posted in FILM, MUSIC, Theatre with tags , , , , , , , , , , on February 7, 2020 by dcairns
Chris Schneider’s back!
Nineteen fifty-four was the year of, among other things, A STAR IS BORN versus THE COUNTRY GIRL. Both had leading ladies — Judy Garland, Grace Kelly — in competition for the “Best Actress” Oscar. And both were dramas-with-songs where the songs were written by the same team, Harold Arlen (music) and Ira Gershwin (words).
“Harold Arlen?” you ask. Utterly first-rate composer, of a stature with Porter and Gershwin and Kern, yet sporadic luck as far as movies are concerned. High-points would be THE WIZARD OF OZ and the ‘50s STAR IS BORN. And then there’s THE COUNTRY GIRL.
Perhaps THE COUNTRY GIRL Is a shade less rewarding than STAR IS BORN — I’d attribute it to the difference between directors George Cukor (STAR) and George Seaton (GIRL) — yet the distance ain’t *that* huge. Both deal with people in the performing arts. In COUNTRY GIRL, that means a former star (Bing Crosby) attempting a stage comeback with the help and/or hindrance of his wife (Grace Kelly) and young director (William Holden). Both feature an older male (here Crosby) threatening to self-destruct via alcohol. Both even contain a faux-calypso ad jingle to be recorded — though these days one only finds the STAR IS BORN jingle among the “extras.”
The Oscar went to Kelly, of course, though I — while no Judy Partisan — would call Garland the more deserving. Kelly’s eye-popping for dramatic effect is a bit strenuous, and her telling Holden “Why are you holding me? I said, *why* are you *holding* me?” shortly before their kiss is the stuff of Imogene Coca comedy. Yet one can understand how Kelly’s dowdiness-for-virtue, in the early reels, yielding to an Edith Head party dress at the end would appeal to Oscar-think. There’s an affecting two-shot, too, of Kelly hiding her face from eager Crosby to disguise the pain at Holden’s accusations.
“To me you’re as phony as an opera soprano!” jeers Holden.
WHAP! goes Kelly’s hand on Holden’s face.
“Did I forget to tell you I’m proud?” she responds.
(Note to Oscar-conscious screenwriters: be sure to include one moment where the character asserts his/her worth.)
It’s all a well-heeled adaptation, with sharp-ish moments, of a 1950 Clifford Odets’play, one which won a “Best Actress” Tony for Uta Hagen. Only it’s smoothed-out, in an up-market ‘50s Paramount sort of way. There’s still startling animal imagery in the dialogue (“What’d I bring you, a basket full of snakes?” Holden asks Kelly), but the sudden epithets are gone. We have to wait till Odets-written SWEET SMELL OF SUCCESS to hear Barbara Nichols call Tony Curtis “Eyelashes.” Holden no longer refers to Kelly as “Lady Brilliance.”
There’s a different sort of music, though, in the Arlen & Gershwin numbers. They recapitulate the STAR IS BORN trick of using apparent pop-songs to talk about the characters singing them. Just as “Gotta Have Me Go With You” was about James Mason’s need for Judy Garland, the spieler number here (“It’s Mine, It’s Yours”) is about the need to believe, no matter what, in Crosby’s ability to make good. A duet with a barroom chanteuse (“What you have learned is, is: / You haven’t learned a thing” sings Crosby) is about falling off the wagon and the dubious possibility of change.
Foggy memory brought me to COUNTRY GIRL with inaccurate notions of the plot’s resolution. Not to offer “spoilers,” but … let’s just say there’s a special category of ‘50’s drama wherein ill-advised romance is resolved by one character pursuing another in long-shot. PICNIC, f’rinstance, or the PAL JOEY movie. Or what we find here.
Kelly is proficient, if a bit flat-out and obvious; Holden gives the sort of sharp-edged, cagey performance that’s no surprise to anyone who’s seen SUNSET BOULEVARD; and Crosby’s hollow-eyed, anxious performance is the biggest surprise of all. A friend likes to quote John Ford on RED RIVER to describe Crosby here, and I’ll second that: “I never knew the son-of-a-bitch could act!”
One misses, among other things, the Gene Allen designs and the Skip Martin arrangements of STAR IS BORN. Also whatcha call directorial style. But there are definite virtues to this COUNTRY GIRL— including its glimpses of populist musical theater and those who made it in the age of Rodgers and Hammerstein.
THE COUNTRY GIRL falls short of A STAR IS BORN, in other words, but not *that* far short.
*
The cast for THE COUNTRY GIRL includes, as David Cairns would say, Lisa Fremont, Father Chuck O’Malley; Joe Gillis; and Deputy Charlie Norris … along with cameos by Ursus and Anita’s Bernardo.

It’s a Weld, Wald, Wild World

Posted in FILM, literature, MUSIC with tags , , , , , , , on April 9, 2019 by dcairns

Did you know there’s an Elvis movie written by Clifford Odets? Because I did not know there’s an Elvis movie written by Clifford Odets. Nobody told me. Thanks a lot, my so-called friends.

WILD IN THE COUNTRY isn’t maybe as great as that makes it sound. Elvis actually acquits himself well, and gets to say “Hate’s a rattlesnake bitin’ his own tail,” the line he was born to say. But it clearly started life as just a straight drama and then they had to add songs when they cast the King. Fiona said, “Oh no, this feels weird,” when he first started in on the vocals. You needed Michael Palin in HOLY GRAIL guise to come in and shout, “No singing!”Inserting Elvis into a film opens up problems, it seems, despite him being a charismatic screen personality and a perfectly good, very natural actor. But the need to have him be Elvis on top of whatever he’s nominally supposed to be playing makes for an uncomfortable duality. And this bleeds over into the blurbs on the back of the DVD cases, which are a whole art form unto themselves —

Presley specialised in playing the bad boy, and this is Elvis at his baddest! ‘Wild in the Country’ features Elvis in one of his greatest and most overlooked roles; a rebellious backwoods delinquent gifted with a rare literary talent. Hope Lange is the sympathetic psychiatrist who tries to help Elvis […}”

That’s when I laughed out loud. I think the key to this form is to get Elvis’s name in as often as possible. I may try rewriting other movie synopses, inserting Elvis at every opportunity. If this Sunday [as I write this] continues to be so rainy, I may have to.

The Odets dialogue is not delivered quite as “hard and fast” as its author preferred (see SWEET SMELL OF SUCCESS for an example of how it should be done) but is quite effective, hampered only by director Philip Dunne (“who never lets us down” – The Cleopatra Papers) and his devotion to sluggishness.

“[…] that’s an eventuality that won’t be eventuatin’.”

andTuesday: “I wanna get out of here. I’m young. I want a good time out of life.”

[I want to hotcha-cha-cha!]

Elvis: “Then do it, hon. Paint your toenails red and run away.”

Tuesday: “It needs a man to go to Hell with, because that’s what I want. Hours and hours of Heaven that just slides on down to Hell and we don’t care how or when it ends. You’re wild, Glenn, just like me. Unhappy wild!”

God I love Technicolor.

Here’s Sheila O’Malley’s majestic appreciation of the Elvis oeuvre, a field so rich WITC does not even rate a mention. But this is a superb piece.

WILD IN THE COUNTRY stars Toby Kwimper; Joanna Kersey; Sue Ann Stepanek; Anne Frank; Cpl. Crump; Cherry Valance; Astronaut Frank Poole; and Alfred the butler.

Dog Doesn’t Return Other Dog’s Calls

Posted in FILM, MUSIC, Theatre with tags , , , , , , , , , , , , , , , , , , on April 17, 2018 by dcairns

Perpendicular Palance, they call him.

I ran Robert Aldrich’s THE BIG KNIFE because I’ve been thinking seriously about Hollywood noir/Hollywood Gothic stuff. This predates his later hagsploitation pics, and the related but different THE LEGEND OF LYLAH CLAIR (and I guess THE KILLING OF SISTER GEORGE, with its Brit TV background, is a distant relative too), but has a few things in common, apart from the dry, pale presence of Wesley Addy. More on him later.

Jack Palance plays the lead, a movie star with a guilty secret (audaciously borrowed by author Clifford Odets from a persistent rumour about Clark Gable being a drunken, hit-and-run killer — which doesn’t seem to be true). Palance is no Crawford or Davis, but his characterisation is just as neurotic and tormented — he spends the movie posing, languishing, anguishing, seething (I love it when Palance breathes heavy).

Fiona had many questions about Palance. Where did Jack Palance come from? Is Jack Palance a good actor? Can Jack Palance act? What is with Jack Palance? All fair questions. I said YES to all of them.

Jack’s manly suffering — similar vein of masochistic machismo to Kirk Douglas — is the main show, but his swank home (it’s a one-set play) is regularly invaded by supporting hambones (he never locks the door) like Miss Shelley Winters (her actual screen credit here) and Rod Steiger, who come bearing entertainment. Steiger is cast as a baroque hallucination of Louis B. Mayer, afflicted with some of Odets’ most overwrought verbiage, a peroxide crew-cut, shades and a hearing aid. Also some startling homoerotic overtures towards the muscular Jack — at times he goes Full Joyboy. In a film so full of memorable entrances and exits it plays like thespian Whack-a-Mole, he gets one of the best, monologuing his way out the door, his ranting voice diminishing slowly into the distance until a new conversation breaks out on top of it… but Steiger keeps going until he’s vanished over some unseen horizon…

Fiona also liked his hushing an opponent with a gentle “Shshshshshshshshshshshsh” that abruptly explodes into a fulsome “shshSHUT UP!” And his defending a man’s character by citing his relationship with “such people as the late Al Jolson.” Threatened with violence, he hides behind his pudgy fists, fat head suddenly babylike, Trumpish in his pusillanimity.

The man he’s defending is Wendell Corey, readily decoded as studio fixer Eddie Mannix, and sensibly playing it subtle but reptilian, not trying to compete with the uberactors flanking him. He’s a man prepared to kill for the studio, and while the story doesn’t quite allow him to do so — something of a cop-out, but they had to show caution SOMEWHERE — Corey is genuinely chilling.

Also good work from Everett Sloane though he’s not as moving as the put-upon agent in IN A LONELY PLACE, the most moving Hollywood agent in cinema (the only one?). Who was that guy? Oh yeah, Art Smith. Get me Art Smith!

Miss Shelley.

Palance is also tormented by three women — his wife, Ida Lupino, who wants him to be virtuous, his friend’s slutty wife, Jean Hagen, who wants him to be wicked, and Winters, who knows his guilty secret and can’t be trusted to keep her mouth shut. He invites her over for a swim, which is a worrying portent — you know about Shelley’s bad luck with water, right? But instead of a NIGHT OF THE HUNTER/PLACE IN THE SUN/POSEIDON ADVENTURE watery grave, she’s felled by a convenient accident straight out of the LOLITA playbook.

That awkward moment when Wendell Corey won’t get out of your lampshade.

Jack checks if Wendell is still in there.

Oh, and there’s Wesley Addy, cast as a writer and serving as mouthpiece for Odets’ views, explaining the story’s themes and Palance’s character and generally dumbing the whole thing down. Good actor, but I wanted to kill him. He walks in on and damages a really powerful ending, and his dollarbook Freud actually muddies the motivation of the hero’s last act. If I could digitally lift him from the movie we’d really have something. I’d feel sorry for him, though, and would make it up to him by dropping him off in GONE WITH THE WIND, where he would get lots of surprised attention in his modern dress, and would spoil anything since it’s a wretched movie anyway.

Of course, putting himself into the movie in disguise is a way for Odets to protect himself from the certain knowledge that Palance’s character, the sell-out, the half-idealist, is him too. So the character, inelegantly conceived as he is, may be necessary for the piece to exist at all.

Oh, the music is also very bad — random eruptions by Frank DeVol. (Did Aldrich make a single movie where the music is enjoyable?)

Good movie. Better than the Bettes. Very sweaty.