Archive for Glenn Ford

The Low Sixties

Posted in FILM with tags , , , , , , , , , , , , , , on July 9, 2021 by dcairns

The fifties died hard, were still going strong in 1963, is my main takeaway from THE COURTSHIP OF EDDIE’S FATHER, directed by Vincente Minnelli and written by John Gay from Mark Toby’s novel. It’s an everyday story of real people, brought to you by filmmakers who have apparently never met any. Every note is jarring, and yet a number of them do connect to human experience, but in an off-kilter, disjointed way. Future historians will look at this movie and try to calculate how much is accurate social observation, how much is soap opera contrivance.

Glenn Ford is a recent widower living in New York with his son, the director of THE DA VINCI CODE. He produces or does something involving a radio show whose horndog disc jockey, Jerry Van Dyke (an uncanny genetic facsimile of brother Dick) urges him to remarry. It’s been, what, a month?

Three women are wheeled past to tempt our bereaved patriarch: Stella Stevens, a beauty queen from Montana who has come to the Small Apple (it’s all interior sets) to Gain Confidence; Dina Merrill, a careerist fashion consultant; Shirley Jones, the student nurse next door. The outcome is obvious — the writers think they’re smart by making Jones a divorcee with a potential career and having her argue a lot with Ford, but they haven’t counted on the casting of Jones, who is naturally soft and appealing. And she’s right all the time, and she’s already basically acting as mother to the director of APOLLO 13. Plus she’s right across the hall. The fact that she could be Ford’s daughter is no doubt to be considered a plus. His last wife died, after all, we want this one to be longer-lasting. And ultimately the disqualifying traits almost cancel each other out — she’s resorted to a career to help get over the divorce — presumably she’ll be only too happy to give up that silly girlish idea when she becomes Mrs. Eddie’s Father.

Cherishable moments include Merrill declaring she doesn’t want to be the woman BEHIND the man, but side by side with him, and Ford saying he doesn’t see that becoming a national movement anytime soon. Oh Glenn.

Psychodrama! The director of HILLBILLY ELEGY freaks out at the sight of a belly-up goldfish. Jones deduces it’s because he hasn’t grieved for his mother yet, and Ford freaks out at that — “A FISH — IS A FISH — AND HIS MOTHER — IS HIS MOTHER!” Complete with Dramatic Turn and music stab.

Ford and Minnelli are reunited immediately after the superflop FOUR HORSEMEN OF THE APOCALYPSE, and obviously the intention is to spend a lot less money on this one, but it seems like wasted money since the soap and sitcom elements are exactly what the public can see at home on TV, only here they’re in a somewhat peculiar combination.

The director of A BEAUTIFUL MIND is clearly a prodigious sprog, child-actorly in mode but very skilled in his mimicry and timing, a carrot-topped replicant. Ford embodies the fifties-style paterfamilias more effectively, I bet, than he did “a hot young Argentinian stud” as David Wingrove put it, in his previous Minnelli epic. But it’s not a very appealing archetype to me.

Minnelli might be expected to regard this very square set-up with veiled horror — his comedies tend to have the quality of nightmare (FATHER OF THE BRIDE contains an actual nightmare which uses the “stairs as swamp” image repeated in A NIGHTMARE ON ELM STREET; THE LONG, LONG TRAILER turns sitcom into pure anxiety dream, a cold sweat of a film). Here, there’s just a sort of chilly lack of enthusiasm in the visuals. A late scene where Ford and the director of FROST/NIXON roleplay a prospective conversation with Shirley Jones, with the director of CINDERELLA MAN taking the Jones part, is clearly meant to be cute, and it is, but it’s also kind of weird, like everything else.

My favourite presence in the film was Stella Stevens, and my favourite scene was her big one — comparable to Shirley MacLaine’s adorable drunken singing in SOME CAME RUNNING, and the only scene where Minnelli the great musical director has really propitious material. Dick Van Dyke’s brother tries to boost her confidence by getting her to do the drum solo she’s been scared to do. Everyone knocks it out of the park.

Lo!

My copy of the film played once then gave up the ghost, which is why so few images here. Fortunately there are lots of clips online.

A Weekend Without Warren William

Posted in FILM with tags , , , , , , , , , on August 22, 2020 by dcairns

I guess we’ve finished with Warren William in our Friday Watch Party, though we have one LONE WOLF film saved up for a rainy day. We went out in style with LADY FOR A DAY, which was interesting to compare with its remake, POCKETFUL OF MIRACLES — it is, of course, superior in about every way, though the later work looks handsome enough. All the padding Capra added just increases the plot’s main problem, the lack of anything for Apple Annie (May Robson/Bette Davis) to do once she becomes the recipient of largesse.

The climax does solve this nicely, but the moment when AA decides to come clean startles us into realizing how passive/absent she’s been for so long.

Warren William, of course, is a zillion times better than Glenn Ford as Dave the Dude, but it’s perhaps more surprising that Robson defeats Davis in every respect. Hard to put one’s finger on why, but if there was a casting call and they both auditioned, the choice would be obvious.

Peter Falk, the best thing in POCKETFUL, is likewise beaten by Ned Sparks at his Ned Sparksiest, honking every line like a sardonic sealion, but with the outward appearance of a human halberd.

Also: Glenda Farrell’s chestydance!

Capra Con

Posted in FILM with tags , , , , , , , , , , , on February 25, 2020 by dcairns

After years of intending to see LADY FOR A DAY, I finally watched POCKETFUL OF MIRACLES, the generally-judged-inferior remake by the same director, Frank Capra. I will get around to the original, I promise!Angelo Rossitto, top left. You don’t often see him there.

Maybe I ought to have a Capra week so I can mop up late stuff like A HOLE IN THE HEAD and early stuff like the silents and then DIRIGIBLE and FLIGHT and then BROADWAY BILL which I turned off in disgust when Warner Baxter hit Clarence Muse? I find I have to be careful with Capra — up to a certain point, I find his work admirable, incredibly skilled, then I can sour on him because of his undoubted excesses or bum notes, and then I can reach the point where I’m no longer able to appreciate the brilliance because the less pleasant qualities are shining too luminously. This may be what happened to his biographer, Joseph McBride, who wrote an excellent book which does not make you think more highly of its subject.Pros and cons. Pros:

  1. Lots of terrific character actors and comics, from Peter Falk, who brings the pre-code energy Ford tends to lack, to Edward Everett Horton, still magnificent, all the way down to little Angelo Rossitto. Arthur O’Connell plays a Spanish count, which seems bizarre on the face of it but he’s excellent in the role. Fernando Rey wouldn’t have been any better. And nice to see Thomas Mitchell again.
  2. Bette Davis is good, though the story, which has been inflated from the original, allows her to drop out of sight for what feels like hours at a time.
  3. Hope Lange is terrific.
  4. “Introducing Ann-Margret.” Charmed, I’m sure. It’s a nothing role, but she had to get introduced somewheres, hadn’t she?
  5. It looks really nice. The backlot throngs and feels alive. Randy Cook advised me to see this, pointing out how different it is from contemporaneous George Roy Hill period yarns that always look stark, clean and underpopulated. Museumlike.

Cons:

  1. Bette is unable to wring tears from this material, maybe because she’s too strong? But Hope Lange steps in and manages it. Remember Capra’s uncharacteristically modest late-in-life observation, “I made a mistake about tragedy. I thought tragedy is when the actors cry. It isn’t. Tragedy is when the audience cries.” Oddly enough, he’s right in general but wrong about himself: Capra’s most teary scenes always have the audience joining the actors — but often it’s the tears of joy, as at the unendurably effective climax of IT’S A WONDERFUL LIFE.
  2. They’ve added what feels like half an hour onto the start of the story. It’s all good stuff, but it stretches a sentimental farce out to 136 minutes. That’s obviously too long. There’s a point where the plot kicks in and I thought, “I bet that’s the opening scene of LADY FOR A DAY.”
  3. Glenn Ford, who was apparently such a dick as co-producer that Capra henceforth retired from features, is an effective lead, though with Ford I can see the talent but I usually wish I were watching someone else. Except in GILDA, where I think it kind of helps if you don’t much like Ford. You watch it rooting for Rita without knowing why. Anyway, Sinatra would have been better here.

Bette’s street person makeup is both good and bad. They’ve gone wild with the stippling, but it makes for an extreme effect that wins points for boldness. She’s once again wearing the big caterpillar eyebrows she sported in NOW VOYAGER. Fiona pointed out that older women LOSE their eyebrows. But I guess Bette is going for unkempt rather than aged.

For all the flaws, it’s not embarrassing, and it’s nice to see Capra going out with something large-scale, worthy of his skill in organizing group babble and spectacle. A shame he didn’t enjoy the experience more, but at least he wasn’t cut down to tiny, cheap stuff.

POCKETFUL OF MIRACLES stars Jubal Troop; Baby Jane Hudson; Mrs. Carolyn Muir; Parnell Emmett McCarthy; Columbo; Uncle Billy; Mr. Witherspoon; Hunk Houghton; Rip MacCool; Nick the barman; Ali Baba; Lady Booby; Lt. of Detectives Dundy; Carson Drew; Miles Archer; Xandros the Greek Slave; Grandma Walton; Lord Byron; Abe Vogel; Charlie Max; Sgt. Monk Menkowicz; Hannibal Hoops; Peter Pan; Mona Plash; Mrs. Laurel; BJ Pratt – Bill Collector; Arigeleno; and Cueball.