Archive for Walter Connolly

Newshounds

Posted in FILM with tags , , , , , , , , , , , , , , , , on March 25, 2017 by dcairns

“Whatever made Eddie Buzzell think he could direct?” mused Groucho Marx, a thought captured by the eager pen of Steve Stoliar in his essential memoir Raised Eyebrows. Like it had been bothering Groucho for thirty-plus years since making AT THE CIRCUS and GO WEST and he finally had to give voice to it.

I’ve been more inclined to give Mr. Buzzell a pass — he did some OK films with some nice shots in them. But looking at the original LIBELED LADY, which Buzzell remade as EASY TO WED, does make me feel a bit less charitable. Neither film is great, both have enjoyable moments, but Buzzell’s tends to miss the joke a lot of the time.

(You can expect a lot of late-thirties / forties stuff for a while as James Harvey’s book Romantic Comedy causes me to look up films that have passed me by.)

Sleeves by Dolly Tree.

Of course, Jack Conway doesn’t have a huge directorial reputation either, but he knew his business, I reckon. And he has the unbeatable William Powell and Myrna Loy to work with instead of Esther Williams and Van Johnson, and Jean Harlow and Spencer Tracy in place of Lucille Ball and Keenan Wynn. And best of all, he doesn’t have Ben Blue anywhere his version. Hate is a very tiring emotion, so somebody please name a film in which Ben Blue wasn’t a repulsive, unfunny bore so I can let go of this hate for him which is eating my soul.

“I didn’t think Spencer Tracy could do this kind of fast-talking newspaper thing,” said Fiona early on.

“Well, he can talk fast. I don’t know how funny he’s going to be,” I pondered.

“Oh he’s not FUNNY,” clarified Fiona.

But he’s not too bad. Outclassed by Wm. Powell, of course.

“I*am* too funny!”

Buzzell got the help of Buster Keaton for his main bit of visual comedy in EASY TO WED, as he had done for GO WEST. Conway and Powell work it out alone, and their gags aren’t as smart but Powell’s playing is a joy. The main fun in this, though, apart from Dolly Tree’s outlandish costumes (she mainly runs amuck on Harlow) is Loy, introduced with her back to the camera but instantly recognizable, and instantly FUN. Esther Williams could certainly be fun, but being a swimmer rather than an actress, she wasn’t as resourceful at finding the fun.

On paper, everyone in this story is kind of awful. Spencer Tracy stands Harlow up at the altar then makes her marry Powell for business purposes. Powell is trying to frame Loy on an adultery rap to kill off her libel suit against his newspaper. Loy ought to be sympathetic, but she and dad Walter Connolly (Cecil Kellaway in the remake) are terribly rude to Powell, BEFORE they know what a rat he is.

As you’ve never seen them before

What we have is the offspring of the hardboiled newspaper comedy and the screwball — unlike in THE FRONT PAGE and its offspring, nothing is really at stake here (the wellbeing of a muckraking newspaper doesn’t count) but the abrasiveness owes more to Hecht & McCarthy’s acerbic spirit than to the usual romantic comedy. In fact, Maurine Dallas Watkins, one of the writers, wrote CHICAGO — she has a bigger claim to inventing the newspaper comedy than anyone else. As the movie gets away from the newsroom and into the haunts of the wealthy, it does introduce a little more sweetness, but as the rich folks have been introduced as pretty tough, deceitful and boorish, we carry a lot of that sour feeling with us.

In both versions, the jilted bride is harshly treated and seems the most blameless figure. There are the usual dumb blonde jokes — when Powell marries Loy while still married to Harlow, her keen legal mind pounces: “That’s arson!” But her being dumb or common doesn’t justify any of the loutish treatment she gets from Tracy and Powell. It’s a colossal relief when Myrna is nice to her (as Harvey points out, Loy is always sympathetic to other women, always projects a sense of companionship rather than judgement). Sympathy may be the enemy of drama, as Alexander Mackendrick warned, but if you build a drama without any bonds of sympathy between the characters… you’re David Mamet.

Loy – instantly recognizable ESPECIALLY when incognito.

What I’m saying is that this is a rare case where I disagree with James Harvey, who likes this film more than we did. But the good news is, the original CHICAGO is playing at Bo’ness. THAT one I like!

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Nautical But Nice

Posted in FILM with tags , , , , , , , , , , , , on June 7, 2013 by dcairns

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THE CAPTAIN HATES THE SEA is a kind of Grand Hotel of the ocean waves. I was curious about it because Lewis Milestone’s early thirties work is so dynamic and experimental — RAIN, ALL QUIET ON THE WESTERN FRONT and THE FRONT PAGE together give the lie to the popular idea that cinema got staid when sound came in. It undoubtedly did for some filmmakers, but Milestone seems to have been liberated by it. The challenge of moving the camera despite the demands of the microphone energized him, and a filmmaker who seems to have been fairly conventional (THE RACKET, TWO ARABIAN KNIGHTS) during the late silent era suddenly turned into a kind of crackly Scorsese. Or am I wrong?

Like Mamoulian, however, Milestone was quick to settle down into a more conventional approach — the explosive moments in his later films are commonly repeats of the highlights of ALL QUIET — all his subsequent war movies re-use the fast tracking shots along the trenches, for instance. But as late as OCEAN’S 11 he could still purvey moments of visual beauty — that film’s final shot is a breathtaking evocation of rat pack cool, making up for the not very inspiring 126 minutes preceding it. At any rate THE CAPTAIN is very elegantly shot, smoothly combining its location and studio material, but it isn’t a dazzling tour de force like RAIN. Nor does it aspire to be.

The titular captain is Walter Connolly in his best dyspeptic mode — he ran away to sea after dunking his dad’s beard in the soup. Now he’s tormented by his troublesome passengers, his inebriate chief steward (Leon Errol) and Donald Meek, whose long beard and careless posture over his broth presents a perennial temptation to repeat the sins of his youth.

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Also aboard is an all-star cast with John Gilbert at the top and the Three Stooges at the bottom. What Milestone has set out to do here, which was probably just as hard as inventing expressive sound cinema, is integrate the acting styles of Gilbert, Connolly, Victor McLaglan, Akim Tamiroff, Luis Alberni and the Stooges. He does it!

McLaglan is particularly impressive — not stifled, but holding back in key moments to create striking muted effects. He still does his patented Victor McLaglan face at times (co-star Helen Vinson matches it by putting the edges of he sharp little teeth together in a feral grin, lips sucked back — the pair of them look set to go for each other’s throats) but he avoids the mawkish grotesquerie that was so often his stock-in-trade.

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Gilbert’s performance should be studied by anyone tempted to believe he actually had anything wrong with his voice. Not only that, he should be studied by students of effective screen acting. In silents he was often callow. In QUEEN CHRISTINA he seems a touch hysterical. Here he’s solid, wryly humorous and he rivets the attention. His character is a washed-up alcoholic writer, supposedly taking a cruise to dry out. While discussing his new state of sobriety, he carries on soaking up the straight scotch (“Never bruise liquor!”) as before, a study in better living through denial. Since Gilbert had booze troubles of his own, the comedy (it’s all played for laughs) comes across more poignant than funny, but Gilbert seems to be aiming in that direction. There’s a melancholy to him that was probably inherent by this point in his life and career.

The Big Man

Posted in FILM with tags , , , on December 10, 2012 by dcairns

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New Chiseler piece, on this guy. And check out the rest of the articles too.

Also: a limerick on DRACULA and his mysterious armadillos.