Storm Tossed Masses.
 

Elissa Landi

People think Euro Pudding movies appear with the Common Market and operators round the Continent scrambling to put together talent with name recognition who they might be able to flog as a bundle to the US. In fact the practice was established in the nineteen twenties and thirties and you might consider it as having a finest hour then when they all piled into England and France looking for a dollar income or escaping the Nazi threat.

The Germans Robert Siodmark, Fritz Lang and Georg W. Pabst found a home in Paris while Hungarians, Frenchmen, Russians and Czechs set up slogging away in London next to Arthur Robison and Karl Grune, Raoul Walsh and Alan Dwan. The local British talent by and large took a dim view of this and during the war the Film Union organised to keep all these hand kissing foreigners out of their industry, though Duvivier and Edmund Greville did slip under the wire in the forties and fifties.

The 1935 Koenigsmark had always triggered my curiosity, a costume melodrama fronted by the glamorous Elissa Landi and Pierre Fresnay and directed by Maurice Tourneur. There at last it was in it’s English language edition Crimson Dynasty on You Tube and in not a bad copy ripped off the BBC too. 

I was prepared for the worst. These interesting looking pudding pictures are usually disappointments, with Robison’s The Informer and Alex Korda’s Henry VIII, Don Juan & Rembrandt notable exceptions. However Koenigsmark opens imposingly with Elissa making a forced for reasons of state marriage with older Grand Duke Alan Jeayes who never gets past her bed chamber door. His monocle twisting brother John Lodge, a pillar of pudding pictures, looks on disapprovingly. Royal wedding, lines of suits of armor, household cavalry and a grand ball are all displayed with the imposing imagery of Tourneur’s best silents. The visuals, script and performance are pretty good.

Then Pierre Fresnay brilliantined, coated with more Pancake 5 and lipstick than they are using on Elissa and speaking English with just the right amount of accent shows up for the spot of tutor to Lodge’s young son (what happens to him?) and things slide.

 

Maurice Tourneur's fun La Main du Diable Noël Roquevert & Fresnay

Fresnay could be an imposing actor. Think Le Courbeau or even the thirties Man Who Knew Too Much but his “comic little French professor” is a feeble pivot to put next to Jeayes broken hearted aristocrat, Marcelle Rogez maybe lesbian confidante and Frank Vosper’s loyal henchman who is not what he seems.

An expedition to the Congo disposes of Jeayes and Elissa, in what looks like Marlene Dietrich’s cast off outfits from Scarlet Empress, declines to be a passive executor of his legacy. Pierre uncovers a sinister plot for which Lodge torches the (model shot) palace and Elissa calls in some old  favors before taking to the Swiss highway in the big white Rolls.

Two things ultimately do this one in. While it’s crucial that action unrolls in the tangled web of pre WW1, it screams 1930s, particularly in the clothes of the romantic leads. Second, it’s all so British. We can’t help feeling that the parallel French version for which they summon Anonin Artaud and Jean Debucourt to back up the stars, would play better. This is the thing for which Hollywood historical films were constantly derided by British critics put off by American accents. From this distance those U.S. films play better than their British counterparts.

All up this one can hold it’s own with the similar films Greta Garbo was putting out at the time, even if it’s not in the event against Mayerling.

Beyond it’s ninety minutes as uneven entertainment, it has the appeal of it’s companion cosmopolitan ventures - include Swede Victor Seastrom’s  Under the Red Robe, German Luis Trenker’s The Challenge, Czech Karel Lamac’s They Met In the Dark, Frenchman Edmund Greville’s Mademoiselle Docteur, Russian Eugene Frenke’s A Woman Alone. It’s more interesting to see people who knew how to do it thrash about than to watch later home grown British talent like John Harlow or Arthur Crabtree plod though assignments.

Maurice Tourneur's sound career is miserably documented in English film literature. Inconsistent, it does have peaks with the war time La Main du diable and early sound Au Nom de la loi. I'd really like to do a quick run through. Put it on my to do list.

Barrie Pattison 2020

Wild Bill Wellman.

Wading through the video swamp that is You Tube I noticed Wild Bill: Hollywood Maverick - The Life and Times of William A. Wellman, a 1999 feature documentary portrait of the  director on whom my attention has focussed since I discovered him all those years back in my first, teen age burst of serious movie going. A whole film about Wild Bill Wellman. Count me in!

The documentary, rightly I think, brackets him with Frank Capra and John Ford as the most important figures of “classic” Hollywood. Tough luck Howard Hawks, Cecil B. De Mille, Lewis Milestone and Michael Curtiz. It’s produced by Wellman’s son and directed by Todd Robinson, son of Edward G. and director of the 2006 John Travolta Lonely Hearts. These family connections seem to have facilitated getting an impressive list of interviews. Though It’s unfair to pick among the production’s rich selection, particularly interesting are the subject’s twenty year younger wife Dorothy Coonan Wellman, star of his 1933 Wild Boys of the Road, James Whitmore, Gregory Peck, Michael Wayne, Robert Mitchum and Sidney Poitier. (I had to think about him - the answer is 1956's Goodbye My Lady).  This is both the production’s strength and limitation. 

Robinson & Martin Scorsese.

Not unlike Kevin Brownlow’s work, this one foregrounds the material representing the interview subjects. The coverage of  early years lays out material already often familiar -  WW1 Dawn patrols with the Lafayette Escadrille and detail on the meaning of his two “confirmed kills”, Wellman's horrendous plane wreck or landing his civilian flight on Douglas Fairbanks' polo ground next to the star's open air party. Less familiar is detail on his first marriage to forgotten movie star Helene Chadwick whose mail he would subsequently find himself delivering as he worked his way up through the ranks of studio gophers or an association with alcoholic director Bernard Durning. 

There’s the giant gamble represented by Wings and it’s success making him throw off the restraints of a safe Paramount contract, realist films at Warners, block busters for Selznick and a deal with Zanuck which had him barter making The Oxbow Incident for his unwilling services on Thunderbirds and Buffalo Bill, followed by programmers at MGM with Nancy Davis /Regan providing surprisingly articulate recollections.

Then we settle in for a blow by blow on the fifties Warner movies which had Clint Eastwood, Tom Laughlin, Tab Hunter, Mitchum, Poitier and regretably briefly Jane Wyman on hand to comment. These are discussed in detail though even here an Ernest Gann side bar omits Island in the Sky, the best of them. 

Island in the Sky - John Wayne.

This documentary just isn’t about to comment the fifties fall away in Warner quality which left new faces like Elia Kazan and Jack Webb scrambling to make important work in an environment which had drained people once studio masthead talents - Roy Del Ruth, Raoul Walsh, William Keighley, even Curtiz. There's a telling interview with Henry Blanke in James Silke’s studio history “Here’s Looking at You Kid” which discusses this decline in standards.

These final, compromised films get detailed coverage while major early Wellman works like Beggars of Life (1928) or So Big (1932) just don’t figure. Heroes for Sale only scores a passing reference.

Ox Bow Incident - Fonda & Harry Morgan

The production does field some interesting insights like an excellent montage where
foreground objects obscure key moments - Fonda reading the Ox Bow letter, Anthony Quinn’s Buffallo Bill death - and seeing Wings, Public Enemy, Star Is Born, Nothing Sacred, Beau Geste, Ox Bow and G.I Joe butted together confirms Wellman’s extraordinary status. Alec Balwyn’s self efacing delivery of the commentary is exemplary.

OK, there are a whole lot of William Wellmans, not omitting the one who alarmed Eddie Bracken with his sadistic practical jokes. This film puts on screen someone very different to the assured, sardonic retiree I’d met twenty years before Wild Bill was made. He had the London National Film Theater hanging on every word and, as a wind up, declared he was going to recite a love poem, taking out a sheet of paper from which he read an embarrassing lachrymose verse. The organisers were studying their toe caps before it ended “and there’s the love of a child for it’s mother/ but there’s a love that surpasses all other/ is the love of one drunken bum for another.” They adored him - me too.

This film’s Wild Bill Wellmann with rough edges removed was maybe not the most interesting but it remains a welcome addition.

George Brent, Barbara Stanwyck and Wellman Shooting Purchase Price 1932.

Barrie Pattison 2020

CRAWFORD, COOPER AND HAWKS.

Today We Live - Crawford & Cooper

Finally managed to see Today We Live, a production that has remained elusive during all my years of hard movie going, despite a cast headed by Gary Cooper, Joan Crawford, Franchot Tone and Robert Young and the participation of William Faulkner and of Howard Hawks, a director who was all but deified by the activities of French critics in the

1960s.

It turns out to be accomplished for its 1933 origins. This one gets by as entertainment but more absorbing than any fun viewing qualities is the tussle between two of the major movie styles - a Howard Hawks male bonding piece and a Metro Joan Crawford glamor vehicle.

We kick in 1915 off with American visitor Cooper being asked by the customs man where his sympathies lie and, having nothing to say, getting his passport stamped “Neutral.” English (!) lady of the manor Crawford receives the message that her father has just been killed at the WW1 front but still receives new tenant Cooper, who is sufficiently thoughtless to request their sugar ration for his tea in the inevitable leaded window drawing room. Nevertheless it’s love at first sight and the pair go bicycling through the back lot representation of English lanes. 

This doesn’t go down too well with Joan’s childhood sweetheart Robert Young as he and her brother Franchot Tone ship out for small boat duty on the channel coast.

Gary rejects his status as “rich, neutral and out of things” signing up for the U.S. flying corps and trading their wings insignia for a Royal Air Force set. Franchot is the one to bring the news that Gary’s been killed in action. Deep in grief Joan goes off and pairs with Bob without benefit of clergy - pre code shock!

However Gary, reports of his death greatly exaggerated, turns up at the same port where Joan has had herself stationed as a nurse and he resents the new arrangement when he hears about Bob’s fun little boat trips after Gary’s used to seeing his gunners loaded out of the plane with blood pouring from their mouths. Running into Bob at a bar he invites him to fly with them - and see real action. Sidekick Roscoe Karns, excellent in a part effectively enhanced from the usual comic relief, shows concern.

Rather than being fear stricken, Bob mans the Vickers gun and enthusiastically  takes out at least three Boche - suspense cranked up by the undischarged bomb which only he notices till they land.

After some more Madonna like close ups of Joan, it gets to be the suicide mission in the fog and rain which can be undertaken by Gary’s plane or Bob’s torpedo boat. Some genuine suspense here as Coop should get the girl because he has top billing but Bob’s claim is bolstered by the admittedly dodgy marriage bond.

Hawks appears to have found Metro an uneasy base. Both Viva Villa and (the excellent) Prizefighter and the Lady were finished by others and he never worked with the studio after these. However he does have the studio's excellent craft departments to draw on - Oliver Marsh’s gleaming images nicely reproduced on the Warner Archive disk and Cedric Gibbons design. He seems to find enough wiggle room to have the key scene with Cooper and Crawford backed with single piano rather than the usual lush orchestration. However Gilbert Adrian’s idea of period fashion is to send in Joan in something that looks like a flight attendant’s uniform from a Flash Gordon serial.

We recognise Hawks feeble comedy with the cockroach jokes anticipating Walter Brennan demanding "Was you ever bitten by a dead bee?" Also curious is Hawks' attempt to simulate clipped British English by removing the pronouns from sentences - this from the director who would pioneer lapping dialogue.

Today We Live has a family aspect being the director’s first association with William Faulkner who would continue working on his films into the fifties though it’s been said that the collaboration was often an exchange of the novelist’s prestige for the studio’s dollars. Action director Richard Rosson would again share the 1943 Corvette K225 with Hawks. His final torpedo run is the film’s highlight. This sub-plot would seem to be the origins of They Were Expendable with similar ocean speeding material. The mix of  Rosson’s footage, stock from Hells Angels, model work and studio shooting run up by editor Edward Curtiss lifts the piece from it’s soapier passages. Cooper and Karns both appeared in Wings though not in the same scenes, and Crawford’s marriage to Cooper’s Bengal Lancers co-star Franchot Tone would place her with the Group Theater in an attempt to sharpen her skills. Think Marilyn Monroe and Actor’s studio. 

Young & Crawford

Most significant is the fact that it is the first collaboration between Hawks and Gary Cooper who would combine on Sergeant York and Ball of Fire, two of the key films from the Golden Years. We’ve got to give this one points. It’s uneasy coupling works better than Cooper and Henry Hathaway’s swoony Peter Ibetson. Hawks and Faulkner hold Metro at bay better than Borzage and Scott Fitzgerald doing Three Comrades five years later.

There’s enough here to get the attention of any vintage movie freak. What the Wonder Woman audience would make of it is speculative but that’s not going to happen is it?

Westerns

I prepared this list of the most remarkable westerns for a lecture series.

B.P.

    A History of the Cowboy Movie : Barrie Pattison.

Selected Titles.

Tom Mix

Cripple Creek Ballroom Wm. Dickson 1898, The Great Train Robbery - Porter for Edison with W.S. Anderson 1903, Broncho Bill & the Baby W.M. Anderson (series begins) 1908, Le Railway de la mort Jean Durand with Joë Hamman 1912,  The Battle of Elderbush Gulch D.W. Griffith with Lillian Gish 1913, The Squaw Man Cecil B. de Mille & Oscar Apfel with Dustin Farnham 1914, Birth of a Nation D.W. Griffith, The Virginian Cecil B. De Mille with Farnham 1915, Hell's Hinges William S. Hart, Charles Swickard & Clifford Smith for Ince 1916, The Narrow Trail Wm. S. Hart 1917, The Lady of the Dugout W.S. Van Dyke with Al Jennings, 1918, The Last & the Mohicans Maurice Tourneur & Clarence L. Brown 1920, Sky High Lynn Reynolds with Tom Mix 1922, Wild Bill Hickock Smith with Hart 1923, To the Last Man Victor Fleming with Richard Dix, Covered Wagon 1923 with J. Warren Kerrigan & The Pony Express with Ricardo Cortez, James Cruze 1925, Tumbleweeds Clarence Badger with Hart 1925, The Vanishing American George B. Seitz with Dix 1925, 3 Bad Men John Ford with George O'Brien 1926, The Great K & A Train Robbery Lew Seiler with Mix 1926, Whispering Smith George Melford with H.B. Warner 1927, The Virginian Fleming with Gary Cooper 1929, Big Trail Raoul Walsh with John Wayne 1930, Cimarron Wesley Ruggles with Dix 1930,

Cimarron : Irene Dunne & Dix

  Branded  D. Ross Lederman with Buck Jones 1931, Law & Order Edward L. Cahn 1933, Massacre Alan Crosland snr. with Richard Barthelmess 1934, Hop-a-long Cassidy for Harry Sherman with William Boyd, (series begins), 1935, The Trail of the Lonesome Pine Henry Hathaway with Henry Fonda, 1936, Sergeant Berry Herbert Selpin with Hans Albers 1938, Stagecoach John Ford with John Wayne 1939, Destry Rides Again George Marshall with James Stewart 1939, Union Pacific Cecil B. De Mille with Joel McCrea 1939, Jesse James Henry King with Tyrone Power, Fonda 1939,  North West Mounted Police De Mille with Cooper 1940, Northwest Passage King Vidor with Spencer Tracy 1940, When the Daltons Rode George Marshall with Broderick Crawford 1940, Dodge City & Virginia City 1940 & Santa Fe Trail 1941 Michael Curtiz with Errol Flynn, Western Union Fritz Lang with Randolph Scott 1941, Texas Marshall with Wm. Holden, Glenn Ford 1941, The Spoilers Ray Enright for Frank Lloyd with Scott & Wayne, Apache Trail Richard Thorpe & Richard Rosson with Lloyd Nolan 1942. The Oxbow Incident William A. Wellman with Fonda 1942, San Antonio David Butler (& Robert Flory & Walsh) with Flynn 1945, California 1946 & Copper Canyon 1950 John Farrow with Ray Milland, My Darling Clemantine Ford with Fonda 1946, Canyon Passage Jacques Tourneur with Dana Andrews 1946, Under the Tonto Rim Lew Landers with Tim Holt 1947, Pursued Walsh with Robert Mitchum 1947, Whispering Smith Leslie Fenton with Alan Ladd 1947, Ramrod André De Toth with McCrea 1947, The Plunderers Joseph Kane with Rod Cameron 1948, Aizona Ranger John Rawlins Tim Holt 1948, Relentless George Sherman with Robert Young 1948, Albuquerque (Silver City) Ray Enright with Scott 1948, Ambush Sam Wood with Robert Taylor 1949, Fighting Man of the Plains Edwin L. Marin with Scott 1949.The Furies Anthony Mann with Walter Huston 1950, The Outriders Roy Roland with McCrea 1950, The Gunfighter King with Gregory Peck 1950, Stars in My Crown Tourneur with McCrea 1950, Broken Arrow Delmer Daves with Stewart 1950, Bend of the River (Where the River Bends) Mann with Stewart 1950, Apache Drums Hugo Fregonese with Stephen McNally 1951, Only the Valiant - Douglas with Gregory Peck 1951, The Big Sky Howard Hawks 1952, Distant Drums Walsh with Cooper 1951, The Iron Mistress Douglas with Ladd 1952, Naked Spur Mann with Stewart 1953, Shane George Stevens with Ladd 1953, Thunder Over the Plains De Toth with Scott 1953, Vera Cruz Robert Aldrich with Burt Lancaster & Cooper 1954, The Raid Fregonese with Van Heflin 1954, Drum Beat Daves with Ladd 1954, Bad Day at Black Rock John Sturges with Tracy 1954, Wichita Tourneur with McCrea 1954, The Man from Laramie Mann with Stewart 1955, The Last Frontier Mann with Victor Mature 1955, Gunsmoke TV series with James Arness begins, Seven Men from Now Bud Boetticher with Scott 1956 Last Wagon Daves with Richard Widmark l956, Searchers Ford with Wayne 1956, Gunfight at the OK Corral Sturges with Lancaster & Kirk Doulas 1957, Three Ten to Yuma Daves with Ford 1957, The Tin Star Mann with Fonda 1957, Cowboy Daves with Ford & Jack Lemmon 1958, The Big Country William Wyler with Peck & Charlton Heston 1958, Man of the West Mann with Cooper, 1958, The Law and Jake Wade Sturges with Taylor & Widmark 1958, From Hell to Texas (Manhunt) Henry Hathaway with Don Murray 1958, Gunman’s Walk Phil Karlson with Heflin 1958, Terror in a Texas Town Joseph H. Lewis with Sterling Hayden 1958, Rio Bravo Howard Hawks with Wayne 1959, No Name on the Bullet Jack Arnold with Audie Murphy, Ride Lonesome 1959 & Comanche Station 1960 Boetticher with Scott, The Magnificent Seven Sturges with Yul Brynner 1960, The Unforgiven John Huston with Burt Lancaster, Flaming Star Don Seigle with Elvis Presley, A Thunder of Drums Joseph M. Newman with George Hamilton  1961,  The Posse from Hell  Herbert Coleman with Murphy 1961,
Ride

Ride the High Country - Scott & McCrea

the High Coutry / Guns in the Afternoon Sam Peckinpah with Scott & McCrea 1962, One Eyed Jacks Marlon Brando 1963, Per un pugno di dollari starts Dollars trilogy - Sergio Leone with Clint Eastwood, 1964, How the West Was Won  Ford-Hathaway- Marshall 1964, Cheyenne Autumn Ford with Widmark 1964, Cat Ballou Elliot Silverstein with Jane Fonda 1965, The Sons of Katie Elder Hathaway with Wayne 1965, Django Sergio Corbucci with Franco Nero 1966, El Dorado Hawks with Wayne & Mitchum 1966, Duel at Diabolo Ralph Nelson with James Garner, Sidney Poitier 1966, The Professionals Richard Brooks with Lancaster & Lee Marvin 1966, Hombre Martin Ritt with Paul Newman 1967, Oggi a me... domani a te! / Today It's Me... Tomorrow It's You! Tonino Cervi with Budd Spencer 1968, Il Mercenario/ A Professional Gun 1968 & Vamos a matar, compañeros (Companeros) 1970 Corbucci with Nero, Stalking Moon Robert Mulligan with Peck, 1969,

Django - Nero

Butch Cassidy & the Sundance Kid George Roy Hill with Newman & Robert Redford 1969, True Grit Hathaway with Wayne 1969, The Wild Bunch Peckinpah with Holden 1969, Soldier Blue Nelson with Candice Bergen 1970, Ulzana’s Raid Aldrich with Lancaster 1972, Dirty Little Billy Stan Dragoti With Michael J. Pollard 1972, The Shootist Seigle with Wayne 1972, Bite the Bullet Brooks with James Coburn 1975,The Outlaw Josey Wales Eastwood 1976, The Long Riders Walter Hill with the Carradines 1980, Heaven’s Gate Michael Cimino with Chris Kristoferson 1980, The Grey Fox Philip Boros with Richard Farnsworth 1982, Silverado Lawrence Kasdan with Kevin Kline 1986, Sunset Blake Edwards with Garner, Bruce Willis 1988, Dances with Wolves Kevin Costner 1990, Unforgiven Eastwood with Gene Hackman 1992, Wyatt Earp Kasdan with Costner 1994, The Avenging Angel Craig R. Baxley With Tom Berenger 1995, Ochocientas balas / 800 Bullets Álex de la Iglesia with Sancho Gracia 2002, Open Range Costner with Robert Duvall 2003, The Missing Ron Howard with Tommy Lee Jones 2003, 3:10 to Yuma James Mangold with Chrstian Bale 2007, The Assassination of Jesse James by the Coward Robert Ford Andrew Dominik with Brad Pitt 2007, Appaloosa Ed Harris 2008. Blackthorn Mateo Gil 2011, Bone Tomahawk Craig Zahler 2015,  The Sisters Brothers Jacques Audiard 2018.

The Searchers

Sergeant Berry - Hans Albers

 Barrie Pattison 2020

Warners and the Great Depression.

There’s a special quality to the films that Warner Brothers (and First National) made in the first years of sound, when Daryl Zanuck was head of production.

At that stage the studio pay roll  had a large slice of the directors who would dominate the so called Golden Years of Hollywood - William Wellman, Howard Hawks, Michael Curtiz and William Dieterle not to mention Busby Berkley. Most had already proved they could handle major projects and were keeping their motors running with program fillers waiting for the big budget projects to come back after The Depression.  Surprisingly, people who would ultimately prove lesser talents were keeping pace with them - Merven Le Roy (Little Caesar), Alfred E. Green (Parachute Jumper), Archy Mayo (Petrified Forest), Loyd Bacon (42nd Street) and particularly Roy Del Ruth (Taxi) who Michael Powell admired.

My viewing these films has spread over a life time. Choice pieces in the early years of Australian television - the 1931 Ricardo Cortez Maltese Falcon / Danerous Female, Jimmy Cagney and Loretta Young in 1931’s Taxi, Ruby Keeler in the 1933 42nd Street or Georg Wilhelm Pabst’s 1934 Hollywood stop over for A Modern Hero - were followed by filling gaps with a London NFT season and decades later again picking my way through Amalgamated’s six hundred sixteen millimeter copies before they went into landfill and I’m not done yet. You Tube keeps on coughing up surprises.

Warners made operettas, society dramas and comedies. Le Roy’s Joe E. Brown vehicles
were surprisingly lively. However Zanuck’s taste ran to the so called Social Movies, blue collar drama about disadvantage. Le Roy’s 1932 I Am a Fugitive from a Chain Gang is supposed to have started the ball rolling but it’s easy to see that one as another in the studio’s already established prison movie cycle.

I’ve already discussed the 1929 Frank Lloyd - Richard Barthelmess Weary River but even
more obscure is 1930’s  Numbered Men directed by Le Roy. It can be seen as a further
stage in the Warner prison movie cycle following Weary River and anticipating I Am a
Fugitive from a Chain Gang, 20,000 Years in Sing Sing, Each Dawn I Die, Invisible Stripes and the rest.

Claire and Hacket

Not much of a movie but an interesting step towards the more substantial films, Numbered Men has William Holden (Mark I) playing the warden as he did in Weary River. He has contempt for Hard Man prisoner Ralph Ince. “Callaghan doesn’t even possess the honour that’s supposed to exist among thieves.” Young Raymond Hacket (in the Ruth Chatterton Madam X) longs for red head sweetie Bernice Claire (Broadway’s “No No Nanette”) whose picture he carries. Forger Conrad Nagel (“Better than some now who are walking anound”) relaxes in the privilege room and predicts the dismal outcome of young Hacket’s romance. George Cooper plays harmonica. Ivan Linow is going stir crazy.

Best passage is the opening establishing Stoneyhurst State Penitentiary’s numbered
inmates deprived even of the humanity that using their names offers. We get a few
interesting opticals like the marching prisoners visible through the defused gap in the
bars, anticipating Byron Haskin’s great titles for 20,000 Years in Sing Sing. Villainous
Maurice Black’s face is supered on the dialogue describing him.

The trustworthy inmates get access to the library and become eligible for the road gang
where there are only a few guards and prisoners work in the open. Incentives include their
doughnut nights at Blanche Friderici’s farm kitchen.

Ince engineers a prison riot which is a brief highlight - starting in a real machine shop and
having shots of prisoners stampeding in one direction while those seen through windows
behind them are running back. This halts as the rioters come up against the wall of steel
bars.

Garbo with Corrad Nagel : The Kiss

Plausibility is completely shot when Hacket’s fiancée turns up working at the farm. Villain Black, escapees Ince and Linow and road gang members Nagel, Hacket and Cooper all converge there where “the keester man” explosive expert stores a case of dynamite - which doesn’t get to fill its promise. However farmer rustic Tully Marshall  is hunting a chicken hawk with a rifle which will get into the final action as the warden arms the trustees to go out and get Ince who has locked Claire in the cupboard threatening “I’ll knock ya to Jersey if ya double cross me.”

This one has come to terms with early sound film form but it’s plot and handling don’t convince or involve. Nagel, star of the first dramatic sound film, Curtiz' Tenderloin, was considered to have the ideal speaking voice for early sound. He is the only one who can read the awful dialogue with conviction.

Warner streetscape :Under 18

A year later (1931 released ‘32) and the rapid growth of the studio’s film making is instantly visible in Archy Mayo’s Under 18. The house style is  fully developed. Their bustling urban ambiance registers in the film’s first few shots of the the working class wedding spilling into the street from a tenement flat in Maude Eburne’s rooming house. Marian Marsh (quite appealing - she claimed to be nineteen) is wearing the bride’s veil but it’s borrowed from her sister Anita Page (Broadway Melody of 1929) who is pairing with pool hall champ Norman Foster - later to direct the 1943 Welles Journey into Fear. Marian works as a seamstress in Paul Porcasi’s Ritz Fashion Salon and is sparking grocery truck driver Regis Toomey.

Under 18 : Wedding day - Page and Marsh

Comes the depression - three shot montage including dad J. Farrel McDonald’s grave marker and the young couple are arguing in the night heat, sitting on the trash can outside her family tenement block, when the well turned out mistress living there gets into her car. The film is determinedly Pre-Code, offering yet another of those familiar dressing room sequences, with lots of glamorously presented women getting in and out of their scanties, and lead Marsh’s endangered virtue the is central plot dynamic.

Like Nancy Carroll in Personal Maid or a squad of other Pre-Code worker heroines,
Marian is on about “I’m sick of being poor.” She’s saving ten dollars a week so she can
get somewhere better for mum Emma Dunn to live. Things deteriorate when sister Page
comes back home with a baby and her out of work husband who shows no interest in the
job adds. After he blacks her eye, Page wants a divorce but lawyer Clarence Wilson
demands two hundred dollars to get her name down before they close the quarter’s court
ticket.

William and Marsh

The kept girl mannequins at the show room can’t help. They only have furs and jewels, not money they could spend on boys, and boss Porcasi is more interested in his own tootsie. Marian sees only one way out. Rich customer Warren William’s attention picked up when Porcasi had her model a fur coat while the regular girls were at lunch and she retrieved the orchid corsage his partner discarded to take home to her mum.  Marian is resolved to offer herself to Warren. She quits Regis and heads for Williams’ extravagantly art directed sky scraper pent house where a wild pool party is in progress.  A rejected playboy throws into the water the pearls that his fed up squeeze hurled back at him, for the swimmers to dive for.

Warren has a wardrobe full of bathing suits - all her size like Zachary Scott’s Monte
Berrigan in Mildred Pierce. He and Marian are negotiating. This is the point where the
film develops genuine tension. Regis has followed her and, punching low, decks Warren who is found on the floor apparently dead. The police arrive but Marian manages to beat them to the thirty floor elevator and puts in a call to warn Regis.

From these cascading calamities they manage to generate a happy ending.

Marsh  keeps on getting big glamor close ups in the belief that she had star potential but

she and long serving Toomey (best as the glimpsed motif common man character in the Capra Meet John Doe) are just going through the motions while Williams’ relaxed study in seedy charm has real authority.  A couple of the support players make their walk-ons register - attentive butler Murray Kinnell and the Universal’s Dracula and Frankenstein’s Edward Van Sloan as a scornful fashion house flunky. They show up the limits of the romantic lead duo whose careers will fade. The tenement people are just grotesques.

Marsh in scanties, Van Sloan and Porcasi.

It is interesting that the rich buying sex in these films are not condemned. Genders are
reversed in the 1933 Curtiz-Dieterle-Wellman Warner Female where Ruth Chatterton
rewards proto body builder Phillip Reed with a spot in Paris while lesser escorts are
shipped to Melbourne - they got that right. These anticipate John Baxter's 1941 Love on the Dole, 1976’s Claude Sautet Mado or 1990’s Pretty Woman. The practice among the less well off is associated with criminality and degradation as in the post WW2 exploitation cycles. What this tells you about film makers is speculative.

These two Depression era films are minor examples of the Warner contemporary cycle,
not the work of their best film makers. Le Roy would shift into the manufactured gloss of
MGM, though he did turn his working relationship with Robert Taylor into one of it’s
best examples with Johnny Eager in 1941 and Mayo emerged honorably from the
opportunity 1936's The Petrified Forest offered him.

Petrified Forest - Leslie Howard, Dick Foran, Bette Davis, Humphrey Bogart.

I think it’s significant that after a lifetime of mining this material I’m still finding
unfamiliar titles that I enjoy. There’s a Warner Archive DVD of  Numbered Men. The
You Tube copy is soso but their Under 18 is nice.

Barrie Pattison 2020

Rule Britania! 

For someone who the virus has made desperate and has to see anything, how about the Boultings’ first feature? I found it on You Tube under The Films of Alistair Sim - who has no connection with it. Shot in twelve days to the demands of a British quota quickie, Trunk Crime / Design for Murder is by any objective standard a dreadful movie. Though made in 1939, it anticipates the nastiness of the Leslie Arliss films of the forties and the shoddiness of the British support fillers of the fifties but it still has all sorts of claims on our curiosity.

The Boultings

Graduate Manning Whiley is about to go down from his un-named university. A suspect case this one. He wouldn’t go out for games at school, has voice over nightmares about being buried alive and keeps bella donna in his rooms.  A group of revolting undergraduates burst in and wreck his space. Boy is he mad!

So much so that when their leader comes down to apologize and make good any damage (“That’s decent of you!”) Whiley poisons him and stuffs him in the trunk he’s taking back to his rural home.

At least his village is less hostile than his college. The local bobby minds the rail station while the porter delivers Whiley’s locked trunk. However Whiley’s tenant Barbara Everest loves his home (“The whole marsh is so intriguing!”) and she’s still hanging about with her also revoltingly debby daughter and the girl’s fiancé Thorley Walters (a familiar face at last). Worse, they crash their car into the (off screen) dyke and have to carry the daughter back for care while comic yokel Hay Petrie keeps on popping up draining Whiley’s whiskey in the room where he’s keeping the body in the trunk.

Though it reeks of the smell of the greasepaint, (“Even as a child I had to turn inwards. I had dark thoughts”) the film does hold attention till a ridiculous anti climax.  We’re not too far from “Rope” or “Night Must Fall.” The production values though limited are quite effective, mainly playing in under lit interiors with just two brief out of doors shots to set up the railway journey. There are a couple of awkward edits but close-ups like the eye dropper or the recovered key are telling. Shooting on film gives it an edge on the TV dramas it resembles.

Put it up against early works of the Boltings' British peer directors like Michael Powell’s 1932  Rynox or John Guillermin’s 1950 Torment  eg. and this one isn’t disgraced.

Barrie Pattison 2020

The Legend of Tom Mix.

Under lock down, it was a sure thing that I’d get around to Tom Mix sooner than later. I did try that nice copy of La Voleuse on You Tube, figuring that anything with Romy Schneider and Michel Piccoli would hold my attention but Marguerite Duras’ script credit should have been a warning light. I lasted a quarter hour.

 

Tom Mix

Snapping back into character, I fired up the Tom Mix 1927 Zane Grey adaptation The Last Trail. This one could represent the past of Richard Dix’ character in It Happened in Hollywood, like the TV package of fifties cowboy movies Tarantino fronted to suggest the back story for Leonardo di Caprio's movie star lead in his Once Upon a Time in Hollywood.

Filmed nearly a decade after the Mix film, It Happened in Hollywood pivots on the then enormous nostalgia for silent movie cowboy juvenilia of which The Last Trail is a perfect example. Time for a double feature of them.

Both films incidentally feature William B. Davidson, a busy actor who became a recognisable element of Hollywood iconography, registering in films where he only had an uncredited walk-on but also showing that he  could sustain a substantial role, as in W.S. Van Dyke’s 1934 Laughing Boy or here as the bad guy. His black bow tie is a give away. Tom Mix should have worked out who the secret gang leader was  from that alone.

The film opens with Mix riding hell for leather on Tony, double up with his friend’s wife across the saddle but still outdistancing the pursuit of marauding Indians. No sooner is he through the fort gate and the woman back in the arms of spouse Lee Shumway than Tom is on the parapet blazing away. No question who’s the hero here.

A ten year later letter from Shumway, now Carson City sheriff, calls Tom back to see the little boy they named after him. Shumway’s driving the express coach carrying the area’s gold, the city’s lifeline under constant threat from stage robbers. Carmelita Geraghty (Jordan Baker to Warner Baxter’s Jay Gatsby) is busy trying to get Shumway’s motherless child Jerry Madden to take a bath at his cabin and hears gunfire as the bandits shoot up the coach - a great chase scene exchanging fire and racing through the steep rock cañon and onto the plains at full gallop. Carmelita  saddles up to ride to the rescue - now there’s a switch. Young Madden trails after them dragging a long gun. “Where’s all the injuns.”

However Tom in his big white hat has arrived and sees the confrontation distant. He charges in, scattering the bandits. Carmelita gets the wrong idea and lets off a couple of rounds at him. Mortally wounded Shumway passes his tin star and little black note book to Tom. (“Keep my badge. You’re the man to wear it!”) Businessman Davidson notes this with concern. 

Tom makes his presence felt worrying the outlaw gang. “Hold-ups ain’t safe with that gun totin’ cyclone on horseback actin’ as Sheriff.”  However he’s a hit with Madden and Carmelita who bakes him a coconut cake. Davidson has his eye on her but Tom sends him on his way. “If there wasn’t a lady present I’d clean up this town’s mangiest coyote right now.”

The concerned Express Company owner makes it clear that he plans on re-assigning the franchise that Carmelita’s dad Oliver Eckhardt runs and sets up a stage coach race to establish the new operator. Davidson hires all the drivers to work for him - a list corresponding to Shumway’s book. Finding Eckhardt unable to get a driver for his entry,Tom steps up.

After a failed attempt by the heavies to take
Tom down, our hero makes it to the race as the starting pistol is raised. Davidson, still not reaching the limit of his infamy, has Tom’s reins cut. 

The actual race is a great set piece with Mix clearly really doing some of the dangerous stunting - diving down among the pounding hooves to retrieve the slashed reins in the best Yakima Cannutt style and driving flat out among over-turning coaches as the nasties try to box him in. The date this was filmed falls between shooting the land rush scenes in William S. Hart’s Tumbleweeds and the Richard Dix Cimarron (and later the Cagney Oklahoma Kid) and suggests that the same stunt people were involved. Last Trail is not disgraced in this impressive company. 

It’s simple minded but has enormous energy in a good naturedly sadistic way. It works a whole lot better than more serious and better known Mix - Zane Gray film, Lynn Reynolds’ 1925 Riders of the Purple Sage which incidentally is the prototype of The Searchers via an Alan Le May novel. Last Trail intriguingly compares favorably with the surviving John Ford silent cowboy movies.

Some of the western comedy of the Selig-Mix shorts persists - trying to lasoo the kid and roping Geraghty instead. Director Lewis Seiler’s handing is spot on, as with his Mix The Great K&A Train Robbery. It’s not a little sad to know that Seiler would spend the bulk of his career on drab pot boilers, though the 1942 Humphrey Bogart The Big Shot does have the old spark.

Most movie enthusiasts now don’t realise the enormous public profile Tom Mix had in the twenties. Later vault fires at Fox destroyed the bulk of his best work and, outside the beautiful copy of Just Tony, this is now represented, if at all, by murky dupes. Even the great action footage in these doesn’t seem to have made its way into use as stock in later films. Fox in the Zanuck era showed minimal interest in preserving the celebrity of the stars which created the studio - Theda Bara, Buck Jones and Mix prominent among them. 

However hints do emerge. Daryl (“The Last Detail”) Ponicsan’s 1975 “Tom Mix Died for Our Sins” is on the way to being my favorite movie biography, endearingly offering Mix' macho pride and involvement with western lore along with his fallibility as he dealt with a success no one could have predicted. Carlos García Agraz’ 1992 Mexican film Mi querido Tom Mix comes close to catching the star’s heroic twenties presence and Sunset, the Blake Edwards 1988 movie account of the fictional partnership of Mix and Wyatt Earp, has Bruce Willis’ Mix bridling at the suggestion that he play Earp saying “I didn’t get where I am by being other people.” (Mix was a pall bearer at Earp’s 1929 funeral) That one’s the best of the director's later films, surprisingly after Edwards' slack earlier cowboy movie Wild Rovers.

The appearance of Sunset may have deep sixed Oliver Stone’s proposed filming Clifford ("Fake") Irving’s novel about Mix and Pancho Villa. I ran into Stone when he was considering that and nominated Mix as the great lost movie star. He had to look at me sideways and ask whether I was serious.

Barrie Pattison 2020.