When I was in high school back in the late 1970s and early 1980s, the teen heartthrob pictures taped inside the lockers of my classmates at dear old St. Catharine Academy in the Bronx included John Travolta, Parker Stevenson, Shaun Cassidy, and other cute lads one might find on the cover of Tiger Beat and the like. But I was always drawn to the so-called offbeat types, like Dustin Hoffman and writer/director Woody Allen, as well as Danny Kaye and Bob Hope in their 1940s movie comedies on WPIX or WOR. If I recall correctly, my sister Cara graduated from Lehman High School in 1976 at a ceremony at Manhattan’s own Carnegie Hall. Afterward, our family went to The Russian Tea Room for a celebratory lunch, all of us dressed to the proverbial nines. I was stunned to see Woody Allen and Dick Cavett standing together in front of us, chatting and waiting for their table! My combination of shyness and politeness kept me from running up to them and blathering like a fangirl. Frankly, I was perfectly content to stand on line quietly with my family, peeking at Allen out of the corner of my eye while munching on jelly-filled mints. However, Mom noticed Allen, too, and although she was never one to go up to celebrities and gush, she knew I was a big Woody Allen fan. As I believe I’ve mentioned in previous TotED posts, my dear beloved Mom was kind and as lovely as the fashion model she used to be—and about as shy as a speeding Mack truck, bless her! (She claimed to have been shy as a youngster, but she obviously got over it by the time I was born!) So I was both embarrassed and excited when Mom strode up to Allen and said in her enthusiastic way, “Mr. Allen, my daughter just loves your movies, and I knew she’d be thrilled if you’d say hello to her.” Allen had a deer-in-the-headlights look (can’t blame him, really; for all he knew, we could’ve been stalkers, or at least pests), while Cavett smirked and said, “Oh, here we go.” Mom gave Cavett a sort of elegant version of The Hairy Eyeball as she said to him, “I wasn’t talking to you, sir.” Then she turned to Allen and said, “It wasn’t so long ago that you were a movie fan like my daughter. How would you feel if someone you admired was rude and dismissive to you?” Looking both chastened and somewhat bewildered, Allen shook my hand, and I thanked him, and then our respective parties went our separate ways in the restaurant for lunch. Ah, if only Mom had lived to see our much more upbeat encounter in 2010 with our favorite Oscar-winner, Adrien Brody! (For those who didn't read this over at our friend and fellow blogger Clara Fercovic's Via Margutta 51 blog, here's the link:http://via-51.blogspot.com/2011/09/if-i-had-to-keep-4-guest-dorian.html)
Woody Allen schlepped here. (So did our family!)
That brings us to this week’s blog post, Manhattan Murder Mystery(MMM—an appropriate acronym for such a delicious movie). For my money, it’s sheer delight, one of Allen’s funniest, most unabashedly entertaining movies. Even the locations are a joy to behold; in addition to the Russian Tea Room, there’s the Cafe Des Artistes, The Chelsea Hotel, and The '21' Club, accompanied by the great music of, among others, Dave Brubeck, Benny Goodman performing Louis Prima’s “Sing, Sing, Sing, Sing (With a Swing),” and the opening number, the great Bobby Short’s rendition of Cole Porter’s “I Happen to Like New York.” The Oscar-winning team from Annie Hall—including Allen, frequent co-star/former inamorata Diane Keaton, and co-screenwriter Marshall Brickman—reunited for this film after Allen’s relationship with previous co-star/significant-other Mia Farrow ended (a long story in itself). That old magic and the marvelous quirky romantic chemistry Allen and Keaton had together in Annie Hall, Sleeper, Love and Death, and so many others was still there onscreen in full force, as if the two of them had never parted. As much as I liked Mia Farrow in Allen’s movies during the period when they were co-stars as well as lovers (they made 12 movies together, if I recall correctly), I feel Diane Keaton was the perfect choice to play Carol Lipton. While Allen certainly brought out Farrow’s funny side in their comedies, especially in Zelig and Broadway Danny Rose, it always seems to me that when Farrow plays funny everyday people—as opposed to over-the-top funny characters like the ones in Broadway Danny Rose or Radio Days—she often has a kind of a mewling, whiny quality that I feel just wouldn’t have worked for the brainy, bubbly Carol.
Is Ted hoping to make out on this stakeout?
When we meet Carol and Larry Lipton (Allen), their son Nick (Zach Braff, before TV’s Scrubs made him a star) is off to college. Carol is feeling a touch of Empty Nest Syndrome; how will she fill her days? Start a business, like maybe a restaurant, with their longtime friend Ted (Alan Alda at his most charmingly witty and rakish, kinda doing for MMM what David Wayne did for Adam’s Rib)? Ooh, wait, I know just the thing for those midlife blahs—solving a murder! You see, Carol and Larry have a chance encounter in their apartment building’s elevator with an elderly but bright and quick-witted couple, Paul and Lillian House, leading to a friendly chat-turned-impromptu-visit to the House hacienda. Carol and Lillian (Lynn Cohen, best known to Team Bartilucci as Golda Meir in Steven Spielberg’s 2005 thriller Munich) discuss dieting, health/fitness issues, and the Houses’ upcoming wedding anniversary. Paul, played by Broadway producer and character actor Jerry Adler (TV’s The Sopranos, Mad About You, Rescue Me, and the dark 1997 comedy film Six Ways to Sunday, with Adrien Brody in one of his earliest roles) cheerfully shows Larry his stamp collection while Larry quietly yearns to get home in time to watch the Bob Hope movie he’s been looking forward to on TV. (I wonder which one it was? If I’d written the MMM script, it would have been My Favorite Brunette! How charmingly low-tech life was before the invention of the DVR! But I digress….). Not long afterward, Carol and Larry come home from the opera to find ambulances, police, and a covered body; apparently Mrs. House died of a coronary! As time passes, Carol can’t help noticing that their “next-door widower” seems to be taking his beloved wife’s unexpected death rather well…perhaps too well? Carol’s curiosity and yearning for adventure in her own life kicks in, and she embraces her inner Nora Charles. But Carol had better watch her back; this is the kind of thing that gets Alfred Hitchcock’s characters in trouble, only (even) funnier!
At Cafe des Artistes, Marcia knows when to hold ‘em, but does Larry know when to fold ‘em?
At first, Larry is both too skeptical and too busy with his publishing job at HarperCollins to humor Carol’s amateur detective leanings. Where’s Jason Schwartzman as Bored to Death’s version of Jonathan Ames when you need him? At least Ted has both the time and, as a playwright, the imagination to help Carol solve The Case of the Merry Widower, especially since Ted is a divorcé, and not exactly shy about letting his understandable crush on Carol show. What I enjoyed most about MMM‘s amateur sleuthing was that for the most part, Carol, Ted, and eventually Larry pretty much go about searching for clues the way your average Joe or Jo would, with fairly accessible, approachable, down-to-earth DIY tactics. For instance, Carol and Ted stake out the street where Mr. House has been keeping company with a lovely young model, Helen Moss (Melanie Norris). During the stakeout, whenever a woman leaves Helen’s apartment building, Ted yells out, “Helen!” to see if she turns around. Dialing *69 comes in handy, too, when Carol surreptitiously borrows the super’s keys to investigate:
“I’ll pretend I’m a pair of comfortable old shoes until the coast is clear.”
The potential for illicit romance lurks not only with Carol and Ted’s stakeouts, but also with one of Larry’s authors, the alluring, accurately-named Marcia Fox (Anjelica Huston, another one of Team Bartilucci’s favorite Oscar-winners), who’s playfully making eyes at Larry. To Larry’s credit, he truly loves Carol and doesn’t want to lose her. To Marcia’s credit, she tells Larry point blank that if he wants to keep Carol, he’d better make more of an effort.(Fun Fact: As luck would have it, I happened to go to HarperCollins for a job interview the day Allen and Huston were filming that scene in Larry’s office! Although I didn’t get the Editorial Assistant gig I’d hoped for, it was nevertheless a thrill just to get fleeting glimpses of them. But I digress….)Larry finally joins Carol on a stakeout that leads to a rundown Gramercy Park hotel, a corpse, and a chase leading to New Jersey. It’s a zany, funny ride as the Liptons find themselves in all manner of suspenseful situations with just the kind of witty goofiness you’d expect from writers Allen and Brickman and that ingratiating cast. (I cracked up when Larry “takes care of” hotel employee Aida Turturro with one dollar!) See what happens when middle-aged people have too much time on their hands?
Will our heroes push up daisies in The Garden State?
As Nick and Nora, er, Larry and Carol dash around scenic parts of Manhattan and New Jersey trying to find clues without getting themselves murdered, the cowardly if practical Larry keeps kvetching and Carol keeps grumbling about how “Ted would know what to do…” It’s a delightful tip of the hat to Allen and Keaton’s 1973 classic Sleeper and its President’s Nose/“Emo would know what to do” gag! Just thinking about the comparison had me laughing even more than I already was! More affectionate salutes to classic movies abound, including the Vertigo ad on a crosstown bus, where Carol is sure she’s just seen the allegedly dead Mrs. House looking very much alive at the moment; and the big finale with our beleaguered couple and villain caught in a funny yet suspenseful send-up of Orson Welles’ The Lady from Shanghai in Mr. House’s revival theater. Larry gasps, “I’ll never say life doesn’t imitate art again!”
As Larry Lipton, Allen gives himself most of the best lines as he quips and dithers his way through their adventures, and why not? After all, who can say Woody Allen’s dialogue better than the man himself? Play to your strengths, I always say! Some of his best MMM lines:
On the emotions Wagnerian opera brings out in Larry: “…I always feel like invading Poland.”
On how Carol’s been dwelling on sinister things since she decided to play amateur detective : “You should wear happy glasses.”
Stunned to discover that a key player in the mystery plot is dead, and after they’d brought her a gift and everything: “She’s dead? Try giving her the present!”
Begging Carol to get rid of her fixation on the case and her jealousy of Marcia: “There’s nothing wrong with you that couldn’t be cured with Prozac and a polo mallet.”
Looking for Maxwell House, Carol finds Mrs. House!
MMM boasts stellar work from the rest of the supporting cast, too, including smart, sexy Huston, who turns out to be a pretty slick dilettante detective in her own right, bringing out the green-eyed monster in our heroine. When Carol feels like Marcia Fox is stealing both her thunder and Ted’s crush on her, you half-expect her to shout in exasperation, “It’s always Marcia, Marcia, Marcia!” Marge Redmond of Hitchcock’s Family Plot and TV’s The Flying Nun plays Mr. House’s right-hand woman Mrs. Dalton. Redmond gets an especially nice scene in the big movie theater climax; the catch in her voice as she quotes Everett Sloane in The Lady from Shanghai always touches my heart. I also liked Joy Behar and Ron Rifkin’s scenes as two of the couple’s friends, who help out with their recording studio, resulting in a shakedown ruse that goes hilariously awry. By the way, is it me, or does Paul House’s pretty young model girlfriend Helen Moss (Melanie Norris) dress rather like Annie Hall?(Tangent Alert…For the most part, I’ve liked Alan Alda best on the TV version of M*A*S*H and in other people’s movies, rather than the films he wrote and directed himself. Whenever Alda has donned the director’s hat, it’s always seemed to me that he gets preachy, self-conscious, and sensitive in a trying-too-hard way. Heck, I even liked him better in the otherwise disappointing thriller Whispers in the Dark until writer/director Christopher Crowe suddenly turned Alda’s character into an overwrought, frothing-at-the-mouth psycho. No wonder Alda won the Razzie that year!…End Tangent Alert.)
That’s not the kind of helping hand our heroes need!
Is that pride skeptical Larry is swallowing there in the elevator?
Eye contact is crucial when you’re catching killers!
Uh-oh! This wasn't the kind of movie-date night our heroes had in mind!
Life imitates art with the Mrs. Dalton gang!
But overall, MMMis Woody Allen Light—Light-Hearted, that is! Don’t take my word for it, watch this charming last scene (or don’t, if you’d rather be surprised):
“…And the punchline is, ‘Would you believe I’m waiting for a train?’”
Special photo treat from our pal and fab fellow blogger Caftan Woman! Her sister Maureen got to meet Woody Allen in person!
Read all about it in C.W.'s true-life anecdote in TotED's Comments Section!
“…And the punchline is, ‘Would you believe I’m waiting for a train?’”
This week, we of Team Bartilucci are saluting one of our favorite actors, James Garner. We mentioned his playful suavitude as one of our Suave Hall of Famers last October in our "Flico Suave" blog post. But by golly, the former James Bumgarner deserves a post all his own, so here it is!
Dorian's Pick - Marlowe (1969): Out of the Past, Into the '60s
Before the good people of Warner Archive recently made Marlowe (1969) available on DVD, I think the last time I saw it was on the 4:30 Movie when I was a kid in the Bronx! But before we talk about James Garner’s performance as author Raymond Chandler’s iconic private detective Philip Marlowe, I think it’s important to provide some background. Marlowe has been played in the movies (and on TV and radio, too, but let’s stick to the movies for this post) by a remarkable variety of actors, with performances ranging from the sublime to the ridiculous. For me, I’m afraid Elliott Gould in The Long Goodbye wins in the “ridiculous” category. In Robert Altman’s version, Gould looks and acts like he’s auditioning for Columbo. Yes, I know the Gould/Altman version has its fans, and I’ve liked Gould in other roles, but I just don’t think he’s a good fit as Philip Marlowe. Years earlier, in 1947, George Montgomery had tried his hand at playing Marlowe in The Brasher Doubloon. I’ve never had an opportunity to see the film, alas, but judging from the trailer and the bits and pieces of the film I've seen on YouTube, young Montgomery was trying to look older behind a dapper mustache. Eventually, Montgomery quit show business to run a wildly successful furniture business. Does anybody here know if there's a legal DVD of The Brasher Doubloon available anywhere? But I digress….
Happily, the sublime Marlowes outshine and outweigh the lesser ones. My own favorites include Humphrey Bogart in Howard Hawks’s 1946 film version of Chandler’s first novel, The Big Sleep; Robert Montgomery directing himself in MGM’s offbeat but compelling 1947 adaptation of Lady in the Lake(I’ll admit that one’s an acquired taste, and by golly, I’ve acquired it!); and three different but thoroughly entertaining versions of Chandler’s 1940 novel, Farewell, My Lovely. The first film version actually used the plot for one of George Sanders’s Falcon movies, The Falcon Takes Over (1942). Instead of Chandler’s Los Angeles, The Falcon Takes Over is set in my beloved New York City, with Ward Bond as Moose Malloy and Team Bartilucci fave Hans Conried as Lindsay Marriott. Edward Dmytryk’s Murder, My Sweet (1944) was a far more faithful adaptation despite the title change; the producers were afraid that the title Farewell, My Lovely sounded too much like a musical. But by any title, Murder, My Sweet helped Dick Powell shatter his image as a crooner, establishing him as a big-screen tough guy forevermore. Dick Richards’s 1975 version restored the original Farewell, My Lovely title, and Robert Mitchum commands the screen as another one of my favorite Marlowes. Mitchum was terrific in Michael Winner’s 1978 version of The Big Sleep, too, although I wasn’t crazy about many other aspects of the film, especially its transplant from 1946 Los Angeles to 1978 England, and its overreliance on blood and violence to keep audiences awake.
Electric Company: Sparks fly between Marlowe and Dolores
This leads us to Marlowe star James Garner at last! Vinnie and I have been die-hard Garner fans since we were kids. When we were growing up, we watched him on TV in his long-running TV series The Rockford Files, not to mention vintage reruns of Maverick and films like The Great Escape (1963), The Americanization of Emily (1964), 36 Hours (1965), The Thrill of it All (1963),and so many other terrific films of many genres. Garner is always a likable onscreen presence, with a touch of the antihero about him and more acting range than people give him credit for. Garner is another one of those actors who makes it look easy, rather like a laid-back American Cary Grant. He has a wry, breezy style (I get a kick out of his catchphrase “I’m a trained detective”), but he’s also tough, sardonic, and introspective when he needs to be. He even matches Marlowe’s description in the novels; what’s not to like?
Marlowe certainly has a promising pedigree, with a terrific cast and multi-award-winning screenwriter Stirling Silliphant (In the Heat of the Night, Charly, The Towering Inferno) adapting Marlowe’s script from Chandler’s 1949 novel The Little Sister. Indeed, the theme song was actually titled “Little Sister,” with music by Peter Matz and lyrics by Norman Gimbel, sung by the then-popular band Orpheus, who’d had a big hit with “Can’t Find the Time.” Lang Thompson’s absorbing article on the TCM Web site describes Orpheus as “a psychedelic pop band,” but for me, “Little Sister” and the other Orpheus songs I found on YouTube evoked The Lettermen’s greatest hits more than, say, The Strawberry Alarm Clock’s “Incense and Peppermints.”
The opening credits show a young man taking surreptitious photos of a sexy couple getting wet and wild in what’s obviously supposed to be a private pool. The woman turns out to be popular sitcom star Mavis Wald (Gayle Hunnicutt), who should perhaps use some of her sitcom earnings for better security, or at least better friends. You see, Mavis’s pool buddy turns out to be notorious mob boss Sonny Steelgrave* (played by H.M. Wynant, whose many TV and movie appearances include roles on 77 Sunset Strip, Alfred Hitchcock Presents, Maverick, and the genre spoofs of Team Bartilucci favorite Larry Blamire, of The Lost Skeleton of Cadavra fame). Can you say “blackmail”? I knew you could!
Party line-up with camera shop guy,
Marlowe, & his girl Friday, er, Julie
We first see Marlowe when he comes to question one Haven Clausen (love these names!) about Orrin Quest (Roger Newman), the missing person our hero is trying to find. The investigation comes to a literal dead end when Marlowe discovers Clausen with an ice pick in the back of his neck. Cut to our exasperated hero Marlowe and his memorably-named young client, Orrin’s sister Orfamay (Sharon Farrell, who moved on to even greater success in the long-running TV soap opera The Young and the Restless). To borrow a line from Clifton Webb in Laura, Orfamay seems to have “come from an incredibly rustic community where good manners are unknown,” not to mention common sense and emotional stability. Orfamay accuses Marlowe of not trying hard enough to find the long-missing Orrin, who’s apparently gone underground with the hippie/flower-child types, this being set in 1969. Maybe Orrin ran off to be an Orpheus roadie? In any case, Orfamay runs hot and cold under the best of circumstances, tearfully angry at Marlowe one minute and trying to seduce him the next, which might have interesting possibilities if she didn’t dress like a little kid wearing her granny’s dresses, among her other oddball qualities. As gallant as he is world-weary, Marlowe returns Orfamay’s retainer, but over the course of the film, she keeps popping up with her hot-and-cold routine. Look, Toots, Marlowe gave you back your retainer; quit pestering the poor guy and find another P.I. already!
Whodunit? Take your pick!
But even a pesky, emotionally unstable client is better than a dead one. That ice-pick killer is shaping up to be a serial killer, and the latest victim is one of Marlowe’s clients, Grant Hicks (Jackie Coogan). Marlowe calls from the boarding house, trying to get info about Hicks’s murder by feigning a folksy Southern drawl: “I’m a former tenant in Clausen’s roomin’ house. I was just checkin’ out when he tried to call you. That was before somebody mistook him for an ice block.”
Future Emmy-winner Paul Bogart directed; ironic, considering that Humphrey Bogart (no relation) was, in my opinion, the best movie Marlowe (no offense intended to the beloved star we’re saluting this week). Entertaining and well-cast though it is overall, Marlowe could have used a tweak or two. Silliphant’s script works hard to balance out the old and new elements, but the movie sometimes felt a bit unstuck in time to me. True, Quentin Tarantino has been doing that in his films since the 1990s, but Marlowe sometimes feels like its Chandler-esque elements are being shoehorned in. The characters’ first names sound very 1940s even though the setting is 1969 L.A., which might well have been intended as a tribute to Chandler’s original material. And I know the hairstyle Hunnicutt wears in the scene in Mavis’s apartment was probably cutting-edge in the late 1960s, but I wish she had cut it off instead. It makes the otherwise beautiful Hunnicutt look like she has ultra-long sideburns! Does the fact that Chandler’s 1949 novel was updated for the 1969 movie version make this a period piece for us 21st-century viewers? That said, when the ’40s elements work, they work quite well indeed, like placing Marlowe’s office in L.A.’s landmark Bradbury Building.
When Marlowe’s client gets knocked off, there’s hell toupee!
In addition to Garner, Hunnicutt, Farrell, and Coogan, Marlowe’s great cast sparkles with past and future award-winning TV and film stars, including Carroll O’Connor as Lt. Christy French, before the groundbreaking sitcom All in the Family put him on the map as bigoted loudmouth Archie Bunker; Rita Moreno, who later had a recurring role on The Rockford Files with Garner, as well as winning an Oscar (for West Side Story), a Tony (for The Ritz), a Grammy, and and Emmys, ALMAs, BAFTAS, and so many more, bless her! No wonder Moreno is listed in the Guinness Book of World Records! And let's not forget superb supporting actors William Daniels (not to be confused with the film’s Director of Photography, Oscar-winner William H. Daniels!); Jackie Coogan as the ill-fated Grant Hicks; and Kenneth Tobey (The Thing from Another World, among others) as Sgt. Fred Beifus.
Warning: Drugged cigarettes can be hazardous
to a private eye's health!
The plot has shades of old Hollywood, including a nice bit where Marlowe is in a TV station and finding himself more absorbed in a Greta Garbo film than in the live rehearsal going on. But with all due respect to Garner and company, it’s young Bruce Lee who steals the show as smiling, snappily-dressed henchman Winslow Wong, who basically beats up Marlowe’s office! Lee only has two scenes, but they’re the very best scenes, if you ask me. Good thing Marlowe doesn’t have any staff; someone could get hurt! Ah, the pros and cons of being an independent contractor!
Who needs HGTV? Leave your next office makeover to Winslow Wong!
*“Sonny Steelgrave” was a character name also used by the late writer and TV producer Stephen J. Cannell, if I recall correctly. (Vinnie says: "She's right - he was a bad guy on the first season of Wiseguy, played by Ray Sharkey.")
Vinnie's pick - Support your Local Sheriff (1968) : "We're All Behind Ya!"
Most of James Garner's greatest roles are virtuous men who know how to fight perfectly well, but choose to think, talk or bamboozle their way out of a situation, if not just plain run away, so they may live to to run another day. Jason McCullough, lead character of Support Your Local Sheriff, is a perfect example of this. He arrives in Calendar, Colorado a short time after gold is discovered in the open grave of one Millard Frymore. Everyone's so gold-mad that the few people in the service industries (and I don't mean Madame Orr's House) are able to charge eight dollars for a "tasty home-cooked meal" and twenty for an eight-hour shift on a cot, so Jason is forced to find work, and the position of Sheriff happens to be available. As opposed to the previous three holders of the position, Jason takes to it easily, using a combination of confidence, bluster, and a reputation that spreads like wildfire. Ten minutes on the job and he arrests Joe Danby (Bruce Dern) whom he saw kill a man in a gunfight earlier in the day. Now the brand new jail has no bars yet, but with the help of a few drops of red paint on the floor to pass as blood, Joe stays in his cell nice and tidy.
The town is filled with wacky characters played by beloved character actors, including Harry Morgan, Henry Jones and Jack Elam as Jason's deputy Jake. Joan Hackett plays the mayor's daughter Prudy, a tomboyish young lady who doesn't seem to know what to do with her hands when the Sheriff's around. Garner walks smoothly through the chaos unruffled, pulling his gun when he has to, but most of the time getting people to do what he wants by wits and generally confounding the hell out of everyone. When Pa Danby (Western legend Walter Brennan, parodying his role in My Darling Clementine) shows up to break Joe out of jail, Jason stops him by sticking his finger in Pa's gun barrel. After killing endless hired guns, he drives one out of town by throwing rocks at him.
When the Danbys assemble a small army to come after the Sheriff, he makes it clear that he plans to pack up and run. Expecting to be branded a coward, he's surprised when Prudy describes it as the most mature thing she's ever heard from a man. That so flusters Jason that he changes his mind and plans to stay and fight it out against the Danbys. The final gunfight is as good as in any classic western, but still packs in the laughs.
One of the coolest aspects of the character is how he really is a tremendous fighter and a better shot, but chooses to keep that under wraps, like a claw. When presenting himself for the position to the town council, they ask for his credentials. He replies with a simple "Oh, don't worry, you'll be glad you hired me". When they ask for some provenance, he takes a large washer, flings it up in the air and shoots through the center. The council is reticent to believe him, pastes a stamp over the hole, and asks him to repeat the stunt. He does, effortlessly. The change in tone from Harry Morgan is priceless.
James Garner produced the film through his company Cherokee, and like Humphrey Bogart's self-produced films through Santana, his films are tailor-made for him. He followed this up with Support Your Local Gunfighter, which did not feature the same characters, but did feature much of the same cast, giving the mistaken impression that it's a sequel. It doesn't hold up for me; for one thing, his character is more of a con-man in the film, and as I've mentioned, I prefer it when he plays a good guy, as opposed to my other favorite character type, the charlatan with a heart of gold.
This post has been revised and republished as part of theMy Love of Old Hollywood Horseathon, hosted by Page, from May 25 through May 28, 2012. Saddle up, y'all!
After Stanley Donen’s Hitchcockian romantic comedy-thriller Charade (1963) became a smash hit, Donen had a decision to make: play it safe and make another film just like it (this was in the days before filmmakers sequel-ed popular films to death, lazily giving them titles like Hit Movie Part 2), or boldly go where he hadn’t gone before? Donen opted for a little of both with Arabesque (1966). Arabesque has just about everything a moviegoer could want in a fun escapist movie: spine-tingling suspense; international intrigue; delightful onscreen romantic chemistry between Oscar-winners Gregory Peck and Sophia Loren (though the Oscars they won weren't for Arabesque; Peck won his Best Actor Oscar for To Kill a Mockingbird in 1962,while Loren had won her Best Actress Oscar the previous year for Two Women); witty dialogue and sight gags; eye-catching English locations; jazzy Henry Mancini music with autoharps and mandolas providing exotic Middle Eastern-sounding motifs; inventive visuals with a pop art vibe; and the beguiling Sophia in fabulous Christian Dior frocks and footwear, courtesy of the scene-stealing villain played by renowned character actor Alan Badel (Day of the Jackal; This Sporting Life; Children of the Damned) as our heroine's foot-fetishist sugar daddy! What’s not to love?
The eyes have it, and Prof. Ragheed's gonna
get it!
If the delightful Charade was Alfred Hitchcock Lite, then Arabesque is Hitchcock Lite after taking a few classes in James Bond 101, including an opening title sequence by Maurice Binder, who also did the honors for Charade as well as for most of the Bond movies. Gregory Peck plays David Pollack, a hieroglyphics expert and Yank professor at Oxford who finds himself embroiled in Middle Eastern intrigue while decoding the MacGuffin, a cipher (which also happens to be the title of the Gordon Cotler novel which inspired the film, adapted for the silver screen by Julian Mitchell, Stanley Price and Pierre Marton. More about Marton shortly).
Our hero finds himself up against four Arabs who want to know what’s on that cipher:
* Prime Minister Jena (pronounced “Yay-na” and played by Carl Duering), who’s in England on a hush-hush mission;
*Nejim Beshraavi (Badel), the shipping magnate whose ships may be laid up for good if Jena signs a treaty promising to use English and American tankers;
*Yussef Kasim (Kieron Moore of Crack in the World fame, among others), whose penchant for then-hip lingo a la Edd “Kookie” Byrnes on 77 Sunset Strip belies his ruthlessness;
*And last but far from least, Beshraavi’s
In any language, nobody can resist Yasmin!
beautiful, unpredictable lover Yasmin Azir, played by the dazzling, hazel-eyed Loren. She’s sharp, witty, and alluring as all get out in her fabulous Dior wardrobe, including a beaded golden burnoose!
Kieron Moore reads the Arabesque script: "I talk like Kookie and get knocked off how?!"
John Merivale, the character actor who put the "Adrian Messenger" in The List of Adrian Messenger is memorable as Sloane, Beshraavi’s put-upon henchman, who gets a memorably tense opening scene in a doctor’s office with hapless Dr. Ragheed (George Coulouris of Citizen Kane; Murder on the Orient Express; Papillon) and is treated as a combination lackey and punching bag for the rest of the film. I almost—only almost—felt sorry for the guy. Anyway, some of David’s new associates have no qualms about stooping to murder, and soon the chase is on, with suspenseful scenes at the Hyde Park Zoo, Ascot, and a construction site. Our man David is subjected to truth serum and knockouts, and I don’t just mean the lovely Loren: “Everytime I listen to you, someone either hits me over the head or tries to vaccinate me.” Poor David doesn’t know where to turn, especially since he can never be sure whether he can trust the mercurial Yasmin.
The usual ever-so-slightly wooden note in Gregory Peck’s delivery is oddly effective as he tries to loosen up and deliver witticisms in the breezy style of Cary Grant, Donen’s business partner and original choice to play David Pollack. (Rumor has it Grant and Loren were romantically linked once upon a time; wonder if that’s why Grant didn’t take the role?) It helps that those witticisms were written by none other than
If the shoe fits, Beshraavi will have Yasmin wear it!
Charade alumnus Peter Stone under the nom de plume Pierre Marton. Peck may not be Mr. Glib, but he’s so inherently likable (he won his Oscar for playing Atticus Finch, after all. Ask Vinnie, my husband, to do his Gregory-Peck-Impersonating-Cary-Grant impersonation sometime!) and seems so delighted to get an opportunity to deliver bon mots after all his serious roles that he’s downright endearing, like a child trying out new words for the first time. Besides, the bewitching Loren can make any guy look suave and sexy. Badel, looking like a swarthy, polished Peter Sellers wearing cool shades, virtually steals his scenes as the suave-bordering-on-unctuous villain with a foot fetish. Shoe lovers will swoon over the scene with Badel outfitting Loren with a roomful of fancy footwear and a comically/suggestively long shoehorn.
Giddy-up, giddy-up, let's go! Let's vanquish a foe!
Speaking of things of beauty, Christopher Challis’s dazzling, inventive cinematography won him a BAFTA award (the British equivalent of the Oscars), and Christian Dior got a BAFTA nomination for Loren’s elegant costumes. The only thing that disappoints me about Arabesque is that director/producer Donen didn’t seem to like this sparkling, twist-filled adventure as much as our family and so many other movie lovers do. Specifically, he felt the script needed work. In Stephen M. Silverman’s book about Donen’s films, Dancing on the Ceiling, Donen is quoted as saying about Arabesque, “We have to make it so interesting visually that no one will think about it.” Boy, did they ever! In an article about Arabesque on the TCM Web site, Stone had said that Donen “shot it better than he ever shot any picture. Everything was shot as though it were a reflection in a Rolls-Royce headlamp.” I don’t think Donen gave himself or the movie enough credit, though. If you ask me, Arabesque is a perfect example of one of Alfred Hitchcock’s best-known quotes:“Some films are slices of life; mine are slices of cake.”Now that Arabesque is finally available on DVD (my own copy is part of Universal’s Gregory Peck Film Collection, a seven-disc DVD set that Vin bought me for Christmas 2011), I wish someone would get Donen and Loren together to do the kind of entertaining, informative commentary Donen did with the late Stone for Criterion’s special-edition Charade DVD, while they’re both still alive and well enough to swap stories, or perhaps even put out a whole new deluxe edition of the film!
Our heroes saddle up for action! Nice horsies!
At Ascot, that's the ticket - to frame our man David Pollock for murder!
Reflections in two sexy spies! (Great F/X work!)
Odd, I don’t usually get hieroglyphics in my
fortune cookies!
Double-cross Beshraavi, and you’re in for a date
with the falcon— and we don’t mean George Sanders!
Steve Martin’s comedy-mystery Dead Men Don’t Wear Plaid(DMDWP) is as loopy and hilarious as it is affectionate in its salute to the noir mysteries of the 1940s. There isn’t a moment in the film that doesn’t make me laugh out loud or put a big goofy grin on my face. Here at Team Bartilucci H.Q., it’s not uncommon for us to quote the running gags about our hero’s “famous java,” our heroine’s versatile snakebite/bullet-extraction technique, and of course, the dreaded “cleaning woman,” among others. Even better, most of these pay off plot-wise as well; now that’s good writing!
Written by director/co-star Carl Reiner, the late George Gipe, and Martin himself, DMDWP hit movie theaters in May 1982, near the end of my sophomore year at FordhamUniversity in the Bronx. Unless my memory is hazier than I think it is (always a possibility!), I saw it at the (now-closed) Allerton Theater with Rosemarie DiCristo, my dear longtime pal and fellow Fordhamite and film aficionado. We were both Steve Martin fans as well as overall movie buffs, and we weren’t disappointed! DMDWP is not only great fun, it’s also a dazzling technical achievement. Reiner and Martin cleverly interspliced scenes from 18 classic detective thrillers into the 1940s mystery plot bedeviling our narrator hero, private investigator Rigby Reardon (Martin). No static talking heads here; the film hits the ground running—or rather, driving, as noted scientist and cheesemaker Dr. John Hay Forrest (George Gaynes) loses control of his car and hurtles off a cliff in uncredited footage from the noir-ish 1942 Tracy & Hepburn drama Keeper of the Flame.
Rigby loves the smell of java
in the morning, and lots of it!
We meet Rigby in his P.I. milieu, narrating in fine tough-guy voiceover, considering closing his office for a few days since business is slow—but it picks up pronto when beautiful, smoky-voiced Juliet Forrest (Rachel Ward, after Sharky’s Machine made her a star) literally falls into his arms (lots of comic fainting, slipped mickeys, and other forms of entertainingly-rendered temporary unconsciousness, as befits any good detective flick!). After Juliet comes to, thanks to Rigby’s breast-adjustment technique, she hires him to investigate her father’s apparent murder, which seems to be tied in with two lists she’s found, identifying “Friends of Carlotta” and “Enemies of Carlotta.” (Any resemblance to Vertigo’s Carlotta Valdes, My Favorite Brunette’s Carlotta Montay, or Twitter’s own @carlotta_valdes is purely coincidental.)
Don't mess with a "Cleaning Woman!"
Don't monkey with Rigby!
I remember seeing DMDWP director Carl Reiner on a talk show (The Tonight Show, I think), pointing out the joy of seeing footage of movie stars like Ingrid Bergman woven into the film’s scenes in their prime, when they were “young and juicy.” Reiner was so right; almost every character Rigby meets while investigating the Carlotta Conspiracy is played by a major 1940s movie star, thanks to the magic of film editing. Martin and Ward, who have smoldering yet sweet romantic chemistry, are almost literally playing opposite an all-star cast with Ms. Bergman, Ava Gardner, Alan Ladd, Bette Davis, Lana Turner (forgiving Rigby for abandoning her at Schwab’s while recruiting her in the case), Charles Laughton (as sly derelict: “Know who I am?” Rigby: “The Hunchback of Notre Dame?”), Humphrey Bogart (as Rigby’s mentor, “Marlowe”!) and, as MGM used to say, more stars than there are in Heaven, aided and abetted by Oscar-nominee Michael Chapman’s atmospheric new black-and-white cinematography. According to the TCM Web site, Chapman spent six months researching, making sure the new film stock would closely match the classic film stock. I was especially wowed by the scene with Rigby outfoxing a Hitchcockian stranger on a train—played by Cary Grant (not Robert Walker, sorry; that would have been a 1950s movie).
Juliet and Rigby find fun ways to spend a rainy day
Rigby and Von Kluck play "Duelling Solutions"!
Bud Molin, who worked with Reiner for years on Your Show of Shows, seamlessly edited the old and new footage together; mind you, this was in the years before CGI, when editors had to cut and paste and splice everything by hand. Production Designer John DeCuir had his work cut out for him; 85 sets were required to replicate all the sets in all those scenes from all those wonderful films! Much work and care went into making sure the costumes and hair styles on the body doubles, who were cleverly shot from behind or over their shoulders, successfully created the illusion that Martin really was interacting with all those classic movie stars.Well-done though this gimmick is, it wouldn’t have worked nearly as well without the straight-faced, spot-on comic performances of Martin, veteran Reiner, co-star Reni Santoni, and Ward at her most luscious, all doing justice to the daffy, witty screenplay.
As is the case with the best comedies of Mel Brooks or the Zucker-Abrahams-Zucker team, if you took out the jokes, DMDWP would still be a solid genre film—always a sign of real quality! It certainly didn’t hurt to have talented veterans on hand, such as costumer extraordinaireEdith Head (it was her last film; there’s a touching dedication to her in the end credits) and one of my favorite composers, Miklos Rozsa (who composed many more superb scores until his death in 1995 at the age of 88). If you’ve already seen any of the classic films used in DMDWP, the jokes are even funnier, but even if you haven’t seen them, this slyly wacky, winsome salute to the mysteries of yore is a fun way to spend an hour and a half of your time! I only wish that the extra footage I’ve seen in the film when it's shown on broadcast TV would turn up in some kind of special DVD edition; among other things, it explains just why dead men don’t wear plaid. Or maybe TCM might want to run a night of the films used in DMDWP, since most if not all of them are in the TCM library anyway!
When The Thin Man(TTM)became a surprise smash hit in 1934, a sequel was inevitable. Already frequent co-stars and close platonic friends, William Powell and Myrna Loy teamed up again onscreen in 1936 as Dashiell Hammett’s husband-and-wife sleuths Nick and Nora Charles, introduced in Hammett's 1933 novel. We film aficionados know all too well that at best, sequels are often a pale shadow of the original film. Happily, that wasn’t the case with After the Thin Man (AtTM).(Enjoy the attached trailer!) Retired detective Nick and his heiress wife Nora are as happily into each other as before, still slinging cocktails and witty banter while looking for clues. The original gang’s all here: Powell and Loy are again joined by director W.S. “One-Take Woody” Van Dyke and screenwriters Frances Goodrich and Albert Hackett, working from an original Hammett story and earning Oscar nominations for their screenplay; and Loy is once again stylishly clothed by designer Dolly Tree. The production values are a little glossier this time around; even the opening credits sequence (including a sketch of Asta looking eagerly at a fire hydrant) looks smarter and snappier than in the first film! There are even musical numbers, including “Smoke Dreams” by Nacio Herb Brown and Arthur Freed (yes, thatArthur Freed, for all you movie musical fans).
Although two years passed between the two movies in real life, the events of AtTM take place immediately after Nick and Nora’s Christmas adventures in New York City (hooray for my hometown!), and our sassy lovebirds look more appealing than ever. In fact, we first see Nick and Nora on the train with Asta, their cute wirehaired fox terrier, all of them eager to return home to San Francisco. Their TTM traveling companions, Tommy and Dorothy, last seen as Newlyweds On A Train, are nowhere to be seen; I’m guessing they’d either already left or are *ahem* still aboard, enjoying their honeymoon (and they deserve it, after the agita they went through in the first film!). The quips start as soon as Nick and Nora prepare to disembark:
Nora: “Are you packing, dear?”
Nick (knocking back booze): “Yes, darling, I’m just putting away this liquor.”
Once poor exhausted Nick and Nora get off the train, they can’t catch a break, let alone their breath! For starters, they open the door of their home to discover a raucous welcome-home surprise party where there seem to be way more party-crashers than guests, including Ward Bond, and Charles Arnt, who played golfer/mental patient Crawford in My Favorite Brunette. Also, watch for Billy “Whitey” Benedict in an early scene where Nick and Nora drive through the streets of San Francisco. Wouldn’t you think that with Nick and Nora’s kind of money, they could afford better home security? Our soignee sweethearts’ hopes of kindly but firmly bidding their unexpected guests adieu and sleeping through New Year’s Eve are dashed by a desperate phone call from Nora’s favorite cousin, Selma Landis (Elissa Landi of The Count of Monte Cristo; The Warrior’s Husband; and The Sign of the Cross. Also, according to the IMDb, Landi was rumored tohave been the secret granddaughter of Sissi, Empress Elizabeth, the beautiful consort of Emperor Franz Josef of Austria. But I digress….).
Seems Selma’s husband Robert Landis (Alan Marshall of Tom, Dick, and Harry;The White Cliffs of Dover; and many TV series, including 77 Sunset Strip and Surfside Six) is missing. No big loss: Robert is an unrepentant wastrel playboy fortune-hunter type who only married Selma for her money. While Nick and Nora (in her nice way) feel his disappearance is good riddance to bad rubbish, Selma is nevertheless stuck on the guy even though she hates herself for loving him. What’s more, Robert’s being scammed out of money at the Lichee Club by club owner Dancer (Joseph Calleia of The Glass Key and Gilda, among others) and on the side, he’s been seeing the club’s two-timing chanteuse, Polly Byrnes, played by singing, dancing, scene-stealing Dorothy McNulty — before she went all flaxen-haired and became a star as Penny Singleton in the Blondie movies from 1938 to 1950, not to mention the voice of TV's animated Jane Jetson!
Seems Mrs. Asta made a friend while
Asta and family were away!
Intruder in the dust!
If you thought TTM’s Wynant family was a dysfunctional bunch, wait until you get a load of Nora’s dreary (yet funny) Nob Hill clan! I was itching to smack Nora’s domineering, pompous Aunt Katherine (Jessie Ralph), who’s more interested in covering up scandalous family skeletons than letting Selma have a life of her own. For that matter, I longed to give put-upon Selma a smack, too, or at least a good tough-love talking-to; someone’s gotta help that girl stop being such a spineless wuss! Consider my little rant as a compliment to writers Goodrich and Hackett’s ability to engage my emotions, and the excellent acting of both Ms. Ralph and Ms. Landi; they’re maddeningly convincing in their roles!
Then there’s Nick and Nora’s family friend David Graham (young James Stewartin an early role), who’s still in love with former fiancée Selma despite her wishy-washy qualities. David made a deal with Robert to pay him $25,000 in exchange for divorcing Selma, after which she and David could presumably live happily ever after. Before you can say “Dr. Phil,” the plan goes awry in myriad ways. Robert rings in the New Year at the Pearly Gates after being shot dead (ding-dong, the jerk is dead!), and Selma may end up hanging from a noose instead of hanging around with dreary Aunt Katherine and the other elderly “waxworks” in the family mansion. It’s up to Nick, the underfoot-but-eager Nora, and the put-upon Lt. Abrams (Sam Levene, one of my favorite character actors. I first saw him in his scene-stealing role in the 1979 thriller Last Embrace, but after AfTM, Levene originated the role of Nathan Detroit in Guys and Dolls on Broadway, among many other memorable roles) to save the day — right after a good night’s sleep and some tasty scrambled eggs, of course….
Cousin Selma isn’t the only one in AtTM having relationship issues: while Nick, Nora, and Asta were away solving their Manhattan murder mystery during Christmas week, Mrs. Asta and a randy black Scottie dog came out to play — and Asta’s wondering what side of the family that new black puppy came from! Asta’s not rolling over and playing dead, though. Indeed, he gets more to do in AtTM than in TTM: when a rock with a message gets thrown through Nick and Nora’s window, Asta thinks they’re playing and lead our spunky couple in a merry chase to try to rescue the rest of the clue before Asta eats the whole thing!
Hey, that bubbly brunette is Blondie!
In Hammett’s original novel, Asta wasn’t a male wirehaired fox terrier, but a female Schnauzer! However, when the hit novel became a hit movie, every dog lover wanted a pooch like Asta, as played by Skippy in the first two Thin Man films. In later Thin Man movies, the job was taken over by other fox terriers trained by ace trainer Rudd Weatherwax and his family, in addition to Frank Inn; these folks brought us Lassie and Benji, among other animal performers. To this day, Asta is one of cinema’s most beloved dogs. For instance, the name “Asta” is a frequent answer in The New York Times crossword puzzles in response to clues such as “Thin Man dog” or “Dog star.” Skippy was quite the in-demand canine star back then, bless him; click here for Skippy’s filmography!
Nick and Nora go over scrambled yeggs
over scrambled eggs!
AtTM is good, zesty, quotable fun, another one of those delightful films where if I tried to quote every line I like, I’d end up quoting virtually the entire script. Here’s my favorite, discussing New Year’s resolutions at the Lichee Club after ringing in the New Year in wild and wacky style:
Nora: “Any complaints or suggestions?”
Nick: “A few.”
Nora: “Which?”
Nick: “Complaints…You don’t scold, you don’t nag, and you look far too pretty in the mornings.”
Nora: “I’ll remember: must scold, must nag, mustn’t be too pretty in the mornings.” (They kiss.)
Even walkies are a wow with the Charles clan!
As New York Times film critic Frank S. Nugent said in his 1936 Christmas Day review, “Nick’s ultimate solution of the case—which we could not reveal if we would—is about the most thoroughly upsetting denouement of the year and is practically enough to drive the second-guessers in the audience to the nearest soda fountain for a sedative or a rhubarb and soda.” Without giving too much away, I’ll only say that I’m not surprised that the appealing thespian playing the killer ably tapped into his darker side in much later roles. There’s another, happier surprise at the end, but if you haven’t already seen AtTM, I urge you to buy or rent it and enjoy it for yourself. Heck, give the other four Thin Man films a try, too. They may not all be as perfect as the first two, but they’re all great fun to watch, and Powell and Loy are always charming cinematic company on New Year’s Eve, or any time!
Asta picks the darndest times to play hide-and-seek! Gimme that clue!
Oh, that Nick and Nora, always on a toot!
Can we come along?
Lt. Abrams and our heroes realize the check is not in the mail!
