Friday, June 8, 2012

MINISTRY OF FEAR: The Cake is a Lie!

I proudly proclaim that as of this writing, it's my birthday!  I’m now a fresh-faced lass of 49 summers!  Director Fritz Lang’s 1944 film adaptation of Graham Greene’s 1943 suspense novel Ministry of Fear (MoF) struck me as the perfect movie to blog about today. It’s got everything this birthday girl could want in a suspense movie blog post: suspense; paranoia; atmospheric lighting and cinematography by Henry Sharp (Duck Soup; The Crowd; It Happened on Fifth Avenue); offbeat comedy, and most importantly for any celebration, cake!

"I took my troubles down to Madame Ruth...."
Stephen's thrilled to be free to
eat tasty cake again!
The setting is wartime 1941 England, and our hero, Stephen Neale, is played by Ray Milland, always awesome whether he’s in comedies such as Easy Living or The Major and The Minor; suspenseful yet urbane thrillers like The Big Clock and Dial M for Murder; chilling science fiction like X: The Man with the X-Ray Eyes; and of course, his Oscar-winning performance in The Lost Weekend. I’ve always particularly liked Milland’s sensitive side. For me,  MoF works so well because the character he plays seems so likable and poignant, especially considering what he’s been through. Milland should’ve gotten an Oscar nomination for MoF.  The script by screenwriter/producer Seton I. Miller (Scarface, The Dawn Patrol; Here Comes Mr. Jordan; The Adventures of Robin Hood) is pretty wild, but it had me hooked!





We first meet Stephen sitting in a dimly-litroom as he waits for parting advice from Dr. Norton (Niagara; The Prize; TV’s 77 Sunset Strip). As Stephen literally watches the clock, the dialogue sets the scene:


Stephen: “You know, it’s interesting to watch the last minutes crawl by, after so many of them.”
Dr. Norton: “I always meant to speed it up.”
Stephen (wryly yet ruefully):
“Fine time to think of it.”

Although the good doctor urges Stephen to make his fresh start in a quiet town far from the madding crowd of Blitz-plagued World War Two London, Stephen says thanks, but no thanks: “I’m gonna spend the first month being pushed and jammed by the biggest crowds I can find. I want to hear people talk and laugh…seeing faces will be a good tonic.” We finally see the name of the place Stephen’s leaving: Lembridge Asylum! Dr. Norton kindly but firmly advises Stephen not to get involved with the police: “A second charge wouldn’t be easy.”  Um, we’re not talking about a ticket for jaywalking here, are we, Stephen?

As our hero awaits the next train, he finds himself at a jolly village fete with games, kids, and food, particularly a tasty-looking cake set to be raffled off for a local charity, The Mothers of the Free Nations. The fortune-teller, one Mrs. Bellane (Aminta Dyne), gives Stephen unusually specific weight and measurements for the cake in order to win that tasty dessert. Who knew innocent charity fetes were fixed? But it’s easy to understand why the cake is so coveted, considering flour and butter weren’t easy to come by during wartime.  In fact, the ladies in charge of the fete get awfully anxious when it appears Stephen won the cake in error, to the visible annoyance of another apparent cake-lover, a gent named Cost (Dan Duryea, the man people loved to hate in other Fritz Lang noirs, including Scarlet Street and The Woman in the Window, not to mention Duryea’s funny/menacing henchman in Howard Hawks’ Ball of Fire). No wonder Cost and Mrs. Bellane look pretty darn peeved when Stephen leaves with the cake.
As our friend and fellow blogger Yvette of …in so many words put it so well in her own 2010 MoF post:

That's the second-biggest scissors I've ever seen!
“(Duryea is) everyone's favorite sleaze of a villain, so you know right away something is definitely up. The thing about the 'country fete' is this: the place appears 'normal' but with a very sinister vibe, seriously creepy. Yet Milland, just released from incarceration, pretends, I suppose, that he doesn't notice or maybe he thinks this is the way the world acts on the 'outside'. Hard to tell. The war is a burden on everyone and maybe this is the new normal.”  For the record, my favorite bit in this scene is when Stephen guesses right about the cake’s weight; suddenly everyone and everything goes silent, as if it was one of those E.F. Hutton commercials from the 1960s and ’70s!  It’s a brief, deft blend of comedy and foreboding.  Talk about a strange twist of fete! 

Figuring out the tasty treat's weight
is a piece of cake!
“Jai Guru Deva. Ommm…
nothing’s gonna change my séance…”
War is hell, but at least
they have slumber parties!
I hope Miss Penteel's pad won't be hard to find!
Stephen’s sudden journey down the rabbit hole gets progressively more surreal when he boards his train to London. A blind man (Eustace Wyatt of Gaslight; Journey Into Fear; Madame Curie) sits there, and they share the cake. Too bad Stephen doesn’t notice that the supposedly-blind man keeps darting glances at our hero! When the guy tries to kill Stephen and grab the cake, things start blowing up real good, and that’s only the beginning of Stephen’s suspenseful, nutzoid ordeal! Increasingly paranoid, our beleaguered hero retains irascible, mercurial private detective George Rennit (Erskine Sanford, who performed with Orson Welles and his Mercury Players in Citizen Kane; The Magnificent Ambersons; The Lady from Shanghai), only to find Rennit's office ransacked.  The strange trail of clues leads to Mrs. Bellane—but not the one we viewers met at the fete! This new Mrs. Bellane is a babe, played by the ever-slinky and mysterious Hillary Brooke (Invaders from Mars; The Maze; Alfred Hitchcock’s 1956 version of The Man Who Knew Too Much; and quite a few Sherlock Holmes films and Abbott and Costello comedies).  Too bad this rather glamorous séance ends up in murder, with Stephen the victim of the biggest frame-up since Whistler's Mother! Without giving too much away, I can sum up Stephen’s plight in two words: Nazi scum!   Even with everything Stephen goes through in this cinematic rollercoaster ride, he often manages to be saner than the oddball characters (including Alan Napier in his pre-Batman days) who are out to get him! At least Stephen seems to have found allies in Carla Hilfe (Marjorie Reynolds of His Kind of Woman; Holiday Inn; and The Time of Their Lives, not to mention playing Peg Riley on TV’s Life of Riley) and her brother, Willi (Carl Esmond of Sergeant York; The Dawn Patrol; Her Highness and the Bellboy), good-natured Viennese refugees who are helping The Mothers of the Free Nations. Need I say romance between Stephen and Carla isn’t far behind? My heart really went out to poor Stephen, and he truly engaged my sympathy as he did his best to hold onto his hard-won sanity in the midst of chaos not of his own making. I was especially touched by the scene where Stephen confides in Carla about the tragic circumstances surrounding the “mercy killing” of his beloved wife, resulting in his two-year stint at Lembridge Asylum.

If, like me, you love fast-moving, complicated, convoluted plots, chases, and eccentric touches, I think you’ll find MoF worth celebrating anytime!

For more MoF fun and info, check out these links:

* From the TCM Web site
* From Yvette’s 2010 …in so many words blog post about Ministry of Fear

Er, I’m not into nonfiction. Where’s your mystery/suspense section?

Even in life during wartime, there's always time for romance, by George!



 
Stephen takes a shot at making Mrs. Bellane v.2 confess!









One of my birthdays during high school.
Note the movie motif, including a plastic film reel!

Saturday, May 26, 2012

ARABESQUE: Burnoose Notice, Special 2012 Horseathon Edition!


Our great pal and fellow blogger Page of My Love of Old Hollywood created a Blogathon dedicated to great horses in movie history: the Horseathon! From May 25th through May 27, you'll find a bevy of splendid steeds for every horse-lover's needs! I'll be revising a new-and-improved post about one of my favorite comedy-thrillers, the 1966 comedy-thriller Arabesque. Hope you'll enjoy it!!
Saddle up and CLICK HERE here for the post

Friday, May 18, 2012

HAVING WONDERFUL CRIME: Like, Write On, Rice!

(Apologies in advance for the photos not being quite as sharp as I'd hoped!)

With a novel based on the work of the funniest, zaniest, most surreal mystery writer the comedy-thriller genre had ever known at that time, I would have been more surprised if I hadn’t enjoyed the 1945 film version of Craig Rice’s novel Having Wonderful Crime (HWC)!  What’s more, despite the masculine nom de plume, Craig Rice was a woman; specifically, she became the first female mystery novelist to make the cover of Time Magazine, plus she practically invented the screwball noir!  Back in high school at dear old St. Catharine Academy in the Bronx, I read and very much enjoyed several of Rice’s books, especially the Malone stories I’d found in mystery anthologies in our school library. After graduating from Fordham University, I’d been prowling used bookstores to find Rice’s books. Even now, with eBay making it easier to track down hard-to-find books, I’ve barely scratched the surface, partly from rarity, partly from poverty. All I need is a winning lottery ticket to actually afford all the vintage books I want!

But first, a little background: Rice’s original stories and novels are set in 1940s Chicago with her popular protagonist, Attorney-at-Law John J. Malone. These stories were especially popular, with their lively blend of zaniness and surrealism. If Dashiell Hammett’s The Thin Man showed that marriage and murder-solving was a match made in mystery fiction heaven, then consider the books showcasing Malone and his friends to be screwball noir turned up to 11!  Meet our protagonists:

  • Malone, our lovable girl-chasing hero, renamed Michael J. Malone for the film version of HWC.  (Apparently someone at RKO was fond of the letter M.)  Malone is played in HWC by Pat O’Brien (Knute Rockne All-American; Crack-Up; Angels with Dirty Faces; Some Like it Hot);
  • Malone’s breezy pal, the two-fisted (but only when necessary) press agent Jake Justus, played by George Murphy (Broadway Melody of 1940; This is The Army; Battleground);
  • Helene Brand, Jake’s lovely, wealthy, eccentric sweetheart, who becomes Mrs. Justus in both the novel and movie versions of HWC when the newlyweds break the happy news to Malone early on—not that these lovebirds would ever let a little thing like a honeymoon put the kibosh on their penchant for recreational sleuthing. The new Mr. and Mrs. Justus are compulsive amateur gumshoes, always cooking up new murders to solve! To borrow a line from Cary Grant in To Catch a Thief, these two just love “weird excitement!” Helene is played by the lively, lovely, luminous Carole Landis, dubbed “The Ping Girl” by a press agent who explained, “She makes you purr.” In happier days, Landis lent her bubbly personality, talent, and beauty to such films as Team Bartilucci favorite I Wake Up Screaming; My Gal Sal; Turnabout; Topper Returns; One Million B.C.; Four Jills in a Jeep, in which co-writer Landis and her fellow actresses Kay Francis, Martha Raye, and Mitzi Mayfair reenact their real-life USO tour during World War 2; and The Powers Girl, a film close to Team Bartilucci’s heart because our late mom and aunt were both John Robert Powers models back in the day! (More about Landis and Murphy shortly.)

Sweet, sassy Helene can
get on our case anytime!
If you thought The Thin Man’s Nick and Nora Charles could put away liquor with the greatest of ease, wait’ll you get a snootful of Malone, Jake, and Helene! In Rice’s novels, when our trio wasn’t solving murders, they hung out at Joe the Angel’s City Hall Bar, where they’d good-naturedly rib homicide cop Daniel von Flanagan (he’d added the “von” so he wouldn’t seem like just another just another Irish cop. Sorry, von Flanagan isn’t in the film version of HWC). According to Tom & Enid Schantz of Rue Morgue Press, “such antics eventually earned (Rice) the unheard-of sum (for a mystery writer) of $46,000 a year by 1945.” Is it any wonder Rice’s inimitable brand of daftness made her books smash hits, with her kisser on the cover of Time in the bargain?

That said, Rice's life wasn't necessarily a bed of roses—or maybe it was, if you count all the thorns. So many talented comedy writers and comedy novelists seem to have a “sad clown” thing going on. Alas, Rice wasn’t immune.  She was born Georgiana Craig in 1908 to a wanna-be painter and a wanna-be sculptress, who named the little girl Georgiana. Too bad her folks apparently didn’t wanna-be responsible, loving parents; poor kid! To make a long, sad story a bit shorter, little Georgiana was schlepped from pillar to post. Being unable to conceive a child of their own, Craig’s half-sister Nan and her husband Elton were happy to adopt the child, whose name officially became Georgiana Craig Rice. Still, even with all her success in her adult life as an author, it seems Rice was never quite able to get past the rejection she’d experienced during her childhood. Over time, her life was further complicated by her chronic alcoholism (what is it about renowned authors and substance abuse?!), glaucoma, deafness in one ear, blindness in one eye, and possibly bipolar disorder. With everything Rice had to contend with, I’m surprised she even made it to the age of 49! And yet with all these obstacles in her way, somehow she managed to achieve success as a popular author, blending nutzoid comedy and suspense like nobody's business!


When you smile, the world smiles with you.
When Helene and Jake are the only ones smiling,
it means you’d better get tea bags, because
they’re about to get Malone into hot water!
Rice’s novel output (in every sense of the term) ranged from her 1939 novel 8 Faces at 3, through her 1957 novel My Kingdom for a Hearse, published two weeks after her untimely death at the age of 49 from a fall down the stairs. Several posthumous Craig Rice story collections were completed by other authors and published: The Name is Malone (1958); The People vs. Withers and Malone, a 1963 short story collection completed by author Stuart Palmer, featuring his beloved Hildegarde Withers character; the short story collection Murder, Mystery and Malone (2002); and The Pickled Poodles (1960) by Larry M. Harris,  a continuation of the John J. Malone series.

A number of Craig Rice’s books were adapted for the big screen, and of course, HWC was among them!  The trio of screenwriters include:
  •  Howard J. Green (I Am a Fugitive from a Chain Gang; Morning Glory; Reveille with Beverly);
  •  Parke Levy (My Friend Irma and its sequel, My Friend Irma Goes West; TV’s Many Happy Returns; Pete and Gladys; and December Bride);
  • Stewart Sterling, a.k.a. Prentice Winchell, popular and prolific pulp author of the Gil Vine and Fire Marshal Pedley novels, as well as a producer of crime fiction for radio and magazines. For the record, I am the proud owner of a 1954 book Sterling and Dev Collans co-authored, I Was a House Detective.

Admittedly, HWC takes liberties with Rice’s plot, but the film’s frantic and funny shenanigans nevertheless have that Craig Rice feeling (not to be confused with that Barton Fink feeling), capturing the overall madcap air and good-natured goofiness of Rice’s storytelling style. With its fleet-footed 70-minute running time, its sharp and snappy comedic timing, and its great cast, I enjoyed HWC  all the way!

With composer Leigh Harline’s sparkling score in the background, we first meet Helene onscreen in media res, nervously holding a gun on an ominous thug (who looks and sounds like the guy running Florian's in Murder, My Sweet, but he's not credited) as she talks to an impatient desk sergeant who’s obviously used to Jake and Helene playing amateur detective: “Please hurry, Sergeant, I’m biting my fingernails already, and you know how hard it is to get a manicure these days!” Luckily, the long-suffering Malone manages to save his friends’ bacon in the proverbial nick of time!

Slipping out of their firearms and into a nearby theater once Malone points out he’d withheld important evidence to crack their current case, our heroes have no sooner found three on the aisle than it’s announced that the show won’t go on: it seems someone’s misplaced the star attraction, The Great Movel (George Zucco from My Favorite Blonde; Topper Returns; The Adventures of Sherlock Holmes, as Professor Moriarty; The Mad Ghoul with Lady on a Train’s David Bruce; and Team B’s fave, After the Thin Man, as  Dr. Adolph Kammer)! You’d think that since Jake and Helene are on their honeymoon (heck, they seemed to be truly into each other even without the homicide angle), they’d surely be more interested in, as the song says, the “sweet mystery of life” rather than scampering around solving other people’s murders. (Maybe it’s the lovebirds’ idea of foreplay? Hey, whatever floats their collective boat!)

With Chili Williams around,
everyone has spots before their eyes!
Jake and Helene are spending their honeymoon at charming Lenhart Lodge, with Malone aiming to take a separate room and check out the single girls, including a cutie with a polka-dot wardrobe (model/actress Chili Williams, a nice bit of eye candy). However, a fender-bender involving our merry trio changes everyone’s plans when the hot young couple from The Great Movel’s act, French-accented Gilda Mayfair (Lenore Aubert from the Bob Hope/Dorothy Lamour comedy-thriller They Got Me Covered; Bud Abbott & Lou Costello Meet Frankenstein; and Bud Abbott & Lou Costello Meet the Killer, Boris Karloff), and her hunky hottie, Lance (Richard Martin, seen in The Bamboo Blonde and such Westerns as West of the Pecos with Robert Mitchum) find themselves in a trunk full of trouble, literally. Soon the exasperated Malone and our kooky newlyweds find themselves embroiled in a murder mystery involving the fussy hotel manager (Charles D. Brown from The Killers; The Grapes of Wrath; and Team B’s favorite among Brown’s roles, Norris the butler in The Big Sleep), the Lenhart sisters, one of whom signs checks in vanishing ink (silent film actress Blanche Ring); sleepwalking after practically each member of the cast unwittingly doses Gilda with a sedative (The Great Movel sees a lawsuit in the Lenhart Lodge’s future!); falling ladders; hairbreadth escapes; a lovely swimming champ (Anje Behrens, better known as Gloria Holden of Dracula’s Daughter; The Life of Emile Zola; The Corsican Brothers) and speedy, snappy patter that makes His Girl Friday sound tongue-tied!

Poor tearful Helene! It’s no laughing
matter when you're cornered by a killer.
Yikes! Has The Great Movel
played his final matinee?
Not to be a downer, but it’s such a shame that Craig Rice and Carole Landis both ended up being “sad clowns” who died too young. Landis had so much charm, beauty, and screen presence, yet somehow her career began to flounder in the mid-1940s. Only 29 years old, Landis had already been married and divorced twice, and her third marriage was already going down for the last time.  She had an adulterous romance with Rex Harrison, who was apparently was also about to end their relationship. What happened? Did poor Landis have emotional problems in addition to the health issues with malaria and pneumonia she’d been battling since her days of entertaining the troops during World War 2?  Whatever contributed to Landis’ downward spiral, it all tragically ended for her in July of 1948, when she left a suicide note and took a lethal overdose of Seconal; Rex Harrison reportedly found her body. Landis’ pallbearers included HWC co-star Pat O’Brien, actor Cesar Romero, director Eddie Sutherland, actor Willard Parker (A Slight Case of Murder; Kiss Me Kate); and Carole’s close friend and personal make-up man William Nye. Aw, man! It’s times like that that I wish I had a time machine and could help folks like Landis to get their lives turned around live in joy and triumph. Incidentally, author Jacqueline Susann based tragic character Jennifer North partly on Landis in her best-seller Valley of the Dolls.

As for Rice, The April Robin Murders was her final novel after her fatal fall. In fact, the novel was only two-thirds finished at the time of Rice’s death, so the rest was completed by the great Ed McBain, a.k.a. Evan Hunter, author of the 87th Precinct novel series and screenwriter of Alfred Hitchcock’s movie adaptation of Daphne du Maurier's The Birds, among other triumphs. I remember reading and enjoying The April Robin Murders years ago and finding it quite entertaining, with a nice balance of comedy and sentiment. Several posthumous Craig Rice story collections were completed by other authors and published: The Name is Malone (1958); The People vs. Withers and Malone, a 1963 short story collection completed by author Stuart Palmer, featuring his beloved Hildegarde Withers character; the short story collection Murder, Mystery and Malone (2002); and The Pickled Poodles (1960) by Larry M. Harris, a continuation of the John J. Malone series.

Sim Sala Bim! Now you see
The Great Movel, now you don't!
HWC co-stars Pat O’Brien and George Murphy had much happier endings to their life stories. O’Brien had a long career and lived to the ripe old age of 84. George Murphy served as president of the Screen Actors Guild in the 1940s, and retired from acting in 1952. He was eventually elected Senator of California in 1964 and served for six years.

With so many Rice books and films I haven’t caught up with yet, I think it’s time for a Craig Rice renaissance, in both books and films! Who’s with me?

We crown Helene the Queen of Screwball Noir!

I don't know about you guys, but
I'm a sucker for a romantic ending!

Saturday, May 5, 2012

LADY ON A TRAIN: The Singing Detective

My interest in the Christmas-season 1945 comedy-thriller Lady on a Train (LoaT, not to be confused with SoaT, the abbreviation of Strangers on a Train) and its beloved star, singer/actress Deanna Durbin, began with our friend and fellow classic movie blogger Michael Troutman of I Shoot the Pictures. In December 2011, Michael had innocently let it slip that that he wasn’t acquainted with the winsome Miss Durbin’s movies. Three of our awesome fellow bloggers felt strongly that it was time for Michael to become acquainted with Durbin’s work: whistlinggypsy of Distant Voices and Flickering Shadows; Page of My Love of Old Hollywood; and Jessica of Comet Over Hollywood. Together they, shall we say, encouraged Michael, and the result was a delightful six-part series of blog posts titled My Deanna Durbin Punishment (see links at the end of this post).

I’ve always loved comedy-thrillers ranging from Bob Hope in The Ghost Breakers and My Favorite Brunette, to Charade, to Foul Play and so many more, so when I read Michael’s blog post about LoaT, I couldn’t resist tracking it down, and I’m glad I did, because it was great fun!  So I thank Michael—and by extension, whistlinggypsy, Page, and Jessica—for helping me discover another comedy-thriller to add to my collection. I’m delighted to say it was well worth seeing—again and again, at that!

As heroine Nikki Collins, Deanna Durbin
has great pipes and great gams!

LoaT’s script was based on a story by Leslie Charteris of The Saint fame, with a screenplay by Edmund Beloin (My Favorite Brunette; My Favorite Spy; A Connecticut Yankee in King Arthur’s Court; The Great Lover; Donovan’s Reef) and Robert O’Brien (By the Light of the Silvery Moon; Fancy Pants; The Lemon Drop Kid; and many TV series, including The Red Skelton Hour; Here’s Lucy; and The Lucy Show). That’s a fairly long way from the classic 1936 short Every Sunday” that put both Durbin and Judy Garland on the map (more about that here, at the TCM Web site)!  By 1945, the young girl with the amazingly mature, operatic coloratura singing voice had blossomed into a lovely young woman. To this reader, Durbin proved to have legs in every sense of the term, showcasing her gorgeous gams and her flair for fast-talking comedy in the opening scene on the titular train, where we meet Durbin’s character, San Francisco debutante Nikki Collins. While Nikki waits for her cross-country train to stop at New York City’s Grand Central Station (yay, another comedy-suspense movie set in my hometown!), she’s devouring another page of the juicy mystery novel she’s been reading, The Case of the Headless Bride by best-selling mystery author Wayne Morgan. And what a page-turner it is, as Nikki reads aloud:

"'I killed him. I had to kill him. I thought I’d be safe.’ Over and over, the words droned through her mind. And yet, with a cold, horrible certainty, she knew that death was outside….”

Is there any shadow of a doubt that Nikki saw
a rear window murder? (Note the telltale slippers!)

Yeah, outside the elevated window of another passing train, where Nikki sees two men: an older, white-haired gent, and an apparently younger man in a hat. The men argue, and then Hat Man pulls down the window shade, and *WHAM*, here comes death by crowbar!  Naturally, nobody believes Nikki, especially when she’s toting The Case of the Headless Bride to read while she’s waiting for someone to take her seriously. Nikki’s credibility is apparently often in question since she tends to jump to conclusions, like the time she was sure a buck-toothed gent at the Golden Gate Bridge was in fact a Japanese spy. It’s up to our spunky, adorably sly (if somewhat naïve) heroine to take the initiative, solve the case, and redeem herself!

Wayne Morgan demonstrates the stark realistic
storytelling that keeps thriller readers eager for more!
Nikki is visiting her Aunt Martha in The Big Apple for her Christmas vacation. Her busy but loving dad in San Francisco has provided her with an Assistant in Charge of Keeping Nikki Out of Trouble: the jittery Mr. Haskell from the New York office. Haskell is played by one of Team Bartilucci’s favorite character actors, the ever-delightful and effortlessly funny Edward Everett Horton, whose long career ranged from films such as The Gay Divorcee; Here Comes Mr. Jordan; Arsenic and Old Lace; and even the Fractured Fairy Tales narrator on TV’s animated Rocky and His Friends. Poor Mr. Haskell is always being charmingly and hilariously bamboozled by Nikki, and/or being knocked out by no-goodniks; I hope they pay him well!  Even when poor Haskell gets a little down time, Nikki’s still on the case, dashing around New York and environs, getting mixed up in hairstyles and Howard Greer fashions ranging from the sublime to the ridiculous (one of her hairstyles is a double-bun Princess Leia would have been proud to wear).

Mr. Haskell may feel fresh as a daisy
after being clobbered by bad guys,
but he looks like a black-eyed susan to us!
Amateur detective Nikki attempts to contact mystery author Wayne Morgan for help, and she gets a break when she tracks down the increasingly bewitched, bothered, bewildered  and eventually happily besotted Wayne (David Bruce from A Dispatch from Reuters; The Sea Hawk; Sergeant York; a bit part in The Letter; and the dark holiday noir Christmas Holiday with Durbin). She catches him in a movie theater where she tries to talk about the murder with Wayne, much to the annoyance of the moviegoers—especially Wayne’s fiancée, self-centered fashion model Joyce Williams (Patricia Morison from The Fallen Sparrow; the 1946 Sherlock Holmes mystery Dressed to Kill; Without Love; and ironically, two films you’d think might be musicals but weren’t: Song of the Thin Man and the Oscar-winning The Song of Bernadette), who’s trying to enjoy a newsreel of herself modeling the latest fashions. Nikki’s persistence pays off when she sees a newsreel about the dead man! The deceased is ship magnate Josiah Waring (Thurston Hall of The Great Lie; Theodora Goes Wild; and the role he’s best known for here at Team Bartilucci H.Q.: blustery credit-stealing boss Mr. Pierce in The Secret Life of Walter Mitty). And wouldn’t you know the newsreel mentions the whereabouts of The Willows, where the Waring estate is? (Nowadays, the joint would probably be crawling with armed guards and other kinds of security!)

Did you know Nikki is a master of disguise?
Here she is as an unusually
pensive Pippi Longstocking!
When Nikki trespasses and finagles her way into The Willows, she arrives just in time for the reading of Josiah Waring’s will. We find that Waring was not only a ship magnate, but also a chick magnet when our amateur sleuth Nikki is mistaken for nightclub entertainer Margo Martin, Waring’s beloved mistress. (I was rather touched when we finally met the real Margo Martin, played by Maria Palmer from By the Light of the Silvery Moon. In her scenes, she truly seems to be heartbroken over Waring’s death.)  Samuel S. Hinds, who played Edward G. Robinson’s retired pal in Scarlet Street, appears briefly as the Waring family’s lawyer in the gathering at The Willows. Before Nikki knows it, she’s embroiled in all manner of suspense and zaniness, with incriminating bedroom slippers and two Waring heirs making eyes at her: Arnold (Dan Duryea of Ball of Fire, The Woman in the Window, and Scarlet Street, in a more likable mold), and his brother Jonathan (versatile Ralph Bellamy, best known for never getting the girl but always charming about it in comedies like The Awful Truth and His Girl Friday, as well as thrillers like Rosemary’s Baby, not to mention Team B. fave Trading Places).  As you can see, LoaT is brimming with great character actors, including Elizabeth Patterson (best known by TV fans as babysitter Mrs. Trumbull on TV’s I Love Lucy, but also a memorable character actress in Intruder in the Dust; Hail the Conquering Hero; Miss Tatlock’s Millions; I Married a Witch; Remember the Night, and more) and George Coulouris (Arabesque; Murder on the Orient Express; Citizen Kane, appropriate considering the Citizen Kane shoutouts in LoaT).

Clever Nikki sneaks onto the
Waring estate disguised as a weather vane!
And of course, with Deanna Durbin as the star, you know music will fill the air!  The songs really do fit smoothly into the plot. My favorites among her numbers here include her soulful performance of “Silent Night” sung to her dad—while Waring chauffeur/henchman Danny (Allen Jenkins from Ball of Fire; The Falcon Takes Over; Pillow Talk; TV’s animated Top Cat) waits to strangle her, only to find himself all teary-eyed as Nikki sings. Music soothes the savage beast—at least until Danny knocks out Wayne and Mr. Haskell well after Nikki is safe! Then there’s our heroine’s hot, playfully sexy rendition of “Gimme a Little Kiss, Will Ya, Huh?,” sung to Wayne at The Circus Club, a theme nightclub that’s bigger than a Hollywood soundstage (with equally big doormen, including Lock Martin, Gort from The Day the Earth Stood Still). I got a kick out of that dreamy look in Wayne’s eyes! I must confess, however, that I thought Durbin’s torchy rendition of Cole Porter’s “Night and Day” could have been more torchy and less operatic; somehow I felt like she needed to cut loose a bit more with her rendition. Speaking of music, as a Miklos Rosza fan, I really enjoyed LoaT’s musical score; its blend of suspenseful notes and comical touches was perfect for the film. And I love that final scene; wonder if it’s where Alfred Hitchcock got the idea in North by Northwest?

Born Edna Mae Durbin on December 4th, 1921 in Canada (where my dear hubby and Team Bartilucci computer whiz Vinnie was born), in the 1930s and ’40s, wunderkind coloratura Durbin became to Universal what Judy Garland eventually became to MGM: a wholesome, wildly popular singing movie star. Durbin also proved to be a compelling actress in a Screen Guild Players radio version of Alfred Hitchcock’s Shadow of a Doubt on CBS.

According to Margarita Landazuri’s TCM article, producer Felix Jackson married Durbin soon after making LoaT, but they divorced in 1948. Durbin retired from movies in 1950 and moved to France with her husband and LoaT director Charles David, who’d also been the production manager on La Chienne, remade in the U.S. as Scarlet Street. Durbin and David reportedly lived happily together until David’s death in 1999 at 92. As of this writing, Durbin is still alive and well and, by her own choice, happily out of the spotlight. Update: She died in her adopted country, France, on April 20th, 2013 at the age of 91.

Santa, baby, hurry down the chimney tonight!
(And bring me a blackjack in case of unexpected visitors, OK?)

Wanna follow Michael Troutman's My Deanna Durbin Punishment series? Here are the links!

Part 1 of Michael Troutman’s My Deanna Durbin Punishment series:
http://ishootthepictures.com/2011/12/15/my-deanna-durbin-punishment-part-i-three-smart-girls-1936-worth-a-look/

Part 2 of Michael Troutman’s My Deanna Durbin Punishment: First Love:
http://ishootthepictures.com/2012/01/20/my-deanna-durbin-punishment-part-ii-first-love-1939-worth-a-look/

Part 3 of Michael Troutman’s My Deanna Durbin Punishment: It Started with Eve
http://ishootthepictures.com/2012/01/23/my-deanna-durbin-punishment-part-iii-it-started-with-eve-1941-approach-with-caution/

Part 4 of Michael Troutman’s My Deanna Durbin Punishment: Can’t Help Singing http://ishootthepictures.com/2012/01/27/my-deanna-durbin-punishment-part-iv-cant-help-singing-1944-not-recommended/

Part 5 of Michael Troutman’s review of Lady on a Train from I Shoot the Pictures: My Deanna Durbin Punishment
This joint has everything, even free bagels in your hair!

Turn around, Nikki!
There’s a clue in the newsreel
!

This time master-of-disguise Nikki goes undercover
as the chair-woman of the board!
Wayne and Nikki don’t care what people say about them
as long as their names are spelled right!
Nikki, I know we’re all economizing these days,
but hold out for the glass slipper instead!



Friday, April 20, 2012

TOPKAPI: Go Schmo!

I first saw United Artists/Filmways’ Topkapi with my older siblings on one of our local New York TV stations during my grade school days in the Bronx, where Topkapi’s director/producer Jules Dassin happened to have spent much of his own youth. They liked it, but I must confess that at the time, Topkapi’s inimitable leading lady Melina Mercouri kinda freaked me out!  Of course, at the time I didn’t realize Mercouri was an international star. All I knew about her was that she was a blonde lady with dark kohl-rimmed eyes, who spoke in a low, growling voice and had a predatory look. (At the time, Mom had taught me what “predatory” meant, and I was pretty darn proud to have learned how to memorize it right away!) She had a witchy look and a booming laugh that sounded scary to me at the time as she exulted, “That’s the way it can be done!”

But what a difference a decade makes!  When I watched Topkapi again in my teens, what I’d thought was witchy was now bewitching. I ended up loving it for Manos Hadjdakis’ zesty music; the colorful locations in Istanbul (not Constantinople), as well as Paris, France at the Boulogne-Billancourt Studios; and of course, its great cast of confident, breezy, likable bon vivants (more about them in a moment)!  In fact, the only problem I had with Topkapi in later viewings was that the strobe effect of the rays and blinking lights in the opening credits initially triggered my migraines! Luckily, we figured out how to fine-tune the TV, and the problem was solved. (Reading fellow blogger Vulnavia Morbius’ take on Topkapi in her own excellent Krell Laboratories blog from last year, I see she is apparently lucky enough to have no problems with Topkapi’s opening light effects, lucky gal that she is!  But I digress….)

As The New York Times film critic Bosley Crowther said in the opening lines of his 1964 Topkapi review, “Imagine Jules Dassin’s Rififi done in the spirit and style of his comical Never on Sunday and you have a good idea of the nature of his latest film, Topkapi (pronounced top-cappy)….”   If Dassin’s landmark 1954 thriller Rififi is the dark side of the caper film, then his 1964 follow-up Topkapi was Rififi on the sunnier, funnier, more stylishly playful side of the street with its witty, suspenseful screenplay by Monja Danischewsky (his screenwriting credits include Ealing Studios’ Whisky Galore! and Rockets Galore!, a.k.a. Mad Little Island), loosely adapted from Eric Ambler’s novel The Light of Day.


The first character we meet is our dazzling leading lady (Mercouri), who calls herself Elizabeth Lipp because it’s “convenient.”  She introduces herself to us viewers in a most kaleidoscopic fashion, her voice and attitude smokier than a five-alarm fire. Elizabeth explains that we’re in Istanbul, Turkey, in the Seraglio’s Topkapi Palace Museum. Many moons ago, before the museum became a tourist attraction, the joint was the home of Sultan Mahmud I and his many wives. When Elizabeth literally beckons us viewers to follow her, we’re intrigued before we start!  But our gal isn’t really greedy; of all the museum’s treasures, Elizabeth is only interested in a particular golden dagger adorned with “the four greatest emeralds the world has ever known,” bringing new meaning to the phrase “the wearing of the green.” For the record, Elizabeth seems especially keen on the rectangular emerald. As she leans against the glass, “a strange feeling comes over me,” she moans, almost orgasmically. Director of Photography Henri Alekan (Roman Holiday; the 1946 version of Beauty and the Beast; Wings of Desire) truly makes Mercouri look like she’s making sweet love to the camera!

Babe in Toyland!
Elizabeth leaves Turkey for Paris, where we meet her former flame: suave, Swiss Walter Harper (Maximilian Schell, Oscar-winner for Judgment at Nuremberg; Oscar-nominee for The Man in the Glass Booth and Julia; and scene-stealer in one of my favorite Adrien Brody films, The Brothers Bloom). Oh, did I mention that Walter happens to be holding a gun to a man’s back at the time? Luckily for his nervous mark, Walter pleasantly lets the guy leave with his life. Elizabeth has been watching, and the pair is more than happy to pick up where they left off, both romance-wise and theft-wise—and why not, with their great chemistry? Here’s one of my favorite bits of dialogue:

Elizabeth:“Do you mind that I am a nymphomaniac?”
Walter: “It’s your most endearing quality.”
Elizabeth: “Don’t waste it, use it.” (Couple time ensues.)

"I wish I may, I wish I might,
steal the jewels I wish tonight!"
Walter is on board with Elizabeth’s dagger heist plan, on one condition: he’ll only work with amateurs who have no pesky police records that might tip off John Law and trip up our happy thieves. The recruits include:

  • Englishman Cedric Page, eccentric but genial inventor and whimsical master of all things mechanical, including security systems. He’s played with mischievous delight by the great Robert Morley from The African Queen; Hot Millions (more about that shortly, too); Who is Killing the Great Chefs of Europe; and Theatre of Blood, among others;
  • Muscular Hans Fischer (Indiana-born character actor Jess Hahn, who mostly performed in foreign films) to help with heavy lifting and the like;
  • Giulio the Human Fly (French actor/writer/songwriter/acrobat Gilles Ségal), the mute acrobat who actually steals the dagger as he’s lowered from the museum ceiling to outfox the floor-mounted alarm. Word has it Ségal’s stunts inspired the trickwire stunts for both the original TV series and the Tom Cruise movie versions of Mission: Impossible..

Objects in the rear-view mirror may be
more cowardly than they appear!
I needed this today?!
Now all the gang needs is a patsy to throw the police off the scent. Enter bumbling jack-of-all-trades and small-time would-be con man Arthur Simon Simpson, succinctly described by Walter as “a historian, guide, and schmo.” Arthur is played endearingly and effortlessly by Team Bartilucci fave Peter Ustinov, one of the funniest and most versatile men who ever graced stage, screen (big and small), and comedy albums. Ustinov not only won the second of his two Best Supporting Actor Oscars for Topkapi (he’d previously won for Spartacus in 1961)  but he and Ira Wallach also received Oscar nominations in 1968 for their hilarious screenplay for the clever caper comedy Hot Millions. And of course, let’s not forget Ustinov’s turns in Logan’s Run; the animated Grendel Grendel Grendel (another Team B. fave); and several delightful whodunits based on Dame Agatha Christie’s mysteries about the beloved detective Hercule Poirot, among many others.  As you’ve probably noticed, we could cheerfully blather away about all things Ustinov in a blog post all about the great man himself, but we’ll do our best to pull ourselves together and focus on Topkapi!

Gerven knows how to
make guests feel welcome! 
Melina coaxes Max out of his Schell!
Laughter is the best medicine
for jewel heists! Who knew?
Now then, where were we? Ah yes, Elizabeth and Walter need a schmo for their heist plan. Even the tourists don’t take Arthur seriously—especially those who he’s tried to expose to local night life—sidestepping him as if he had dog poop permanently stuck to his shoe. In short, Arthur is perfect for our thieves’ purposes!  They hire him to drive a white luxury Lincoln convertible into Turkey which, as the B-52’s sang, seats about twenty. Little does Arthur realize the car’s full of hidden explosives and firearms for the upcoming robbery, and he’s been set up as the poor patsy driver in case there’s trouble at the border!  Arthur’s role in the scheme almost literally blows up in his face, especially when Turkish Customs officials see that Arthur’s passport has long since expired (maybe Arthur and Oscar Homolka’s Prof. Gurkakoff from Ball of Fire can trade expired-drivers’ license anedotes). The car is searched, the firearms are confiscated, and Arthur becomes the catch of the day: Grilled Simpson!  The Turkish Secret Police, led by  the sinister yet undeniably cool-looking Major Ali Tufan (Turkish actor Ege Ernart) and his colleague Harback (character actor Tito Vandis, billed here as “Titos Wandis.” His many roles include The Exorcist; Never on Sunday with Mercouri; and Team B.’s favorite among his roles, the lovesick shepherd from Woody Allen’s Everything You Ever Wanted to Know About Sex* [*but were afraid to ask]).  Major Tufan and Harback are sure our gang is plotting an assassination at an upcoming military parade, and they recruit Arthur to spy on our lovable rogues, under threat of death! The joke’s on them, as Arthur is as much of a bumbling spy as he is a bumbling con man, trying to  pass along useless intel in cigarette packs. Too bad Arthur doesn’t seem to have gotten the hang of thorough toilet-flushing. And we’re not even in the Topkapi Museum yet!  But as they say, getting there is half the fun—heck, it’s all the fun, especially with a suspenseful climactic robbery sequence that rivals Dassin’s own Rififi! Akim Tamiroff (his roles ranged from Preston Sturges’ The Great McGinty and The Miracle of Morgan’s Creek to Touch of Evil and other Orson Welles films, and so much more!), is another scene-stealer as Gerven, a drunken cook who unwittingly throws a new monkey wrench in the works. I can say no more for fear of giving away any more of Topkapi’s sparkling surprises (and we don’t just mean emeralds), but I will say it includes my favorite usage of the phrase “A little bird told me.”

Joseph Dassin, Jules' son:
proof that nepotism can be a wonderful thing! 
Fun Facts: In Ustinov in Focus by Tony Thomas, Ustinov admitted, "I have a special affection for Topkapi. The character is so absurd. I love the idea of a man who aims low and misses. Simpson is the kind of man who wears blazers a little too consistently, the kind with military presumptions, who has to belong to a cricket club. He's a man who hovers between the more reprehensible columns of The News of the World and oblivion." Also, Joseph Dassin, singer/songwriter son of director/producer Jules Dassin, plays Josef, dashing proprietor of the traveling fair display that’ll spirit the dagger out of the country. It proves that nepotism can be a wonderful thing! 

Would it surprise anyone to hear that soon after its theatrical success, Topkapi inspired a real-life theft in my hometown? Three men broke into New York City’s  American Museum of Natural History and escaped with the famous Star of India, the De Long Ruby, and other priceless treasures. They were eventually caught, and admitted in custody that they had seen Topkapi prior to their robbery. See, life sometimes does imitate art!

Arthur has vertigo! When did this become a Hitchcock movie?

The Annual 43-Man Squamish Tournament begins!
As Elizabeth Lipp, Melina Mercouri can join our Red Hat Society anytime!

Nobody's here but us thieves!
I got me a Lincoln, it seats about twenty....


By DorianTB
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