The Mad Miss Manton: Swing Out, Sisters!

When RKO’s 1938 screwball comedy-mystery The Mad Miss Manton (TMMM) was shown on TCM, our genial host Robert Osborne noted that Barbara Stanwyck and Henry Fonda had made three films together, all comedies: TMMM, The Lady Eve, and You Belong to Me, the latter two released in 1941. Set in then-contemporary New York City (but actually filmed in Burbank, CA in 100-degree heat, according to John M. Miller’s TCM article!), TMMM came first. Director Leigh Jason had also worked with Stanwyck and co-star Hattie McDaniel in The Bride Walks Out (1936), before McDaniel won her Best Supporting Actress Oscar for Gone With The Wind (1939). 

Stanwyck’s part was originally meant for Katharine Hepburn, but Bringing Up Baby’s bad box office put the kibosh on that, though of course nowadays it’s hailed as a classic. Besides, things worked out fine for Hepburn, as she moved on to her Oscar-nominated performance in The Philadelphia Story (1940), among so many other triumphs. In any case, Stanwyck’s flair for comedy is just right for her role as Melsa Manton, madcap heiress extraordinaire. That’s my favorite kind of heiress, especially if she’d like to plunk a few bucks into my pocket during one of her charity scavenger hunts!

Melsa Manton has The Thin Man’s Nick and Nora Charles beat when it comes to chic yet zany sleuthing, at least when it comes to sheer numbers: she has eight gorgeous debutante girlfriends who are as loyal as they are endearingly kooky, with no-nonsense maid Hilda (McDaniel) shaking her head at these nutty rich folks. For the most part, the girls are happy to help Melsa solve murders, the occasional growled threat or thrown knife notwithstanding. Fun Fact: Melsa and her eight gal pals were no doubt playfully modeled on the northeastern women’s colleges known as “The Seven Sisters:” Barnard; Bryn Mawr; Mount Holyoke; Radcliffe; Smith; Vassar; and Wellesley. Of course, this being a Hollywood movie, another “sister” was added.  That’s Hollywood for you, always making everything bigger and bolder!

We first meet Melsa walking a gaggle of cute little dogs at the ungodly hour of 3 a.m.; is this how our pet-loving heroine makes extra spending money, or does she prefer to take her pets walkies when the neighbors are in bed, unaware Melsa’s pooches are leaving, er, souvenirs?  She notices Rex Realty signs plastered all over the house. Turns out it belongs to Sheila Lane (Leona Maricle, who’d also worked with Stanwyck in My Reputation), the wife of wealthy banker George Lane. Suddenly a car speeds past the site of the new subway. Melsa recognizes local gent Ronnie Belden (William Corson). Unlike the usual stereotype of New Yorkers who mind their own business, Melsa lets her curiosity get the best of her. Her impromptu investigation brings her to the deserted Lane house, where she finds a diamond brooch—and Lane’s bloodied body! As she flees in panic, Melsa drops the brooch. By the time Melsa gets ahold of Lieutenant Mike Brent (Team Bartilucci fave Sam Levene from The Killers; After The Thin Man; Shadow of The Thin Man; Last Embrace), the corpse has gone AWOL.

Don’t worry about the press as long as
they spell your name right!

Lt. Brent and the rest of New York’s Finest are pretty darn peeved, considering that Melsa and her friends have a reputation as merry pranksters. Too bad our heroine happens to be dressed in a Little Bo-Peep costume for an artists’ ball, which doesn’t exactly do wonders for her credibility. Granted, Melsa swears their playful pranks were only meant to draw positive attention for the good causes they work on in the name of their various charities, like running a TB clinic and other helpful, clean-cut activities. Melsa and her pals clearly mean well, but haven’t they ever heard that charity begins at home? Maybe they should stay out of trouble by making lanyards for the poor or something. To add insult to injury, not only do Lt. Brent and his men refuse to investigate, but Peter Ames (Fonda), editor of The Morning Clarion, writes a stern article about Melsa’s hijinks, resulting in much comical slapping. One lawsuit, coming right up! With their reputations on the line, Melsa and the girls become amateur sleuths.  Debutante Roll Call, sound off now! 

1. Frances Mercer as Helen Frayne, the most sensible of Melsa’s gorgeous friends. The daughter of prominent East Coast sportswriter Sid Mercer, the raven-haired beauty was a “Powers Girl” model in New York in her teens back in the 1930s (as were my dear mom and aunt. Wish I could’ve been a fly on the wall with those gals swapping stories). Mercer went on to act and sing on stage, screen, and TV, including the Broadway musicals All the Things you Are; Very Warm for May; and Something for the Boys.
2. Kay Sutton as Gloria Hamilton. This lovely brunette’s screen credits include Carefree; The Saint in New York; Vivacious Lady. Gloria gets a nice punch line when the girls find what may or may not be bodily fluids:
   Dora: “How can that be blood? It’s blue.”
   Gloria: “Maybe he shot Mrs. Astor.”
   
   

   

   Oh, Kay! 

   
   

3. Catherine O’Quinn as ditzy Dora Fenton. I’m almost certain O’Quinn is one of the blonde Goldwyn Girls in Team Bartilucci fave The Secret Life of Walter Mitty (1947). Anyway, she gets some delightful lines here, especially this TMMM bit, which becomes a running gag:
   Melsa: “Helen, you search the upstairs.”
   Helen: “Oh, no, I was never much of an individualist. If the upstairs has to be searched, we’ll search it together.”
   Dora: “Why, that’s Communism!”
4. Whitney Bourne, as Pat James (Blind Alibi; Double Danger; Beauty for the Asking, with Lucille Ball)), who never saw a snack she didn’t like, even at a murder scene! I’m sure Lt. Brent is thrilled to see his crime scene ruined. Hey, Pat, you gonna finish that? Don’t your rich parents feed you at home, you poor little rich girl you?
5. Ann Evers as Lee Wilson (If I Were King; Gunga Din; Casanova Brown).
6. Linda Perry, billed here as Linda Terry. By any name, she plays Myra Frost, Melsa’s flirty friend. Ms. Perry’s credits include They Won’t Forget; The Great Garrick; and the 1937 movie adaptation of the Perry Mason film The Case of the Stuttering Bishop.
7. Vickie Lester (billed as Vicki Lester) as Kit Beverly. Vickie’s star was born in Tom, Dick, and Harry; Tall, Dark, and Handsome; The Great Plane Robbery.
8. Eleanor Hanson as Jane.  (Guess it's one of those one-word names, like Margo or Annabella.) She also appeared in the Western Flaming Frontiers and bit parts such films as The Story of Vernon and Irene Castle, and worked again with TMMM co-star Penny Singleton in Blondie Goes to College. Wonder if Singleton and Hansen ever reminisced about making TMMM?

One stiff, hold the mayo!

Before long, the lawsuit takes a back seat, along with a corpse or two, as Peter finds himself falling in love with the spirited Melsa and trying to save her from shady characters like ex-con Edward Norris (Stanley Ridges of Possessed; To Be or Not to Be; Sergeant York), a convicted murderer who’s working on the subway and just might have a score to settle. Even Blondie gets into the act—no, not songbird Debbie Harry, but the original Blondie, Penny Singleton, formerly Dorothy McNulty from After the Thin Man. She’s funny and memorable in this pre-Blondie comedy caper as Frances Gluck, who’s stuck on Norris and tries to convince the girls of his innocence, even trying to pass off the future Blondie Bumstead as an old chum, with hilarious results and a smattering of social commentary.

Kit (talking to Hilda with her mouth full): “Have you another piece of cake, Hilda?”

Hilda: “Yes, I have, but the kitchen’s closed for the night.”

Melsa: “Hilda! Miss Beverly is our guest.”

Hilda: “I didn’t ask her up!”

Helen: “Come the revolution, we’ll stop being exploited by our help.”
Melsa (giving Hilda a wry look): “In my house, the revolution is here!”

Who needs Charlie's Angels
with 8 crimefighting debs?

“Lt. Brent, the good news is we’ve found George Lane’s body. The bad news…er….”

Blondie Beats a Murder Rap!

Lt. Brent saves the day!
Who knew he was a counter spy?

Although Fonda and Stanwyck were great onscreen, Henry Fonda was less than thrilled with his role. He’d been borrowed from Walter Wanger Productions and, as Axel Madsin wrote in his biography Stanwyck, Fonda “...hated his role, hated the script's sneering repartee with his leading lady, and tried his best to ignore everybody.”  Fonda himself later admitted, "I was so mad on this picture; I resented it." Philip G. Epstein’s script from an unpublished Wilson Collison novel was clearly meant as a female star vehicle, and as Miller suggested, “Fonda probably did not appreciate the scenes in which he was beaten up by eight flighty debutantes!” But Fonda got over it, happily co-starring with Stanwyck again in two other hits, as mentioned earlier, and becoming close friends. In fact, Robert Osborne said Fonda admitted to his subsequent wives that he carried a torch for Stanwyck for the rest of his life (and why not?)!

Here's a link to our pal Dawn Sample's great Noir and Chick Flicks blog post from 2011!


http://dawnschickflicks.blogspot.com/2011/05/mad-miss-manton-1938_27.html

I knew those crazy kids would make beautiful music together!

You say you want a revolution?
Hilda's your go-to gal!

LAST EMBRACE: When Harry Met Ellie

"It begins with an ancient warning.  It ends at the edge of Niagara Falls.  In between there are 5 murders.  Solve the mystery.  Or die trying."

Harry DOES believe in spooks!

The poster for Jonathan Demme’s 1979 thriller Last Embrace grabbed me during its release in 1979!  The multi-Oscar-winner The Silence of the Lambs was Demme's first major suspense thriller, but it wasn’t the first film he’d made in that genre. That honor goes to Demme’s 1979 thriller Last Embrace (LE), which I first saw and loved during its original theatrical run. 

Despite the romantic beginning,  Last Embrace means business!
Poor Harry and Dorothy Hannan should've gone to Westworld instead!

At the time, LE was touted as a romantic Hitchcockian thriller. While LE definitely has strong elements of Vertigo and other Hitchcock classics, I’ve always considered it to be more of a paranoia thriller with film noir touches, which, as a friend quipped, perhaps makes LE

a kind of  “film shachor.”   Roy Scheider, cool and craggy yet suave, had long been one of our family’s favorite tough-guy actors.  At first glance, he might not seem vulnerable enough to be convincing as a beleaguered paranoia film hero.  However, Scheider proved to be perfect casting as Harry Hannan, a government agent with more baggage than Louis Vuitton. Harry is still heartbroken and guilt-ridden about his beloved wife, Dorothy (Sandy McLeod from Romancing the Stone, and Demme's Something Wild), getting killed while she accompanied him as cover on one of his assignments.   After he spends time in a Connecticut sanitarium recovering from his nervous breakdown, Harry has barely had a chance to lose his institutional pallor when he’s almost shoved in front of an express train. When he returns to his spy agency in New York City, his slippery spymaster Eckart (Christopher Walken from Pulp Fiction; Oscar winner for The Deer Hunter; and Oscar nominee for Catch Me If You Can; and so much more!) keeps him at arm’s length.  Maybe Eckart thinks Harry’s sharp cream-colored suit makes him too conspicuous for undercover work. Worst of all, Harry discovers he’s one of several Jewish men getting death threats written in Biblical Hebrew from an unknown “Avenger of Blood”…and so far, he’s the only one still alive!
 

Don't mess with New York commuters, especially spies!

Everyone scoffs at poor Harry’s jitters. Who can he trust? Certainly not his brother-in-law (Charles Napier from The Blues Brothers; Melvin and Howard; the animated TV sitcom The Critic), a fellow spook who blames Harry for his sister Dorothy's violent death: “You’re careless with people, Harry.”  I think it's safe to say holiday dinners at the Hannan household are tense at best! Our hero eventually joins forces with Ellie Fabian (Janet Margolin from David and Lisa;  Woody Allen's Take the Money and Run;  Annie Hall).  Ellie is a pretty New York grad student who sublet his apartment while he was in the sanitarium.  But the vulnerable Ellie seems to have her own issues and secrets.  Will that spell doom for both Ellie and Harry? And how does a turn-of-the-20th-century Jewish brothel figure in the sinister fix Harry has found himself in?

"Next time, we're taking the bus!"

 Scheider and Margolin had fine chemistry together; their characters’ sensitivity and wariness made me feel for them, and they even had playful moments along the way.  Ms. Margolin was at her loveliest, too. (Sadly, she died of ovarian cancer in 1993 at the age of 50. Janet, we hardly knew ye.)  Scheider, Margolin, and Walken are aided and abetted by a rogues’ gallery of stellar New York character actors, including John Glover as Ellie’s insecure professor boyfriend; Marcia Rodd as Harry’s nervous agency contact; David Margulies (best known to Team Bartilucci as the Mayor of New York City in Ghostbusters, and Michael Caine's psychiatrist colleague in Dressed to Kill) as a rabbi with connections; Joe Spinell and actor/director Jim McBride as thugs; Captain Arthur Haggerty as a bouncer waiting to use the phone; Mandy Patinkin and Max Wright in bit parts as commuters who may or may not have some ’splainin’ to do; and one of my very favorite character actors, scene-stealer Sam Levene (from After the Thin Man; The Killers; Crossfire; The Mad Miss Manton) as the crotchety but likable head of a secret Jewish society; and director Demme himself cameo-ing as a stranger on a train.
 

As Sam Urdell, Sam Levene can still give any
stranger on a train what-for!

Either the milkman is a lousy speller,
or Harry's getting death threats in Hebrew!

It's Christopher Walken, yes indeed, as Harry's spymaster!

No spy work for Harry?  At least they can enjoy a few bars of "Singin' In The Rain!

Super Harry leaps over the sidewalks of New York in a single bound!

Wine thing, you make Harry's heart sing!  Is Ellie dressed to kill, or what?

In the bell tower, bells are ringing for me and my prey!

Those Blues Brothers are driving me crazy!

Some critics complained that despite Demme’s obvious affection for the Hitchcockian material, LE could have used more of The Master of Suspense’s zest, wit, and verve. I won’t deny that the pace slows down at times, but with Roy Scheider at his peak and Janet Margolin’s touching, multifaceted performance, I was willing to be patient.  Demme and screenwriter David Shaber (adapting Murray Teigh Bloom’s novel The 13th Man) make up for the film’s flaws with plenty of appealingly quirky Demme-style characterization.  Judaism’s key role in LE’s plot was fresh and intriguing, as well as making excellent use of an elaborate, well-crafted red herring. The settings contribute to the film’s Demme-ness; his ace Director of Photography Tak Fujimoto really makes the New York City and Princeton, NJ locations integral to the plot and its Hitchcockian motifs, especially the bell tower sequence and an exciting climax at Niagara Falls (I can hear you making lewd jokes). The film brims with only-in-New-York characters and situations; for instance, the competition for living space in Manhattan provides amusing undertones to Harry’s first awkward encounters with Ellie, kind of like The More, The Merrier with edgy film noir trimmings.  Miklos Rozsa’s swooningly romantic yet forboding score pulls together the film’s emotional undercurrents beautifully.  Between Last Embrace and Still of the Night, if I’d been Roy Scheider, I’d have stayed out of Central Park and environs for fear of elusive assailants!  If anyone knows of a soundtrack for Miklos Rozsa's  Last Embrace, let me know, won't you?

Harry and Ellie fall in love -- but can love last
when the girl of your dreams  has a centuries-old vendetta?

 

 

Can this romance be saved, or will their love be on the rocks?

Find out more about Last Embrace at the MGM Archives: http://www.mgm.com/view/movie/1084/Last-Embrace/

Here's a fond farewell to Roy Scheider from a fan:

http://youtu.be/_WfBMJsHqn0