YANKEE DOODLE DANDY (1942)

I really enjoyed posting two straight weeks of blogs on Hollywood films from the 1930's, and so for the 1940's I'm going to up the ante and try for three weeks worth. Looking at titles I have left from the 1001 Movies You Must See Before You Die book, this shouldn't be a problem. As before, I’ll list my expectations for each film going in and state whether these expectations are reached or not. And I’ll once again give each film my Elisha Cook Jr. supporting player award because there was such a bounty of great supporting performers from this period and I just like doing it.

Yankee Doodle Dandy (1942)

Expectations: I haven’t seen Yankee Doodle Dandy in sometime. My fear is that it will probably come off as a little dated.

After Viewing: Well they certainly don’t make um like this anymore. A very sanitized version of the life of song and dance legend George M. Cohan features his rise and, well his rise and retirement and ends with his triumphant return to Broadway. Much of this biography is told through the music. The section from Cohan’s Broadway production of Little Johnny Jones seems to run about twenty minutes.

I always scoff at people who don’t watch black and white films. I don’t ever see a black and white film and say to myself, “Boy, I wish this had been in color.” Ok, I will make ONE exception. I wish Yankee Doodle Dandy had been in color. I think it would have really enhanced some of many musical numbers.

This movie was also so well timed. It came out right after the U. S. entry into World War II and fans embraced the patriotic fervor of this film. Also, after many years of effort, Cohan finally got a biography on screen that met with his approval. The film was released only a few months before his death in 1942.
And of course, James Cagney as Cohan seems like such a natural choice now, though it is really in contrast to so many of his tough guy roles.

I don’t mean to say I didn’t like Yankee Doodle Dandy. I actually did. I was just struck at times by the lack of conflict in the story. Still recommended, but for enhanced enjoyment, try to view on the Fourth of July or Memorial Day.

And the Elisha Cook Jr. Supporting Player Award goes to...Walter Huston. I also really liked Huston in Dodsworth and Treasure of the Sierra Madre. I don’t think the acting part of the role here is as demanding as those other films, but he proves himself to be quite a good song and dance man playing Cohan’s father. I’d also like to give an honorable mention to Joan Leslie as George M’s Yankee Doodle Sweetheart because she’s just so damn adorable.

THE LADY EVE (1941)

I really enjoyed posting two straight weeks of blogs on Hollywood films from the 1930's, and so for the 1940's I'm going to up the ante and try for three weeks worth. Looking at titles I have left from the 1001 Movies You Must See Before You Die book, this shouldn't be a problem. As before, I’ll list my expectations for each film going in and state whether these expectations are reached or not. And I’ll once again give each film my Elisha Cook Jr. supporting player award because there was such a bounty of great supporting performers from this period and I just like doing it.

The Lady Eve (1941)
Expectations: Yet another Preston Sturges feature. I’m a fan of his other films, think he writes snappy dialogue, Henry Fonda and Barbara Stanwyck seem like a winning team. What’s not to like?

After viewing: Peter Bogdanavich calls it "the perfect romantic comedy." I don’t know if I liked it as much as some of the other films of Sturges, but I did like it. The whole Stanwyck coning Fonda-then falling in love-breaking up with hime and returning to extract revenge on him and not even disguising herself and he doesn’t recognize her…and...forget the plot…it’s typical Sturges from that era, which is a compliment. And Henry Fonda can do comedy! And Barbara Stanwyck is alluring and…guess I did like it, though maybe not as much as Mr. Bogdanavich.

And the Elisha Cook Jr. supporting player award goes to …William Demarest. He has been in every Sturges film I have seen, as well as many other features from this time period. And of course, he was later Uncle Charlie on My Three Sons. And what did all his characterizations have in common? Grumpiness, grouchiness and cynicism. He’s used most effectively here as Fonda’s assistant who doesn’t trust Stanwyck (and rightly so) throughout the entire picture.

PALM BEACH STORY (1942)

I really enjoyed posting two straight weeks of blogs on Hollywood films from the 1930's, and so for the 1940's I'm going to up the ante and try for three weeks worth. Looking at titles I have left from the 1001 Movies You Must See Before You Die book, this shouldn't be a problem. As before, I’ll list my expectations for each film going in and state whether these expectations are reached or not. And I’ll once again give each film my Elisha Cook Jr. supporting player award because there was such a bounty of great supporting performers from this period and I just like doing it.

Palm Beach Story (1942):
Expectations: I knew it featured the director-star team (Preston Sturges, Joel McCrea) of one of my favorite movies from the 1940’s, Sullivan’s Travels.

After viewing: I watched this movie after watching about ten Ingmar Bergman movies in a row. (If you aren’t familiar with Bergman, he doesn’t specialize in screwball comedies). The contrast made it seem like the dialogue in Palm Speech Story was speeded up like a 33 1/3 album turned up to 45*.. Anyway, the script was very funny, but as I said, it was so quickly paced, I found myself backing up the tape to get some of the dialogue I missed the first time through. My favorite line goes something like, “Nothing is forever…except for Roosevelt**.” Also look fast for clever sequence going on behind the opening credits.

*Yes, I do realize vinyl references may appear dated.
**Line only funny pre-1945.

And the Elisha Cook Jr. supporting player award goes to …Frank Faylen. Seems strange to award someone with just one scene in a movie that has such impressive second bananas as Mary Astor, Rudy Vallee, William Demarest, and Franklin Pangborn in it. But when I saw Frank driving that cab halfway through the movie it foreshadowed the cab he would drive four years later in It’s a Wonderful Life and who doesn’t love It’s a Wonderful Life?

REBECCA (1940)

I really enjoyed posting two straight weeks of blogs on Hollywood films from the 1930's, and so for the 1940's I'm going to up the ante and try for three weeks worth. Looking at titles I have left from the 1001 Movies You Must See Before You Die book, this shouldn't be a problem. As before, I’ll list my expectations for each film going in and state whether these expectations are reached or not. And I’ll once again give each film my Elisha Cook Jr. supporting player award because there was such a bounty of great supporting performers from this period and I just like doing it.

Rebecca (1940):
Expectations: Always look forward to viewing a Hitchcock film. Knew this was his only Best Picture winner. Laurence Olivier is usually worth seeing (Unless it’s in something like Harold Robbins’ The Betsy or The Jazz Singer). I knew it was also based on the famous novel of the same name.

After viewing: I had forgotten (or maybe I never realized) this was David O Selznick’s follow up to Gone With the Wind. It appears (and is confirmed by the accompanying commentary track) to be part Hitchcock style and part O. Selznick epic. This competing combination seems to works for the most part.

I honestly don’t recall seeing a movie with Joan Fontaine before, but she is quite fetching and well cast here. Another interesting supporting role is George Sanders as Olivier’s oily voiced rival. However, any fan of Rebecca will probably tell you the showcase role is that of the macabre Mrs. Danvers and Judith Anderson plays it to the hilt.

The overall plot does have some holes in it (As Hitchcock himself points out-Where did the second body come from?) but it isn’t hard to see why Rebecca (The book and the film) has had an enduring appeal.

And the Elisha Cook Jr. supporting player award goes to…Judith Anderson, of course. Though I admit it is tempting to throw a bone to Jasper the loyal cocker spaniel.