THE BIGAMIST (1953)

The Golden Age of Hollywood

(Post 6 of 50)

The Bigamist is the story of a married traveling salesman who grows apart from his wife and ends up marrying a second woman during his travels. This is the 50's, so you know he's not going to get away with it.I guess that's the basic synopsis here

The Bigamist has likable leads, especially Edmond O'Brien as the poor sap who decides marrying a second woman is truly the smart thing to do. I admit it's easy to get roped into things that seem like a good idea at the time but makes you ask yourself "What the hell was I thinking?"I guess that's the basic synopsis here.

I'm glad I saw it, but I'm a little hazy on why it's in the 1001 movie book. The subject matter was definitely controversial for the time, but I'm guessing they wanted to sneak a movie directed by female maverick Ida Lupino in there somewhere. The book calls it an "out of nowhere masterpiece." I believe that's overstating it more than a bit, but it's worth your time.

And the Elisha Cook Jr. supporting player award goes to…Edmond Gwenn. Gwenn is the conscious of the film in the form of an adoption agent who discovers the truth about our bigamist hero and tries to persuade him to give himself up. But to me Gwenn will always be Santa Claus in Miracle on 34th Street whenever I see him. I'm certainly not alone. Even the movie itself has problems seeing past this! Couple #1 O'Brien and Joan Fontaine even joke about how much he resembles Santa Claus. And if that isn't referential enough, during a tour of the stars homes, couple #2 O'Brien and Lupino come across the home of Edmond Gwenn, despite the fact that Gwenn is playing a supporting part in the movie in which he is being referenced!

Okay, he's Santa Claus already!

OF HUMAN BONDAGE (1934)

HOLLYWOOD'S GOLDEN AGE

(Post 5 of 50)

Though not in the 1001 book, I do think I needed to either see this film or if I was feeling really motivated I might even read the book. Since my Maugham reader wasn't handy, I decided to see the film. It is the story of a a club-footed artist named Phillip who is still trying to decide between being an the arts or a becoming a doctor. He realizes medial school is the best fit for him and falls in love with a crass waitress who seems to not care a thing about him. But he's hooked. Despite other viable romantic options, Mildred is who he wants. He finally gets her and she proceeds to abuse him and treats him like dirt throughout the length of the picture. She does indeed have him in "bondage" and only towards the end does Phillip break his ties and wind up with a more suitable mate. 

You may want to see this to acquaint yourself with the works of W. Sommerset Maugham, but as far as movie history goes, the main reason to see this is that it's when Bette Davis first becomes Bette Davis. She absolutely devours the screen (as well as poor Phillip) in every scene she's in. She is evil, manipulative, and initially appealing. You can see why Phillip is drawn to her. The scene where Mildred blows up at Phillip and tells him how she never loved him is as clear a star-making scene as you'll ever want to see. 

And the Elisha Cook supporting performer award goes to...Leslie Howard. This is a controversial choice in that technically Leslie Howard as Phillip is the star of the movie. Unfortunately, in this one, everyone plays second banana to Bette Davis. But I like Leslie. I've liked him in most everything I've seen him in, even as the Southerner with the inexplicable English accent in Gone With the Wind. In Of Human Bondage, you feel sorry for Leslie's Phillip. We know he's being used by Mildred. He even knows it. He just can't help himself. Sometimes you just fall in love with the wrong person.

SECRET BEYOND THE DOOR (1948)

HOLLYWOOD'S GOLDEN AGE

(Post 4 of 50)

I have some mixed emotions about Secret Beyond the Door. It's a Fritz Lang movie, so it has a lot of the style that is typical of one of the great directors of his era. It's also a film noir, which is certainly a favorite genre of mine. The problems for me are in the plot. The story of a woman who marries a mysterious man, who may either love her madly or want to kill her tends to be a bit confusing at times. At times this confusion adds to the mystery of the plot, but at other times it makes the whole deal a bit convoluted. The overuse of voice over narration from the main character played by Joan Bennett tends to be way too much after time. I did like when the husband played by Michael Redgrave takes over the voice over narration later in the film. 

Still not the first place to go for one going through the catalog of the films of Fritz Lang.

And the Elisha Cook Jr. supporting player award goes to…Natalie Schafer. This film is reminscent of Alfred Hitchock's Reebcca, though not as good. It even comes with its version of Rebecca's Mrs. Danvers character in the part of Caroline played by Anne Revere. But I think Revere comes across as kind of a "Mrs. Danvers lite." She even starts a Mrs. Danvers style fire! But in her defense, it's hard to top Judith Anderson's Danvers from Rebecca by anyone playing this type of role.

So, I'm going to give the award to Natalie Schafer, who is forever known as Lovey Howell from Gilligan's Island. Schafer plays essentially a younger version of Mrs. Howell here. I mean, could she really play anything buy a society dame? She also gives the movie some much needed laughs as Joan Bennett's gossipy friend.

SULLIVAN'S TRAVELS (1941)

HOLLYWOOD'S GOLDEN AGE

(Post 3 of 50)

Disgruntled motion picture director John L. Sullivan decides he wants to make a more social significant film called O Brother, Where Art Thou? Despite the studio's objection, Sullivan decides he wants to live among the poor to get a better understanding of their plight.

Sappy? A bit. Corny? Definitely. Improbable? Certainly.

I don't care. Sullivan's Travel's remains one of my favorite movies from Hollywood's golden age. Joel McCrea as Sullivan and Veronica Lake as his love interest are perfect in the lead roles. But this is writer/director Preston Sturges's film. We see Sturges the writer in evidence in the rapid fire opening dialogue between Sullivan and the studio executives. We see Sturges the director in evidence in the silent scenes where Sullivan and his girl soak in through several scenes without dialogue the plight of the poor. But probably the most famous scene  is where chain gang prisoners join members of a black church to watch a Mickey Mouse and Pluto cartoon. There's a lot to be said for making people laugh. Did you know that's all some people have? It isn't much, but it's better than nothing in this cockeyed caravan.

And the Elisha Cook Jr. supporting player award goes to…Eric Blore.
It seems like all Preston Sturges movies have a plethora of great supporting players. Sullivan's Travels has William Demarest, Franklin Pangborn, Porter Hall and Robert Grieg as Sullivan's philosophical valet.

But I'm giving the award to Eric Blore, who plays Sullivan's butler. This role was nothing different for Blore, who Hollywood loved to cast a butler, so he clearly has the buttlin' thing down. He's resourceful, loyal to Sullivan and probably wiser than his boss in a lot of ways. Other films I've seen him in include the Astaire/Rogers classics Swing Time and Top Hat and Laurel and Hardy's Swiss Miss.