Christmas Eve.

Review #1777: Christmas Eve.

Cast: 

George Raft (Mario Torio), George Brent (Michael Brooks), Randolph Scott (Jonathan), Joan Blondell (Ann Nelson), Virginia Field (Claire), Dolores Moran (Jean Bradford), Ann Harding (Aunt Matilda), Reginald Denny (Phillip Hastings), Douglass Dumbrille (Dr. Bunyan), Carl Harbord (Dr. Doremus), Dennis Hoey (Williams-Butler), Clarence Kolb (Judge Alston), Molly Lamont (Harriet Rhodes), John Litel (Joe Bland, FBI Agent), Walter Sande (Mario's Hood), Joe Sawyer (Private Detective Gimlet), and Konstantin Shayne (Gustav Reichman) Directed by Edwin L. Marin (#503 - A Christmas Carol (1938) and #532 - The Death Kiss)

Review: 

When it comes to Christmas movies, one has plenty of choices. This might be one of the stranger picks to go along with, if only because there are just so many movies centered around the holiday, complete with a handful that have it in the title. But hey, how many pseudo-anthology movies exist around the holiday? Well, at least if you think about it, given the framing device. It revolves around an eccentric old millionaire (one who likes to open the window after putting bird food in the house and give money to kids that kill rats) that could get committed to the nut house if she doesn't happen to have her three (adopted and fully grown) sons show up to meet the judge on Christmas Eve. This is where Brent, Raft, and Scott all come in, with the middle of the three being the only serious one of the bunch, complete with a brief skirmish with a Nazi. Of course, the latter involves a screwball-ish plot with adoption and undercover cops, so here we are with vignettes that revolve around some sort of vice. Of course, there were a few writers responsible for this film. Laurence Stallings and Richard H. Landau adapted the film from original stories, while Stallings did the screenplay. Of course, two other writers were not given credit for help with the story in Arch Oboler and Robert Altman. This was a Benedict Bogeaus production (having decided to become a producer after having been involved in real estate, radio manufacturing, and zipper-making), and the strange thing is that the firm that helped produce the film soon foreclosed on the film for insolvency, which you generally don't hear about.

Christmas movie or not, there is a great deal of mush to get through with this movie. Technically this film is a mishmash of genres, since it makes attempts to be a comedy-drama with chuckles. Unfortunately, it is lukewarm in its effectiveness, essentially being the equivalent of a roller-coaster ride that consists of a straight path with one curving path at half-speed. It isn't terrible enough to really make fun of (or ignore) nor is it exactly good enough to really sit through more than once. Two moderately okay segments cannot make-up for the rest of its rickety shortcomings, particularly with how predictable it is. It is probably one of the only times you will have a vignette with a fight scene turn out to be the lesser of the vignettes shown. It is a shame too, because Raft clearly deserves better material than what he is given with here, which is bland and not really anyone's speed (the stuff with Shayne is almost cardboard enough to become parody when it comes to cliche Nazi villain stuff). Brent at least seems the part for offbeat hijinks, but it barely goes anywhere in terms of actual interest, with Field's attempts at pep only going so far with a mildly interested person to match. This was actually the last non-Western film with Scott in his career, and he basically does a riff on it with plenty of "aw shucks" charm with a screwy vignette (with Moran), which manages to be more curious than the rest of the other stuff (fittingly, it is the last of the three segments). You might (or might not) be surprised that Harding is packed with plenty of aging makeup (for someone who was under 50 at the time this was made). She would likely be more effective if this was on the stage (i.e. playing to the rafters without much movement from a camera), what with all the carefully planned moments of speech that plays on "doddering" but really comes off as "nice try". Denny, Kolb, and Hoey close out the supporting cast with mild chuckles. As a whole, you get exactly what you think is going to happen for a ninety-minute movie with mild-mannered vignettes: serviceable mush, one that is neither terrible nor great in any regard. It is the kind of thing that can be easily found on the Internet, but the choice is up to those who seek it, because mediocrity can only go so far. I can't quite give it a winning grade, but that is just how it goes sometimes with "okay" movies.

Overall, I give it 6 out of 10 stars.

It doesn't happen often that the film title matches the day...and yet here we are. At any rate, I do have one more review coming for this holiday weekend, but I want to get the greetings out of the way. Have a merry Christmas and a Happy New Year.

It Happened on 5th Avenue.

Review #1613: It Happened on 5th Avenue.

Cast: 

Don DeFore (Jim Bullock), Gale Storm (Trudy O'Connor), Victor Moore (Aloyisius T. McKeever), Charles Ruggles (Michael J. "Mike" O'Connor), Ann Harding (Mary O'Connor), Grant Mitchell (Farrow), Edward Brophy (Patrolman Cecil Felton), Arthur Hohl (Patrolman Brady), Alan Hale, Jr. (Whitey Temple), and Dorothea Kent (Margie Temple) Directed by Roy Del Ruth (#395 - The Maltese Falcon (1931), #432 - The Babe Ruth Story, #807 - The Alligator People, #949 - The First Auto) 

Review: 

Once upon a time, there was a studio called Monogram Pictures. They were created to make cheap movies under the guise of two folks: Trem Carr and W. Ray Johnston in 1931. Several series came out of the scraps of former stars and fresh unknowns, whether it involved Westerns or the Bowery Boys. Fifteen years passed before an argument was made by producer Walter Mirisch to do work in costlier productions to evolve. The result was a new unit in Allied Artists Productions that would make more expensive films - in other words, they went from making films at a fraction of the usual Hollywood production to trying to make Hollywood budget-level films. Monogram Pictures continued on until 1953, while Allied Artists would make a variety of films for 31 years (which ranged from films like Invasion of the Body Snatchers (1956) to Love in the Afternoon (1957) to Cabaret (1972), which they co-produced). This was the 63rd of 75 films that were directed by Roy Del Ruth, who one will recognize from his plentiful output of dramas, crime films, and various others (some obviously better than others). The film fell into the hands of Ruth after the rights of the story were brought to Allied Artists after Frank Capra let the rights to the script go. The film was written by Frederick Stephani and Herbert Clyde Lewis, who later received the only Academy Award nomination regarding this film for Best Story (for 17 years, the Academy Awards honored films with Original Screenplay, Screenplay, and Best Story...confusing, but this was the case), which it lost to another classic involving Christmas in Miracle on 34th Street (1947), which like this film also received subsequent remakes in television and radio.

What we have here is the quirky story of folks that move into a mansion while the owner happens to be away for the holidays...which just happen to lead into a love story, a redemption story, and so on and so forth (how the rich man disguised as a hobo is never recognized by anybody besides his ex-wife and daughter as the actual owner of the house is up to you to interpret, because I suppose house portraits aren't present). Basically, it is the kind of film that goes for the heart string of being a better person than just the size of a wallet, where the tramp can be a king, and heartwarming goo is plentiful. Actually, it is an okay film, although its place on the totem pole of Christmas movies depends on one's preferences. I certainly was surprised at first to hear about the connection with Capra and this film (or more specifically, the "almost" connection), but then I realize that Capra had done It's a Wonderful Life (1946), which was released four months before this film - the funny thing is that this was actually delayed for some unknown reason, as research suggests that this film was delayed six months in its release to line up with Easter of all things (as much as I would like to mock this for not being released on Christmas like it should be, Miracle on 34th Street was released a month after this film) - Capra, alongside other famous folks of the time, also gave a recommendation to the film. It sure is a shame too, because one is a film that became a (public domain) classic after it wasn't an initial success with audiences (which is played every year as a tradition), while the other was a light success (making $1.8 million on a budget of $1.2 million budget) that had a shelf life with other Monogram and Allied Artists films for a few decades that has a fair amount of air-time. Besides, both have those moments of trying to sweet-talk their audience with sentiment, but it just so happens one is more efficient at handling what is needed with a film like this at 115 minutes. In other words, it can be funny for those who like what it offers in sentiment, while others will want it the same as getting a hole drilled in their head. The acting is certainly alright from what is needed in earnest from a few solid actors that while not quite well known were at least ones known to give effort. For example, Moore had been an actor on Broadway (in 1896) before being brought in to appear in films beginning in 1915, and this was his fifth-to-last role; here, he is the patron of interlopers with warm kindness, which obviously makes for worthy appeal. DeFore had a steady work in theater and film that would find footing with the advent of television in the following decade, and while he may not make a great romance angle, he at least makes for a spirited effort in the can-do attitude that the film wants. Storm was an actress that spent twelve years acting with a variety of low-budget studios, mostly with Monogram (she ended her film career for television, which worked out for two lengthy sitcoms) - however, the strangest thing to note is that fact that while she sings in the film, it is actually just her lip-synching to someone else (decided by Ruth, much to her disappointment); she does fine here, although the idea of her playing a teenager (while being six years older) is probably a bit much to swallow. Ruggles (who did work in the theater, film, radio, and television in six decades of work) plays the stuffy comic elements well, although the redemption aspects seem a bit more silly in being drawn out. Honestly, it might have worked better with one real story to it, either keeping with the interlopers or the redemption of the rich man into a rich happy man, since instead we have a muddle heap of sap that can only go so far, one that makes a few gags go fine but otherwise feels like an odd egg in the cornucopia of Christmas material to look around for. If one is curious for something that isn't just the usual classic Christmas fare done every time, this might work out just fine. As a curiosity in the eyes of seeing a low budget studio trying to re-invent themselves, it most definitely has a place for cinema, average or not.

Overall, I give it 7 out of 10 stars.