The Trouble with Harry.

Review #2509: The Trouble with Harry.

Cast: 

Edmund Gwenn (Capt. Albert Wiles), John Forsythe (Sam Marlowe), Shirley MacLaine (Jennifer Rogers), Mildred Natwick (Miss Ivy Gravely), Mildred Dunnock (Mrs. Wiggs), Jerry Mathers (Arnie Rogers), Royal Dano (Deputy Sheriff Calvin Wiggs), and Parker Fennelly (Millionaire)

Produced and Directed by Alfred Hitchcock (#219 - Rope, #223 - North by Northwest, #446 - Spellbound, #447 - Psycho, #450 - Vertigo, #455 - Rear Window, #553 - Strangers on a Train, #800 - Shadow of a Doubt, #910 - Notorious, #963 - The Lodger: A Story of the London Fog, #964 - The Ring (1927), #965 - Downhill, #970 - Mr. and Mrs. Smith, #977 - Frenzy, #1343 - The 39 Steps, #1739 - The Birds, #1828 - Rebecca, #2014 - The Lady Vanishes, #2032 - The Man Who Knew Too Much, #2374 - Blackmail [1929])

Review: 

"With Harry, I took melodrama out of the pitch-black night and brought it out into the sunshine. It's as if I had set up a murder alongside a rustling brook and spilled a drop of blood into the clear water. These contrasts establish a counterpart; they elevate the commonplace in life to a higher level."

I suppose it is hard to be the ugly duckling of a string of movies, but The Trouble with Harry is certainly a curious film in the work of Alfred Hitchcock. Of the eleven movies Hitchcock directed in the 1950s, it served as his only comedy (and one of just two that weren't thrillers, and the other was the based-on-a-true-story The Wrong Man [1956]). Of course, it wasn't his first comedy, as evidenced by Mr. & Mrs. Smith (1941), but Hitchcock apparently was quite keen on doing this film the way he wanted, complete with doing it in VistaVision with primary filming in Vermont (well, at least until they needed leaves on the trees or scenes in a certain gym). There were a few firsts here too. This was the first Hitchcock movie with music by Bernard Herrmann, who he would work with all the way to Marnie (1964). It was also the feature film debut of Shirley MacLaine*. She was not even in her twenties when she moved to New York to try out acting, which had her go from a bit role in Me and Juliet on Broadway to being the understudy-turned-star of The Pajama Game (due to an ankle injury of the star). The result of stepping into the role on Broadway attracted attention by Hal Wallis that eventually saw her signed to a contract with Paramount Pictures (and, well, Hitchcock apparently was interested to do a film with a charming unknown). Based on the 1949 novel of the same name by Jack Trevor Story, John Michael Hayes wrote the screenplay in his third collaboration with Hitchcock (having previously done the screenplay for Rear Window [1954], To Catch a Thief [1955] before doing The Man Who Knew Too Much [1956). While the movie was not a big hit in the States, it did play fine in Europe for years and apparently the film was one of Hitchcock's personal favorites. Hitchcock had the film rights until his death, whereupon it made the rounds in reissuing in the 1980s. 

You might call it a morbid little movie or one of Hitchcock's more mellow efforts, one that might actually be thought of as filled with whimsical nature. So yes, it is a pretty warm and fairly enjoyable affair (one that even can thread the needle of suggestion when one character asks if they can sketch them in the nude). The body is there just to be there, because the mystery is peeling the layers of these peculiar people in this landscape (yes, even with some studio shots, you get some neat views of the autumn season) for 99 minutes. You either are with the film in its casual sly nature for all the things that come with a ride that basically handles death as if it really was just a case of "so it goes" (yes I am cribbing from Kurt Vonnegut's Slaughterhouse-Five that had its own views about death, but, well, I actually did read that in college). Leading the way is Gwenn in one of his swansongs. This was among the last of Gwenn's films as an actor, as he appeared in two more movies (and one episode of Hitchcock's Alfred Hitchcock Presents) prior to his death in 1959 at the age of 81. He deftly handles it with the solid professionalism that comes with selling someone who really can just coast with some of the offbeat lines that come in observation and newfound zest, which probably overshadows Forsythe and his offbeat non-conformism (at least he wasn't going for "beatnik") a bit by comparison. Even as the youngest of the ensemble, MacLaine holds her own with a sense of odd grace and the type of confidence that leaves one invested in their lives and the wayward path that might come with being paired with Forsythe. Natwick rounds it out with solid dignity and understated charm, at least when one doesn't see the considerable age difference [28 years] between her and Gwenn. Rounding it out is Dano pulling out the humorless dry authority figure that mostly balances out the whims had by the main quartet, which I guess works out to how it goes in our everyday lives in sobering qualities. In general, it might not be among Hitchcock's best of the best, but it is a curious film you should seek out, one that has some amusing moments within a film full of peculiar characters brought to life with useful energy and a leisurely pace to make it all matter at the end.

Overall, I give it 8 out of 10 stars.

Starting now, we're doing a song of the day. Enjoy at your own risk.

*Yes, that would be the younger sister of Warren Beatty. Go figure each actor would use modifications of their names for films, as she would use a modification of her middle name (MacLean) while, well, someone took off a "t" from their last name of Beaty

At Long Last Love.

Review #2249: At Long Last Love.

Cast: 

Burt Reynolds (Michael Oliver Pritchard III), Cybill Shepherd (Brooke Carter), Madeline Kahn (Kitty O'Kelly), Duilio Del Prete (Johnny Spanish), Eileen Brennan (Elizabeth), John Hillerman (Rodney James), Mildred Natwick (Mabel Pritchard), and M. Emmet Walsh (Harold) Written, Directed and Produced by Peter Bogdanovich (#1000 - The Last Picture Show, #1475 - Mask, #2093 - Targets)

Review: 

Admittedly, a handful of films that were thought of as flops are really just because they fit the bill of something worth tearing down because of its star or director being, well, worth taking down a peg. In this case, Peter Bogdanovich might have been an easy target. He had made a tremendous debut feature in Targets (1968) after once being a stage actor, film essayist and critic. Sure, it wasn't a hit with audiences, but it was a damn good thriller. The Last Picture Show (1971) came out of the blue to rip-roaring success. His next film was a homage to screwball comedies in What's Up, Doc? (1972); Paper Moon (1973) was a road feature that adapted a play to pretty good acclaim. And then there was Daisy Miller (1974). The lavish period adaptation of the novella of the same name that Bogdanovich labeled as both "good" and "completely uncommercial" was not exactly a favorite at the time. At Long Last Love (1975) did not have the time or luck to change a perceived slump by Bogdanovich. He was inspired to make the film when he was given a book of song lyrics that had been done by Cole Porter by his then-girlfriend Cybill Shepherd (star of two of Bogdanovich's previous films). It was the first Bogdanovich written entirely by himself (after having co-written a few of his other ones) and it would be one where the actors would sing the song live, which is tough to do if one is not exactly in with dancing on step. It was rushed into theaters and torn apart enough to the point where Bogdanovich printed an open letter of apology. Reynolds stated his belief that the film "Not as bad as it was reviewed. What was reviewed was Cybill and Peter's relationship." Various versions of the film persisted over the years (with different scenes added or missing), which included a cut that wasn't even done by the director. Apparently, a studio editor named James Blakely (a Porter fan) had made an edit of the film (lasting 121 minutes) that honed to the shooting script that was similar to the first preview cut that found its way as the "default" used for streaming. Bogdanovich (having heard of the Netflix version and being delightfully surprised) acknowledged the edition and with a little bit of additions, a "Definitive Director's Version" came out in home media in 2013. But in general, one probably does have to take a little bit of effort to see the film more than other certain flops, particularly when compared to other Bogdanovich films.

Sure, the footwork and singing in certain areas is a bit curious to view for those familiar with musicals. Sure, it has an air of strange elegance that could only come from someone who pushed on making a "jukebox musical" of Cole Porter songs with a loose execution in, well, take your pick. Sure...I actually liked it. It is a playful meet-cute that is full of strange imperfections that seem quite amusing when packed in such a dazzling feature that is old fashioned and yet amusing. These are eccentric "different class" people that are seen doing things such as say, dropping glasses off buildings or casually parking cars with a thud on the lawn. They bumble and stumble in such casual effectiveness that could only come from someone who believed in the actors to basically be like the figurines that are seen to introduce and end the film in that wind-up fashion (complete with a look once described as "Black and white in color"). Reynolds glides through the film with such a casual aura that benefits the proceedings in the charm that arises in offbeat singing/dancing that seems more on the joke in stumbling neatness. Of course, I might be biases because, well, I like seeing Reynolds even in a strange movie like this. Shepherd might have been a lightning rod for criticism, but she doesn't do a terrible job here. Sure, she wavers in certain numbers, but she isn't exactly meant to be playing an angel anyway (goofy brat might be the word here). Del Prete (an Italian singer/songwriter/actor) is adequate, albeit mostly as a straight man (with the obvious qualities in hunky goofiness) to other odd qualities, at least when Kahn is right there to play up this frivolous foursome that really need someone to be there with them for those good times rather than melancholy. It is the support from Hillerman and Brennan in amusement that end up saving the film from dottering away, for which one can be grateful. There are worse ways to hear songs played out than this film, ones where they drone on and on or never really elevate the material, but At Long Last Love just happens to be lightly charming in a way that seems to be an out of its time curiosity that plays with the musical while not forgetting the interest that arises in its Porter jukebox for a chuckler that is about people who happen to sing rather than just a straight to the point singing film. On that note, it is a Bogdanovich movie worth looking into with a curious glance because of the clear delight he has in making a tribute to the old days that I'd affectionate without being beholden to doing everything just as one would expect it to be. It is the kind of odd duckling that belongs in the discussion for viewing not as a flop but as something to marvel as a director's vision that hits its mark.

Overall, I give it 8 out of 10 stars.

Well, here we are with another theme August finished up. Fourteen reviews (one redux) saw a few surprises in the mix from theatrical interests such as Trap and fun times such as Showgirls. I've been trying to get into the spirit of viewing+reviewing movies with the proper amount of commitment that I hope has been maintained to usual expectations.

There was not quite enough time to consider more films to give "acknowledgement" for August, with a few shortlist misses being movies such as: Treasure Planet, Heartbeeps, 1941, City Heat, Quintet, Moment by Moment, and Staying Alive (the latter three have been thought of for Turkey Week before). The future is uncertain for August 2025, but I'm sure there will be a suitable "A" thing for next time around. I'll try to find some interesting films for September 2024 before, well, you know about October and November. See ya soon. 

3 Godfathers (1948).

Review #1778: 3 Godfathers.

Cast: 

John Wayne (Robert Marmaduke Hightower), Pedro Armendáriz (Pedro Encarnación Escalante y Rocafuerte), Harry Carey Jr. (William "The Abilene Kid" Kearney), Mildred Natwick (Dying Mother), Ward Bond (Sheriff Buck Sweet), Mae Marsh (Mrs. Sweet), Jane Darwell (Miss Florie), Guy Kibbee (Judge), Hank Worden (Deputy Curly), Dorothy Ford (Ruby Latham), Charles Halton (Oliver Latham), Jack Pennick (Luke), Fred Libby (Deputy), Ben Johnson (Posseman #1), Michael Dugan (Posseman #2), and Francis Ford (Drunken Old-Timer at Bar) Directed by John Ford (#398 - The Last Hurrah, #1324 - 3 Bad Men, #1349 - Stagecoach, #1372 - Fort Apache, #1392 - The Searchers, #1409 - The Man Who Shot Liberty Valance) 

Review: 

Well, if you need a Western with a Christmas bent, here you go? Of course, this also happens to be yet another John Ford and John Wayne collaboration, albeit one that is probably not as well-noted as the others (such as Fort Apache, released around the same time). The film is adapted from the 1913 novel The Three Godfathers, which was written by Peter B. Kyne. That novel had been adapted into a film five times: The Three Godfathers (1916), Marked Men (1919), Action (1921), Hell's Heroes (1930, directed by William Wyler), and Three Godfathers (1936); Ford had directed the 1919 and 1921 films, while Harry Carey Sr had starred in the first two adaptations (I'm sure you are all familiar with the next adaptation of the book in Tokyo Godfathers (2003)). As such, when Ford decided to do another version of this tale, he dedicated it to Carey (who had died in 1947), with the opening title card describing him as the "Bright Star of the early western sky..."). At any rate, this was the fifth starring role for Wayne in a John Ford film, coming off the heels of Fort Apache (1948) that would be followed by She Wore a Yellow Ribbon (1949) and a handful of others, although this might be the lightest of the Westerns they did together. This was the third and final collaboration of Ford and Armendariz (who decided to take on roles besides Mexican cinema in the mid 1940s), while Harry Carey Jr is given an "introduction" despite having done a handful of appearances in film prior to this one, which would be part of a solid run in character roles. The film had three screenwriters in Laurence Stallings, Frank S. Nugent, and Robert Nathan.

You have to understand that the tale is basically a re-telling of the religious tale of the Three Wise Men, so it shouldn't be surprising that there were varying levels of sentimentality in those feature films I just mentioned. The result is a movie that turns out to be just fine, one that will give a fair smile to one's face without turning it into a gloppy mess. For the most part, anyway (106 minutes), since it is sort of a family film that has a bit more chuckles than action (case in point about the adaptation differences, earlier versions featured a bloody gunfight). Well, that and plenty of sand (for Death Valley...doubling as Arizona, anyway), which means that this results in a nice-looking feature that you would expect from Ford. Wayne does fine with what is required from the role in stiff chiseling, one that isn't meant to toe too much into the sentimentality pool that is mostly believable in the long run. Armendariz and Carey Jr make worthy supporting presences in terms of snappy charm that make a useful triangle of pseudo-wise men in a makeshift family feature. Bond is the other key presence, doing exactly what is needed in light casual charm. The sacrifice at the end can only work if one believes it. In two of the previous adaptations (i.e. the 1930/1936 versions), attempts to find suitable water were a key part. Here, it is a bit more tied down, syrupy and curious at the same time. Well, since this is one of the John Wayne features where he isn't engaged in a duel at the end, that shouldn't be too surprising. As long as one stomachs where it goes, all should work out. As a whole, it is a light and charming Western that serves itself well in adapting familiar material with a useful spin and a solid trio that make for a curious Ford selection that follows the holiday tradition well enough without becoming stuck in comparisons. Instead, one takes its message of hope and cheer and runs with it.

Overall, I give it 8 out of 10 stars.