Golden Age of Hollywood Book Club discussion

Starting a new thread here where folks can itemize recent film experiences.

The previous thread had grown so massive it became cumbersome and awkward to manage. I've archived it.

Setting off with a clean slate! A new broom sweeps clean!

Just watched a terrific comedy from 1950 with the great Alastair Sim and Margret Rutherford, 'The Best Years of Your Life.'. This is a story about what happens when a boys' school, Nutbourne, is invaded by a girls' school, St. Swithins, due to an error by the Ministry of Schools. Believe me the girls are models of decorum compared with the 'beasts' of St. Trinian's. The two student groups have to be kept apart because some of the girls' parents are visiting as well as some of the officials from Nutbourne. Sim and Rutherford are at their best as they try to keep their sanity and jobs.

With those two actors, you just can't miss. This was a funny film indeed.

I took a look at the TCM schedule and decided to watch Tarzan The Ape Man (1932). I have no idea why since I had watched it quite a while ago and wasn't that impressed. But I paid attention to the fact on this viewing that is was pre-code. It didn't take long to see what parts would be attacked by the censors. Weissmuller and O'Sullivan are practically naked in most of the film and there is one underwater scene where O'Sullivan swims naked (a double may have been used). Plus, she stays in Africa with him and they are not married which never would have passed the censors red pencil.

I had a lot of fun with this film on second viewing.

Ohh Tarzan ...yes that a fun one

I've watched several Tarzan adventures. My favorite is the one when he's in NYC swinging through the streets in a suit.

"Separate Tables" (1958) is rather a sad movie. Depressing. I'm halfway through but I'm choosing to stop here and save the rest for some other day

Feliks wrote: ""Separate Tables" (1958) is rather a sad movie. Depressing. I'm halfway through but I'm choosing to stop here and save the rest for some other day"

Yeah, it's one that you have to be in the right mindset for. Agree.

I finished watching Contraband (1940) which was mentioned by Betsy. I enjoyed it but there was a problem with the lighting of the film. It was rather dark...........it could have been the copy that I saw on YouTube. Of course, Conrad Veidt was the star and he is superb in any film in which he appeared.

Glad you were able to see it, Jill. I don't remember it being that dark but maybe so.

"I Know Where I'm Going!" has been keeping me in good spirits for two weeks. One of the best cheer-up and feel-good films I've ever seen

Love that movie, especially Roger Livesey.

Agree with you both on that film. I probably need to see it again since I really enjoyed it the first time. Some films never get old!

Jill wrote: "I finished watching Contraband (1940) which was mentioned by Betsy. I enjoyed it but there was a problem with the lighting of the film. It was rather dark...........it could have been the copy that..."

I still need to see Contraband! Youtube once recommended a specific clip to me, that scene where Conrad Veidt and Valerie Hobson are tied up together and they work to escape their bonds. I think someone posted it purely as an example of bondage in films, just based on the comments on the video, lol. Bondage isn't even my kink but the whole scene had something of a low-key sexy thrill about it, so I could see why someone would find it exciting. Also I love Conrad Veidt. 🥰

You never know what you might see on YouTube :>o

Saw an unusual Film Noir last night, 'The Steel Trap' with Joseph Cotten and Teresa Wright from 1952. It's about an ordinary man who steals $1,000,000 from his bank and plans to take off to Rio with his wife. The plot takes shape as things begin to go wrong. It was surprisingly suspenseful, and you have to take some of the happenings with a grain of salt.

Haven't seen that one but it sounds interesting. Cotton had an interesting and successful career and was always a welcome presence.

The comment was made about them being a married couple in this one while they were uncle/niece in 'Shadow of a Doubt'. Cotten was really malevolent in that one.

Cotton has been in a lot of really great films and I always think of him in that last scene of The Third Man (1949) when Alida Valli walks right by him at the cemetery and he doesn't say a word. Very poignant.

I donno what to think of Joseph Cotton. I admire that he had a long career and seemed willing to take on any role no matter how mean.

He's a puzzle because I can't determine whether he felt himself African-American or Anglo. Some actors you can easily see the 'aim' of their career. Never really certain what Joe wanted from Hollywood.

I'm probably nearing the end of my UK classics cycle now that we're moving into the summer (and my film watching has been season related for years). I've already lined up a bunch of New Hollywood stuff, and I've also been watching a number of Japanese films lately because I've taken the language up again.

Nevertheless, I rewatched Jack Clayton's 'Our Mother's House' (1967) last night which in its own way is just as creepy as his classic 'The Innocent' (1961). The premise: 7 children decide to bury their recently deceased mother in the shed and not tell anybody about it in order to prevent being sent into different orphanages. A some point, their presumed dad shows up, but looking after them is not what's on his mind. The role is played by Dirk Bogarde. He's fine though I couldn't help wondering whether Michael Caine wouldn't have been better suited. Having said that, Caine probably wouldn't have accept an ambivalent role like that, certainly not at that stage of his career.

Feliks wrote: "I donno what to think of Joseph Cotton. I admire that he had a long career and seemed willing to take on any role no matter how mean.

He's a puzzle because I can't determine whether he felt himsel..."

I can't imagine that Cotton identified himself as black just because his mother was part Creole.

Magnus wrote: "I'm probably nearing the end of my UK classics cycle now that we're moving into the summer (and my film watching has been season related for years). I've already lined up a bunch of New Hollywood s..."

Sounds unusual, Magnus, but then Dirk Bogarde starred in several unusual films. BTW, are you a fan of Toshiro Mifune? There are several of his films that I want to see.

Finally snagged a viewing of "Rocco and His Brothers". Very well-done movie.

Strong performance by Alain Delon; as well as by another actor (I don't recognize him) playing his main antagonist, his older brother.

The story is said to have a big influence on Coppola. Definite echoes of the relationship between Sonny and Michael Corleone.

The rest of the family only have minor plot-points, revolving around their primary conflict. Two plowboys freshly arrived in the big city, both intrigued by the same woman (a prostitute). Neither is experienced enough --as men --to detach themselves from her 'exotic' charms.

In truth she is a pitiable character; muddled; unable to get-her-life-in-order. As the two men fight over her, a traumatic family split ensues. Delon is great.

But the most interesting point for me is the behavior of the female characters in the story.

I noticed in this film (as in I believe I've never seen in any other classic movie), truly livid outbursts of verbal abuse towards a prostitute. They are delivered by none other than Katrina Paxinou, who plays the boy's mama.

It's simply scathing. She heaps the poor wretch every bit of scorn she can think of. Blistering.

Italian was my language requirement in college and I'll vouch that both her dialogue and her performance is quite accurate.

And just so startling, in this case. So many other movies of that day would refrain from being forthright in this area. But prostitution is a great shame in Italy's culture. This is the first time I can recall ever seeing it depicted.

Anyway --back to Delon. How charming to see him playing (at first) a shy and tongue-tied farmboy. By the end of the yarn, he still partially retains his innocence ---whereas his brother has become monstrous. One of the foulest characters I have seen in a long time. A pig; a swine.

But --as is often said --a good villain usually makes a good movie.

What else? Cute cameo by pretty Claudia Cardinale.

Overall: an immersive and engrossing tale of Italian family life.

Betsy wrote: "Sounds unusual, Magnus, but then Dirk Bogarde starred in several unusual films. BTW, are you a fan of Toshiro Mifune? There are several of his films that I want to see."

I love Toshiro Mifune. He was my gateway drug to classic Japanese cinema, of course, the first actor I ever recognised from there. I watched most of his Kurosawa work some 30 years ago for the first time, and several times since (I even published some criticism about their Noir, 'Stray Dog').
But the last time I indulged is well over 10 years ago so now, if I can find the time, I really would like to revisit those. Having said that, the films Mifune did in the west rarely do him justice - with the possible exception of 'Hell in the Pacific'.

Glad to hear that. Mifune/Kurosawa films plus the Ozu movies are really the only Japanese films I've seen. But as I said I'm having trouble finding a couple.

Did you have a chance to see 'Belles of St. Trinian's then? Sorry, I forget what you said when we were talking about it.

Kon Ichikawa and Kenji Mizoguchi are in the same league as Ozu and Kurosawa

Betsy wrote: "Glad to hear that. Mifune/Kurosawa films plus the Ozu movies are really the only Japanese films I've seen. But as I said I'm having trouble finding a couple.

Did you have a chance to see 'Belles of St. Trinian's then? Sorry, I forget what you said when we were talking about it."

'Belles' has just moved to the top of my UK watch list, thanks for reminding me. I've never seen it.

As to Japanese films, I just did a quick youtube search and found this little number. https://www.youtube.com/watch?v=wP0JD... Their range runs the gamut from silent to very recent films.
There's also this collection which is quite a bit more obscure but does also feature English subs https://www.youtube.com/playlist?list...

Or this one which feature many Mizoguchi's and some Mikio Naruse (who, besides Kurosawa, Ozu and Mizoguchi is considered the 'number 4' of great Japanese director from their golden studio era (which ended in the 60s) https://www.youtube.com/playlist?list...

Thanks, Magnus. I appreciate the information.

Hope you enjoy "St. Trinian's" when you get to see it.

Good stuff, Magnus. Thank so much.

Guess what? I just watched 'St. Trinian's', a total riot! I never thought it would be this anarchical. It was hilarious. Both Alastair Sim in drag and everything that George Cole represented must have been straight (no pun intended) inspirations for Monty Python.. I bet both Eric Idle and Michael Palin would have adored Cole's character. Thanks for the recommandation.

He is the same character (Flash Harry) in the sequel, 'Blue Murder at St. Trinian's' but Alastair Sim has only a small part unfortunately. Glad you liked it.

I am so glad that you liked "St. Trinian's" as much as Betsy and I did, Magnus. You make a good point about Idle and Palin.........can't you just see either one of them as a George Cole mirror image?

I found, "The Running, Jumping, & Standing Still Film" on archive.org

https://archive.org/details/therunnin...

Directed by Richard Lester, later of Beatlemania fame.

Just 11 minutes long; sketch comedy conceived by Peter Sellers and other cast members of "The Goon Show" (British comedy radio series).

Filmed with Sellers' home movie camera. It is "surrealist humor" with esoteric gags.

I myself, only found only 4-5 of the visual puns comic enough to make me crack a smile.

Besides the hilarious 'Goon Show' Sellers also cut two comedy LPs in this early stage of his career.

I saw a classic Japanese film this week that just blew me away. I don't think it's available with English subs just yet (I watched the French blu ray) but I bet Criterion will release it sooner rather than later. The English title is 'Forever a Woman' (or 'The Eternal Breast'), it's from the mid 50s and directed by only the second female Japanese directors (in the 30s there's one film by a female director but it's considered 'lost'). The twist is, the person in question is a bit like Ida Lupino in that she was one of the era's greatest actresses. Her name is Kinuyo Tanaka which might not ring a bell. But chances are you recognise her face. She worked with Kurosawa, Ozu, Naruse, Kinoshita (Ballad of Narayama) and Ichikawa, though most significantly she was Kenji Mizoguchi's 'muse' and starred in masterpieces like 'Ugestu', 'Sansho the Bailiff', 'Life of Ohara' and many others.
And she directed 6 features between the years 1953 and 1963. I'm not generally keen on the tired Oscar-bait subgenre of films depicting disease and/or people dying. But 'Forever a Woman' is so groundbreaking and cinematic, I was shattered. It deals with a typically 'demure' Japanese housewife who takes some control of her life after divorcing her philandering husband only to discover she has breast cancer and discovering the joy of sexual desire on her deathbed. These unusual, delicate themes are treated in a totally unsentimal style that renders them all the more moving in the end. I was totally gob-smacked. I can't think of any other major film-producing country that would have dared mention, nevermind tackled, a double mastectomy in the 1950s. I know, this doesn't sound cheery. It isn't but I think every movie fan should watch it. It's that good.

Saw 'The Set-Up' last night. Dark and grim to say the least. Doesn't have the flamboyance of 'Rocky' or 'Raging Bull', but probably a lot more realistic. Makes you wonder why people put themselves through that. Found some of the 'spectators' in the crowd to be fascinating with their 'Kill 'im' and passion for mayhem. Robert Ryan was quite intense. I hope he finally found peace with himself. Audrey Totter was not the cold femme fatale of later films. You could feel her pain at what might happen. Good movie but not one I would probably watch again.

Magnus wrote: "I saw a classic Japanese film this week that just blew me away. I don't think it's available with English subs just yet (I watched the French blu ray) but I bet Criterion will release it sooner rat..."

That film sounds absolutely shattering. i am always interested in finding films that you mention but I'm not sure I can watch this one. I am not familiar with the female director but she surely could give this story much more effectiveness than could a male director.

I'm afraid I have to agree with Jill. I'm sure it's all you say it is, Magnus, but I doubt that I would be able to watch it.

Jill wrote: "she surely could give this story much more effectiveness than could a male director..."

Ha! Ha! I'd readily believe that too. But it's good to hear it [what is unfairly labeled today, as so-called 'sexism'] voiced aloud, reinforcing truisms which anyone with any common sense would know to be valid

Magnus wrote: " double mastectomy..."

There's a faint bit of this in 'Reflections in a Golden Eye' written by Carson McCullers

I wonder what the origin of the word-roots are, for this medical term.

Of course I understand your reluctance to watch it. Had I known what the subject was, I might have stayed clear of it too. Thankfully I didn't and was blown away. I can only reiterate what a moving experience it was, mostly because Tanaka's mise-en-scene never gets sentimenal or cloying.
But perhaps a more accessible gateway to her films is 'Love Letters' (1953), her directing debut which, as the title suggests, is a more conventional love story. But it's also the story about Japanese women who 'fraternised' with G.I.s during the American occupation of Japan and ended up as outcasts, mothers, prostitues and/or plain broke. Unlike Japanese society at the time, Tanaka never judges them (in fact, she plays one of them). It's also well worth watching. I have her other four films lined up too.

I really enjoy Japanese film and can't figure out how I missed this director. I am interested in Love Letters (1953) about the fate of the women who probably didn't have much choice during the Occupation in order to stay alive. At least the director doesn't judge them.

Unfortunately, I tried to find access to 'Love Letter' but the subtitles were in Portuguese. If you find it, Jill, let me know.

I haven't found it yet but still looking, Betsy.

I re-watched Out of the Past (1947) a couple of days ago and surprisingly didn't like it quite as much as I did on first viewing. It is always on a list of great noir films and I can understand that but the plot can get quite confusing at times. Jane Greer is so evil and such a liar that I was not always sure where the story was going. She was terrific and this is probably her best known performance. But her constant lying muddies up the story. Don't get me wrong.......I like the film but was more impressed the first time.

For some reason I have never been much of a fan of Jane Greer in Film Noir; just like Lisabeth Scott leaves me cold.

I really haven't seen her in many films but thought she was good in this one. And I can't stand Elisabeth Scott who couldn't act her way out of a paper bag..I think she thought she was Lauren Bacall.

both femmes were notorious for their husky voices

Saw 'The Prowler' with Evelyn Keyes and Van Heflin last night. Supposedly, it was a gift to her from her then-husband John Huston. It was written by Dalton Trumbo before he went to jail. I know this sounds petty, but there's something about her looks that is a turn-off. I mean I just can't see her as a 'femme fatale'. She did all right in the part, but I can't see committing murder for her--and for her husband's money.

I have seen this film but it was ages ago and, to be honest, I don't remember a whole lot about it. Evelyn Keyes' personal life was a lot more interesting than her film career!

It's been a while for me too so I can't remember that much about it. However, I will say that Evelyn Keyes has sex appeal. I do find her attractive in a quirkly way, like a blonde Marie Windsor. I wouldn't say the same about Van Heflin. He's a good actor but I don't see him like a romantic lead.

I agree with you there, Magnus. It's hard to see him as a uniformed cop who goes bananas over a blonde female--and her money.