Clash by Night (1952)

World-weary Mae Doyle (Barbara Stanwyck) returns to her hometown, defeated by the past ten years. Now just wanting to be safe, she agrees to marry nice guy fisherman Jerry (Paul Douglas). Mae hates Jerry’s boorish, arrogant friend Earl (Robert Ryan), so predictably, they have an affair.

Marilyn Monroe plays the girlfriend of Mae’s little brother. On loan from 20th Century Fox, this was her first sizable role. Back-handed compliments aside, her performance earned her better roles. Old friend J. Carrol Naish played Uncle Vince. A very different role for him.

Commonly labeled film-noir, Clash by Night certainly has a noir title. It also has a noir cast and director, and the tone is fairly pessimistic, but It seems to just miss. Even TCM’s Eddie Muller seems to waffle on the subject.

Clash by Night is a domestic drama populated by fully flushed out characters. The setting feels very ‘lived in’, probably because it was based on a successful play. Robert Ryan performed in the play as Joe Doyle. Maybe not noir, but excellent performances make it an entertaining watch. AMRU 3.5.

Roadblock (1951)

Straight-laced insurance investigator Joe (Charles McGraw) crosses paths with pretty part time grifter Diane (Joan Dixon). She wants the best things in life and always gets what she wants. Unfortunately Joe can’t afford much on his detective salary, so he reconsiders that whole “ethics” thing.

If there is anything interesting here, it's because it’s perhaps the first film to shoot in the Los Angeles river. Them! (1954), Chinatown (1974), and Grease (1978) and many others would follow suit.

Roadblock is a pretty lackluster Noir. The story is simple and the characters are rather dull. But the biggest issue is that the leads have little chemistry. I just don’t buy their attraction, and thus Joe’s motivation. Short and sweet, but otherwise uninteresting. AMRU 2.5.

The Bells of St. Mary's (1945)

Father O’Malley (Bing Crosby) returns, this time to take over a parochial school run by troublesome nuns. Nuns so troublesome that the previous priest had to be carried out and sent to a sanatorium. Kids have kid problems, school has financial problems, Bing sings songs.

Despite the build up, there is surprisingly little conflict. O’Malley and Ingrid Bergman’s Sister Mary have disagreements, but they are handled very cordially. Nothing that would send someone to a nut house. Una O’Connor is underutilized here.

The first big problem is money. The convent had to sell the kids playground to the local comedic millionaire for maintenance. Millionaire built a giant building on it and now wants the rest for parking. The nuns are hoping he gives them the building for a new school. Quite plausible. It'll be another year before Clarence earns his wings.

The second pertains to a single mother who wants her daughter to attend. This is a curious subplot. The girl was born in wedlock (because production code), but dad disappeared to play in a band. When asked how she has been supporting her all this time, she says in her own words that she’s “no good”. So, one wonders how being no good is a source of income for a single mother. Perhaps she means Entertaining Lonely Men for Fun and Profit. There are elements later in the film that support this hypothesis.

Despite Crosby and Bergman’s obvious onscreen chemistry, a movie about a convent cannot have any romantic undertones. A priest was on set to make sure of that, so Bing and Ingrid decided to play a prank. In the very last scene they embraced for a passionate kiss.

Going My Way was a huge hit, winning seven Oscars. Sequels don’t do as well as the original so less money and resources are usually brought to the production, fulfilling the prophecy. But there was faith in this sequel and RKO got Bergman on loan. Again, it was a huge hit and was nominated for seven Oscars, winning one. Bing was nominated for the same character in two different films, Bergman for the third time in three years, and I believe this is the first sequel to be nominated for best picture. I’m surprised they didn’t force a third film down the pipeline.

The story follows a school year, and during that time Christmas happens. Thus it is tangentially a Christmas movie. But what The Bells of St. Mary's really is, is a pleasant if undemanding watch. Old Hollywood was good at creating a world that seemed very enticing to live in. AMRU 3.5.

Mr. & Mrs. Smith (1941)

Loving couple Ann and David (Carole Lombard and Robert Montgomery) discover that their marriage three years ago was technically invalid. Marital antics ensue.

This is the second film I’ve covered recently where Cary Grant was unavailable for the lead, the first being A Foreign Affair. Oddly I have never covered any of Montgomery’s films. None of his others are even on my radar. Perhaps the only reason why I know him is because he is Elizabeth Montgomery’s dad. He would never work with Hitch again. As for Lombard, she would do only one more film before tragically dying.

The 2005 Pitt/Jolie film was very loosely inspired by this film, but it was mostly a remake of a short lived 1996 Scott Bakula TV show, where it got the espionage/assassin angle. There is also a 2007 TV movie as well as the current Donald Glover vehicle. All of these later properties wisely focused on the action elements.

Lombard convinced Alfred Hitchcock to do this film, or maybe she didn’t. Hollywood stories are to be taken with a grain of salt. While there is humor in many of Hitch’s films, this stands as his only screwball comedy. I support his decision to avoid the genre. Few laughs, little chemistry, wonky ending. If you are looking for this kind of film, consider The Palm Beach Story, Move Over Darling, or even My Favorite Wife. It was just done better. AMRU 2.5.

Thirteen Women (1932)

A “half breed” (Myrna Loy) uses her exotic eastern powers to punish the girls who bullied her back in school.

Loy appeared in The Mask of Fu Manchu the same year, also wearing ‘asian face’. I suppose she was the go-to girl for ‘exotic other’ characters. Hey, it was the 30’s. Our protagonist is played by Irene Dunne, less foolish than the other women. Because of production code edits, thirteen minutes and two of the women landed on the cutting room floor. One whose role was greatly shortened was Peg Entwistle.

Some readers have heard the story of Peg Entwistle, the young British actress whose stardom was cut short by suicide. Days after the release of Thirteen Women, she jumped from the H sign in the Hollywood hills. There is lots of speculation why, but nothing concrete. And the Steely Dan song was likely not inspired by her story.

Thirteen Women is an interestingly weird pre-code film. Shortening to a mere 59 minutes may have had the side benefit of tightening the story and quickening the pace. A lot happens in a very short time. Still, a fully restored version would really be something, if just for the lesbian subplot. AMRU 3.

Susan Slept Here (1954)

Hollywood screenwriter Mark (Dick Powell) wants to work on a serious script involving juvenile delinquents, so his cop buddy places him in custody of a teenage girl (Debby Reynolds) for inspiration, as cops do. This arrangement would keep her out of jail for the Christmas holiday. Jealous fiancé hijinks ensue.

This is the second film in a row where Powell plays a Hollywood screenwriter, after his penultimate film (The Bad and the Beautiful). Glenda Farrell (I Am a Fugitive from a Chain Gang) is Mark’s secretary and Alvy Moore (Green Acres) is his personal assistant. Adorable Anne Francis (Forbidden Planet) is his fiancé. Though we never learn her character’s age, Francis was only two years older than Reynolds. We aren’t to like her so she plays the Ice Queen.

Ignoring the absolute absurdity of the premise, this is a witty and charming story. What cannot be ignored is the creep factor. 35 year old Mark, played by 49 year old Powell, is paired with seventeen year old Susan (22 year old Reynolds). And, no, she doesn’t turn 18 by the end of the film.

Mark, despite his difficulties, is living the white male fantasy that only the 1950’s could give voice to. Cool job, cool apartment, surrounded by helper-friends and beautiful, amorous women, and has a fully stocked bar. Moore's Virgil is his foil. Purposeless job, little respect, and the ladies won't give him a second look. He and Farrell's Maude also serve the purpose of validating Mark's interest in an underage girl. That's very important, isn't that right Woody?

It feels icky to like Susan Slept Here as much as I do. There's not a ton of chemistry between the leads, but it was a very entertaining watch. AMRU 3.

Where Danger Lives (1950)

Handsome doctor Jeff (Robert Mitchum) treats Margo (Faith Domergue), a mysterious woman who tried to take her own life. Naturally, he jilts his pretty girlfriend (Maureen O’Sullivan) and starts seeing her. Her overbearing father won’t let her run off together so Dr. Jeff pays him a visit, and, well, let’s leave it there.

So, hunky Jeff and pretty Margo are on the run because the meeting with “o’ll dad” (Claude Rains) didn’t go exactly as planned, and things go from bad to worse.

Mitchum has a surprisingly physical performance and a bit of a departure from the tough guy roles he is better known for. Sleepy Domergue is a peculiar leading lady. Discovered by Howard Hughes who was determined to make her a star, possibly because she resembled Jane Russell. O’Sullivan’s brief role as good girl Jane … I mean Julie came courtesy of her marriage to director John Farrow. I still tend to confuse her with Maureen O’Hara.

Where Danger Lives has many interesting twists and turns that keep things interesting. If I have any criticism, it would be the lack of chemistry between the lovebirds. I don’t see Jeff dumping even a de-glamed and aging O’Sullivan for Margo. Still, the film goes off in many unexpected directions and is well worth your time. AMRU 4.

While the City Sleeps (1956)

Pretty women are being murdered and the new head of a newspaper (Vincent Price) uses the story to fuel a competition to select the new Editor in Chief. Dana Andrews’ Ed Mobley isn’t interested.

The three competitors are George Sanders, Thomas Mitchell, and James Craig. Sanders plays the high class charmer rather than the magnificent cad he is so adept at. Some may know Mitchell as a fantastic character actor with a knack of appearing in some great films, including Stagecoach, Mr Smith Goes to Washington, The Hunchback of Notre Dame (1939), It’s a Wonderful Life, and Gone With the Wind. Craig also appeared in films. His character has an inside track on the position.

Ida Lupino is something of a free agent, offering assistance to Sanders but for her own reasons. John Drew Barrymore is our villain, more famous as John’s son and Drew’s dad, although apparently not much of one. Silent film star Mae Marsh makes an appearance. She has a ton of screen credits.

Typical of Fritz Lang, there’s a whole lot going on here. Hero Dana is dealing with his relationship with pretty Nancy while schooling the police and reporters on how to investigate a crime. The murders sometimes seem to be of secondary importance.

While the City Sleeps is a pretty good crime drama. While lacking in mystery, it’s an interesting watch from start to finish. It should be noted that not a whole lot of action seems to happen while the city is sleeping. AMRU 3.5.

Mr. Lucky (1943)

Gambler Joe (Cary Grant) needs to raise cash to finance a gambling cruise, so he plots to scam a war relief charity into running a fundraising casino. Will love bloom?

If you like the smart aleck Grant ala His Girl Friday, well here he is. That’s not to say that the films are equal. Girl Friday is a far better film, all around. But his charming scoundrel is present. Laraine Day, fifteen years Cary’s junior, is the charity worker wise to his intentions.

Not too much to say about this one. Typical wartime Hollywood patriotism, as one would expect. Amusing and perfectly watchable film. AMRU 3.5. Wow, I’ve gotten behind on my postings. I still have three films in the chamber.

The Age of Consent (1932)

Serious youth Michael is frustrated by the flighty behavior of his best girl Betty, who appears to be receptive to the advances of the campus alpha-douche. Events have Michael in the arms, and other places, of young waitress Dora. Come morning they are discovered, and Paw goes for the preacher and shotgun.

Memorable for the amusing dialog lampooning promiscuous college attitudes Michael’s traditional values are in stark contrast to his college peer’s but with dad’s downright Victorian views. Michael knows he must do what’s right even if it dashes all of his life’s plans.

There are themes here, but don't go thinking this is a deep film. On the topic of promiscuity, I believe it is suggesting a "moderation in all things" approach. I don't believe a deeper investigation is warranted. Future pin-up girl Betty Grable has a blink-and-you'll-miss-her scene. I had blinked.

Age of Consent is a pretty clumsy early talkie, partially redeemed by the risque theme (Dora, the sexual aggressor, is a minor) and the somewhat amusing dialog:

“You know, you'd be much nicer if you'd loosen your morals.”
“I would be much more comfortable if you would loosen your grip.”

And at 63 minutes, it also has the virtue of brevity. But this gets us only so far. It's fairly dull film. AMRU 2.5.

Strange Bargain (1949)

An assistant bookkeeper, struggling to provide for his family, gets a peculiar offer from his boss. One might say, a Strange Bargain. The boss, despite living a lavish lifestyle, is absolutely broke. Not wanting his family to abandon the lifestyle they've come accustomed to, he decides to commit suicide. He offers ten grand to good man Sam to make it look like murder, you know, because of the insurance. A young Harry Morgan is the hot shot investigator.

While there is mystery here, we know Sam’s exact role in the operation. Involved but not guilty of any real crime, he decides to lie to the investigators and act as guilty as humanly possible. Colonel Potter takes notice.

I suppose we call this film noir, but it lacks much of the attitude we come to expect, ambiguity in particular, but it is what it is. On an interesting side note, Harry Morgan would reprise his role thirty eight years later for an episode of Murder, She Wrote, although I understand the story details differ. Its available on Prime, and I'm curious.

Strange Bargain is an entertaining, but ultimately forgettable film. For much of the film we just worry that a good man doesn’t get in trouble for his role in insurance fraud. Or accidentally accused of murder. Morgan, impressively charismatic in his role, would have made for a better protagonist. And better movies have better protagonists. AMRU 3.

Bachelor Mother (1939)

Lovely Polly (Ginger Rogers) is laid off after Christmas from a department store, when she is mistaken for the mother of an abandoned baby. After the store owner’s son (David Niven) becomes involved for some reason, she is coerced into accepting a stranger’s baby as her own. Will love bloom?

A rom-com requires conflict, some kind of predicament to motivate the story. This predicament is pretty irritating. Polly is literally blackmailed into accepting the baby despite her protests. This element simply doesn’t play well today.

Luckily things improve from there. The trope of the sassy out-upon young woman and the rich, irresponsible playboy is a successful one, if a bit well-worn. And who better than Rogers and Niven in the roles? Bachelor Mother features snappy dialog and some fairly amusing moments. AMRU 3.

This makes three for three this season for non-Christmas Christmas movies.

Sudden Fear (1952)

A stage actor (Jack Palance) is fired by the playwright (Joan Crawford) because she doesn’t think he is romantic enough, so he proves her wrong by winning her heart. And everyone lives happily ever after.

Pitch perfect casting of Palance as the homme fatale. Charismatic enough but definitely not the romantic lead type, he fits the character perfectly. Plus he nailed the performance as the menacing charmer. This is the role that launched his career. Gloria Grahame is his accomplice.

No longer the traditional Hollywood leading lady, Crawford fully embraces this mature lead part of her career. As executive producer, she was involved in all aspects of production, not dissimilar to her character. She wanted Clark Gable in the Palance role but was thankfully overruled.

Crawford’s Myra doesn’t seek help when she begins to fear for her life. This is a key point in order for the story to happen, and it’s handled reasonably well. The director also did a pretty fair job planting ideas into the audience’s head to build later tension. We are never sure how this will all play out until the very end.

A little overly dramatic in parts, but Sudden Fear has solid performances. It’s an interesting take on the genre and totally sticks the landing. AMRU 3.5.

The Las Vegas Story (1952)

A newlywed couple (Vincent Price and Jane Russell) are traveling when husband Lloyd suggests they stop off in Las Vegas. Wife Linda balks at the idea, but hubby mysteriously insists. She used to sing in a Vegas nightclub and had a mysterious relationship with a mysterious serviceman. Lloyd gets a mysterious line of credit so that he can gamble all night while a mysterious new man takes a mysterious interest in our leading lady. It seems to have something to do with her mysterious diamond necklace.

The story is a murder mystery wrapped in a personal drama, told in cockamamie noir-esque dialog. RKO head Howard Hughes wanted to showcase both some gambling establishments he recently purchased and his leading lady, which the script must always remind the audience is otherworldly beautiful.

I never understood the fascination with Russell. Not unattractive, but she was only the best looking woman on screen when she was the only woman on screen. Contemporary reviews seem to agree, with the New York Times calling her “slightly grotesque to look upon”. That’s harsh. The film bombed.

The film features and is narrated by composer Hoagy Charmichael, who might have been another Crosby/Sinatra had he been prettier. I was curious how he got the nickname Hoagy. Turns out, his real first name is Hoagland, so there you go. Producer Howard Hughes (not Hugh Hefner) led a fascinating and tragic life. He was the prototype of the eccentric billionaire, becoming a shut-in during his last few years. Think Monty Burns. Also consider modern cult of personality billionaires who exhibit bizarre behavior and jump from industry to industry.

To be fair The Las Vegas Story isn't a bad mystery, if not a great one. Its Achilles heel is the nonsensical dialog desperately trying to impart heightened importance to every nuance, which it lacks in the final analysis. Compounding this is the complete lack of chemistry between Jane and ex-flame Lt. Andrews (Victor Mature). Their scenes, which should sizzle, just fall flat. AMRU 2.5.

The Window (1949)

Tommy (Bobby Driscoll, by special arrangement with Walt Disney) sleeps on the fire escape to escape the summer heat, where he witnesses a murder. His parents don’t believe him because he’s a kid, and also because he’s a big fat liar. Well, normally. Things escalate when his murderous neighbors catch wind that he may know something.

Filmed in 1947 and shelved because it was “not worth releasing”, it became a sleeper hit in 1949. RKO had been purchased by a man who knew nothing about business. What was his name again? Oh, yea, Howard Hughes. The Window stretches the Noir definition a bit, with a few of the standard elements missing. Most notably the hard-boiled protagonist is played by an imaginative ten year old. Let’s talk about little Bobby Driscoll, shall we?

A talented child actor, he was awarded the outstanding juvenile Oscar for 1949. Similar acclaim came for his roles in Song of the South, Treasure Island, and a whole host of films I’ve never seen. And he was quite good here, even if I found myself occasionally rooting for the baddies. But sadly for Bobby, tragedy struck. Did I say tragedy? I meant puberty. Puberty struck. His voice changed and his drug troubles followed him wherever he went. Washed up by 30, dead at 31.

An interesting side effect of the film is watching how ten year old kids behaved in post-war America. Not just sleeping on fire escapes but playing in abandoned buildings and being locked in their bedroom while the parents went to work. This I’m sure rang true back then but would be strange in my youth, and completely alien to kids today. Now they lock themselves in their bedrooms.

The Window is a well made, well paced film. Despite the child protagonist, it isn’t just a kids movie. I might quibble with the ending, but all in all it’s a pretty good watch. AMRU 3.5.

Stranger on the Third Floor (1940)

Reporter Michael testifies against a man (Elijah Cook, Jr.) found at a murder scene. The suspect had threatened the deceased. Later, Michael finds himself in a very similar situation, and is now the suspect. It’s up to his pretty fiancee to prove both murders were committed by a mysterious stranger (Peter Lorre) only he saw.

I recently learned that this film is considered the first example of film-noir, and TCM was kind enough to air it a few days later. It wasn’t a critical or financial success, the style being a bit of a departure from mysteries and crime dramas of the day. It was called pretentious and artsy, an unusual reaction for an RKO B picture. It featured the desperate and pessimistic attitude, and expressionistic lighting of later noirs, and an extensive dream sequence.

Ethel Griffies, who was our hero’s cantankerous landlady, played the elderly ornithologist in The Birds some 23 years later. His neighbor is played by prolific character actor Charles Halton, who appeared in 174 feature films, 108 in a six year span between 1937 and 1942. He must have jumped from set to set shooting his scenes quickly then moving on. He has appeared in everything from classics to forgotten B pictures. He worked until he was 82, then died at 83. He needed the rest.

Peter Lorre was very Peter Lorre playing the Peter Lorre role. He had little screen time but was quite good. Elijah Cook had a surprisingly small role. Heroine Margaret Tallichet was quite charming, but having married director William Wyler, would retire a year later.

Perhaps the real villain was the criminal justice system, too quick to rush to judgment. Too eager for a conviction, truth be damned. Our hero learns this only when the shoe is on his foot. Also, he is kind of a jerk. Pretty Jane should think twice before marrying him. Stranger on the Third Floor does have a strange tone. Maybe a bit pretentious. Still, it’s interesting, and Peter Lorre is fun to watch as a demented killer. AMRU 3.

The Gay Falcon (1941)

George Sanders is Gay Laurence (aka The Falcon), a bored stock broker and amateur sleuth who becomes involved in a jewel theft, and tries to keep his fiancee from getting the wrong idea.

The Falcon series was criticized as a cheap rip-off of The Saint. I haven’t seen any of the Saint films, but from what I gather it’s an unfair comparison. The Falcon is a series of mystery films featuring an erudite womanizer who solves crimes, starring George Sanders in the title role of four of them, includes an embarrassing asian stereotype character in a servant role, with one film named The Falcon Takes Over, while The Saint is a series of mystery films featuring an erudite womanizer who solves crimes, starring George Sanders in the title role of five of them, includes an embarrassing black stereotype character in a servant role, with one film named The Saint Takes Over. There’s no comparison at all.

Many character actors are here, notably Wendy Barrie, who appeared in three Saint films and another Falcon. Willie Fung played the asian stereotype servant Jerry. He died tragically young at 49. Comic actor Allen Jenkins is The Falcon’s assistant in this and two other films. He appears in a surprising number of films, including King Kong, and most recently as a bumbling detective in SH! The Octopus.

Twelve year olds today may giggle at the character name, particularly when he says ‘Call me Gay’ to a lady in a vaguely foppish manner, but there is no queer coding here. Cary Grant may have gone “gay all of a sudden” three years earlier in Bringing up Baby, but that meaning hadn’t yet entered the popular vernacular.

Saunders grew tired with the role and perhaps thought himself too good for such films. I would agree. His purring sarcasm was a delight with the proper script and he would go on to appear in some great films. He handed it over to his real life brother, Tom Conway, a fine actor perhaps more suited to B movie roles. Conway appeared in three of the Lewton horrors and finished out the string of sixteen Falcon films.

There is no end to light mystery series made during the 30’s and 40’s. Torchy Blane, Boston Blackie, Philo Vance, Sherlock Holmes, even the Thin Man, and many more. The Gay Falcon is, by all accounts, no worse than the rest, and I briefly toyed with the idea of shooting through the series, to which my son retorted “Well, you know what you should do”. Yea. We will leave this series where it is. AMRU 3.

Crossfire (1947)

A man is found murdered in his hotel room. He was seen the night before with a few servicemen in a bar. Police investigate, and focus on one soldier whose whereabouts are unknown.

The film stars three Roberts: Young, Ryan, and Mitchum. Young is the police chief investigating the crime, and Ryan and Mitchum are servicemen trying to ‘help’. Gloria Grahame had a small but important role as the dance hall girl who may be able to account for the married suspect’s whereabouts. Grahame’s private life was pretty bonkers.

Jacqueline White, who played the wife who just wanted her husband cleared and didn't care where he hid the salami, was charming in her limited role. She only appeared in twenty features and retired at 30 to domestic bliss. She turns 100 this month. A highlight was a character known only as ‘The Man’. He appears at Ginny’s (Grahame) apartment to find our poor suspect. We never figure out his story because he keeps changing it. It’s actually quite amusing. I want to know more about that character. I also want that coffee maker.

The story isn’t very complicated but the movie can be confusing because I had difficulty keeping the characters straight. Also, the IMDb trivia section called it “one of the most visually impressive film noirs ever made”. Please watch The Third Man (1949). I wouldn’t complain about Crossfire's cinematography. It was just middle of the road.

Crossfire (which features no crossfire, figurative or otherwise) was nominated for five Academy Awards, including best picture, but won nothing. It isn't much of a mystery. I was certain of the killer midway through the first act. And it got a little preachy, as some post war films do. But it scores on atmosphere and some delightfully quirky scenes. I was looking for a solid noir and this hit the spot. AMRU 3.5.

Born to Kill (1947)

A floozy wants to get her tough underworld-type boyfriend (Lawrence Tierney) jealous, so she goes out with a young sap. He responds by killing them. The bodies are found by a woman (Claire Trevor) who considers calling the police, but has a train to catch. So does the murderer, who takes a fancy to her.

Truth be told, I selected this film because I saw Lawrence Tierney’s name and mistook it for Gene. I’m glad I did. Lawrence was an interesting chap. Violent and hot-headed in real life, he was perfectly cast as the violent and hot-headed Sam. His career is pockmarked with confrontations and bar fights. It’s a wonder his career lasted as long as it did, not to mention his life.

Gritty and pessimistic, this is not the kind of film I expect from Robert Wise. No doubt a talented director, but even his horror films tend to exhibit a certain optimism. Elisha Cook Jr. is great as usual as Sam’s buddy, and I must blurb on Walter Slezak sometime, but today my attention is drawn to Claire Trevor. We’ve crossed paths a few times but I’ve never taken the time to notice her. Here she is the object of desire but a year later she gets slapped around in Key Largo. Eight years prior she was a hooker with a heart of gold in Stagecoach. She was fantastic here and I must pay her closer attention in the future.

Born to Kill may be a non-traditional noir, but make no mistake, noir it is. And I thoroughly enjoyed every scene, never knowing precisely where the story leads. I could quibble with a few story elements, but noir tends to have an element of fantastic realism. It was a fun watch. AMRU 4.

Once Upon a Honeymoon (1942)

It’s 1938 and an American with a past (Ginger Rogers) is engaged to an Austrian Barron, who may or may not be a Nazi (he may). Newsman Patrick (Cary Grant) is dying to get an interview to find out who she is and more about this Barron guy. Gosh, she sure is pretty.

Ostensibly this is just a Cary Grant/Ginger Rogers rom-com with war as a backdrop, but the stakes are raised as they try to avoid the Nazi’s and do … whatever it is they are trying to do. Unfortunately, the screenplay was, as Grant famously said, rubbish. Bad dialog, bad jokes, scenes that either undermine the tone or simply don’t work. It could have been so much closer to mediocre.

Interestingly this is one of the few war films of the time that make a direct reference to Jews. There is a Jewish maid whose life is in danger and our heroes even visit a concentration camp. They deserve credit for that even if the tonal balance was way off. It wanted to be a serious war film but with a love interest and star power, but it failed in the execution.

Our Jewish maid is played by Natasha Lytess who was Marilyn Monroe’s acting coach. They were close friends and outlived her by less than a year. Cancer is a bitch. A young Nazi is played by a slim John Banner, Sargent Shultz himself. I rewatched the scene to see if I could spot any Shultz in his face. I could not. What a difference twenty years makes. And sixty pounds.

Director Leo McCarey has a better than fair reputation, but I can’t help but lay the blame at his feet. The writer provides the script and the studio provides the resources, but the director has to make it all work. And it didn’t. He could have evened the tone and made sure the scenes had weight. I think he just went with what he was handed. AMRU 2.5.