It’s a Mad, Mad, Mad, Mad World (1963)

A man (Jimmy Durante) driving recklessly down a mountain road sails off the cliff. He just went sailing right out there. People from cars that he passed climb down to check out the accident. With his dying moments he tells the group of money buried in a park in Santa Rosa, California, underneath a giant W. I wonder if they can all work together to retrieve the loot? The police take a keen interest.

It’s a Mad, Mad, Mad, Mad World brings together some of the best comedy talent of the day in an ensemble cast that is unrivaled. Popular TV comics of the day, old Hollywood legends, up and coming talents, and character actors. This level of talent could never happen again.

And if you think I’m exaggerating, the five people who visit the crash site were played by Milton Burl, Sid Caesar, Buddy Hackett, Mickey Rooney, and Jonathan Winters. Waiting in the cars are Ethel Merman, Edie Adams, and Dorothy Provine. Ok, Dorothy isn’t all that famous, but she starred in That Darn Cat! That’s not nothing.

Spencer Tracy is the tired police chief monitoring the people’s movements, and Phil Silvers, Dick Shawn, and Terry-Thomas have large, memorable roles. But a complete list of cameos and character rolls would be impractical, but I will at least to mention Buster Keaton and the Three Stooges (with Joe DeRita). It would almost be easier to list the exceptions.

The film is wall to wall stunts and gags. There were about one hundred stuntmen working in Hollywood at that time and about 80 worked on this film. It was essentially filmed twice: once with the stuntmen dressed as the stars (sometimes in blackface), and again with the stars themselves. When Hackett saw the stunt footage, he asked “What do you need us for?”

It’s a Mad, Mad, Mad, Mad World is a long film. IMDb says three and a half hours, but my TCM recording was just short of 3. Apparently a couple scenes were cut before the premiere. I remember loving it as a kid before I knew who most of the cast was, and was curious to know how well it held up. Amazingly well, it turns out. I watched until the intermission then finished the film on a second day.

Which begs the question, how many pure comedies have an intermission? I can’t think of another. But Mad World does not drag. It’s a case study on how to use a large ensemble cast properly. Also, how to use stunts effectively. And better yet, the stunts supported the comedy, not just tacked on.

There are too many side stories about the production and potential casting choices to go into here, but Don Rickles was slighted by not being included. When I saw Rickles in concert a few years ago, he mentioned this. AMRU 4.5.

Tortilla Flat (1942)

Troubled Danny (John Garfield) inherits two houses from his grandfather, and his good friend Pilon (Spencer Tracy) is there to keep him from the pitfalls of property ownership. By this I mean he scams him at every turn. Danny has an eye for Dolores, a hot Portuguese girl (Hedy Lamarr).

Based on the John Steinbeck novel, it is set in a humble California village populated by Mexican-Americans and other poor immigrants. A comedy in the “pleasantly amusing” rather than “actually funny” model, we follow the character’s antics as life goes on.

One issue is that the principal characters are of either Mexican or Portuguese descent, but as far as I can tell only Frank Morgan, who has an Argentinian grandparent, can claim this. This should come as no surprise. During Hollywood’s golden era it was considered progressive to even have Hispanic characters. But to the studio’s credit, they did make an attempt (Anthony Quinn, Desi Arnaz, Rita Hayworth, Maria Montez) but had to settle for Tracy, Garfield, Lamarr, and Betty Wells.

A bigger issue is that the actors spoke in a stilted manner that felt disrespectful. Maybe that's because that’s how Mexican characters spoke in looney tunes. But it was very distracting, especially out of Spencer Tracy’s mouth. I got over this before the film’s end and far be it for me to be offended on someone else’s behalf. I would be interested to know how Mexican-Americans feel.

Tortilla Flat is an amusing story, with many familiar faces in character roles, and my first Hedy Lamarr film, which is the reason I watched it. She invented WiFi, not really, but read about it if you are so inclined. AMRU 2.5.

Bad Day at Black Rock (1955)

A one-armed stranger (Spencer Tracy) arrives in a tiny, remote town asking about a farmer. The locals are none too keen to city slickers poking their noses where they don’t belong, but this Macreedy fellow doesn’t take hints.

The war had just ended and back at the beginning something bad happened at Black Rock. This film acts as an unconventional mystery. We understand the broad strokes but can’t be sure exactly what. Who knows, who was involved, and who can be trusted.

Set in 1945, war vet Macreedy is played by 54-going-on-100 Spencer Tracy, and this stretches credibility more than a little. The studio recruited Tracy hard who wasn’t initially interested. Making his character crippled seemed to have cinched the deal. The studio threw every talented character actor on the payrolls into this vanity project. Robert Ryan and Lee Marvin play principal antagonists, Anne Francis was adorable, Ernest Borgnine in an early role, Dean Jagger as a toothless sheriff, and Walter Brennan to argue politics with Tracy.

Bad Day at Black Rock isn’t actually a mystery but like any good film the details unfold over time. What specifically happened is less of a question than what Macgreedy’s backstory and motivation is, which isn’t explained until the final minutes. But this is an engaging story and an impulse watch. It came on right when I wanted to see something new (and not the dozen or so films I’ve already recorded), and I had never heard of it. Very progressive for it's time, I found it a pleasant surprise. AMRU 4.

“I believe a man is as big as what'll make him mad. Nobody around here seems big enough to get you mad.”

Libeled Lady (1936)

A newspaper editor (Spencer Tracy) is about to be married when his newspaper accidentally sends out an early edition with an unconfirmed story that Libels a Lady (Myrna Loy). Rich lady threatens to sue for five million bucks and put the paper out of business. So he hatches a plan. He hires a playboy ex-reporter (William Powell) to marry his own fiancee (Jean Harlow) then has him seduce the rich lady and get caught. Then she’ll have to drop the suit, because, reasons. Things don’t go according to plan.

What this all adds up to is a fairly generic 30’s rom-com except for a few things. First, it’s funny. Very funny. Secondly, the cast all seemed to be having a great time, and that’s because they were. The four principles became fast friends on the set and that easygoing atmosphere transferred well to the screen. This was the fourth pairing of Loy and Powell (of fourteen), so their chemistry was well known. Additionally, Powell and Harlow were dating (the old dog), so you got that there. Plus, everyone liked Tracy.

There is fairly little to say about Libeled Lady. Standard Rom-com story, but it was well crafted, well written, and funny. And it works. Better than some better known ones. If that sounds good, and you don’t have an aversion to the transatlantic accent, then it won’t disappoint. AMRU 4.

“Driver, can't you go any faster?
I can, lady, but the cab can't.”

Dr. Jekyll and Mr. Hyde (1941)

We know the story. Doctor Jekyll (Spencer Tracy) is experimenting in the true nature of man. The father of his hottie fiancee (Lana Turner) disapproves, but Jekyll can't help himself. Quite by accident he bumps into a low born cockney girl in the street (Ingrid Bergman) and falls deeply in lust. But he is a good man and mustn't allow base instincts take over. So he just kisses her. Nighty-night.

Well, where Jekyll must be a proper gentleman, good friend Hyde has no such requirements. Hyde coerces his concubine into being a kept woman and things slowly get out of hand. Again, you know the story. Tragedy for all.

For the most part, this was a remake of the famed 1931 version rather than the Stevenson work, and suffered the consequence of comparison. Tracy was eager to take the role but was embarrassed by it after fan reaction was rather harsh. Also, Bergman as a cockney barmaid? Hmmm. That's a bit of a stretch. Hotness allows one to get with many crimes and she did have it to spare.

There is one scene where a fevered Jekyll is struggling with his lust for the Bergman character and his duty to his fiancee. He is seen driving two horses, one dark and one white, with a manic expression on his face. Then the horses turn into Bergman and Turner, seemingly topless, with frantic, worried looks on their faces. How's that for slipping it by the sensors? This photo doesn't do it justice, but it's the best I could find.

 

This version was killed by the critics when it was released, but in fairness it's not bad. I haven't seen the Fredric March version yet, so I'll hold off final judgement, but it was definitely worth a look. AMRU 3.5.

 

One final comment about the media. I requested a set of disks from the library and when it was available, I didn't remember what it was or why I ordered it. I discovered that it was a four movie set, two of which were on my see list. This and House of Wax. With both movies, the DVD menu promised that the older version was on the flip side, but the set had Freaks and The Haunting instead. This matched the case, so I'm guessing someone bought the resale rights to the movies and didn't bother to change the menu.

Inherit the Wind (1960)

Inherit the Wind is based on a Robert E. Lee (no kidding) play about the 1925 Scopes "Monkey" trial. The play was also made into a TV movie three times, in 1965, 1988, and 1999. I suppose we are due for a another. Some of the details and all of the names were changed from the historic case, including the name of the town.

The defendant is a young school teacher (Dick "Durwood" York) who makes the mistake of teaching evolution, which is a crime. It town is outraged and fiery lawyer/politician Matthew Harrison Brady (Fredric March) storms into town to save them from this evil heretic. Liberal lightening rod Henry Drummand (Spencer Tracy), hired by the Baltimore Sun, arrives to defend the "only thinking man in town". Gene Kelly tap dances with his mouth as smart alec reporter E. K. Hornbeck.

Inherit the Wind was nominated for four Academy Awards, including best actor for Tracy. The Apartment won best picture that year, with Elmer Gantry, Sons and Lovers, The Alamo, and The Sundowners also being nominated. I have not seen any of these films, but I refuse to believe that Inherit the Wind wasn't clearly better than at least two of them. I will have to see for myself.

Like many plays-to-movie conversions, the dialog was very quick, sharp, and witty. The best lines were written for Kelly. "He's the only man I know who can strut while sitting down", "It is the duty of a newspaper to comfort the afflicted and afflict the comfortable", and many more. Tracy and March, former allies turned political adversaries, have some great scenes together.

Harry "Sherman T." Morgan (still living) plays the judge. A young Norman Fell has a small role. Claude Akins, who has been in an episode of everything, everywhere, is the zealous Reverend Brown. The actor is so very familiar but I can't place what I most remember him from. I watched a lot of TV during the 70's and 80's and he was everywhere. Noah Beery Jr, who was in everything Akins was in +1, has a small role.

At 8 minutes past two hours, I feared that the movie would be tedious. It was not. Every scene was crisp and interesting. An important movie, I would argue (evolution was still a hot-button topic and this was also during the McCarthy trials), but also a very entertaining one. I need to see it again. AMRU 4.

Desk Set (1957)

A "Desk Set", apparently, is what computer systems were called back in the 1950's. Spencer Tracy is Richard Sumner, an efficiency expert. Katharine Hepburn is Bunny Watson, a reference librarian for a TV network. He is working to get the computer system installed and configured without the librarians finding out, she is convinced she and her staff are being replaced by new technology. Joan Blondell is an assistant. 

Tracy behaves strangely while we learn of Katharine's romance with at TV exec. Does she marry him or take a chance with the aged and cantankerous Tracy? I'll never tell. Like there might be a Tracy/Hepburn movie where they aren't romantically linked. 

I was interested in this film because I'm a computer tech. Not so much after I saw it. Maybe I'm just not a Tracy/Hepburn fan. Maybe I found Hepburn at 50 not terribly believable in the role. Still, it's a fair movie. Here's my IMDb factoid: the screenplay was written by Phoebe and Henry Ephron, parents of Nora Ephron. That's the best I could come up with. 

I like these two actors, but I haven't found a film that works for me. I'll try another, maybe Woman of the Year. AMRU 3.

Adam's Rib (1949)

Adam (Spencer Tracy) and Amanda (Katharine Hepburn) are married attorneys who find themselves on the opposite side of a headline grabbing court case. It seems a man was fooling around on his wife, she found out, found him with his lady-friend, and shot him. 

Tracy, sensing familiarity, takes his case. Hepburn, sensing irony, takes hers. Now, I love these two actors, really I do, but what must have been going through their minds? Imagine Tracy's wife going to this movie and saying to their two children "That's your bum of a father and the trollop he flashes around town. Today she is apparently AGAINST philandering husbands!" Unbelievable. 

I don't want to blow the story, but suffice it to say little in this court case played out vaguely the same as it would in a world that resembled reality. Also, I saw little chemistry between the two leads. Tracy at one point becomes so enraged at Hepburn that the movie loses what little humor it had. 

I liked their songwriter neighbor who is unabashedly woo'ing Hepburn right in front of Tracy. What a douche. He was wonderful. Also, I had a moment when Tracy and Hepburn were going about their daily life and one of them lit their stove. I thought for a moment, two high-powered lawyers and that's the only stove they can afford?, before I realized that in 1949, that WAS a good stove. 

Judy Holliday was great in a small role as the accused and abused wife but this wasn't Tracy or Hepburn's best work. AFI called this the seventh best romantic comedy ever. It's not a bad film by any means, but if I see this movie again it would be to figure out why others are so high on it. AMRU 3.