The January 2014 Schedule for TCM

[Rita Hayworth]

The Adventures of Mark Twain - 1944
Starring Fredric March and Alexis Smith ...


This is truly a March Masterpiece - I thoroughly enjoyed this movie from start to finish and its really captured the imagination of Mark Twain ... better known as Samuel Langhorne Clemens that in some ways more than one captured its essence. I find the movie charming, purely autobiographical, timeless, and most importantly the love of American Youth (especially the Boys in the Mississippi River) so dearly.

I know its has some flaws into it - as Charles Tranberg pointed it out when he was our Guest Author that endorse this movie so well and I just wanted to thank him for pointing out this wonderful film that I saw today. This is well versed movie about the folklore of American Boys - writing of tales of Huckleberry Finn and Tom Sawyer. I just wanted to let you all know that this is so well made and I was overjoyed the acting of Fredric March, Alexis Smith, Alan Hale, and Donald Crisp. Everyone that appeared in this movie was superb and I just can't fathom any other man except Fredric March to take on the role of Mark Twain that born the day Halley Comet came and died 75 years later ... It's kind of ironic to say.

I know that I'm rambling here and there - but I thoroughly enjoyed this movie from start to finish and I was greatly entertained by it.

I hope some of you watch it today ... it was a pleasant treat to see a Fredric March Masterpiece.

[JackFavell]

Have to agree with you Moira, it's perplexing how Brabin could extract some great scenes in Sporting Blood, New Morals for Old, Washington Masquerade and Stage Mother, when also making such ridiculous pap as the mutiny film and the icky musical pic with Ramon Novarro. Also couldn't quite decide if the beauty of The Great Meadow was worth the stilted dialogue and odd emoting of the actors. I really liked New Morals for Old, though it didn't really come to a much of a conclusion... it simply reminded me that Robert Montgomery is a pretty good, relaxed and underrated actor, right from the start. I loved the relationship between him and his sister, very bouncy, very natural for the year it was made. I felt that the film was kind of a warm up for the later H. M. Pulham, Esq. in which Young also settles for a 'regular' family life, but has far more doubts about whether he did the right thing. Loved that scene in the art studio, I totally felt Young's agony at being told he had no talent as a real artist.

[moira finnie]

Thanks for the reply to my Charles Brabin post, JF. I just checked out Stage Mother and was amazed at the fluidity of the camera work (compared to some of Brabin's other films) and the intensity shown by both Alice Brady and Maureen O'Sullivan in their roles. Too bad that the men in their lives were such losers...

Even though I like Phillips Holmes in some roles, his part in Stage Mother wasn't one of them. He could be a tad too epicene when encouraged to be, though ironically, I think this same quality, making him appear more likely to be vulnerable to fatalism, deepened the tragedy of his character in The Secret of Madame Blanche (1933). I know others like Franchot Tone quite a bit, so I will skip commenting on his approach to his role, but Ted Healy really lived up to down to his potential in this movie. Weirdly, this is one of the few times I almost liked him.

[Rita Hayworth]

Moira, just curious do you like or dislike The Secret of Madame Blanche?

[JackFavell]

Yes, I noticed that Brabin's films definitely got more comfortable or seemed to pick up the further into the 1930's he got. And I'm a huge Karen Morley fan so thanks for pointing out her role in Washington Masquerade. it's one of the few movies where she really gets to shine, and I mean that literally - her costumes have more sequins than an ice skater's convention!

I like Stage Mother more each time I see it, but yeah, the men aren't all that, are they? Thanks for keeping Franchot on the down low, since I do actually like 'old turtle face'. It's not a great role for Holmes, which is too bad, because more and more I think he was a good actor who just didn't get roles that could have broken him from that upper crust/college boy image. Perhaps Robert Young took all the callow youth types that could have made Holmes' career? I could see Holmes in The Mortal Storm, could you?

I am always amazed that at the end, Alice Brady and Maureen manage to pull off that reconciliation scene. It seems madness to end it that way, but it gets me every time.

[moira finnie]

Moira, just curious do you like or dislike The Secret of Madame Blanche?

Loved it and enjoyed reading your and others' reactions to the movie. I am not a huge Irene Dunne fan, but thought that she was wonderful in this Madame X-type of role. For a lady who never had a child in real life, she was swell with babies on screen. Adored the scene with her and the baby...just before evil Duke Lionel Atwill showed up to break her heart and twist her babe's spirit as he grew up.

Another reason I liked this film: for once, Dunne sang in a lower key, which was much easier for me to listen to (and prevents sea creatures from beaching themselves responding to her high-pitched distress call). Another Dunne film from the period that I love: Ann Vickers (1933), which showed up on the TCM schedule recently and probably will again. It was directed by the rather wonderful John Cromwell. Vickers, based on a Sinclair Lewis book, is a great example of pre-Code honesty about how human beings behave, misbehave, and react to their circumstances. It also pairs Dunne with Walter Huston, who, along with Cary Grant, may be her best screen partner.

[knitwit45]

Dunne sang in a lower key, which was much easier for me to listen to (and prevents sea creatures from beaching themselves responding to her high-pitched distress call).

]

[moira finnie]

Yes, I noticed that Brabin's films definitely got more comfortable or seemed to pick up the further into the 1930's he got. And I'm a huge Karen Morley fan so thanks for pointing out her role in Washington Masquerade. it's one of the few movies where she really gets to shine, and I mean that literally - her costumes have more sequins than an ice skater's convention!

Yeah, but she looked better in them than any skater ever did. Ironic that Karen Morley played a capitalist opportunist and Lionel Barrymore was the progressive radical in this movie, isn't it? Considering that Lionel was a Republican and Karen leaned toward being a Communist in real life?

Perhaps Robert Young took all the callow youth types that could have made Holmes' career?

I believe that Phillips Holmes was not under exclusive contract to MGM, where callow youths were often a house specialty. Robert Taylor, Eric Linden and Tom Brown had those parts sewn up too. One actor whom I like and might have been closest to Holmes in his screen persona was Douglass Montgomery, who was wonderful in a few roles in the '30s and '40s.

I believe that Phillips Holmes was kind of busy after his initial flurry of movies in the thirties, becoming one of a series of sensitive, troubled young men who were involved with singer-actress-spider woman, Libby Holman. Once she realized that Phillips might actually have a will of his own, she turned her attentions to his younger brother, Ralph, who was under-age. By 1939, she'd married Ralph as soon as he was 21. He never had a chance. More can be seen online about poor Ralph. Libby eventually got her hooks into the gifted Montgomery Clift too, and we all know how that ended.

I could see Holmes in The Mortal Storm, could you?

I am not sure that Phillips Holmes had that undercurrent of strangled rage that could erupt out of Robert Young sometimes in his films (esp. The Mortal Storm, They Won't Believe Me, The Enchanted Cottage). I was so glad when in New Morals for Old, he finally broke away from his mother. His exhilaration in Paris was intoxicating, but at least he understood when it was really over and accepted a rather lonely adulthood in that film. I admire the way that Young had no problem playing self-pitying, unlikable and quite obtuse characters in his most interesting films, though I am also very fond of him in his nurturer roles (Crossfire, Claudia).

What do you think are Phillips Holmes best film roles? I think I would name An American Tragedy, Broken Lullaby, Night Court, and Chatterbox, but maybe there are others I've missed?

[Rita Hayworth]

Moira, just curious do you like or dislike The Secret of Madame Blanche?

Loved it and enjoyed reading your and others' reactions to the movie. I am not a huge Irene Dunne fan, but thought that she was wonderful in this Madame X-type of role. For a lady who never had a child in real life, she was swell with babies on screen. Adored the scene with her and the baby...just before evil Duke Lionel Atwill showed up to break her heart and twist her babe's spirit as he grew up.

Thanks for sharing your thoughts ... what you written here is right on the money.

[JackFavell]

Yeah, but she looked better in them than any skater ever did. Ironic that Karen Morley played a capitalist opportunist and Lionel Barrymore was the progressive radical in this movie, isn't it? Considering that Lionel was a Republican and Karen leaned toward being a Communist in real life?

You know what? I didn't even notice, that's really funny! I knew she was a leftist. I really loved the way they didn't dumb down the politics in this movie. I think it's under-rated and remarkably apt still today even if it isn't a perfect film. And I also liked how both Barrymore and Morley weren't all bad or all good. Each was able to show the flaws in their characters and still be sympathetic. I found Morley's character very interesting, strong with undercurrents of remorse, sexual attraction, and love. I liked the way she just buttoned her lip and went on with it when she realized she had to follow through on her path to destroy him. I don't think it was verbalized in the script, but she put it in there as an actress, that battle within. Those two together were so good, each brought out something in the other that I don't think I see anywhere else. I've never found Lionel particularly attractive, but Morley made him so. And he gave her something rather strong to play off of, leading to a finely tuned, even delicate performance.

I believe that Phillips Holmes was not under exclusive contract to MGM, where callow youths were often a house specialty. Robert Taylor, Eric Linden and Tom Brown had those parts sewn up too. One actor whom I like and might have been closest to Holmes in his screen persona was Douglass Montgomery, who was wonderful in a few roles in the '30s and '40s.

It's another weird case of coincidence today - I had just decided that I very much enjoyed Douglass Montgomery's Laurie in Little Women, that he's absolutely perfect in it, when I saw him in Paid again last week. He was really terrific as Joan Crawford's brother and I decided to see more of his pictures. Turns out he lived in Connecticut for years. I guess I really need to find a copy of Little Man What Now? Since that is the title that jumps out at me from his credit list that I haven't seen.

I believe that Phillips Holmes was kind of busy after his initial flurry of movies in the thirties, becoming one of a series of sensitive, troubled young men who were involved with singer-actress-spider woman, Libby Holman. Once she realized that Phillips might actually have a will of his own, she turned her attentions to his younger brother, Ralph, who was under-age. By 1939, she'd married Ralph as soon as he was 21. He never had a chance. More can be seen online about poor Ralph. Libby eventually got her hooks into the gifted Montgomery Clift too, and we all know how that ended.

I had no idea about Holmes, his brother, and Libby Holman. Gives me some reading to catch up on.

I am not sure that Phillips Holmes had that undercurrent of strangled rage that could erupt out of Robert Young sometimes in his films (esp. The Mortal Storm, They Won't Believe Me, The Enchanted Cottage). I was so glad when in New Morals for Old, he finally broke away from his mother. His exhilaration in Paris was intoxicating, but at least he understood when it was really over and accepted a rather lonely adulthood in that film. I admire the way that Young had no problem playing self-pitying, unlikable and quite obtuse characters in his most interesting films, though I am also very fond of him in his nurturer roles (Crossfire, Claudia).

I like that phrase 'strangled rage' you used to describe Young's characters' discontent. I was happy when he left home and all that sleeping! Let him do what he wants! I liked that he really kind of found himself in Paris, and it was heartbreaking to see him open up to hard work only to have his spirit dashed. I kind of wanted him to keep trying to paint...to hell with what one teacher says! But I guess that was shorthand in the movies for 'time to come home' and face yourself and what you DO have. I find him more and more interesting as an actor. I have a great liking for him already, but in the last year I've seen so many good performances from him. It's no small feat to be relaxed on screen, and to accompany that with some real acting chops as he obviously had right from the start....well, it's made me re-assess his work. I find him the most fascinating character in The Mortal Storm, the character with the most internal conflict. The same goes for several other roles - The Three Comrades, The Shining Hour, They Won't Believe Me, H.M. Pulham, Esq., The Enchanted Cottage...even in Journey for Margaret there are some weird undercurrents going on. A very good actor, too often overlooked.

What do you think are Phillips Holmes best film roles? I think I would name An American Tragedy, Broken Lullaby, Night Court, and Chatterbox, but maybe there are others I've missed?[/quote]

I would have said The first three... I haven't seen Chatterbox. Night Court was the movie that really made me sit up and notice him, it was a big surprise to me, and that's with a cast that includes Walter Huston! Also with Huston was The Criminal Code - I thought his scenes in the prison were very fine, they impressed me highly.

He's quite a cutie in Caravan, with his military uniform on, though he doesn't have much to do but strut around comically. Men Must Fight is an odd prescient film, but still dated, from that time in the early thirties when everyone was still reeling from the Great War. Holmes plays a very difficult role as a pacifist. The film is not too successful but he does the job well in a role that's pretty much doomed to begin with.

[Vecchiolarry]

Hi Moira,

Just a small correction:
Irene Dunne did have a child in real life - a girl, named Mary... I believe she was adopted (?) and is still living, about 80 now.
I did not know her; and didn't really know Irene and her husband very well either, but have seen them in passing about a dozen times over the years.
I had the impression she didn't suffer children too well; she was rather dismissive of us...

The picture Joe has of her today in "Candids" is a perfect example of how she was - unsmiling and something of a frosty gorgon.
Irene was kind of an 'iceburg'!!!!!

Larry

[moira finnie]

Thanks for the correction, Larry. I should have checked before mentioning her rapport with the baby on screen in The Secret of Madame Blanche, but have since learned that Mary Frances Griffin, her adopted daughter, was reportedly born in 1938. I always have the impression that Dunne was a very disciplined person and have respect for her, even though I enjoy only some of her film appearances. I hope her daughter is well and has good memories of her mother and father.

[Jezebel38]

What do you think are Phillips Holmes best film roles? I think I would name An American Tragedy, Broken Lullaby, Night Court, and Chatterbox, but maybe there are others I've missed?

I would have said The first three... I haven't seen Chatterbox. Night Court was the movie that really made me sit up and notice him, it was a big surprise to me, and that's with a cast that includes Walter Huston! Also with Huston was The Criminal Code - I thought his scenes in the prison were very fine, they impressed me highly.

He's quite a cutie in Caravan, with his military uniform on, though he doesn't have much to do but strut around comically. Men Must Fight is an odd prescient film, but still dated, from that time in the early thirties when everyone was still reeling from the Great War. Holmes plays a very difficult role as a pacifist. The film is not too successful but he does the job well in a role that's pretty much doomed to begin with.

Another Phillips Holmes fan here; undoubtedly his best film is AN AMERICAN TRAGEDY, but I really like the films he made with Nancy Carroll (another of whom I am a big fan) DEVIL'S HOLIDAY and STOLEN HEAVEN. Alas, since these are all Paramount films, hard for most film buffs to view. Phillips Holmes, David Manners and Douglass Montgomery; of that early 1930's trio of sensitive young men, I like Phillips the best.

[JackFavell]

Love that photo, Jez!

Yes, I almost mentioned David Manners too. I like them all three quite a lot, depending on the movie. I think perhaps Manners was the most steady of the three, giving good performances for the most part, Montgomery the most good natured, and Holmes was the one with the most reaching talent to begin with, though it sounds as if he squandered it a bit as time went on.

One actor I can't really enjoy is pouty John Beal, he does nothing for me perhaps because he talks like a whiny baby too much for my liking, even if it is appropriate for his characters.

I haven't seen those Nancy Carroll films, I've seen a couple that were not too special on TCM, but I know she made dozens of films in the early talkie period we've never seen before. I'd like to see her get a day sometime so we could delve into her work a little more.