(I wasn't sure where this topic fit best, hopefully this is the place...)
What are some of your favorite or most memorable scenes in the movies that take place in a bar/pub/saloon?
I like the one that opens Woman of the Year, when William Bendix is tending bar and Spencer Tracy is getting burned at Kate Hepburn's droning on about the superfluity of baseball.
Then there is the great scene when Henry Fonda (as Wyatt Earp) meets Vic Mature (as Doc Holiday) in the saloon in My Darling Clementine. It feels so tense and masterfully sets you up for a real explosion between the two.
I'm right there with ya, Miss G., buying a round, looking for fun and trying to avoid trouble. First, let's check out the cool places to visit, along with a few joints to avoid. I can't find the original post I wrote that related to this lovely topic awhile back about nightclubs & bars over on TCM, but I'll include the part of my original post that I saved here, which was written in reply to a similar query from JackBurley(aka Moraldo Rubini) sometime last year:
I'd like to make a pubcrawl through some comfortable watering holes for a quiet drink--though the majority of the ones that I've actually visited in the real world rarely seemed particularly alluring since, as Uncle Eliot (Clifton Webb) says in The Razor's Edge(1946), "the propinquity of the hoi polloi" vexes me.
The cinematic variety does seem to have been quite another, utterly glamorous story, at least at times. Here's my personal montage for places--some glamourous and some outer rings of Dante's Infeno..where we might like to explore the lush life in for a little while...
Wonder Bar(1934): Al Jolson as the bombastic ringmaster of an art deco circus of a nightclub peopled by a jaw-droppingly beautiful Delores Del Rio, bad boy Ricardo Cortez & an ever-chic Kay Francis. They even have Dick Powell warbling and the number that Jolson sings, "Welcome To My Wonder Bar/Vive La France" is a doozie.
Bell, Book and Candle (1958): Let's stop by the Zodiac Club, complete with a French singer, bongos, bass, and subterranean atmosphere which seemed, once upon a time, to my very unsophisticated adolescent eyes, to be way cutting edge.*
Casablanca (1942): Come on, who wouldn't want to stop by this international watering hole with such a great mix of people, music, romance and political tension? I'll order a champagne cocktail from the White Russian bartender, Sascha (Leonid Kinskey), and, while we're at it, how about sending a bottle over to that table with that bitter-looking, darkly intense fella chain-smoking and playing chess against himself?
Humoresque (1946): It's quarter to three, there's no one in the place except you and m---uh-oh, here comes that star-crossed pair, Paul Boray(John Garfield) & Helen Wright(Joan Crawford). I hope that they don't start with that "I'd like to slap your face." & "Why don't you try it?" stuff. When Mrs. Wright gets a snootful, she'll start smashing her glass against the wall and the barkeep will get cranky. Me? I just come here in the wee small hours of the morning to listen to the soothing voice of Peg LaCentra singing "I Guess I'll Have To Change My Plan" and, of course, to ask the musical question, "What Is This Thing Called Love?". Ol' Peg has a way of putting the folly of it all in perspective, at least until the buzz wears off and the sun comes up. Ah, I've been looking for a dive--er, I mean supper club like this all my life, or so it seems.
The Roaring Twenties (1939): I hear that the siren song of Priscilla Lane singing one of those tunes from the Great American Songbook, like "Melancholy Baby" or "It Had to Be You" has cast its spell on the raffishly charming owner/bootlegger, James Cagney. Me, I'd like to catch Gladys George's Texas Guinan turn and observe some of the tough characters who roll in from, and sometimes roll onto the sidewalk. My, my, isn't that Frank McHugh at the curb?
Mighty Joe Young (1949): Gotta grab a quick cab over to that new in spot on opening night. It seems that impresario/conman Robert Armstrong has pulled off quite a coup, booking an endearing monkey and his trainer(Terry Moore) for the allegedly spectacular show. I have to admit that the real thrill for me is the sight of the lions and assorted fauna and flora kept behind glass around one of the longest bars I've ever seen---wonder if that's safety glass? Hmmm, I think I just might have to drop a dime, (or was it only a nickel back then?), to the ASPCA. I don't like the looks of those big coins that we're supposed to throw to the ape and that crowd of drunks at the next table is way too loud. Ah well, it seems that the strains of "Beautiful Dreamer" are beginning to be heard as the curtain rises. What a cute monkey--aaawww, he seems to have a serious pituitary problem, poor guy! I guess there's no harm in waiting until the show is over before notifying the proper authorities of some questionable practices, eh?
The Great McGinty (1940): Ah, there he is, Brian Donlevy, the vertically challenged tough guy with hidden talent, behind the bar in this unnamed South American country without an extradition treaty with the USA. He's waxing philosophical again about the American political system, getting ready to launch into his spiel about when he "used to be a big wheel" back home. Uh-oh, here he goes, launching into his ..."This is the story of two men who met in a banana republic. One of them never did anything dishonest in his life except for one crazy minute. The other never did anything honest in his life except for one crazy minute. They both had to get out of the country..."
Hey, barkeep, like you always say, "never mind the applesauce," can I get some service?? We'd like two margaritas, straight up, no salt.
Balalaika (1939) To close our personal hegira across the nightlife of the cinema world, please let me visit that White Russian nightclub run by the endearing Charlie Ruggles & Joyce Compton. I love that divine doorman, Frank Morgan, and from what I hear, you can't get into the place on Russian New Year's for love or money---well, maybe for love! It's quite crowded this year—who's that? Why it's none other than the cream of Russian society, C. Aubrey Smith, Phillip Terry, and Nelson Eddy, in fine voice, warbling "Ochi Tchornya" & "At the Balalaika". Oooh, how'd those American peasants get in here?
Silverado (1985): Let's stop in for a quick one at the saloon--briefly, however, if we spot that Brian Dennehy guy leaning on the bar and smirking--and seek out the civilized company of proprietor Linda Hunt in this one street, freshly sprung Western town, filled with the scent of greed, potential violence & freshly cut wood used to construct the crackerbox buildings that line that street. Hmmm, maybe that cute Costner kid will stumble through the swinging doors tonight.
The Lost Weekend (1945): Yes, Nat, the Bartender, (Howard Da Silva) could be a kindly, if overly solicitous bartender, but he's right: " [One barroom is] too many, an' a hundred's not enough." I'll have a soda water with a twist of lime please...or maybe a virgin mary since it's pretty early in the a.m. when we arrive here. Jeez, let's duck out back--that Birnam guy (Ray Milland) at the end of the bar looks as though he recognizes me...here he comes to put the bite on me for a fivespot. Gotta go, Miss G.
The Time of Your Life (1948): Here we come full circle, back to the soothing presence of the convivial but no-nonsense William Bendix behind the bar, surrounded in his San Francisco establishment by a pretty genial motley crew of misfits, including a completely non-violent James Cagney, who even claims that he can't dance a step in this one...
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*Off the track of this thread, but the interior and exteriors in B,B & C show James Wong Howe's mastery of color. The whole movie had a gauzy beauty and visual humor, and the beauty reached its height for me when the camera moved away from Shep(James Stewart) & Gillian(Kim Novak) on the rooftop, to gaze at the new fallen snow on a NYC park. Lovely. And the bracingly fresh air is quite invigorating after inhaling all that stale air in those nightclubs.
I'll buy you a round for that terrific pub-crawl of a post, Moira! Sitting at my desk, I feel like I really got away from it all with convivial friends---and the best part is: no hangover!
Lots of the best saloons seemed to be either in Prohibition set films or in westerns whereas the best nightclubs were featured in movies from the mid-30s to the mid-50s.
The club in Bell, Book and Candle was a good choice and yes, exceptionally well lit and designed. I've been to a couple of cellar-level clubs in downtown NYC but they always make me feel clautrophobic.
How about Miss Lonelyhearts? I only remember two sets: the newspaper offices and the saloon where everyone crossed paths.
I suppose it is no coincidence that many good barroom scenes appear in John Ford movies. Besides my previous mention of My Darling Clementine, there is the central-point-of-meeting in Donovan's Reef, the saloon-turned-emergency hospital in The Horse Soldiers, the pub "Cohan's" in The Quiet Man, and of course, the bar where Wayne disdains the rule against serving African-Americans (Woody Strode---who's character doesn't drink) in The Man Who Shot Liberty Valance.
Between spending time in Martini's and the Zodiac, Jimmy Stewart was known to frequent Charlie's...with his good friend, Harvey.
I'd also like to include The Kit Kat Club in "Cabaret." Not only was the entertainment decadent and delicious, you didn't have to leave your table to "pick up" someone...just give them a ring on one of the telephones available on all the tables...
Continuing your little world tour, let's head for:
The Quiet Man: Yes, bring your concertina and reel off a version of the Wild Colonial Boy, while we toast the lovely Irish pub with a dark, thick Guiness.
Brief Encounter: After the guiness in Eire, a quick stopover at the train station in London Town for a quiet pot o' tea with Alex and Laura before we all part company.
Best Years of Our Lives:Then a jaunt over to small town America for a fun filled duet with Hoagy on the keyboard, playing chopsticks while the rest of the gang imbibe until they're blind, and can't find their way home.
The Sundowners: And finally Australia for a cool one with Paddy and Ida (aka Bob Mmmm and Deborah) served up by that dimpled darling Mrs. Firth, better known as Glynnis, while Peter Ustinov looks on fondly.
Oh, the pubs can be such pleasure palaces with the right folks all blending in to form friendships.
Anne
Anne
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And who (having beheld it even once) could e'er forget the delightful Ms. Jane Russell lolling enticingly all over the piano in that bordertown roadhouse as she sings "San Berdoo" at Bob Mitchum in the noir pastiche His Kind of Woman?!
moirafinnie wrote:Balalaika (1939) To close our personal hegira across the nightlife of the cinema world, please let me visit that White Russian nightclub run by the endearing Charlie Ruggles & Joyce Compton. I love that divine doorman, Frank Morgan, and from what I hear, you can't get into the place on Russian New Year's for love or money---well, maybe for love! It's quite crowded this year—who's that? Why it's none other than the cream of Russian society, C. Aubrey Smith, Phillip Terry, and Nelson Eddy, in fine voice, warbling "Ochi Tchornya" & "At the Balalaika". Oooh, how'd those American peasants get in here?
Moira,
The other day I watched for the first time this truly wonderful and entertaining movie. I expected something quite different: another cute "Ruritanian" Operetta with its usual harmless plots, but no it wasn't that at all.
"Balalaika" is a rather dramatic film with sprightly musical interludes and charming touches of comedy, with the Russian Revolution as background. I found Nelson Eddy's performance quite interesting and sufficiently energetic and I might even say, vivacious. This time at least, I did not notice any of the stiffness o woodenness that supposedly was usual in him. He played well opposite the lovely Ilona Massey, whom I liked a lot: a beautiful face, a low voice (contralto?), a talented performer. I even found the ending very touching. This film absolutely exceeded all the expectations I had.
Mention appart deserves the outstanding supporting cast with such seasoned pros as Lionel Atwill, Charlie Ruggles, Frank Morgan, Joyce Compton, C. Aubrey Smith et al. Even Alma Kruger (whom I loved in "Craig's Wife" and "These Three", among others) and Zeffie Tillbury (who was marvellously evil in the sophisticated "Desire") are featured in small roles.
Director Reinhold Schunzel gave the film good pacing and spirit and I do not agree at all with the so-so review Maltin gives this film in his guide.
Me, I'm an old-fashioned girl (tho I don't care much for Old Fashioneds). I like a bar with an oldtime bartender, like William Frawley, Frank Orth or Joe Sawyer.
I think the wildest bar scene I've ever seen is in the movie "Remember Last Night?" A combination of camp, crazy humor, and tastelessness. Has anyone seen this unusual movie?
"Remember Last Night?" is another James Whale movie I'm still waiting to see. Would you consider it a "spoof" of (hard drinking) Nick and Nora Charles?
benwhowell wrote:Between spending time in Martini's and the Zodiac, Jimmy Stewart was known to frequent Charlie's...with his good friend, Harvey.
I'd also like to include The Kit Kat Club in "Cabaret." Not only was the entertainment decadent and delicious, you didn't have to leave your table to "pick up" someone...just give them a ring on one of the telephones available on all the tables...
Jimmy Stewart really preached the religion of fellowship at Charlie's---I wonder if Charlie hired him and Harvey as his PR team...
What about the "Cub Room" in ALL ABOUT EVE? The swank place where the elite meet and eat?
