Sidney Buchman

[Konway]

Hello Everyone,
As you know, Sidney Buchman is a screenwriter who wrote the screenplays for films like Mr. Smith goes to Washington and Here comes Mr. Jordan (1941). But I deeply appreciate what Buchman did for Here comes Mr. Jordan (1941). With Seton Miller, Sidney Buchman wrote the screenplay for the film. Columbia Head Harry Cohn originally wanted to give a low budget for this film.

But Sidney Buchman was eventually able to talk Cohn into forking out for costly celestial sets and Farnsworth's elaborate mansion and also into hiring Robert Montgomery on loan-out from MGM. Buchman was also able to convince Cohn that he had a better appreciation of what the public would pay to see than the Wall Street bankers who Cohn answered to. I can only stand and admire the seriousness Sidney Buchman put into this film. Here comes Mr. Jordan is one of my favorites. Thank you, Sidney Buchman!

konway

[ChiO]

It just so happens that Sidney Buchman co-wrote (with Irwin Shaw) the movie I'm showing tonight, THE TALK OF THE TOWN, the Buchman-written movie released right after HERE COMES MR. JORDAN. He certainly had a knack with comedy, also writing THEODORA GOES WILD, THE AWFUL TRUTH (uncredited) and HOLIDAY. Sadly, yet another career interrupted by the blacklist.

[JackFavell]

Oooh, I love Here Comes Mr. Jordan, for years it was high up on my favorites list and was one of the first 6 videos I ever bought. Of course, I love that mini genre - every one of those ghostly love stories of the forties - the way fate plays it's hand, the eternal nature of love which can't be extinguished even in death. I also love Robert Montgomery and James Gleason. It's a great story, and even works in the remake.

ChiO, I really like all the Buchman titles you mentioned. It's taken a while, but I even like The Awful Truth, which I used to dislike, probably because I didn't understand it. I wasn't grown up enough for it.

You know, it seems ridiculous, but it never occurred to me until I watched the John Garfield doc the second time thru ton Tuesday, that the Communist Witch Hunt could have been a secret way to cleanse Hollywood of Jews. Isn't it odd that so many fought against Germany's hate policies in WWII, only to find it come to roost at home? This more racial idea was given to me by James Cromwell who was one of the narrators of the doc. It literally never popped into my head that it might be a racist thing, rather than a 'dangerous idea' thing. I HAD wondered recently why certain people seemed to escape being blacklisted, despite their sympathies. Only recently did I start to parse it out that it might be because they were gentile. Am I wrong? Is there more to it than that? I think racism is hard to even process, if you don't think in terms of race in your own life. and I don't think that way. People are people. I never notice what affiliations they have, unless they are trying to make me join their church or something. I never really thought about who was blacklisted in terms of race before. Excuse me for being obtuse on the subject, is this something that was clear to everyone but me?

And unfortunately, Hollywood destroyed itself through the blacklist. I think it never really recovered. It's easy to blame it all on the advent of television, but really the two things worked hand in hand to take the best of Hollywood, put it on the small screen or destroy it forever and completely.

[Konway]

SPOILERS

I remembering reading that there were also disagreements with Jews not properly translating the Torah during that time. This may have increased lack of faith among Jews during that time. This may have pushed some of them toward Communism.

Back to Sidney Buchman. I find Here comes Mr. Jordan to be an interesting work from Sidney Buchman and Seton Miller. It does have remarkable ideas in it. For instance, the idea that it is Joe Pendleton spiritually in Murdock's body. But Joe was given the identity and memory of Murdock so that he can get what he wants - Max Corkle as his coach and more importantly Bette as his love.

This seems to have some degree of connection to John the Baptist in New Testament. It is Elijah spiritually in John the Baptist's body. But in terms of identity, he is John the Baptist.

[JackFavell]

That's an interesting thought, Konway! And although not in a biblical sense, Joe DOES do good works when he's in Farnsworth's body, deciding to set things right for Bette, and basically digging out the rats Rita Johnson and John Emery. In fact, his street skills are decidedly useful in this cause.

[Konway]

I agree. We also see Mr. Jordan (Claude Rains) saying this to Joe before entering Farnsworth's body - "But eventually, she (Bette) will see the soul of Joe Pendleton, because that is never lost. That will always shine through Joe. No matter what overcoat you put on."

[JackFavell]

I think Here Comes Mr. Jordan is actually quite remarkable because of the lack of trick photography. Either the director or Buchman was smart enough to visualize the story so that we see Robert Montgomery, no matter whose body he has. This is a stroke of genius to me, and puts it a cut above all the other heavenly switch movies.

I saw this film referred to as one of the first and the best of the 'films blanc'. Has anyone else heard of this term, or is this just something one person came up with to give a name to these types of light, uplifting ghost stories?

[Konway]

I agree with you. I believe this idea was developed by both Sidney Buchman and Seton Miller. Unfortunately, I haven't heard of the term "film blanc." Anyway, there was a sequel to Here comes Mr. Jordan called "Down to Earth." Down to Earth was directed by Alexander Hall (the same director of Here come Mr. Jordan). But it was far weaker than Here comes Mr. Jordan. Sidney Buchman had nothing to do with this sequel.

I don't think the film would have been same without Robert Montgomery. I believe Sidney Buchman was right in casting Robert Montgomery for Joe Pendleton.

[JackFavell]

Yes, I read that Buchman pushed for Montgomery in the role, he was certainly right, Montgomery is a perfect Joe Pendleton. He's a deceptively simple actor who could grasp some of the more profound ideas in the script without losing Joe's essential character. Joe's basically a man who really has to grapple with new thoughts, but he also pushes back against what he sees as unfair or not right. Once he makes up his mind, there's no stopping him. Montgomery never gets precious or goopy in the more serious love scenes, quite the contrary, and this all works to make a very charming and actually a very deep film. He, William Powell, and Lombard are probably the best examples of actors who could deliver deeply serious themes and ideas to an audience without ever becoming heavy or preachy, in fact, without the audience members even knowing that they were being broadened by philosophical concerns.