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Archive for the ‘Anne Baxter’ Category

All About Eve

06 Sep

All About Eve – Directed by Joseph Mankiewicz. Drama. 138 minutes Black and White 1950.

★★★★★

The Story: A great Broadway star teeters on the brink of 40, and a younger star tries to push her over.

~

I don’t know whether Mankiewicz is a good director, but his screenplay here works like crazy, because it takes the focus off of Bette Davis and hands it around evenhandedly to the other  characters before us, so our interest in the main matter which is Can Broadway Star Margo Channing Stop Being A Brat And Become A Grownup? is left to the other actors to manage for us.

Very crafty.

George Sanders is the only non-female main character in the story, but, if you consider the part could be been played, although not so well, by Clifton Webb, you will recognize that he is not actually a male character at all. There are three other males in the piece, but Gregory Ratoff as the play producer, while very good, has little to do, Hugh Marlowe as the playwright has only a little more to do, and Gary Merrill, as her suitor and her director, does everything with contempt for the craft of acting itself and is quite bad.

This leaves us with Celeste Holm. She said, when she first came on set, Davis was rude to her on sight. Davis was an inexcusable person; so Holm is very well cast as Davis’s best friend, and the first of Eve’s suckers.

Sanders won the Oscar for this, quite rightly (George Sanders like that other master of boredom, Gig Young, eventually committed suicide. And you can see it coming in his relations with Baxter.) More than any other actor who ever lived, George Sanders drawl could make any line sound witty, which is nice, since many of the lines are so. Marilyn Monroe – she of the Copacabana School of acting – charmingly appears as the object of one of them.

This brings us to the two remaining stars.

Bette Davis is really up for this role. Her natural vitriol gives way to the sheer physical requirements of the part – snatching up a mink from the floor, waddling into a bathroom, declining a bonbon. Her command of all that is inside her and all that surrounds her wins our loyalty from the start. For once, Davis is actually at home in a role, relaxed, her customary archness vanished, and the story grants us only the best of her tantrums.

That year the stories of two aging stars, Norma Desmond and Margo Channing, vied for the Oscar, but Anne Baxter bullied the studio to put her up for one too, and, in a divided vote, both Swanson and Davis  (how characteristic of Eve) lost and Judy Holliday, the younger actress, got it. Yet, as Eve, Anne Baxter is lamentably miscast. You cannot believe that any of those shrewd judges of character that those theatre people are would have been duped for a minute by those batting eyelashes and that breathy, tobacco stained voice into believing she was an innocent.

Never mind. Otherwise more than worth the bumpy ride. Davis endures.

 

 

 

 

 

 

 

Charley’s Aunt

21 Feb

Charley’s Aunt –– directed by Archie Mayo –– an 1892 comedy in which two Oxonians inveigle a pal to impersonate their aunt as chaperone for a visit from their girlfriends. 80 minutes black and white 1941.

* * * * *

Randy Skretvedt on the Special Features gives a nifty rundown of the lives and careers of every single person in the cast and crew. From this we learn oodles about Jack Benny, Kay Francis, Edmund Gwenn (whose deathbed words were, “Comedy is hardest”), Anne Baxter, Reginald Owen, Alfred Newman who did the music, Archie Mayo who directed it, and George Seaton who brilliantly adapted it for the screen. We are give such tidbit-info as that Laird Cregar was 24 when he played Sir Francis Chesney, the father of one of the 30 year old Oxonians. Cregar came on the set and announced to one and all, “To dispel any question about my preferences, yes, I am homosexual!” This in 1941; pretty good wouldn’t you say? I once played the part and I wish I had thought of his business with the cane. Watch for it. The play is unfailingly funny. It is the most popular English comedy ever written, and justly so. Jack Benny skedaddles around as the aunt, and his performance is on the level of Robin Williams as Mrs Doubtfire or Dustin Hoffman as Tootsie; that is to say nobody would be convinced that this is a female for one instant –– which in this case, unlike theirs, is part of the fun, since here everyone’s life depends on being convinced of it. Mayo’s direction is tip-top as he keeps things moving from brisk scene to scene, and Peverell Marly has filmed it exactly right to glamorize the women and deglamorize the men. Among the Special Features is a promotional short worth seeing, with Tyrone Power, just brilliant, coming on to have lunch with Benny, joined by a highly energized Randolph Scott (two of the most notable bisexual actors of  film). We’ve all seen Charley’s Aunt in the theatre, and we can now see it over again in our parlour, and over and over again. Good family fun, I should say, wot?

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O’Henry’s Full House

03 Feb

O’Henry’s Full House – directed by Henry Hathaway, Henry King, Henry Koster, Howark Hawkes, Jean Negulesco  — Comedy. Five of the master’s tales. 117 minutes, black and white 1952.

* * * * *

Marilyn Monroe — there she for a full two minutes, yet for all time — with that figure and the air of a dream-mistress and the hurt of a molested 12 year old asking for more and asking for no more at the same time. She is child-like appealing in the moment when she says, “He called me a lady,” after she listens to Charles Laughton. He is tip top as the grandiose bum who seeks to spend the winter in a cosy jail rather than on a desolate park bench. David Wayne does a terrific crazy derelict with just the right hat. Richard Widmark  reprises his Johnny Udo from Kiss of Death, which is super to see again. He was never a subtle actor, so this is perfect for him, and I place you in his competent evil hands. I saw this picture when it came out, and was bored, but that was the era when Marlon Brando was emerging, so I found it old fashioned. But now I enjoy that it is old fashioned, for that was its intention, and I ask: would these costume stories work in modern dress? I think not. For their entertainment value is high, but their value is the entertainment of antiques. Put this in your Antiques Film Road Show and enjoy — O’Henry really knew how to tell a story: The Gift of the Magi, The Ransom of Red Chief, The Clarion Call, The Cop and the Anthem, The Last Leaf.

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