Tonight's Movie: The Tin Star (1957)

THE TIN STAR is a solid, interesting Western directed by Anthony Mann, starring Henry Fonda and Anthony Perkins.

Fonda plays Morg Hickman, a sheriff-turned-bounty hunter who brings in the body of an outlaw to the sheriff's office in a small Western town. Morg must remain in town until his reward money arrives, but finds he's persona non grata among most of the townspeople, who turn up their noses at a bounty hunter.

After Morg comes to the aid of the green young sheriff (Anthony Perkins), the two men form a wary friendship. The cynical but kindhearted Morg sets about teaching the sheriff how to stay alive, and meanwhile he develops a quietly understanding relationship with the widow (Betsy Palmer) who rents him a room. The widow has problems of her own; she was married to an Indian and has a half-Indian son which makes her something of an outcast with the local populace.

Eventually the film takes on the air of HIGH NOON (1952), as the sheriff must fend off a lynch mob while the townspeople walk away from helping him.

The movie is at its best when it's a simple character study of Morg's interactions with the sheriff and the widow. There are many subtle, interesting moments that make the film very much worth watching. The Oscar-nominated script by Dudley Nichols has some excellent lines as the older man offers sage advice to the earnest young sheriff, and there's also a very nice payoff regarding the title star in the final action sequence.

I had some hesitation about fully embracing this movie, at least on this first viewing, as I have trouble with kindly old men (John McIntire) and young children (Michel Ray) being endangered. An extended sequence following the old doc (McIntire) from patient to patient is filled with too-obvious foreboding and pumps up the pathos; it's his 75th birthday, there's a surprise party planned, and... I didn't care for this section of the movie, which felt somewhat manipulative. (John McIntire, a master of makeup disguises, was a mere 50 when he filmed this movie, incidentally.)

I also felt that at times Elmer Bernstein's score was a bit too ostentatious, calling attention to itself in a way that worked against the low-key tone of the movie.

On the plus side, the film was photographed in beautiful black and white VistaVision by Loyal Griggs. There are many familiar faces in the supporting cast of this 93-minute film, including Neville Brand, Lee Van Cleef, Howard Petrie, Russell Simpson, Frank Cady, and James Bell.

An interesting bit of trivia is that Michel Ray, who plays Betsy Palmer's son, married the heiress to the Heineken beer fortune. A Harvard graduate, he is also a wealthy businessman in his own right. He goes by the name Michel de Carvalho.

THE TIN STAR is available on DVD in a beautiful widescreen print. It was also released on VHS. 

Tonight's Movie: Ride Clear of Diablo (1954)

I've been interested in seeing RIDE CLEAR OF DIABLO since I first read about it last summer at 50 Westerns From the 50s. I finally caught up with it tonight and absolutely loved it.

RIDE CLEAR OF DIABLO stars Audie Murphy and Dan Duryea as polar opposites who form a strange friendship. Murphy plays Clay O'Mara, a railroad surveyor who returns to his hometown to solve the murders of his father and brother. He becomes deputy to Sheriff Fred Kenyon (Paul Birch), who is actually one of those responsible for the deaths of Clay's family.

Sheriff Kenyon sends Clay off to bring in notorious gunslinger Whitey Kincade (Duryea), assuming Kincade will easily kill Clay and he won't have to worry about him investigating the murders further. Clay shocks everyone, including Whitey, by being faster on the draw and bringing Whitey in for a trial. This begins a curious relationship between Clay and Whitey; Whitey can't quite believe the upright young Clay, who orders water in a saloon, is for real and continues to find reasons to hang around Clay, ultimately helping Clay track down the real killers.

The interplay between Murphy and Duryea is simply terrific. The quiet, strangely trusting character played by Murphy is a perfect counterpoint to the genial, perennially laughing gunman who's constantly looking for excitement; Whitey jokes that while some people run to fires, he runs to shootings! It's a great role which surely must rank as one of Duryea's best parts. That isn't to take anything away from Murphy, who is also excellent as the surprisingly competent surveyor-turned-deputy; his low-key strength provides a needed contrast to Duryea's scene-stealing role. The two men share some very well-written dialogue and are a pleasure to watch together. They later costarred in NIGHT PASSAGE (1957) -- more on that film here -- and SIX BLACK HORSES (1962).

Susan Cabot plays the sheriff's niece Laurie, who's initially engaged to a lawyer (William Pullen) who was also involved in the killings. Cabot is a good match for Murphy, and I liked the straightforward way Laurie and Clay's relationship develops, with Laurie immediately returning her fiance's ring once Clay kisses her. Murphy has two excellent partners in this film with Cabot and Duryea.

Cabot, also seen by me in TOMAHAWK (1951) in 2011, was also in the Murphy films THE DUEL AT SILVER CREEK (1952) and GUNSMOKE (1953). She's charming.  Off the screen it appears she led a tragic life, killed by her son when she was 59. Reading her story, I couldn't help thinking of another Universal actress of the '50s with a similar first name, Suzan Ball (YANKEE BUCCANEER), who also had a sad life.

RIDE CLEAR OF DIABLO was directed by Jesse Hibbs, who also directed the most enjoyable John Payne Western RAILS INTO LARAMIE (1954), which also costarred Dan Duryea. James Griffith, who played the marshal in RAILS INTO LARAMIE, plays the conductor in the final scene of RIDE CLEAR OF DIABLO.

The cast also includes Russell Johnson (GILLIGAN'S ISLAND) as one of the bad guys; I especially liked him in the previous year's LAW AND ORDER (1953), playing Ronald Reagan's hotheaded brother. The cast also includes Abbe Lane, Denver Pyle, Lane Bradford, and Jack Elam.

RIDE CLEAR OF DIABLO runs a fast-moving 80 minutes. This is a well-paced, well-made Western.

The title card seen above is from the great Movie Title Stills Collection website which is a "must visit" site for fans of Universal Westerns.

There are some nice screen caps from the film at Dan Duryea Central.

RIDE CLEAR OF DIABLO is one of four films in the TCM Vault Audie Murphy Westerns Collection. I watched it on an older VHS tape.

Highly recommended.  Westerns fans should love it.

Around the Blogosphere This Week

Miscellaneous bits of news and fun stuff from around the Internet...

...There are some interesting films coming to DVD from Olive on February 26th, 2013, including Paulette Goddard in Jean Renoir's DIARY OF A CHAMBERMAID (1946), Mari Blanchard and Jack Kelly in SHE DEVIL (1957), and Virginia Grey in Anthony Mann's STRANGERS IN THE NIGHT (1944).

...Hooked on Houses takes a close-up look at the inn in HOLIDAY INN (1942).

...There's a great post and discussion on the Jimmy Stewart-Audie Murphy film NIGHT PASSAGE (1957) at 50 Westerns From the 50s. And while you're at the site, check out the Westerns Want List, movies Toby and his readers hope will come out on DVD.

...Fans of Dan Duryea, one of the stars of NIGHT PASSAGE, should be sure to visit the website Dan Duryea Central.

...Colin's post on the Randolph Scott film 7TH CAVALRY (1956) at Riding the High Country is interesting in and of itself -- any film with Scott and Barbara Hale is a must-see for me -- and he also ties in to some thoughts in the NIGHT PASSAGE post linked above.

...It was great to discover MC blogging again at Happy Thoughts, Darling. I really enjoyed her review of Joseph Cotten and Joan Fontaine in SEPTEMBER AFFAIR (1950), which I saw a couple of years ago.

...At Shadows and Satin, Karen's pick for the January pre-Code of the month on Turner Classic Movies is WEEK-END MARRIAGE (1932) starring Loretta Young. It airs January 23rd. I reviewed it back in 2008.

...Caftan Woman's "One for TCM" pick for January is the terrific ARMORED CAR ROBBERY (1950) starring Charles McGraw. It airs January 29th.

...At Lasso the Movies Paul gives a rave review to SOME CAME RUNNING (1958), which I'm planning to see later this year. It's great to read his enthusiasm for this film.

...Glenn Erickson reviews the new Dark Crimes set at DVD Savant. I reviewed THE GLASS KEY (1942) from the set a few days ago.

...This is a fun interview of Robert Osborne, conducted by Alec Baldwin. (It's a rough transcript so there's an odd spelling or two of a name.) Osborne tells some interesting stories about how his career evolved.

...Speakeasy and Rupert Pupkin Speaks have nice posts on favorite discoveries of 2012.

...I was surprised to learn that the Ruby's Diner on Seal Beach Pier is closing.

...Judy writes about one of my very favorite movies ever, MEET ME IN ST. LOUIS (1944), at Movie Classics. She makes astute points and also shares some wonderful stills.

...Attention Southern Californians: A Clara Bow series started last Friday night at UCLA's Billy Wilder Theater, and it will run through February 10th. Titles shown will include WINGS (1927) on January 19th.

...Notable Passing: Gerry Anderson, creator of the puppet show THUNDERBIRDS died recently at the age of 83. Our family has a bunch of THUNDERBIRDS boxed sets on our DVD shelves!...Not yet mentioned here but well covered elsewhere were the Christmas Eve passings of Jack Klugman and Charles Durning, who each made very significant contributions to theater, film, and television. They will be missed, but their work lives on.

Have a great week!

Today at Disneyland: Three Kings' Day

The Christmas season comes to a close today with the Feast of the Epiphany, also known as Three Kings' Day.

For the second consecutive year, Disneyland has celebrated Three Kings' Day, or Dia de Reyes.

We concluded our Christmas vacation today with a wonderful time with friends at the park, including enjoying the Three Kings events.

It had rained overnight and more rain was forecast for today, but we couldn't have had more perfect weather. It was a bit overcast at times but for the most part it was clear and sunny.

It felt good to enjoy a little more of the Christmas season when much of the world has already moved on.

Big Thunder Mountain Railroad closes down tomorrow for a $4 million rehab project which is projected to last most of 2013.

We thought we had taken our last ride until next fall in December but were happy to be able to squeeze in one more ride today!

The Three Kings' celebration is held at Big Thunder Ranch Jamboree:

The backdrop used for special photos with Mickey and Minnie Mouse:

I loved the dancers with their colorful dresses!

I liked the contrast of the decorations with the sky, which turned gray for a short time:

Rancho del Zocalo had a special Dia de Reyes menu this weekend. I got the platter with carne asada and a chicken tamale.

I hope Disneyland will continue to hold this celebration in the future, it makes a wonderful ending for the holiday season!

The Loretta Young Centennial

January 6, 2013, is the 100th anniversary of the birth of legendary actress Loretta Young. The multi-faceted Young was an Oscar-winning actress, a savvy businesswoman, and a television pioneer who also enjoyed the glamorous side of the business, always looking like a million dollars.

An exhibit on Young, subtitled "100 Years of Glamour and Grace," opens this week at the Hollywood Museum and runs through April. Young's centennial was also celebrated today in Palm Springs, where she lived in her later years; there was a ceremony at the Palm Springs Historical Society and the rededication of her namesake chapel at Desert Regional Medical Center. And of course, Turner Classic Movies pays tribute to Loretta all month, celebrating her as the Star of the Month. (January 7th Update: Susan King of the Los Angeles Times covers the celebrations.)

Bloggers paying tribute to Young include Kay at Movie Star Makeover, Terry at A Shroud of Thoughts, and Cliff at Immortal Ephemera, and be sure to visit the Official Loretta Young website.

Below is my own tribute to Young, originally posted on January 6, 2012, and updated with links to additional movie reviews.

Academy Award winning actress Loretta Young was born on this date in 1913 in Salt Lake City, Utah.

Loretta, whose birth name was Gretchen, became the superstar in a family of acting sisters which included Polly Ann Young and Sally Blane, born Elizabeth Jane Young. Loretta's extended family included Sally's husband, actor-director Norman Foster, who appeared opposite Loretta in films of the early '30s, and actor Ricardo Montalban, who married Loretta's younger half-sister, Georgiana.

The full scope of Loretta's career has perhaps only begun to be appreciated over the last few years. Although she is rightly known as a long-running TV star and for her later films, including the Christmas perennial THE BISHOP'S WIFE (1947) and her Oscar-winning title role in THE FARMER'S DAUGHTER (1947), the availability of Young's earliest pre-Code work on Turner Classic Movies has put her career accomplishments in a new context.

The teenaged Loretta Young of the pre-Code film era was a stunner. It's hard to believe she was only 18 when she confidently appeared oppposite James Cagney in TAXI! (1932). She's absolutely riveting in my favorite of her pre-Code films, MIDNIGHT MARY (1933), running the gamut from childhood to a tormented woman on trial for murder, in not much longer than an hour.

In her pre-Code roles, the glam Loretta often conveyed a kind of steam missing from her later parts. As Jeanine Basinger writes of Loretta's pre-Codes in THE STAR MACHINE, "This is not our mothers' Loretta Young." In COMPLICATED WOMEN, Mick LaSalle refers to this incarnation of Young as the "Drinking-Smoking Loretta."

As the '30s moved on, the busy actress starred in many successful, highly enjoyable romantic comedies -- teaming five times with the equally gorgeous Tyrone Power -- mixed with the occasional costume picture. In films such as DeMille's THE CRUSADES (1935), Loretta simply glows, exuding star power; she mixes steely nerve and a soulful sincerity.

It's fun to note that in one of her period pictures, the charming THE STORY OF ALEXANDER GRAHAM BELL (1939), Loretta's three sisters played her onscreen sisters.

Her best films of the '40s included the suspense thriller THE STRANGER (1946), opposite Orson Welles and Edward G. Robinson; her Oscar-winning role as the Swedish maid-turned-Congresswoman Katie in the delightful THE FARMER'S DAUGHTER (1947); the title role in the evergreen THE BISHOP'S WIFE (1947) with Cary Grant and David Niven; the bondswoman who marries farmer William Holden, then catches the eye of roving Robert Mitchum in RACHEL AND THE STRANGER (1948), which was directed by her brother-in-law Norman Foster; and the dedicated, sweetly trusting nun attempting to build a hospital in COME TO THE STABLE (1949).

I've seen most of these late '40s films multiple times over the course of my life, and they never grow old; indeed, the more I watch them, the more I appreciate both the films and Loretta Young's acting skills.

In the '50s Loretta Young moved to television, where she produced her own extremely successful series, helping to blaze a trail for women in a male-dominated business.

Loretta Young passed away on August 13, 2000. Her family maintains an official website.

For more information, books on Loretta Young include her authorized biography, FOREVER YOUNG, by Joan Wester Anderson, which was published just a few months after Young's passing; UNCOMMON KNOWLEDGE by Young's daughter, Judy Lewis; and the new book HOLLYWOOD MADONNA by Bernard F. Dick.

Loretta Young films reviewed here at Laura's Miscellaneous Musings: THE DEVIL TO PAY! (1930), PLATINUM BLONDE (1931), TAXI! (1932), THEY CALL IT SIN (1932), LIFE BEGINS (1932), PLAY-GIRL (1932), WEEK-END MARRIAGE (1932), EMPLOYEES' ENTRANCE (1933), MIDNIGHT MARY (1933), SHE HAD TO SAY YES (1933), BORN TO BE BAD (1934), THE CRUSADES (1935), PRIVATE NUMBER (1936), THE UNGUARDED HOUR (1936), LADIES IN LOVE (1936), WIFE, DOCTOR AND NURSE (1937), CAFE METROPOLE (1937), LOVE IS NEWS (1937), SECOND HONEYMOON (1937), THREE BLIND MICE (1938), WIFE, HUSBAND AND FRIEND (1939), FOUR MEN AND A PRAYER (1939), THE DOCTOR TAKES A WIFE (1940), HE STAYED FOR BREAKFAST (1940), THE LADY FROM CHEYENNE (1941), BEDTIME STORY (1941), A NIGHT TO REMEMBER (1943), ALONG CAME JONES (1945), THE STRANGER (1946), THE PERFECT MARRIAGE (1947), MOTHER IS A FRESHMAN (1949), COME TO THE STABLE (1949), KEY TO THE CITY (1950), CAUSE FOR ALARM! (1951), and HALF ANGEL (1951).

January 2013 Update: Here are links to additional Young films reviewed in the past year: HE STAYED FOR BREAKFAST (1940) and CHINA (1943).

January 2016 Update: A review of AND NOW TOMORROW (1944) for the Loretta Young Birthday Blogathon.

March 2017 Update: Here are reviews of BIG BUSINESS GIRL (1931) and THE ACCUSED (1949) .

September 2017 Update: Here is a new review of the Blu-ray release of THE STRANGER (1946).

2018 Update: Here are reviews of I LIKE YOUR NERVE (1931) and THE FARMER'S DAUGHTER (1947).

2020 Update: Here's a review of the wonderful RACHEL AND THE STRANGER (1948).

2021 Update: I have updated my 2014 ClassicFlix tribute to Loretta Young.

2022 Update: Here's a review of BECAUSE OF YOU (1952) and new reviews of CHINA (1943) and THE ACCUSED (1949), as seen on Blu-ray.

2023 Update: I've now reviewed THE CRUSADES (1935) on Blu-ray.

2024 Update: Here's a review of the restored, reconstructed MAN'S CASTLE (1933) on Blu-ray.

Related posts: Judy Lewis, Daughter of Loretta Young and Clark Gable, Dies at 76; New Book: Hollywood Madonna: Loretta Young; Ricardo Montalban Dies at 88.

Tonight's Movie: The Unsuspected (1947)

THE UNSUSPECTED is an engrossing, intricately plotted story of murder and deception, based on a novel by Charlotte Armstrong.

Claude Rains plays radio host Victor Grandison, a crime show star who in real life consecutively arranges for the deaths of his secretary and niece, with more murders planned in his busy schedule.

It's a bit hard to understand why a man with so much wants to kill so many, but it seems that part of the motivation is greed. (I was never quite clear how killing his secretary was going to help him financially; maybe she knew too much? Or maybe he was just completely crazy.) Grandison always seems to be one step ahead of those who would stop him, managing to stay informed of their moves at all times. It will take a lot of work to trip him up, because in the eyes of most, he's "the unsuspected."

This was an enjoyable film with an excellent cast, including ethereal Joan Caulfield as Grandison's niece Matilda, an heiress initially presumed dead in a shipwreck; Audrey Totter as another niece, the bitter Althea, who stole Matilda's love Oliver (Hurd Hatfield) for herself; Fred Clark as a cagey homicide detective; and most enjoyably, Constance Bennett as Grandison's witty radio producer. Michael North plays Steve Howard, who claims to be Matilda's husband, but she seems to have forgotten their brief marriage since the trauma of nearly dying at sea.

The story carefully unspools, punctuated by a couple rather shocking moments, including a disturbing climax in a junkyard, of all places. I was strongly reminded of the near-death at a construction site at the end of last year's Mark Wahlberg film, CONTRABAND (2012); truly, everything old becomes new again.

Rains, with his mellifluous voice, is perfect for the role of a radio host, and he's so cool at all times that one can see why he goes so long without being suspected as a killer. Caulfield and Totter provided an interesting ying and yang, with Caulfield's distraught Matilda nonetheless strong enough to go toe to toe with her jealous cousin Althea, in part because she has financial power which Althea lacks.

Hurd Hatfield and Audrey Totter were on loanout to Warner Bros. from MGM; Hatfield doesn't get to do much more than sit at the bar and drink, but Totter is a lot of fun, as always. Constance Bennett and Fred Clark are terrific, with the film getting an extra zing of energy each time they come onscreen. I only wish they'd had more scenes, though I suppose there really wasn't time in this 103-minute film.

I wasn't sure what to make of Michael North as Matilda's husband; initially I thought his acting weak, but he grew on me as the film went on. I'd like to know more about North; he had previously made a number of films under the name Ted North, but here he received a special billing card "Introducing Michael North." What's particularly curious is that this was his last film, released the same year he divorced actress Mary Beth Hughes. North was born in 1916, and IMDb does not indicate that he has passed away. A Google search hasn't turned up much info, even on a site devoted to Mary Beth Hughes; she and North had a son named Donald.

As an aside, Bess Flowers Fan Club members won't be at all surprised to know that the dress extra who must have been in more party and nightclub scenes than any actress in history can be spotted leaving Grandison's surprise party early in the film.

Although a majority of the scenes take place in Grandison's mansion or radio studio, THE UNSUSPECTED still manages to have some terrific noir style, including some especially great shadowy shots, filmed in black and white by Woody Bredell.

The director was Michael Curtiz. The musical score was by Franz Waxman.

THE UNSUSPECTED is available from the Warner Archive.

It's also been shown on Turner Classic Movies.

February 2018 Update: I had a great opportunity to see this film on a big screen at UCLA as part of their Michael Curtiz retrospective.

Fox Cinema Archives Update

The Fox Cinema Archives line which debuted late last spring has continued to release a steady stream of interesting titles.

For the most part, this has been good news. I've now reviewed a few hard-to-find, entertaining films from the '40s which were released in the FCA line and have been happy with both the films and the DVDs themselves. These titles include THE MAN I MARRIED (1940), SECRET AGENT OF JAPAN (1942), THEY CAME TO BLOW UP AMERICA (1943), and DEEP WATERS (1948). I enjoyed them all and think that THE MAN I MARRIED and DEEP WATERS, in particular, were excellent films which should be more widely seen.

Unfortunately it appears that Fox is releasing many of their '50s widescreen titles in pan and scan, as discussed in a thread at the Home Theater Forum, as well as in comments to my review of SUN VALLEY SERENADE (1941) -- which incidentally isn't out yet from the Archive, but perhaps in 2013?

In any event, caution should be exercised when purchasing films released in the widescreen era, 1953 and beyond. Perhaps if the program is successful Fox will get its act together and release the widescreen films in their proper ratio. I think everyone understands that in this brave new "MOD" world many films are being released without remastering or restoration, but I do think consumers have a right to the minimal expectation that we won't be sold pan and scan prints!

It was very disappointing, as just one example, to read at the Home Theater Forum that THE BIG SHOW (1961), one of the last Esther Williams films I need to see, was released in pan and scan.

All this said, I'd love to see classic film fans continue supporting the Fox Cinema Archives releases from the '30s, '40s, and early '50s which are being put out in the proper ratio. There are many interesting titles currently available and many more that desperately need an official release, such as CENTENNIAL SUMMER (1946), MARGIE (1946), and APARTMENT FOR PEGGY (1948), as my own starter wish list.

Last October I called attention to eight Fox Cinema Archives titles which were reviewed here in years past, when they were only available from Fox Movie Channel, old VHS releases, and the like. To date there isn't a central website where it's easy to track the new FCA releases -- I recommend regularly checking Lou Lumenick's DVD Extra column in the New York Post for news in this regard -- so I thought I'd similarly call attention to a new group of films released over the last few weeks.

My review is linked at each title, and an Amazon link to the Fox Cinema Archives DVD-R can be found at the end of each review. I want to emphasize I haven't yet seen any of these films in their Fox Cinema Archives versions.

LITTLE OLD NEW YORK (1940) is a mildly engrossing, heavily fictionalized story of Robert Fulton and the steam engine, starring Richard Greene, Fred MacMurray, and, in a straight dramatic role, Alice Faye.

WHERE DO WE GO FROM HERE? (1945) is an obscure Kurt Weill-Ira Gershwin musical starring Fred MacMurray, Joan Leslie, and June Haver. Although it stars a trio of favorites, this movie didn't really work for me; however, Lou Lumenick is an enthusiast.

THAT LADY IN ERMINE (1948) is a highly entertaining piece of Technicolor silliness from director Ernst Lubitsch, who died during production. It stars Betty Grable, Douglas Fairbanks Jr., and Cesar Romero. It's a crazy movie but I really enjoy it.

IT HAPPENS EVERY SPRING (1949) is an amusing baseball fantasy starring Ray Milland and Paul Douglas. The professor's wood-repelling ball also raised ethical issues for me, although the movie itself skirts around them.

HALF ANGEL (1951) is a cute romantic comedy with Loretta Young and Joseph Cotten, with Young playing a prim nurse who unleashes a second personality when she sleepwalks.

DREAMBOAT (1952) reveals college professor Clifton Webb has a secret past as a swashbuckling silent movie star. Ginger Rogers and Anne Francis costar. This one was a lot of fun.

Other movies now out from FCA which have not been reviewed here to date include an old favorite, THE STORY OF ALEXANDER GRAHAM BELL (1939), starring Don Ameche, Loretta Young, and Henry Fonda; HAPPY LAND (1943) with Don Ameche, Frances Dee, and Ann Rutherford; SENTIMENTAL JOURNEY (1946) starring Maureen O'Hara and John Payne; and FATHER WAS A FULLBACK (1949) costarring Fred MacMurray and Maureen O'Hara.

I have purchased two more FCA releases, which I'll be reviewing here in the future: THE BRASHER DOUBLOON (1947) and WAY OF A GAUCHO (1952). (Update: My review of THE BRASHER DOUBLOON has now been posted.)

Tonight's Movie: Ever Since Eve (1937)

I wasn't expecting a great deal from EVER SINCE EVE, a Warner Bros. romantic comedy starring Robert Montgomery and Marion Davies, as I'd read a couple very poor reviews. However, I'm a Robert Montgomery completist so I had to give it a try.

I kept waiting for a bad movie to show up, and I'm pleased to say it never appeared. EVER SINCE EVE was by no means a classic, but it was a cute little movie which I found consistently entertaining and enjoyable.

Davies, in her last film role, plays Marge, an attractive secretary who continually loses jobs when she rejects passes from her bosses. She decides to combat this by dressing in a dowdy tweed suit, as well as wearing a plain Jane wig and glasses, and is promptly hired as the secretary to writer Freddy, played by Montgomery.

Marge is a model of efficiency and helps Freddy work towards finishing an overdue manuscript. Meanwhile Freddy also meets and falls in love with the "real" Marge, who masquerades as her own roommate, Sadie (Patsy Kelly). It all gets very complicated, especially with Freddy's jealous girlfriend Camille (Marcia Ralston) in the picture.

Montgomery is always a charmer, worth watching in anything, and he has a couple very good lines here and there. Davies does a nice job and exhibits a winning personality, and she's also very convincing creating a completely separate alternate personality. She was 40 when the movie was released and when one looks closely it's apparent that she is a few years older than Montgomery, but the actress pulls off portraying a younger woman for most of the movie.

Montgomery was a big MGM star, so it's a bit odd seeing him playing opposite Warner Bros. stalwarts like Allen Jenkins, Frank McHugh, and Patsy Kelly. Apparently he was on loan-out. It's interesting to note that Davies' previous film, CAIN AND MABEL (1936), was also for Warner Bros. but costarred MGM's Clark Gable.

The cast also includes Louise Fazenda as Montgomery's publisher, Frederic Clarke as Montgomery's butler, and Mary Treen as an employment agency clerk.

EVER SINCE EVE was directed by Lloyd Bacon. It runs 80 minutes.

EVER SINCE EVE was shown on Turner Classic Movies yesterday on Marion Davies' birthday; she was born in Brooklyn in 1897.