Tonight's Movie: This Above All (1942)

NOTE: This review of THIS ABOVE ALL (1942), starring Tyrone Power and Joan Fontaine, is my contribution to Power-Mad, a blogathon celebrating the May 5th Centennial of the birth of my favorite actor, Tyrone Power.

The blogathon is hosted by Patti at The Lady Eve's Reel Life and Patty at They Don't Make 'Em Like They Used To. Please check their sites for links to posts by over two dozen contributors celebrating the life and career of a remarkable man. My thanks to them for hosting this much-deserved Tyrone Power Centennial event!

THIS ABOVE ALL (1942) is a stirring World War II romance set in England, starring two of the silver screen's greatest stars, Tyrone Power and Joan Fontaine.

Prudence Cathaway (Fontaine) shocks some of her patrician relatives by enlisting in the ranks of the Women’s Army Auxiliary Corps, rather than taking a role as an officer. On a blind date she meets Clive Briggs (Power), a somewhat mysterious but oh-so-handsome man of the "lower classes."

Clive and Prudence quickly fall in love, but it soon becomes clear that secretive Clive is wrestling with a serious problem. Prudence learns that Clive served with distinction at Dunkirk, but why is he now so bitter about the war, and why does he have nightmares? Prudence and Clive must overcome not just the class divide but Clive's personal demons before they can find lasting happiness.

Power's introduction is handled masterfully, as Clive and Prudence meet in a blackout. For most of the scene we only hear his melodious voice and see his face in shadows or lit by a match. Clive and Prudence don't actually get a good look at one another until their next meeting, and when they do, they're immediately smitten with one another.

Power and Fontaine are mesmerizing and achingly beautiful to watch together; it almost makes me tear up watching them at the height of their talent, their eyes sparkling with joy, and knowing they're both now gone.

Power, like many American stars in films set in England, doesn't attempt a British accent, let alone one of the lower classes. It was a wise choice, as Power's voice is so distinctive in the first place, and an accent may have been distracting. It's said more than once that Clive is an educated man, which also helps to explain his cultured speech.

(Speaking of speech, at one point there's an odd moment as Clive and Prudence walk in the shadows and we hear Fontaine's voice, but her lips clearly aren't moving.)

Power's questioning character somewhat foreshadows his Larry Darrell of THE RAZOR'S EDGE (1946), as he struggles with big "What's it all about?" type questions and struggles to find peace. Clive may not always act admirably, but thanks to Power's sensitive performance he retains audience sympathy, conveying between the lines that he's a decent man who's a little confused but will ultimately do the right thing. The scene where the tormented Clive confides in a one-armed minister (Alexander Knox) is quite moving.

Fontaine captures the confidence of a woman who has had a secure upbringing and the love and support of her doctor father (Philip Merivale).  Prudence also has peace of mind from doing things she knows are right, whether finding a way to support her country or loving Clive, regardless of any accompanying problems. Prudence may have brief second thoughts about her sudden romance, such as the awkward moment she's spotted by her snooty cousin (Gladys Cooper) while on a secret holiday with Clive, but she falls harder with each passing moment.

There's a delightful scene where Prudence sees Clive heading down the hallway to the hotel bath, using his coat as a bathrobe, and she's overcome with delight at how cute he is, despite his awkward getup. (And then she goes out and buys him a bathrobe!)

THIS ABOVE ALL, which was released five months after Pearl Harbor, reminded audiences of its day what they were fighting for while also exploring whether a side effect of the war might be to change things for the better at home. Clive must reconcile wanting to fight to protect England with not wanting to perpetuate its class system, while Prudence in her own way works for a more egalitarian society.

The theme of the war helping to bridge class differences called to mind a British film released the next year, MILLIONS LIKE US (1943), in which Eric Portman refused to marry Anne Crawford until the war ended and they knew whether or not class distinctions would still matter. It's interesting that even in the darkest years of the war, people were thinking not just about surviving the war but about how to improve life in the years to follow.

Power would appear in a couple more films, THE BLACK SWAN (1942) and CRASH DIVE (1943), then he was off the screen serving in the military for the duration of the war. (In fact, he's billed as Tyrone Power, U.S.M.C.R., in CRASH DIVE.) In 1946 Power made a triumphant return to the screen in THE RAZOR'S EDGE (1946), and he remained a major star until his untimely death in 1958.

The behind the scenes talent of this 20th Century-Fox film is top class all the way, with Anatole Litvak directing and Arthur Miller serving as cinematographer. The score is by Alfred Newman. THIS ABOVE ALL runs 111 minutes.  The screenplay by R.C. Sheriff was based on the novel by Eric Knight, who also wrote LASSIE COME-HOME.

Thomas Mitchell plays Clive's old Army buddy. Other members of the top-flight cast have only a scene or two, but each contributes something special, including Henry Stephenson, Nigel Bruce, Jill Esmond, and Arthur Shields. The cast also includes Sara Allgood, Queenie Leonard, Rhys Williams, Melville Cooper, Raymond Severn, Mary Field, Forrester Harvey, Doris Lloyd, and Miles Mander.

One of the things which moved me about the film was reflecting that Tyrone Power would pass away just 16 years later, while Joan Fontaine would live on another 55 years after his death, passing on late in 2013. Power's far too early death at 44 is one of the cinema's great losses.

Last month I paid my respects at his gravesite at the Hollywood Forever Cemetery. The bench at his burial site, seen in this photo, has a passage from HAMLET carved into it...the very same play which provided the title for THIS ABOVE ALL.

THIS ABOVE ALL is available on DVD in the Tyrone Power Matinee Idol Collection, which just might be my favorite DVD set of all time.

Reviews of the other films in this set: GIRLS' DORMITORY (1936), LOVE IS NEWS (1937), SECOND HONEYMOON (1937), CAFE METROPOLE (1937), DAY-TIME WIFE (1939), JOHNNY APOLLO (1940), THAT WONDERFUL URGE (1948), THE LUCK OF THE IRISH (1948), and I'LL NEVER FORGET YOU (1951).

Tonight's Movie: Irene (1940) - A Warner Archive DVD Review

Romantic comedy meets musical in the charming IRENE (1940), just out on DVD from the Warner Archive.

British actress Anna Neagle stars in the title role of this RKO release. Irene, a New York shopgirl with a lilting Irish brogue, makes a delivery to the fabulous Vincent Estate and has a chance meeting with Don (Ray Milland), a house guest who is quite taken with the lovely young woman.

Don can't forget Irene and arranges to have her hired as a model at Madame Lucy's, the dress shop he secretly owns. When the shop manager (Roland Young) has Irene and some other models crash a ball at the Vincents' mansion to show off the shop's gowns, fluttery Mrs. Vincent (Billie Burke) and her friends mistake Irene for Irish nobility. Irene becomes the toast of New York society.

Irene is soon courted by Bob Vincent (Alan Marshal), but once he proposes to Irene, she suddenly realizes she loves Don, and Bob simultaneously realizes he loves Eleanor (Marsha Hunt), a friend since childhood. It all gets very complicated for a while, but this being a musical comedy, does anyone doubt how things will turn out?

IRENE combines the best of '30s screwball-style comedy with a handful of musical sequences featuring the multi-talented Neagle. In addition to Billie Burke and Roland Young at their befuddled best, there's a hilarious performance by Arthur Treacher as -- what else? -- a butler. At one point Don tells the butler he understands "discretion is your middle name," to which the butler replies "If butlers told all they knew, society would be a shambles."

Lovely young Marsha Hunt, who was working as a free-lancer at the time, has a chance to shine in a small role as the society girl who belatedly realizes she loves her old friend Bob. IRENE was released the same year that Hunt appeared in MGM's classic PRIDE AND PREJUDICE (1940), giving a funny performance as the painfully off-key Mary.

Neagle and Milland have a nice sympathetic chemistry; the scene where he initially goes looking for her in the restaurant where he knows she eats lunch is delightful, as they each try to act nonchalant but are thrilled to see one another. Don and Irene can be themselves when together, and with the notable exception of Don's hidden role as "Madame Lucy," they have no secrets from one another; their honesty and acceptance of one another as they are, regardless of class distinctions, is refreshing. Incidentally, Milland and Neagle were each around 34 when the film was made but are plausible as younger characters.

This 101-minute film was one of a handful of early '40s RKO releases in which Neagle appeared. As with her other projects, IRENE was directed by her husband and longtime collaborator, Herbert Wilcox.

An aspect which makes this black and white film -- and thus its release on DVD -- quite special is a unique Technicolor sequence which begins when Irene enters the ball in a beautiful old-fashioned dress. The movie's switch to color, showcasing Neagle's red curls and blue gown, is quite stunning. The color reel helps underscore Irene's wonder at being part of such an elegant fantasy world; she later shares her joy over the experience with her grandmother (May Robson) and best friends (Isabel Jewell and Doris Nolan) with a simple and moving rendition of "Alice Blue Gown."

Soon enough, like Cinderella, Irene's special night is over; the transition back to black and white is appropriately accompanied by a card reading "Comes the Cold Grey Dawn." The cinematography was by Russell Metty. The DVD print is quite nice, showing off both the color and black and white sequences to good effect.

When I first enjoyed this film on Turner Classic Movies half a dozen years ago, I had little hope that it would ever be available on DVD. Classic film fans are fortunate indeed that the Warner Archive makes lesser-known yet notable films such as IRENE widely available.

Thanks to the Warner Archive for providing a review copy of this DVD.

The 2014 TCM Classic Film Festival: Day Five

And so we finally come to an account of the very last day of the 2014 TCM Classic Film Festival!

That Sunday morning, April 13th, there were many more difficult choices. John Williams was among those in attendance at a digital screening of FIDDLER ON THE ROOF (1971) at the Chinese Theatre; that soundtrack album, with his wonderful arrangements, was how I first became aware of his name. However, since I'd seen it on a big screen years ago and have seen Mr. Williams conduct on several occasions, I let that option go.

Likewise, I skipped a digital screening of THE ADVENTURES OF ROBIN HOOD (1938) at the Egyptian Theatre, since I'd just seen it in a gorgeous 35mm print at UCLA in February. The TCM screening, which was previewed by Susan King in the Los Angeles Times, was an extra-special presentation with sound effects wizard Ben Burtt and visual effects specialist Craig Barron.

I considered a digital screening of Ozu's TOKYO STORY (1953), but the title I ultimately couldn't resist was the charming romantic comedy SUNDAY IN NEW YORK (1963), which I'd last seen in 2009. It seemed like the perfect way to start off on Sunday, and indeed it was. There were quite a number of my fellow Rod Taylor fans in attendance, and I happened to watch it sitting next to Kate, who lists it as her favorite film.

Some of the charming ladies watching the film with me:

Also in attendance was Kay, who wrote a great post on the movie's fashions earlier this year. As I told Kay at the festival, I really like how her fashion posts cause me to focus on a movie from a completely different perspective.

Robert Osborne was there bright and early to introduce the film. Funnily enough, he'd never talked to festival programmer Charlie Tabesh about why the film was on this year's schedule, so he assumed perhaps it was in part because it was the film's 50th anniversary.

We had an interesting surprise in store -- the 35mm print had a card at the start that indicated it was from Britain, and it turned out to have a different ending than the U.S. version most of us had previously seen via Turner Classic Movies or the Warner Archive.

In the version we saw at the festival, the film ends with Taylor saying "I have to try" (to find the key he threw in the street), and Jane Fonda says something like "Why don't you stop trying?" Cliff Robertson walks in, sees them kissing, leaves and smiles as he gets in the elevator. The End.

The U.S. edition, which can be seen on the Warner Archive DVD, almost blips Fonda's line so that you can only make out something muffled like "try." Robertson walks in, sees them kissing, leaves and smiles as he gets in the elevator, and then there's a narration from him: "And so they were married. They went to Japan on their honeymoon, and Mike taught their three daughters..." Basically the U.S. ending wants to make sure viewers know they didn't just have an affair, but got married and lived happily ever after.

It was also fun to notice Jim Hutton's cameo this time! He got a nice round of applause when he turned up listening to a radio in a canoe.

In terms of pure enjoyment, SUNDAY IN NEW YORK was one of my favorite screenings of the festival. Seeing it on a big screen with an appreciative audience was a wonderful experience.

After SUNDAY IN NEW YORK a couple of us ran into the Film Noir Foundation's Eddie Muller in the lobby. He'd just interviewed Margaret O'Brien about Mickey Rooney at a screening of NATIONAL VELVET (1945) which was a late addition to the schedule in his honor. (There really were an amazing number of options in that Sunday morning slot!) Eddie shared with us Margaret's handwritten notes -- Kay's photo is here -- about the points she wanted to share about Mickey which helped guide Eddie's questions.

I also had the chance to congratulate Eddie on another wonderful Noir City Film Festival! It was nice of him to let me know he'd read my post on HARDLY A CRIMINAL (1949), as he was curious to know what festival goers thought of seeing an Argentinian film noir!

Next up was a 35mm screening of the rarely seen British comedy ON APPROVAL (1944), which had been a sellout earlier in the festival and thus was awarded one of the slots left open for repeat showings on Sunday. The second showing was also completely full!

ON APPROVAL, based on a play by Frederick Lonsdale, starred Clive Brook, Beatrice Lillie, Googie Withers, and Roland Culver. It was introduced by film historian Jeffrey Vance:

There were a lot of funny lines in the movie, although I confess I briefly "zoned out" partway through the film -- 14 films in 72 hours, without much food or quite enough sleep, will do that to you! -- and then found myself a bit lost. (I felt better when Will McKinley told me the identical thing happened to him!) It didn't help that I was having some trouble telling apart the two leading men, Brook and Culver.

I enjoyed the film so I hope to watch it again via last year's Blu-ray release so I can get more out of it. Here's Jeremy Arnold's account of seeing the film, posted on the festival website.

Next it was over to the lobby of the Hollywood Roosevelt Hotel, where Robert Osborne and Maureen O'Hara conducted a brief interview surrounded by fans. I had a hard time snapping photos with such a big crowd but fortunately Raquel is taller than me and could help out!

O'Hara particularly spoke of the key role Charles Laughton had played in her life, working with her in JAMAICA INN (1939) and bringing her to America for THE HUNCHBACK OF NOTRE DAME (1939). She very much wanted everyone to know he was a wonderful person and how grateful she was to him.

A photo made available to the press by TCM:

After seeing Miss O'Hara I decided to grab a quick meal in the hotel's 25 Degrees, where they serve an outstanding -- if pricey -- hamburger. While I was eating Robert Osborne entered the restaurant and applause spontaneously broke out. It was a nice moment.

I saw Mr. Osborne again shortly thereafter, as Raquel and I had purchased the new DVD set CONVERSATIONS WITH ROBERT OSBORNE and had the opportunity to have our copies autographed in Club TCM in the Hollywood Roosevelt's Blossom Room. (How appropriate that Club TCM is at the site of the very first Academy Awards ceremony!) Here's Raquel having hers signed:

After signing my copy he spontaneously leaned over and kissed my forehead which was a lovely moment for me!

Then it was immediately back across the street for my 14th and final film of the festival, THE WIZARD OF OZ (1939). There was a huge line which went upstairs and down several hallways, but fortunately Raquel and I got in, as did many other friends who had chosen that as their last film of the festival.

I had fond memories of seeing an amazing 35mm print of THE WIZARD OF OZ at the Vagabond Theater years ago, and going in I was fairly skeptical at the prospect of seeing this film in 3D on an IMAX screen. However, it was the "official" closing film of the festival, hosted by Robert Osborne, and I felt the film would have the right emotional tone for me that evening, given how sad I was the festival was already coming to an end!

I have to say I was very pleasantly surprised by the 3D experience. While I wouldn't want to see the film this way normally, I really did see it in a whole new way. I actually felt at times that I was at the very edge of the action myself, a sensation I've never before had while watching a 3D film. It was rather remarkable. The Flying Monkeys actually made me jump in my seat at one point, the 3D action was so realistic!

While the digital print of Garland's MEET ME IN ST. LOUIS (1944) had been too fuzzy on the big screen at the Chinese, that was not at all an issue with OZ. Every sequin on Glinda's gown was distinguishable. The only problem I had was having to be careful not to tilt my head, as if I did the picture blurred and made me feel a bit seasick. I talked to others later who had the same issue. As long as I looked at the picture with my head completely straight, it looked (and felt) great.

The ending of the film was very emotional for many of us, as it also meant the end of the festival. Back to Club TCM once more for the Closing Night party! It was after midnight Eastern time, which meant that at TCM headquarters in Atlanta it was officially the network's 20th Anniversary. Champagne was passed out throughout the room and Robert Osborne and Ben Mankiewicz led everyone in an anniversary toast:

Finally, many classic film bloggers convened poolside at the Hollywood Roosevelt for final photos together and fond goodbyes, with promises to meet again at next year's festival. I am so privileged to call the wonderful people I've met through blogging friends!

Great posts by other bloggers continue to roll in, including:

"TCMFF Recap: Day 3" at Lindsay's Movie Musings

"Poolside Screening of American Graffiti (1973) at the TCM Classic Film Festival" by Raquel at Out of the Past

"How Green Was My Valley Screening and Maureen O'Hara at the TCM Classic Film Festival," also at Out of the Past (Raquel's done lots more posts so be sure to check them all out!)

"How to Navigate TCM Classic Film Festival: What I Learned in 2014" by KC at Classic Movies

"TCMFF 2014 Highlights: Why Worry?" by Aurora at Once Upon a Screen

"TCM Classic Film Festival 2014: All in the Family" by Kim at GlamAmor

"TCM Therapy: Highlights from TCMFF Press Day" by Nora, the Nitrate Diva

From newspapers: "Top 12 Reasons to Love Turner Classic Film Channel" by Lou Lumenick in the New York Post, and if you missed it prior to the festival, check out "Quincy Jones Tunes Up for TCM Classic Film Festival" by Susan King in the Los Angeles Times.

For more links to my coverage of the festival, please visit The 2014 TCM Classic Film Festival in Review.

Still to come: Reviews of individual festival screenings!

Efrem Zimbalist Jr., 1918-2014

I was very much saddened to learn tonight of the passing of Efrem Zimbalist Jr. He was 95.

Stephanie Zimbalist and Efrem Zimbalist III released the following statement: "We are heartbroken to announce the passing into peace of our beloved father, Efrem Zimbalist, Jr., today at his Solvang, Calif. ranch. He was 95 years old. A devout Christian, he actively enjoyed his life to the last day, showering love on his extended family, playing golf, and visiting with close friends. We will miss him dearly."

Zimbalist was, of course, the star of the TV series 77 SUNSET STRIP and THE F.B.I., and he also had a recurring role as Dandy Jim Buckley on my favorite MAVERICK series. Another great recurring role was as Daniel Chalmers on his daughter Stephanie's series REMINGTON STEELE. And in more recent years, cartoon fans knew him as the voice of Alfred on BATMAN: THE ANIMATED SERIES.

I wrote him a fan letter as a teen and received a lengthy letter back in response, penned in exquisite cursive. A small sample of that letter:

I also have a fond memory of standing in line near him for a classic film screening at the Los Angeles County Museum of Art many years ago. Every impression I have gathered of him, from my brief contacts and what I've read, is that Mr. Zimbalist epitomized graciousness and class.

Zimbalist's autobiography was titled MY DINNER OF HERBS.

Efrem Zimbalist Jr. movies previously reviewed here: HOUSE OF STRANGERS (1949), BOMBERS B-52 (1957), VIOLENT ROAD (1958), THE CROWDED SKY (1960), and AIRPORT 1975 (1974), which I just saw at the Egyptian Theatre earlier this year.

Zimbalist's other film credits included BAND OF ANGELS (1957), TOO MUCH, TOO SOON (1958), HOME BEFORE DARK (1958), A FEVER IN THE BLOOD (1961), BY LOVE POSSESSED (1961), WAIT UNTIL DARK (1967), and the excellent TV-movie A FAMILY UPSIDE DOWN (1978) starring Fred Astaire.

A FEVER IN THE BLOOD airs on Turner Classic Movies on May 14, 2014.

An obituary in The Hollywood Reporter has more on his long career.

Efrem Zimbalist Jr. gave a great many people many happy viewing experiences, on screens large and small. My gratitude to him, and sincere condolences to his family.

Saturday Update: The Los Angeles Times has now posted an obituary by Dennis McLellan.

TCM in May: Highlights

The calendar has turned to the 1st of May, and it's time to take a look at all the great things ahead on this month's Turner Classic Movies schedule.

June Allyson is the May Star of the Month beginning Wednesday, May 7th. I'll be sharing more about her films next week. (Update: Please visit TCM Star of the Month: June Allyson.)

Here's a handful of select picks among the many great films airing on TCM this month:

...As a George Montgomery Westerns fan, I'm looking forward to checking out KING OF THE WILD STALLIONS (1959), costarring Diane Brewster (MAVERICK) and Edgar Buchanan, this Saturday, the 3rd.

...I had the pleasure of seeing Gary Cooper and Audrey Hepburn in LOVE IN THE AFTERNOON (1957) at the Los Angeles County Museum of Art a few years ago. This Billy Wilder film, airing on May 4th, has some brilliantly funny moments and a terrific ending.

...I loved D.O.A. (1950), a crime film with Edmond O'Brien and Pamela Britton and some great location shooting in San Francisco and Los Angeles. It airs on May 5th.

...SCARLET DAWN (1932), airing on May 6th, is a very interesting pre-Code set during the Russian Revolution. I was fascinated to see a film on that topic made relatively close in time to the actual event; it wasn't remote history in 1932. Douglas Fairbanks Jr. and Nancy Carroll star.

...I'm curious about A THOUSAND AND ONE NIGHTS (1945), with Cornel Wilde and Evelyn Keyes as Aladdin and a genie. It's on May 8th.

...It's been four years since I last saw FATHER IS A BACHELOR (1950), airing on May 9th. I'd like to revisit it in the context of much greater appreciation for the career of leading lady Coleen Gray. William Holden costars.

...If you haven't yet seen RIO BRAVO (1959), what are you waiting for? One of the most enjoyable Westerns ever, starring John Wayne, Dean Martin, Ricky Nelson, Walter Brennan, and Angie Dickinson, directed by Howard Hawks. It's on May 10th.

...I wished I'd had time to see Irene Dunne in I REMEMBER MAMA (1948) at last month's TCM Classic Film Festival. I have fond memories of this movie, based on MAMA'S BANK ACCOUNT by Kathryn Forbes. It's on May 11th, perfect Mother's Day entertainment. Other excellent films airing on Mother's Day: MILDRED PIERCE (1945) and THE MATING SEASON (1951).

...May 13th there are several films airing starring Jane Wyatt, including the excellent PITFALL (1948) with Dick Powell and Lizabeth Scott. I'm particularly curious about ARMY SURGEON (1942), about a female surgeon who wants to serve on the front line, and WE'RE ONLY HUMAN (1936), costarring a favorite, Preston Foster.

...I really enjoyed IMPACT (1949), an interesting crime film starring Brian Donlevy, Ella Raines, and Helen Walker. Great location shooting in San Francisco and Larkspur, California. It's on May 14th.

...Two films airing on the 14th I'd really like to see: THE UNFAITHFUL (1947) with Ann Sheridan and Zachary Scott, and A FEVER IN THE BLOOD with Efrem Zimbalist Jr., Jack Kelly, and Angie Dickinson.

...Perhaps the biggest highlight of the recent TCM Classic Film Festival was a screening of Harold Lloyd's WHY WORRY? (1923), with Carl Davis conducting the orchestra performing his new score. I'd love to know if Davis's score has been or will be recorded; it was excellent, especially the Latin riffs. The enchanting Jobyna Ralston costars. WHY WORRY? airs in primetime on May 15th.

...CROSS-COUNTRY ROMANCE (1940) is a delightful romantic comedy starring Gene Raymond and Wendy Barrie. It's a fast-moving and very enjoyable film with tons of great faces -- even Alan Ladd as a ship's officer at the end of the movie! It's on May 16th.

...John Hodiak and Lucille Ball star with Lloyd Nolan in TWO SMART PEOPLE (1946), a very enjoyable film about two crooks who might persuade each other to reform. It airs May 18th.

...I'm really interested in checking out Yvonne DeCarlo and David Niven in TONIGHT'S THE NIGHT (1954) on May 19th.

...There are a bunch of fun movies on Tuesday, May 20th, a day it would be nice if one could only watch TV all morning! The lineup starts with Gable and Harlow in HOLD YOUR MAN (1933) and continues with Dick Powell and Olivia de Havilland in HARD TO GET (1938), followed by Robert Young and Ruth Hussey in RICH MAN, POOR GIRL (1938). Lana Turner and Lew Ayres costar in the latter film.

...SHE'S GOT EVERYTHING (1938) is a very enjoyable RKO romantic comedy starring Gene Raymond and Ann Sothern, airing on May 21st. Incidentally, SHE'S GOT EVERYTHING was just released by the Warner Archive on a double feature DVD with Raymond and Sothern's SMARTEST GIRL IN TOWN (1936).

...I love to plug the great HISTORY IS MADE AT NIGHT (1937), with Charles Boyer, Jean Arthur, and Leo Carillo, directed by Frank Borzage. Just watch it, on May 22nd.

...Who could resist John Payne and Dennis Morgan in a movie with a great title like TEAR GAS SQUAD (1940)? Not me! May 23rd.

...TCM's annual Memorial Day weekend war films marathon starts with one of my favorites, the superb JOURNEY FOR MARGARET (1942), on May 24th. This film about orphans of the London Blitz stars Robert Young, Laraine Day, and the remarkable Margaret O'Brien.

...I'd like to take another look at the enjoyable WWII housing shortage comedy PILLOW TO POST (1945), airing on Memorial Day weekend, May 25th. It stars Ida Lupino, William Prince, and Sydney Greenstreet.

...A couple of years ago I revisited SAN FRANCISCO (1936) with Clark Gable, Jeanette MacDonald, and Spencer Tracy for the first time in years, and I came away impressed by it anew. A truly entertaining film with big-time stars, lovely music, romance, drama, and to top it all off, an earthquake! It airs May 28th along with several other movies set in San Francisco.

...I'm quite interested in checking out LADY SCARFACE (1941) on May 29th, starring Dennis O'Keefe and Judith Anderson.

...The original version of Fritz Lang's M (19312) airs on May 30th. I'll be recording it, given how much I enjoyed the 1951 version.

There is so much more happening at TCM this month, including Friday nights spotlighting Australian movies and Mother Dolores Hart guest programming on May 27th.

Please consult the complete May schedule for more information.