A Winter Visit to Lone Pine, Part 1

Last month we spontaneously decided to spend a long weekend in Lone Pine on just a couple days' notice.

It was fantastic to get away after so many months at home, and the businesses up and down Highway 395, which were hit hard by the pandemic, are grateful for business. We hadn't been to Lone Pine in the winter months before, and the snow-capped mountains made for some striking photography.

This weekend's release of the Western Movies podcast on Lone Pine prompted me to sort through my photographs for a couple of photo posts. In Part 1 I'll look at scenes around town, including a couple of interesting movie locations, and later this week I've scheduled a post featuring shots in the Alabama Hills, along with Lone Pine's newly refurbished neon signs.

As we approached town in late afternoon we drove past Anchor Ranch, familiar from THE VIOLENT MEN (1955). Click on the photo to enlarge it for a look at the wooden anchor.

We've been wanting to visit Copper Top BBQ, which is in Big Pine, about half an hour up Highway 395 past Lone Pine.

We've heard great things about Copper Top, and it did not disappoint! Below, green chili with beans and a pulled pork sandwich.

They even have a vending machine with vacuum-sealed barbecue which can be purchased "for the road." It was well worth the trip.

As we headed back south to Lone Pine at dusk we passed Manzanar, a haunting sight at twilight.

We woke up to a beautiful morning in Lone Pine. We delighted in the snowy peaks...

...and striking cloud formations.

As I shared last year, Frosty is a statue of the owner's beloved horse, who doubled famous horses in the movies, including in Hopalong Cassidy films.

The Frosty Chalet promises to return for the summer season in May.

I always get a kick out of Lone Pine's very unique McDonald's. Longtime readers may recall that horses have been seen in the drive-through on occasion.

During last October's Virtual Lone Pine Film Festival I watched a couple of films directed by Robert F. Hill, who liked to film on the streets of Lone Pine as well as in the Alabama Hills. One of those films, THE PHANTOM OF THE RANGE (1936), starred Tom Tyler and is on YouTube.

At the 6:10 mark in the video, Tyler can be seen riding his horse up Bush Street in Lone Pine, past these two buildings at the intersection of Washington Street. As seen comparing this photo to the movie, the location has changed little today, other than the smaller building having a different roof:

Looking at the intersection from a different angle, Tyler approaches from the right in the movie, heading into the intersection.

Like many places in town, our favorite Alabama Hills Cafe currently offers outdoor seating. The Cafe built what looks like a permanent patio area in the street, and I hope it stays long term.

You just can't find a better French dip and fries than at the Alabama Hills Cafe!

One evening we got Mexican food from the Bonanza restaurant. Although we've eaten at many of the restaurants in town, this was a first-time visit for us. The food was good, the service was friendly, and we'll definitely be back in the future.

The Museum of Western Film History recently reopened a few days a week:

I was limiting my time indoors until being fully vaccinated so I skipped the museum exhibits on this visit, but I did pop into the gift shop. I found a wonderful book on movie locations, ARIZONA'S LITTLE HOLLYWOOD, by Joe McNeill.

The book focuses on Northern Arizona, around Sedona and the Flagstaff area where our son went to college, and is impressively thick (680 pages) and detailed, with glossy photographs throughout. We'll be using this as a reference to explore Arizona movie locations in the future! Highly recommended.

In my next post we'll travel into the Alabama Hills, visit the area where the finale of RIDE LONESOME (1959) was filmed, and take a look at Lone Pine's refurbished neon signs.

Update: A Winter Visit to Lone Pine, Part 2.

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Sunday, April 18, 2021

Tonight's Movie: The Princess Comes Across (1936) - A Kino Lorber Blu-ray Review

Kino Lorber has just released a second set of Carole Lombard films on Blu-ray, the Carole Lombard Collection II.

The titles in the set are three very enjoyable mid '30s romantic comedies: HANDS ACROSS THE TABLE (1935), LOVE BEFORE BREAKFAST (1936), and the film I'm currently reviewing, THE PRINCESS COMES ACROSS (1936).

I reviewed THE PRINCESS COMES ACROSS here very briefly in 2006, and I don't believe I've seen it in the intervening years. I've always had a particular interest in Carole Lombard, as I wrote about here, and it was a definite treat to circle back to his movie after nearly 15 years.

Lombard has a perfect role as haughty Princess Olga of Sweden, who is sailing from Europe to America with her lady-in-waiting, Lady Gertrude (Alison Skipworth). Princess Olga's ultimate destination is Hollywood, where a movie contract awaits. Lombard's spin on her character, playing the princess as a very recognizable Greta Garbo type character, is delightful.

There's just one wrinkle: Princess Olga may not be precisely who she seems to be, which is quickly deduced by one of her fellow passengers, band leader King Mantell (Fred MacMurray). Mantell, having overcome an unfortunate youth (jail was involved), is headed to New York for an engagement at Radio City Music Hall.

Mantell and the Princess gradually realize an attraction for one another, but it's not easy to work out, what with her being a princess. More importantly, they're both soon wrapped up in a murder mystery evolving on board the ship!

Fortunately, a group of world-famous sleuths (Sig Ruman, Douglass Dumbrille, Mischa Auer, Lumsden Hare, and Tetsu Komai) just happen to be on board, and they set about solving the mystery.

'30s cruise ship movies are second only to train movies as some of my very favorite types of films. There's something that's simply great fun about a group of interesting people all gathered for travel on an elegant Paramount Pictures cruise ship! Add in romance, screwball comedy, and mystery, and you have the ingredients for an entertaining movie.

Lombard is wonderfully daffy in the role, jumping to seriousness when needed, and for an added bonus she wears a gorgeous wardrobe by the great Travis Banton. Lombard is extremely well matched with her frequent costar, MacMurray, who gets to show off some of his musical ability in the movie.

Lombard and MacMurray were also teamed in another film in the set, HANDS ACROSS THE TABLE, to be reviewed here in the near future.

The supporting cast also includes William Frawley, George Barbier, Porter Hall, and George Chandler. The entire cast is grand, a gathering of great faces only possible in classic-era Hollywood, and the film's 76 minutes fly by.

THE PRINCESS COMES ACROSS was directed by William K. Howard and filmed by future director Ted Tetzlaff. Tetzlaff gives the crime scenes deliciously spooky shadows, while other scenes are wonderfully glamorous.

The Kino Lorber Blu-ray is lovely, with excellent sound. Extras are a commentary track by Allan Arkush and Daniel Kremer, along with a trailer gallery for three additional films available from Kino Lorber.

Reviews of films from Kino Lorber's Carole Lombard Collection I: FAST AND LOOSE (1930), MAN OF THE WORLD (1931), and NO MAN OF HER OWN (1932).

Thanks to Kino Lorber for providing a review copy of this Blu-ray.

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Saturday, April 17, 2021

Lone Pine on the Western Movies Podcast

I'm happy to announce that my husband Doug and I are featured on the latest episode of the Western Movies podcast.

We talk all things Lone Pine with podcast host Cole Armin, aka Vincent, including the history of filming in Lone Pine, Westerns shot in the area, and the Lone Pine Film Festival.

The podcast is on YouTube and features numerous photos as well as an illustrated tour taking listeners on a trip from Hollywood to Lone Pine and then exploring some key film locations in the area.

It's our hope listeners will find the program enjoyable and informative and that perhaps it will also inspire some trips to one of our favorite places!

I also encourage my readers to check out additional Western Movies podcasts. Guests on previous episodes include Toby Roan of 50 Westerns From the 50s, discussing the film FLAMING STAR (1960), and John Knight, a longtime friend of this blog, on director Alfred L. Werker.

Our sincere thanks to Vincent for the invitation and being such a grand host.

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Around the Blogosphere This Week

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

...The good news keeps coming from Kino Lorber, which announced a few days ago that another film which has never had a DVD release, NIGHT HAS A THOUSAND EYES (1948), is coming to Blu-ray "soon." I first reviewed the movie here a decade ago and was fortunate to see it again in a new 35mm print at the 2013 Noir City Film Festival, followed by a beautiful 35mm nitrate print at UCLA in 2017. The lack of a DVD release of such a marvelous film has always seemed inexplicable to me, and I'm thrilled it will be widely available at last. Edward G. Robinson, Gail Russell, and John Lund star, directed by John Farrow.

...And coming from Kino Lorber on July 13th is Lindsay Wagner in the fondly remembered TV-movie THE TWO WORLDS OF JENNIE LOGAN (1979). I own this on an MGM DVD-R and never dreamed it would be released on Blu-ray. Kino Lorber has also announced COOGAN'S BLUFF (1968), starring Clint Eastwood, will be out on August 3rd.

...Toby Roan of 50 Westerns From the 50s was recently interviewed by getTV regarding TV Westerns and the CASEY JONES TV series. The series ran from 1957 to 1958 and starred Alan Hale Jr.

...New cookbook alert: MILK STREET: TUESDAY NIGHTS MEDITERRANEAN by Christopher Kimball was just released a few days ago.

...Jenny of Silver Screen Suppers has posted the recipe for "Jane Russell's Green Pepper Steak."

...Coming in July from the Criterion Collection: BRINGING UP BABY (1938), in a new restored digital transfer. Extras will include a video essay on Cary Grant by Scott Eyman, author of CARY GRANT: A BRILLIANT DISGUISE, which I reviewed here last weekend.

...Turner Classic Movies is helping to sponsor an upcoming documentary about a quest for the original uncut print of THE MAGNIFICENT AMBERSONS (1942). The hunt is on for the print in Brazil. Whether or not it's found, the documentary is due to play on TCM in the summer of 2022.

...Nothing says "normalcy" to me more than the prospect of seeing the joyous lunacy that is F9 (2021), the latest entry in the Fast & Furious movie series, on a big screen later this year. The brand-new trailer is here.

...Farran Smith Nehme has written a terrific profile of an actress I particularly like, Virginia Grey, for the latest issue of the Film Noir Foundation's Noir City e-magazine. There's an excerpt up at her blog, the Self-Styled Siren, along with information on how to subscribe to the e-magazine.

...Los Angeles theatergoers received sad news last week: The ArcLight Cinemas and Cinerama Dome are not going to reopen following their COVID shutdown. Ryan Faughnder of the L.A. Times looks at what the future might hold for the theaters. (Photo courtesy Turner Classic Movies.)

...Notable Passings: Lee Aaker, the fine child actor who appeared with John Wayne and Geraldine Page in HONDO (1953), has passed away at the age of 77. (Via 50 Westerns From the 50s.) He also appeared in DESPERATE SEARCH (1952), THE ATOMIC CITY (1952), JEOPARDY (1953), and TAKE ME TO TOWN (1953), as well as a number of other movies and TV series up through the early '60s.

...For additional recent links of interest to classic film fans, please check out my April 10th roundup.

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Thursday, April 15, 2021

TCM Announces the 2021 Virtual TCM Classic Film Festival Schedule

Last month Turner Classic Movies announced plans for its virtual 2021 festival.

The festival takes place from May 6th to 9th, 2021. Festival films will be shown on both Turner Classic Movies and at the "Classics Curated by TCM Hub" on the HBO Max streaming service.

Today TCM announced the festival schedule; complete details are at the TCM Festival site. For the TCM schedule click here (a concise one-page view is also here), and for HBO Max content information click here.

The HBO Max content will all be simultaneously available for viewing when the festival launches, and according to the festival FAQ that content will also be available to subscribers for a limited time once the festival concludes on the 9th. 

As mentioned last month, the festival will begin on May 6th with WEST SIDE STORY (1961), which will be available on both Turner Classic Movies and HBO Max. In addition to the movie itself, there will be a "reunion conversation" with George Chakiris, Rita Moreno, and Russ Tamblyn.

Here's a look at some additional festival highlights, beginning with the TCM schedule:

*The opening night schedule will include the TCM premiere of the newly restored DOCTOR X (1932), a two-strip Technicolor film just released on a Warner Archive Blu-ray.

*May 7th will feature the world premiere of a Flicker Alley restoration of a film I'm unfamiliar with, THE WHISTLE AT EATON FALLS (1951), a Columbia Pictures film starring Lloyd Bridges, Carleton Carpenter, Dorothy Gish, and Anne Francis, directed by Robert Siodmak.

*Also on May 7th: The TCM premiere of a recent 4K restoration of ANNIE GET YOUR GUN (1950) from the original nitrate Technicolor negative. ANNIE GET YOUR GUN will be out on Blu-ray from the Warner Archive on April 20th.

*May 8th will be the TCM premiere of I LOVE TROUBLE (1948). I saw this delightful mystery starring Franchot Tone, which was written by Roy Huggins and plays like a forerunner of Huggins' TV creation THE ROCKFORD FILES, at the 2018 Noir City Hollywood Festival.

*Later on the 8th will be the world premiere of the restoration of THEY WON'T BELIEVE ME (1947), with 15 minutes restored. It will be out on Blu-ray from the Warner Archive the week after the festival.

*On May 9th there will be the television world premiere of a restored version of HER MAN (1930) starring Helen Twelvetrees.

*A highlight of the festival is often home movies from the Academy Archive. Based on that past history, HOLLYWOOD HOME MOVIES: STARS AT WORK AND PLAY (2021), being shown on May 9th, promises to be a lot of fun.

*Close readers of this blog will remember that Ernst Lubitsch's silent comedy SO THIS IS PARIS (1926) has been on early drafts of TCM schedules a couple of times in the last year but didn't end up being shown. This film, which I saw in person at the 2017 TCM Classic Film Festival, is now being shown on TCM for real, with a brand-new score by Ben Model. It will be shown May 9th.

*Over on HBO Max, the key program for me is the presentation "Jet Jockeys in Love: The Making of Chain Lightning" with Craig Barron and Ben Burtt, accompanied by a showing of the 1950 film starring Humphrey Bogart and Eleanor Parker. Barron and Burtt's special effects and "making of" presentations, which have included TARZAN AND HIS MATE (1934), IT'S A WONDERFUL LIFE (1946), and THE WAR OF THE WORLDS (1953), are always festival highlights, and it's very exciting they created a program for the virtual festival.

*"Extras" available at HBO Max will include Scott Eyman discussing Ernst Lubitsch, with SO THIS IS PARIS available on HBO Max in addition to its May 9th TCM showing.

*Additional extras on HBO Max include a featurette on John Alton, available in conjunction with T-MEN (1947); an interview with David Wyler regarding his father William Wyler's classic THE BEST YEARS OF OUR LIVES (1946); and "Hollywood in My Hometown: John Ford Country," shown in conjunction with THE SEARCHERS (1956).

There will also be opportunities to participate in limited-capacity Zoom sessions during the festival.

The festival website includes a page of Frequently Asked Questions and information on "How to Fest With Us." And just for fun, there's also the ability to print out a virtual festival pass.

The TCM Classic Film Festival Boutique is now open at the TCM Shop. I've already put in an order for this year's t-shirt and mug.

For those who may be wondering, TCM says in its FAQ that it is planning to hold an "in person" festival again in 2022.

For additional information on the rest of the TCM schedule in May 2021, please visit my Quick Preview of TCM in May. I'll have a post on the month's non-festival highlights around the end of April.  (Update: Please visit TCM in May: Highlights for an overview of the month's non-festival schedule.)

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Monday, April 12, 2021

Tonight's Movie: The Redhead From Wyoming (1953) - A Kino Lorber Blu-ray Review

Maureen O'Hara stars as THE REDHEAD FROM WYOMING (1953), part of the brand-new Western Classics II collection from Kino Lorber.

I first saw this film on VHS a decade ago, while the other two films in the set will be completely new viewing for me; they are PILLARS OF THE SKY (1956) with Jeff Chandler and GUN FOR A COWARD (1957) with Fred MacMurray.

I seem to have a theme this week of liking films better on second acquaintance; that was the case a few days ago with Carole Lombard and William Powell in MAN OF THE WORLD (1931), and I was also pleased to also discover that I enjoyed THE REDHEAD FROM WYOMING more than I remembered.

Maureen O'Hara plays Kate Maxwell, who's brought to a frontier town and set up in a saloon by Jim Averell (William Bishop). Averell aspires to both wealth and being governor of Wyoming. Both Kate and Jim were inspired by real people who came to a bad end, but otherwise there's not much similarity.

Kate soon learns that Jim is making money cattle rustling, using her as a potential fall woman, so she tries to drum up support behind Jim's back from Duncan (Alexander Scourby), a rancher. Meanwhile she's romantically attracted to Sheriff Stan Blaine (Alex Nicol), who returns her interest but doesn't act, thinking Kate and Jim are involved.

THE REDHEAD FROM WYOMING is admittedly a pretty standard range war film, but I'm glad to say that I had a good time returning to it. Perhaps it's due in part to all the Westerns I've seen in the intervening ten years, but watching the movie tonight felt like sitting down and spending 77 minutes with familiar friends.

Last time around I found the film too run of the mill, with none of the male actors particularly impressive; in fact, I chatted with someone about how much better it would have been with Joel McCrea as the sheriff. However, this time, instead of wishing for what could have been, I instead liked the film for exactly what it was.

O'Hara is fiery, Nicol is nicely laconic, and there are a host of familiar faces, most prominent among them Dennis Weaver, Jack Kelly (MAVERICK), Palmer Lee (Gregg Palmer), and Jeanne Cooper. 

I especially appreciated some nice staging of the final action sequence; Jim's comeuppance, as he approaches what appears to be many bodies lying in the street after a gun battle, is particularly delicious.

The screenplay by Polly James and Herb Meadow, based on James's story, makes O'Hara's character morally ambiguous; for instance, she keeps quiet about Jim using her brand for rustling for most of the film.  While I think that diminished my sympathy on the last go-round, this time I simply felt it made her interesting, as I tried to keep up with her plotting playing the men in her life against one another.  

Sometimes O'Hara's supremely confident temperament as Kate threatens to become too strident, but then she reels it back in. Kate is a woman looking out for herself in a tough world...but ultimately she's tired of the power games and would rather settle down with a good man.

Newcomers to the genre might be fairly unimpressed, as I was last time, but I think many Western fans will find THE REDHEAD FROM WYOMING a pleasant, action-packed outing of the solid 2-1/2 star variety. I enjoyed it and will return to it in the future.

THE REDHEAD FROM WYOMING was directed by Lee Sholem and filmed by Winton C. Hoch (SHE WORE A YELLOW RIBBON). The movie's exteriors were filmed in the Agoura area.

The Kino Lorber Blu-ray print is sharp and clear, with a strong soundtrack.

Extras are a commentary track by Samm Deighan, the trailer, and trailers for two additional films starring Maureen O'Hara which are available from Kino Lorber.

For those interested in the previous Western Classics I collection, here are links to reviews for WHEN THE DALTONS RODE (1940), THE VIRGINIAN (1946), and WHISPERING SMITH (1948).

Thanks to Kino Lorber for providing a review copy of this Blu-ray.

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Sunday, April 11, 2021

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

A fine cast elevates GALLANT SONS (1940), a minor but enjoyable MGM murder mystery. It's available on DVD from the Warner Archive.

This "B" film is sort of a spin on MGM's Mickey-Judy "Let's put on a show!" movies, except it's "Let's solve a murder mystery by putting on a show!" Mickey and Judy's costar in a couple of films, June Preisser, is even along for the ride.

"Natural" Davis (Ian Hunter), who runs a high-class gambling establishment, is accused of murder, thanks in no small part to newspaper editor Barton Newbold (Minor Watson).

The two men's sons, Johnny (Gene Reynolds) and By (Jackie Cooper), who are best friends, become estranged when Johnny's father is convicted and sent off to prison.

Johnny goes to live with Clare (Gail Patrick), who loves Natural, and her daughter Kate (Bonita Granville). Eventually, Johnny and By reunite to work together to solve the crime, along with Kate and a group of their friends (Tommy Kelly, Leo Gorcey, William Tracy).

In just 76 minutes the intrepid young sleuths deduce the murderer and find a creative way to pressure his confession. The screenplay by Marion Parsonnet and William R. Lipman is fun, and the cast is engaging. Cooper, Reynolds, and Granville were three of Hollywood's best young actors, and they make the most of the material.

I love the elegant Gail Patrick, who's warm and appealing here, and I've always had a soft spot for Ian Hunter. Hunter played King Richard in my beloved THE ADVENTURES OF ROBIN HOOD (1938) and was good in a number of Kay Francis films; I most recently reviewed him in CALL IT A DAY (1937). I feel he's a somewhat overlooked actor, not major star material yet always attractive and dependable -- one of the faces which helps make classic Hollywood films so enjoyable.

GALLANT SONS was directed by George B. Seitz. It was filmed by Sidney Wagner and the uncredited George J. Folsey.

GALLANT SONS was first released by the Warner Archive Collection in 2012, but as their DVDs are manufactured on demand, it remains as easily available today as the year it was first issued.

The disc has a solid print and sound quality. The lone extra on the DVD is the trailer.

Thanks to the Warner Archive for providing a review copy of this DVD. Warner Archive releases are MOD (manufactured on demand) and may be ordered from any online retailers where DVDs and Blu-rays are sold.

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Book Review: Cary Grant: A Brilliant Disguise

The excellent CARY GRANT: A BRILLIANT DISGUISE is the latest book from esteemed biographer Scott Eyman.

I have many of Eyman's books on my shelves; over the years I've enjoyed Eyman titles including PRINT THE LEGEND: THE LIFE AND TIMES OF JOHN FORD, LION OF HOLLYWOOD: THE LIFE AND LEGEND OF LOUIS B. MAYER, ERNST LUBITSCH: LAUGHTER IN PARADISE, and EMPIRE OF DREAMS: THE EPIC LIFE OF CECIL B. DEMILLE.

I also especially admired JOHN WAYNE: THE LIFE & LEGEND, which was reviewed here in 2014.

Needless to say, I was enthused to read his book on Cary Grant when it was released last fall, and it did not disappoint. It's only taken me this long to gather my thoughts for a review due to the press of work and other commitments, as well as the book being such a meaty read at 556 pages, including index. It's an important book which makes a valuable contribution to cinema history.

Hopefully, now that the initial rush of media coverage has died down, my review will serve to draw some attention back to this title and encourage those who'd been thinking of reading it but haven't yet done so to pick it up. While I'm not entirely sure how the book left me feeling about Cary Grant -- indeed, I'm not sure how Cary Grant felt about Cary Grant! -- it's a highly readable and worthwhile volume.

Grant, of course, was one of classic Hollywood's greatest stars. By the time I was first aware of his work he had already retired, following WALK DON'T RUN (1966), but he was a favorite of my mother's and I grew up watching many of his films on local television from the time I was quite young; he's remained a top favorite ever since. Thanks to the accessibility of classic films on TV in my childhood years, I suspect there are many who could say the same.

It was thus quite a thrill in my life when Grant narrated the Disneyland Christmas Candlelight Procession which I performed in with my high school choir in the late '70s. During rehearsal he was just yards away and every bit as handsome as he appeared on film. As we stood singing the "Hallelujah Chorus" he smiled directly at me and the effect was overpowering. He was then a silver-haired gentleman in his mid-70s but absolutely dazzling.

Grant's performing persona has always been powerful, but over the years there's been little insight available into what made him "tick" behind the scenes.

I often find the "early years" section of a film-related biography somewhat less interesting reading, being anxious to get to information on films I've enjoyed; there is indeed lots of interesting detail about the making of Grant's films, but I was pleased to discover that Eyman's book grabbed me from the very first pages. Given that he was writing about a century ago, with the key players no longer with us, Eyman cobbles together an impressive level of detail, combining primary source research with quotes from a range of old interviews into a fluid narrative.

For instance, having been aware as a teenager that Grant shared my great love for the Los Angeles Dodgers, I was struck by interesting bits such as Archie Leach, as Grant was then known, transferring his liking for his native England's cricket to baseball.  Sitting amidst crowds of people in baseball stands helped him pick up U.S. "English" as a young man.

In Grant's case, his early years are perhaps more key to understanding him than the average person; a difficult childhood was capped by the fact he believed his mother had died, only to learn years later that she was alive and had been hospitalized for mental illness.

Working on his own from a young age, he moved to the U.S. and struggled for survival as an acrobat, even stilt-walking at Coney Island. Even in those New York years, as vaudeville performer Archie Leach, Grant was building the foundation of his future career. An early roommate was future movie costume designer Orry-Kelly, and he became acquainted with a number of future entertainment stars who were then on the vaudeville circuit. The physical skills Leach acquired as an acrobat would also serve him well performing in movie comedies.

Upon moving to Hollywood, the newly renamed Cary Grant left the name Archie Leach behind, but not his insecurities; it's as though the man encompassed two personas, the Archie Leach of his rough-and-tumble youth and the elegant film star Cary Grant, and he was afraid he would never quite measure up to the latter.

Indeed, Eyman notes that unlike some actors, Grant avoided roles which were too close to the real Archie: "...with occasional exceptions, Grant wanted to put as much space between Archie Leach and the construct known as Cary Grant as possible."

Grant's entire life seems to have been filled with this kind of warring dichotomy. While hugely successful, the struggles of his poor early years led to him being known as a man who was tight with money, to say the least, yet there were also times he could be quite generous.

Grant's personal relationships, particularly with women, were often complicated, and he had a number of failed marriages; on the flip side he loved children -- among other things, there's a charming anecdote from former child actress Karolyn Grimes about Grant playing with her on the set of THE BISHOP'S WIFE (1947) -- and was extremely loyal to friends such as Ingrid Bergman. As for the oft-married romantic idol's possible relationships with men, Eyman presents the known facts and lets readers draw their own conclusions, which I felt was the correct approach.

In the book Grant comes across as interesting but self-absorbed and not necessarily always likeable. Behind the glamorous, romantic persona, the real man often seems brittle and rather emotionally empty -- at least until the last years of his life and the joy of becoming a father, which seems to have given him a deep level of happiness previously missing in his life.

It can be disappointing to read a biography and learn that someone whose work we admire wasn't always as likeable off the screen. While I felt a bit of that, I don't think it was really a surprise, based on what I previously knew of Grant, and Eyman makes Grant's issues, anchored in his early years, understandable. Additionally, the book is so readable and informative that it was a pleasure to feel that for the first time I knew as much about Cary Grant the man as it's possible for anyone to know.

Beyond that, whatever he was off screen, Grant's film achievements continue to stand for all time, brilliant and undated, continually waiting to be discovered by a new generation.

As mentioned above, this is a thick read; the body of this hardback's text runs 481 pages, followed by extensive end notes, bibliography, and index. As one would expect from a writer of Eyman's caliber, this is a very well-documented book. There is a section with 56 black and white photographs printed on glossy pages.

Recommended.

Thanks to Scott Eyman and Simon & Schuster for providing a review copy of this book.

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Saturday, April 10, 2021

Tonight's Movie: Man of the World (1931) - A Kino Lorber Blu-ray Review

MAN OF THE WORLD (1931) is a pre-Code drama starring Carole Lombard and William Powell.

It's available on Blu-ray as part of the Carole Lombard Collection I from Kino Lorber Studio Classics. I've previously reviewed the other two films in the set, FAST AND LOOSE (1930) and NO MAN OF HER OWN (1932).

One of the things which makes this set interesting is that two of the films in the set team Lombard with her future husbands. NO MAN OF HER OWN costarred Clark Gable, the man Lombard would marry seven years after the film's release. They were married from 1939 until her untimely death in January 1942.

MAN OF THE WORLD stars William Powell in the title role. He and Lombard married a few months after the film was released, divorcing two years later, in 1933. However, they remained friendly and a few years after their divorce starred in the classic screwball comedy MY MAN GODFREY (1936).

In MAN OF THE WORLD Powell plays Michael Trevor, an American expatriate living in Paris. A former newspaperman, he is now a con artist of sorts who blackmails wealthy Americans, collecting money by pledging to "help" them keep their name out of a gossip sheet -- which he also secretly publishes. He's aided in his racket by Irene Harper (Wynne Gibson), who carries a torch for him, and Fred (George Chandler), who plays a variety of roles.

Lombard plays Mary Kendall, who is visiting Paris with her uncle (Guy Kibbee) and hometown sweetheart, Frank (Lawrence Gray). They meet when Michael targets her wealthy uncle, who is grateful for his "help."

With Frank away for a few days on business, Mary and Michael spend time together and fall in love. Michael confesses his sordid lifestyle to Mary and pledges to reform. She's steadfast in her love, but is a happy ending possible?

I first saw MAN OF THE WORLD on DVD in 2008, and at that time I wasn't very impressed with it, as noted in my original review. I found it too dreary and melancholy, describing it as being for Powell and Lombard completists only.

13 years later, I was pleased to discover that I enjoyed MAN OF THE WORLD much more. When I originally saw it I don't think the film was what I was expecting, but having seen hundreds of additional films in the intervening years, this time I think I was much more "tuned in" to the pre-Code milieu. Yes, it's a melancholy tale, but I found it absorbing and quite worthwhile on this viewing.

I also delighted in things like George Chandler having a substantial role as Powell and Gibson's fellow con artist, "the best American tour guide in Paris." In a career with over 450 credits, so often Chandler has very brief parts, playing nameless reporters and the like, so it was fun to see him in this; his character adds a touch of lightheartedness to the generally serious proceedings.

MAN OF THE WORLD is still the least of the three films in the set, but I found it a much more worthwhile experience on this viewing, which proves the value of circling back to films periodically and watching them in a new context. The story is played with elegance and sensitivity, runs a well-paced 74 minutes, and has a refreshingly "un-pat" ending.

The other two films in the collection are quite enjoyable, though, as noted in the review, Lombard only plays a supporting role in FAST AND LOOSE, which is a Miriam Hopkins vehicle. NO MAN OF HER OWN is a top-drawer pre-Code romance. Together, these three films provide excellent insight into Lombard's work in the early '30s.

MAN OF THE WORLD was written by Herman J. Mankiewicz, based on his own story. It was directed by Richard Wallace and Edward Goodman, with cinematography by Victor Milner.

The Blu-ray print and sound quality are quite good for a film of this vintage. I was particularly impressed with the clarity of the soundtrack, as often early sound films have what I describe as "mushy" dialogue or too much static. This soundtrack is quite crisp and easy to understand.

A commentary track by Samm Deighan is the lone Blu-ray extra.

Coming soon: Reviews from Kino Lorber's brand-new Carole Lombard Collection II, which features HANDS ACROSS THE TABLE (1935) and THE PRINCESS COMES ACROSS (1936), both costarring Lombard with Fred MacMurray, and LOVE BEFORE BREAKFAST (1936), also starring Preston Foster.

Thanks to Kino Lorber for providing a review copy of this Blu-ray.

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Around the Blogosphere This Week

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

...Festival producer and host Alan K. Rode has announced that the Arthur Lyons Film Noir Festival, which usually takes place in Palm Springs in May, is scheduled for October 21st through 24th. After the past 13 months, the prospect of attending this festival and the Lone Pine Film Festival this fall fills me with joy.

...Leonard Maltin has reviewed Tex Avery Screwball Classics Vol. 2 and the Bugs Bunny 80th Birthday Collection.

...Newly announced Blu-ray news from Kino Lorber: Joining the previously announced Cecil B. DeMille film THE PLAINSMAN (1936) on July 20th is DeMille's UNCONQUERED (1947), starring Gary Cooper and Paulette Goddard. Nick Pinkerton provides a commentary track. Also out from Kino Lorber on July 20th: A two-film set with 633 SQUADRON (1964) and MOSQUITO SQUADRON (1969).

...Kino Lorber's previously announced upcoming releases of SHENANDOAH (1967) and ALIAS JESSE JAMES (1959) have had a July 27th release date announced. Kino's latest "coming soon" announcements are THE SPIDER WOMAN STRIKES BACK (1946) and ALL MY SONS (1948).

...Coming in June, hosted by Silver Screen Classics: The 2021 Swashbucklathon, celebrating the swashbuckler in classic film.

...The Warner Archive Collection has announced its May Blu-ray releases. The most significant news is that THEY WON'T BELIEVE ME (1948), which has had 15 long-missing minutes restored and debuts at next month's Virtual TCM Classic Film Festival, will have its Blu-ray release the very same month. I am so looking forward to seeing the entire film for the first time!

...Additional May Warner Archive Blu-ray releases include MR. BLANDINGS BUILDS HIS DREAM HOUSE (1948), ESCAPE FROM FORT BRAVO (1950), ATHENA (1954), THE TENDER TRAP (1955), and BACHELOR IN PARADISE (1961). That's a group of films I'm really looking forward to seeing on Blu-ray.

...Jeff Arnold's West takes a look at one of my very favorite Westerns, RIDE LONESOME (1959) starring Randolph Scott. He says it's "as close to the ideal Western as you can probably get. Short, simple, powerful, it sticks in the memory." I agree completely.

...The Hollywood Legion Theater, which has been running a successful drive-in for much of the pandemic, is reopening its beautiful indoor theater tonight, April 10th, with Patricia Ward Kelly introducing SINGIN' IN THE RAIN (1952). The reduced-capacity screening has been announced as a sellout.

...At Hamlette's Soliloquy Rachel has reviewed Alan Ladd and Veronica Lake in SAIGON (1947). I'm fortunate to have a "gray market" copy of this film, which as far as I know has never seen the light of day on any format. I'd sure love to see it come out in an authorized Blu-ray print!

...Please join me in sending prayers and good wishes to one of the nicest people in the classic film blogosphere, Caftan Woman, who has just undergone a long-awaited kidney transplant. At latest report she is recovering well. Hoping this is the start of wonderful new things for her!

...Notable Passings: Actress Gloria Henry, known to many as the mother on TV's DENNIS THE MENACE (1959-63), has passed away at the age of 98. She was in films from 1947; Toby notes at 50 Westerns From the 50s that she was in THE STRAWBERRY ROAN (1948) with Gene Autry and RANCHO NOTORIOUS (1954) with Marlene Dietrich. She was in several other interesting films including Autry's RIDERS IN THE SKY (1949), seen here, and AL JENNINGS OF OKLAHOMA (1951) with Dan Duryea. The Tinseltown Twins have posted a tribute...Biff McGuire, a steadily working actor whose film and TV career spanned over six decades, has died at 94. His stage career included two Tony nominations. McGuire is survived by his wife of over 60 years, British actress Jeannie Carson...Mark Elliott, whose voice is familiar from movie trailers, including many for Disney, has died at 81...Actor James Hampton, whose acting credits included MACKINTOSH AND T.J. (1975) with Roy Rogers, has died at 84. He also played the title role in the ROCKFORD FILES episode "The Aaron Ironwood School of Success" in 1975.

...For additional recent links of interest to classic film fans, please check out my April 3rd roundup.

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Thursday, April 08, 2021

Tonight's Movie: O'Malley of the Mounted (1936)

It's been a while since I've watched a George O'Brien Western, so tonight I watched O'MALLEY OF THE MOUNTED (1936), released by 20th Century-Fox.

A group of outlaws are conducting raids along the Canada-U.S. border. Constable O'Malley (O'Brien) proposes to his superior that he go undercover to solve the case.

O'Malley, now known as Duke Kinnard, is thrown in jail with gang member Bud Hyland (James Bush). They conveniently are able to escape, and O'Malley then successfully infiltrates the gang, headed by Red Jagger (Stanley Fields).

O'Malley/Kinnard suggests a plan for the gang to rob a Canadian bank, where of course the Mounties will be waiting to make arrests.

There are minor complications in the film's 59 minutes, but the most serious issue is that O'Malley is attracted to Hyland's sister Edie (Irene Ware), who of course thinks he's an unscrupulous outlaw.

I watched the film in a fairly rough public domain print which didn't have the greatest soundtrack, but any print is better than no print when it comes to a George O'Brien movie!

That said, while O'Brien's "B" Westerns are typically quite strong, this one is relatively minor. The print didn't help matters, but I think even if it had been crystal clear, the story's simply not as well crafted as the typical O'Brien Western.

I particularly didn't feel much of a connection between O'Brien and Ware's characters; O'Brien had good chemistry with most of his leading ladies, but he and Ware fail to strike sparks.

Still, an hour spent with an O'Brien Western -- or in this case, a "Northerner" -- is always a good time for me, and I'm also always happy to watch a "Mountie" film.

The movie was directed by David Howard, who worked on a majority of O'Brien's Westerns throughout the '30s. Howard was just 45 when he passed away in 1941, the year after O'Brien left the screen for service in World War II.

O'MALLEY OF THE MOUNTED was filmed by Frank B. Good. The screenplay by Daniel Jarrett and Frank Howard Clark was based on a story by William S. Hart, who starred in a silent version of the story in 1921.

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