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Indiscreet (1958)
Famous actress meets wealthy diplomat. Object: Matrimony
Fifty years later it's hard to remember that this was the film that returned Ingrid Bergman to the grace and favour of the world. Following what was then a "scandalous" affair with Roberto Rossellini, it took the star power of Cary Grant to re-introduce her to studios and fans. Moreover, he intentionally fought for her as his co-star when she was effectively black listed. We should be grateful he won.
The genre of "drawing room comedy" has sadly passed but we are fortunate to have this example as to why it succeeded for centuries. If not the funniest film ever made it is consistently amusing and witty. This is a play that is assisted by the stars but has stature on it's own in the dialogue. Unlike American "Sitcoms" there are no set ups for a joke or a guffaw but it flows down a consistently diverting path with no pauses for commercials or to try and explain itself. The plot about a famous actress who meets a charming diplomat and falls in love isn't much you need worry about. From the opening credits it's clear what the ending will be, it's how they get to the end that holds our attention. Bergman and Grant are both superlative actors who in the process of seeming not to really act turn in wonderful performances. What they say has the feel of reality when the actuality is that it's been thoughtfully constructed. The often quoted line, "How dare he make love to me and not be a married man", sums up every one's attitude to a rather casual acceptance of a situation as it is. There's no simpering about matters sexual, but, happily, we're spared the deed done. (If you watch closely there's an artfully directed exchange between the two characters in bed whilst separated by the English Channel. It worked then and, some years later, for Doris Day and Rock Hudson in a split screen with them both in bathtubs.)
Director Stanley Donen uses London as a character and does not try and improve on it by having studio constructed interiors when the real things are at hand. And who knew Cary Grant could do an energetic Highland Fling? At base, only six people appear-there are a very few very minor characters-who take full advantage of a droll script and play it as if they were telling the audience, in flash back, of an event that has just finished. It's a wonderful, delicious story and you're glad to hear it particularly as it's so well told. Attractive people doing attractive things in attractive places is a good basis. That they can talk about what they're doing in diverting ways makes INDISCREET a necessary lesson in love, charm and confusion.
Nancy Goes to Rio (1950)
They Don't Make Them Like This Anymore
For practically the whole of Ann Southern's career she was predestined to be considered a competent, reasonably popular actress. In fact, she was considerably more than that and this film, until much later in her career, is the proof. The plot about an actress Mother (Southern) and her singing daughter (Powell) is two steps above hokey but the realization gives it status and sturdy performances in support carry the day. A subplot that has everything thinking the daughter might be with child was semi-shocking for the time but, today, might make one wonder what the fuss was about. The completely artificial looking sets-Rio as painted on a scrim-leave no doubt that this was filmed on the back lot.(And that illusion isn't helped by some included footage actually shot in Rio during Carnival.) But the singing and dancing are fun to watch, Jane Powell is in particularly good voice, and the thin plot just carries the day. But only just. Need I mention the happy ending? Did you think otherwise? So join Ann and the cast for a spurious adventure in Rio and remind yourself what good actors can do with very modest material.
June Bride (1948)
Magazine Folk Descend on an Indiana Family for a wedding story
Coming just before the blockbuster ALL ABOUT EVE this little gem shows another comedic side of Bette Davis without going over the top. She's harried and trying to be pleasant to all including an old flame who shows up inconveniently. In a sense, it's the classic tale of the rubes versus the swells but gently and sympathetically told. Robert Montgomery matches Miss Davis sarcasm for sarcasm and the always welcome Mary Wickes rides herd on the various bickering characters. When she refers to the home they're to use as a "McKinley horror" one knows that all are in for more than a little restoration. If it won't have you rolling in the aisles, it's consistently amusing. An able cast of primarily character actors contribute their very really talents (Tom Tully and Faye Bainter are real and whimsical at the same time.) and the basic love story that drives the action isn't much to concern the viewer. If the rural nature gets pushed a bit too far it works well within the context of the plot. And this marks Miss Davis' second trip while ice skating, indeed there are moments when her character, Linda, is more than suggestive of her role in The Man Who Came to Dinner.
A pleasant time for all with a friendly cast who try, and succeed, to find as much in the diverting material as there is.
Coldblooded (1995)
The Discreet Charm of the Film Noir in Hit Land
This is the film that goes all the way to prove that understatement is often more amusing than anything else. Lacking slapstick, funny "characters" and too predictable situations it wanders along its own path and lets us go along. If we want. If we don't, that's okay but we'll miss the fun. Jason Priestly portrays a slacker who finds a calling. He also discovers Yoga and the teacher of same. Peter Riegert gives the sliest performance as the "instructor" for Priestly who quickly discovers that sometimes instinct needs no teaching. There is a delusional casualness to the lives and actions of all involved but this underscores the simplistic plot that relies on character and performance rather than stultified situations. (Garofalo must be the most dis-interested prostitute on screen.) But it all works. One hopes this will over time get a DVD and more exposure. A cult favourite in the making.
Sweet Charity (1969)
The Ballad of a good/bad girl trying to be good.
Unfortunately I had the privilege of seeing Gwen Verdon as Charity on Broadway so, when the film was announced, and with Bob Fosse directing I was hopeful. Shirley Mc Claine seemed a good replacement for Verdon and John Mc Marin repeated as Oscar. The outlook was good, the actuality was grim. While many of the dance numbers hold up well, a simple story got the lavish treatment with disastrous results. Mc Claine dancing down Broadway as a drum majorette is wrong but not as wrong as Sammy Davis Jr. as a spurious Reverent who runs a floating church. "Rhythm of Live" is supposed to be an almost sly dig at religions whose only reason for existence is to fleece their congregants. Here, it's presented as an overly long set piece in which Davis apparently is making an outreach to the drug/Hippie culture. Fosse, knowing the enormous success it had been on stage, expanded it practically into the vacuum. The result is a sickly sweet soufflé that occasionally rises but then falls back, flat. Too long, and uninvolving.
The First Traveling Saleslady (1956)
Ginger Rogers and Carol Channing selling corsets!
As is elsewhere mentioned, this was to have been a vehicle for Mae West. It's interesting to wonder what that might have been like. Ginger Rogers and Carol Channing provide an off beat duo for what is essentially a screwball comedy based on a wacky premise. Miss Channing was still trading on her Lorelei Lee persona and Miss Rogers was trying to expand her versatility as an actress rather than as Astaire's dancing partner. The summary constitutes the plot. It's amusing and the pairing works very well. Opposites do attract and Channing's brass is a perfect foil for Roger's class. The youthful Barry Nelson gets the not quite so youthful Ginger and a swell time is had by all. In this same vein, Phyllis Diller knocks out a stellar performance in "The First Travelling Sales Lady" which has belly laughs as opposed to the fun here. In this age a corset may take some explaining to many under sixty but the idea is fresh for the time it was made. Possibly Channing's best film having lost both "Gentlemen Prefer Blondes" and "Hello Dolly". In both cases she was not thought to have the "star power" needed. A shame, really. But this, with her role as "Muzzy" in "Thoroughly Modern Millie", gives one the idea of her charm and dazzling stage presence. Though completely G-rated, the innuendo is there and slyly delivered. Children might be slightly bored but is a family film. Adults will be convulsed.
Once More, with Feeling! (1960)
Any Summary would include the spoiler
One of three brilliant English Comedies (Indiscreet and The Reluctant Debutante are the others) that showcase witty dialog that is slyly delivered. Tragically, Kay Kendall's last film it's also her best. The combination of The King of Siam (Brynner) and the quintessential English Tea Rose seems unlikely but, having once seen, it's impossible to imagine another couple. Add to that Gregory Ratoff as Symphony ConductorBrynner's agent (One of his many lines about his veracity is, "May my whole troop of Russian Ballet Dancers come down with hoof and mouth disease if I'm lying!") and you have a cross-cultural melange that makes Ninotchka look tepid. The plot turns about Kendall needing a favour from Brynner and the film chronicles how the results come about. A long the way she artfully gets his way for him without quite wishing to do so. (Her quasi-seduction of a violinist by dreaming up "Humperdincks Syndrome" is a classic bit of scripted improvisation.) Brynner as the most egocentric symphony conductor ever is believable because he believes it. In other less skilled hands, it could have been simply loud and annoying. This is a film that was meant to lurch from one situation to another and keep the audience wondering what possibly can happen next. The dialog is worth of Oscar Wilde and the production as a whole has a lushness that is rare then or now. It's a great regret that this is not available in any form and is seldom available for viewing. One hopes this fault will be corrected.