Feature: A Movie Through Its Posters — Psycho

This slideshow requires JavaScript.

Psycho is one of those movies that is known worldwide and still revered as a great piece of horror history. In no way is that more evident than by the sheer extent of foreign movie posters for the flick.

Hitchcock was the “master of suspense” but his movies did not really fall into the horror category before Psycho. The movie was controversial and met with a lot of pushback from the Hayes Office but Hitchcock managed to make compromises –giving up one scandalous aspect to allow another to stay in. The movie nevertheless is well known for Janet Leigh‘s undergarment outfits at separate instances in the film’s start. This part of the film certainly did not escape notice to those individuals who create movie posters worldwide. Six of the posters above feature the scantily clad Leigh, which probably proved a selling point for the flick.

Also prominent in the posters is the horror-stricken face of Anthony Perkins upon discovering a body in his hotel’s bathroom. The lead-up scene also was a source of controversy with the short takes assembled to give the impression we are seeing nudity. Including Perkins on the posters in this manner certainly would have lulled the audience into believing his character’s innocence, fueling one of the movie’s twists.

My favorite of these posters is the German one. It is simple and striking with its bold teal color and large Perkins facade. I love that shot of Perkins, and I think this poster uses it to its greatest effect. Which do you like best?

Mr. and Mrs. Smith

Wowza!

Mr. and Mrs. Smith (1941)

Alfred Hitchcock is most popularly known today as the “master of suspense”, and rightfully so. Most people remember him for the drama of his thrillers and some find his pictures terrifying. What is perhaps ignored by the average viewer, however, is the man’s astute sense of humor.

Mr. and Mrs. Smith was the only movie Hitchcock made in America that was strictly a comedy with no suspense whatever. This was not his only venture into the genre, however, as many of his early English films were suspense-free. In all Hitchcock flicks, however, the viewer can find evidence of “Hitchcockian humor”, many times slipped in under the nose of the Hayes Office. Much of the master’s humor related to sexual innuendo, and the director was constantly pushing the envelope to see what he could get away with under the Production Code. Mr. and Mrs. Smith is one movie that is all about what consists of proper behavior for an unmarried couple, even if they’ve been married before.

Perfectly paired are Robert Montgomery and Carole Lombard as Ann and David Smith. The flick opens with the servants wondering what is going on in the couple’s bedroom, where they have been holed up for three days. The duo has a policy of never leaving their bedroom until an argument has been resolved, David’s job as a lawyer be damned. We come in just in time to see the couple rekindle their affection, but over breakfast, Ann insists on another of their traditions: asking a question to which David must give a totally honest answer. The question is: If you could do it over again, would you marry me. The answer: no.

This answer becomes particularly important when later that day David learns that his marriage to Ann is not legal because of a mix up with the way the county and state in which they were married provided the paperwork. The man who delivers the news, Mr. Deever (Charles Halton), knew Ann when she was a girl and so drops by the home to give her the information. Ann is convinced David will marry her right away, but in trying to make a big surprise of the situation, he does not. That leads to Ann furiously throwing her non-husband out of their apartment and returning to her maiden name and life.

The remainder of the story involves David fighting to get Ann back while each tries to make the other jealous. Ann does this by dating David’s law practice partner (Gene Raymond). Both are too stubborn and too conniving to relinquish control until finally their games land each in the other’s arms.

The fun in Mr. and Mrs. Smith is not just the almost screwball-style of acting our stars bring to the screen –I’ll get to that momentarily– but the moral questions it raises. Hitchcock loved to create circumstances in his movies when an unmarried couple find themselves forced to share a bedroom (see The 39 Steps and Spellbound). In this case the viewer cannot help but wonder about just how wrong it was that the two have been sharing a bed for three years and whether they can continue to do so without redoing their vows. This movie could obviously never be made today and make any sort of sense.

Mr. and Mrs. Smith is pure gold for me. With my two favorite actors in the lead paired with my favorite director, the movie cannot go wrong. Lombard is as zany as she is in My Man Godfrey, although, her character is more on the sane side in this case. Montgomery really brings out his comedic side as well, both in dialogue and physically. The lines are so well written with such subtle humor and innuendo that the more you pay attention the funnier the movie is. I could watch it everyday.

Camille (1937)

Ring a Ding Ding

Camille (1937)

     The 1937 release of Camille did not give audiences a new story. The romance originated as an Alexandre Dumas novel that became a Paris play in 1848, the Verdi opera La Traviata, a 1907 Danish short film La Dame aux Camlias, a 1915 Shubert production, a 1917 Fox film, and a 1927 First National production, among many others. What the other adaptations did not have, however, was Greta Garbo.

     Although the past productions also featured some great actresses in the lead role, for audiences in the 1930s, there was no better-suited star than Garbo. She plays Marguerite Gautier –the lady of the camellias because of her love of the flower– who in this film’s case is a society lady whose lifestyle is paid for by the generosity of male suitors. With her debt on the rise, Marguerite is advised by a friend, Prudence Duvernoy (Laura Hope Crews), to find a wealthy suitor. The mark is the Baron de Varville (Henry Daniell), but a case of mistaken identity at the theatre lands Marguerite in acquaintance with long-time admirer Armand Duval (Robert Taylor).

     Although Marguerite carries on a relationship with the Baron, and he keeps her financially sound, she finds herself all at once in love with Armand when the two are alone at a party. She has also been hearing that this man over the years has always been ever attentive when she would fall under one of her illness spells, likely the result of tuberculosis. After some time and growing affection, Marguerite agrees to break off her relationship with the baron in order to spend a summer in the country with Armand, something that would perhaps mend her health. Before she can leave town, however, she must pay off $40,000 francs worth of debt, something no match for Armand’s $7,000 per year salary. The baron foots the bill just before declaring he would never see Marguerite again.

     The couple have a marvelous time in the country despite the discovery that the baron’s mansion is just a hill away. While there, however, Armand’s father (Lionel Barrymore) stops by to beg Marguerite to back off. He says the relationship will ruin the young man’s future success and could bring a certain amount of shame upon him. Marguerite, despite knowing that her health is unlikely to keep her around for many more years, coldly breaks her relationship with Armand and says she is returning to the nearby baron. The couple will reunite, but not under happy circumstances.

     I cannot help but ponder why the story of Camille has time and time again produced movies –as recently as the 2001 Moulin Rouge. The story is that of a love triangle but not one in which the object of the dual affection is emotionally torn between two individuals. Instead, she must weigh passion against her financial needs, needs that have been ever-present in her past up until the introduction of true love. Other incarnations of Camille have painted the woman as a courtesan, and although the Garbo version does not depict her that way ala Production Code restrictions, there is no denying her source of income. So the story also involves a love so strong that it ignores the woman’s seedy past.

     Perhaps the plot is appealing to viewers because the romantic choice is obvious; we will always root for love over money. Yet regardless of the decision, the woman will still meet a fate that neither love nor money could have prevented.

     Garbo and Taylor embody all that the story demands of impassioned love. Although Garbo’s performances can be cold at times, she is convincing in her emotional connection with Taylor, who meanwhile is exhibiting the endearingly obsessive love that seems to exist only in films and classic literature. The couple does the story justice and create a good entre for anyone who has yet to be exposed to the classic romance.

Picture Snatcher

Ring a Ding Ding

Picture Snatcher (1933)

     In an era of tough guy, gangster James Cagney characters, the actor took a reprieve from his criminal work that became a signature for Warner Bros. during the 1930s and played a legitimate working man in Picture Snatcher, at least partially.

     Cagney manages to live a life only a stone’s throw away from the hoodlum audiences knew him as when playing Danny Kean (although WB would also release Footlight Parade this same year that showed off Cagney’s song and dance background). At the film’s opening, Danny is released from prison, picked up by his gangster pals, offered a woman, fitted for new duds, and given his “salary” for the three years he spent “in stir”. Danny no longer desires to live the criminal life, however, and tells his boys he will be taking a job as a reporter, having been offered a position by a gent while in prison.

     Ralph Bellamy is that gracious fellow, city editor of the Graphic News Mr. McClean. The paper is considered a gossip rag and poorly regarded, and McClean is not sure the ex-con is cut out for the work, but gives him a chance on a tough assignment. No photographer has been able to get a picture of a firefighter whose wife and her lover burned to death in their home while he was out. Danny, unafraid of the gun the rescue worker is pointing at reporters, sneaks into the building and poses as an insurance claims adjuster. He manages to snatch a photo of the couple off the wall and make a clean getaway. Danny now has the job and is earning an ever-increasing salary as he proves capable of getting photos others cannot. He is also courting Patricia Nolan (Patricia Ellis) who is the daughter of the copper who put Danny in prison to begin with. Once proving himself on the level and managing to get the man promoted through positive press, Officer Nolan (Robert E. O’Connor) permits the relationship.

     Danny is preparing to propose to Patricia once he earns a decent enough salary and he thinks he has the assignment to do it: He must photograph the execution of a woman. Although the Graphic News has not been invited to the execution, Danny gets himself in anyway and snaps a shot from a camera hidden at his ankle. The other reporters find out, however, and a chase to stop print of the insensitive material is underway by both police and reporters –who do not want their prison news privileges revoked. The incident also risks Officer Nolan’s demotion because he was in charge of reporters at the event. Later, Danny tries to redeem himself by tracking down his former criminal crony who has shot two police officers.

     I found Picture Snatcher to be quite riveting. Although he’s gone legit, Cagney’s character still has the rough edges of a criminal as he gruffly maneuvers through the sleazy subjects his paper covers. Cagney also follows up on the grapefruit-in-the-face incident in 1931’s The Public Enemy by smacking/pushing a sexually aggressive dame in the face, knocking her into a chair. Later he dumps a brandy down a woman’s plunging neckline.

     The movie is flush with sexually aggressive females. A fellow reporter makes eyes at Danny from their first encounter and despite being involved with McClean, very strongly smooches a reclining Danny while the man physically struggle to remove her. Another woman who was angling to get with Danny on his release from prison talks much about going to bed, so Danny eventually scoops her up, puts her on the bed and locks her in her room. For a moment there, we are all convinced the protagonist will go to bed with the gal for the cause. These are clearly pre-Production Code aspects of the film that would never have flown in the coming years.

Lady in Cement

Dullsville

Lady in Cement (1968)

     Welcome to post-Production Code cinema, Frank Sinatra, where nudity, violence, homosexuals and strippers abound. That is essentially what I though when watching 1968’s Lady in Cement in which Sinatra as a private eye gets to search for the killer of a naked woman he found at the bottom of the ocean, her feet in cement. He trolls through a bar run by a gay man where scantily clad but mostly dressed women shake their stuff, meets up with an undercover detective dressed in drag at an actual strip show, and gets to make out with a woman far too young for him.

     The movie was released to New York audiences a mere 20 days after the new Motion Picture Association of America rating system was instituted on Nov. 1, 1968, but the Production Code the new ratings replaced had essentially crumbled by that point with many films being released without the MPAA seal of approval before that year.

     Sinatra playing Tony Rome follows up on 1967’s flick Tony Rome in which he plays the same character investigating the murder of a wealthy girl. In Lady in Cement he works with the help of a police detective to unravel a complex mystery in which the murders pile up. Rome is summoned to the boat house of a young woman where he is instead greeted by a large man with a gun –Gronsky (Dan Blocker)– who hires him to seek out a missing blonde who might be the same dame as the dead one in the water. Going to the gal’s place of work –that go-go dancing joint– Rome meets the girl’s roommate Maria (Lainie Kazan) who herself next ends up dead with Gronsky seen fleeing the scene.

    The information Rome does have points to a party held at the home of a young, wealthy socialite Kit Forrest, played by Raquel Welch in all her bathing-suited glory. Kit says she was too drunk to remember what happened at the party — the place the blonde was last seen. Her neighbor, gangster Al Munger (Martin Gabel), also warns Rome to stay away, but Rome has the hots for Kit, so that won’t be happening. The owner of the go-go joint is the next body on the pile and Rome is looking like the murderer. Fleeing from his police buddy he eventually lands at Kit’s and she reveals that she woke from a drunken stupor with the original girl’s body on her floor. Rome smells a frame up, however, and keeps digging.

     Sinatra was 53 when Lady in Cement was released and he was looking his age. I am the last person to denounce the Sinatra allure, but no longer the dashing young thing he used to be, he plays a mature detective well but teeters on the edge of sex appeal. Exacerbating his age, however, is 28-year-old Welch who is utterly unbelievable in her attraction to Rome. Granted, Sinatra had just divorced this same year from 23-year-old Mia Farrow, but I think we all are confused about why the 30-year difference there did not stop their union (she was three years older than Sinatra’s youngest child).

      Besides our lead male and female, the cast is essentially unnotable. No one gives a particularly stunning performance, and although the mystery is plenty complex, it is not superbly executed. Several inside jokes are contained within the movie, however. A car with a bumper advertisement for  Dean Martin Restaurant & Lounge is seen, a “You Make Me Feel So Young” instrumental is played in one scene, and Sinatra’s ex-wife Ava Gardner is alluded to when Rome mentions knowing a girl who used to date bullfighters.

The Secret Six

Gasser

The Secret Six (1931)

     Gobs of movies during what we consider the classic eras had titles that had little or nothing to do with the plot of the film. Many took their names from popular songs of the day and others went through numerous changes before a title that suited the studio was selected. With The Secret Six the name is nearly irrelevant. The title refers to a body of men who wear masks (and pretty lame ones) and collect information on bootleggers and other criminals, delivering their findings to the district attorney. That body of men is only twice referenced in the movie and the first does not occur until more than half way through the action.

     Also not appearing until probably a third into the plot are Clark Gable and Jean Harlow, who appeared together for the first time in this Wallace Beery vehicle. Beery was a big deal at that time, but in a few years time his name would get billed under the other two as their stars quickly climbed (see China Seas). Beery could be quite the heel and liked to flex his star power, and Harlow, whom MGM borrowed from Howard Hughes who had her on a contract, found particular distaste with the star.

     In The Secret Six, Beery is laborer “Slaugherhouse” who takes up with some bootlegger friends of his upon learning about the great living they earn. When he and his pal Johnny Franks, among others, start to muscle in on a rival bootlegging operation, a shoot out ensues and the rival boss, Colimo (John Miljan) finds his kid brother killed. Franks pins the rap on Slaughterhouse, but when Colimo’s gang goes after him, they only wound the brute. Getting his revenge, Slaughterhouse shoots Franks and takes over his restaurant. He has now become essentially the boss of the operation. Enter reporter Carl (Gable) who with another reporter Hank (John Mack Brown) are trying to get the scoop on the murder while also flirting with Anne (Harlow), a moll of what is now Slaughterhouse’s gang, who is also now arriving out of no where.

     Although Anne selects Hank as her beau, both reporters hang around the gang, trying to get scoops on all the goings on. Slaughterhouse, who now is going by Louis Scorpio, has also bribed them for giving him favorable light in the papers. The mobster has managed to elect a new mayor, which will keep the cops off his back to an extent. Carl and Hank are separately helping the police and the Secret Six by spilling information on the bootleggers. Hank has a theory that the same gun was used to kill Franks and Colimo, who has by now been knocked off. So he’s in search of it in the Scorpio home, which has the boss wise to his disloyalty. Anne tries to warn her man, but he is gunned down on the subway.

     The case goes to court and Anne and Carl testify against Scorpio, but because the jury is fixed, the man gets off. He is now obviously out to kill the two snitches and is nearly successful.

     The Secret Six was released before the Production Code was in full swing, so it managed to get by with some considerable violence. Some theaters refused to air it because of that concern. Unlike some other pre-code gems, however, in this flick the bad guy does not get away with his crimes. He is also horribly unlikable, so no one is really rooting for that approach.

     The movie was a great move for Gable and Harlow. MGM exec Irving Thalberg had scenes added to bolster Gable’s character and the actor was hired to a contract with the company thereafter. Harlow too would soon join the MGM ranks. Both of those actors are enjoyable to watch but Beery does a great job of being an awful person. He is both evil and persuasive so that he does not become a totally hateable man, but one we know not to cross.

  • The Secret Six is set for 7:30 a.m. ET Aug. 14 on TCM.

Source: Robert Osborne, TCM.com

Trouble in Paradise

Wowza!

Trouble in Paradise (1932)

When Trouble in Paradise sought to be re-issued three years after its 1932 release, the Hayes Office said: No way. The film that had been alright for release upon completion, if not without some minor, ignored objections, was far too scandalous for 1935 when the Production Code was in full swing. What was Director Ernst Lubitsch‘s crime with his first talking romantic comedy? Obvious sexual innuendos and a couple of thieves who get off scott free.

The subject that most comes up in discussions of the Production Code is sex. Before the code, women could have multiple partners, couples could have extramarital affairs, and the camera, dialogue or action could clearly indicate that a sexual act had just occurred. Another subject that fell under the Hayes Office’s purview, however, were criminal sorts. Individuals found as outright thieves or murders had to be punished –either by the legal system, suicide or other killing. You see this in many of the popular gangster movies of the 1930s and 1940s where our beloved hoodlum James Cagney or whomever gets it in the end. I suppose the message from the powers that be was understandable enough: Do not encourage crime. But those gangster films and Trouble in Paradise with them still glorify and make sexy the criminal aspect, so the restriction seems a moot one.

It was because of the Code’s distaste for Trouble in Paradise years later, which prevented anyone seeing it again until 1968 (with it unavailable on video or DVD until 2003), that this film has gone largely forgotten despite being among Lubitsch’s greatest work and a standout in film history. Herbert Marshall is Gaston who in his Venice hotel room eagerly accepts a visit from Lily, embodied by Miriam Hopkins, a woman claiming to be a countess. A man in another room has just been robbed of a large sum of money by a man posing as a doctor and seeking to examine his tonsils. During their dinner, Lily and Gaston intermingle romantic sentiments and the woman declares that Gaston is the man who robbed the neighboring Francois Fileba (Edward Everett Horton). As you can see in the video below, this wonderfully romantic and comedic scene –flush with “the Lubitsch touch”– continues as Gaston reveals that Lily has stolen the stolen wallet from him. Also pick-pocketed from the couple by each other are Lily’s pin, Gaston’s watch and Lily’s garter –but she is not getting that back. As an audience, we instantly decide that this pairing is perfect and the two will have an adventuresome future we can all enjoy.

While in Paris some time later, Gaston and Lily plot the thievery of an expensive purse from Mlle. Colet, played by Kay Francis while she is at the opera. To their fortune, the woman puts a notice of a reward for the bag that would exceed the amount the robbers could get if they sold it. Gaston returns the purse but during his visit with Ms. Colet, manages to woo her and she hires him as her secretary, in charge of all her financial affairs. Ms. Colet is the head of a major perfume company –by inheritance– and has a board of directors running things who now takes orders from Gaston. Colet also has “boyfriends” in none other than Mr. Fileba, the tonsil victim, and “The Major” (Charlie Ruggles). With Gaston in her life, however, she loses even more interest in the two feuding beaux. Gaston has brought Lily in to help him with his new duties and the two plan to rob Mlle. Colet’s safe once more cash has been deposited there, via Gaston’s new financial orders. Lily begins to get jealous, however, when it becomes apparent Mlle. Colet wants alone time with the secretary. It is unclear how much of an affair is conducted between Gaston and Colet, although they spend late nights together.

Mr. Fileba has yet to identify Gaston as the man who robbed him, and it is quite amusing to watch this fabulous character actor try to pull from his memory whether or not he has met the man previously. Eventually, The Major says at first he mistook Gaston for a doctor, and click Mr. Fileba has solved the mystery. Realizing this, Gaston and Lily plan to get out of town fast with the little money they can take from the safe at present. Lily is home packing but Gaston is getting tied up in Colet’s embraces as they visit each others’ bedrooms in a highly suggestive but funny number of scenes. What concludes the film are questions of: will they steal the money, will Mlle. Colet find out, and with whom will Gaston choose to stay, but I will not give that away.

I mentioned the highly risqué feel to this film, so here are a few examples. The opening title reads “Trouble in”, an image of a bed appears, and then the word “Paradise” shows up. Thank you, Lubitsch for explaining this movie is about trouble in bed. Besides Gaston and Colet responding to knocks at their bedroom doors by opening the door of the other, the end includes an embrace between those two that is filmed through a mirror above the woman’s bed so we can connect their embrace with that piece of furniture. Several edits using different angles also inserts a perfect shadowed silhouette of the kissing couple on the bed itself. Bullseye.

The sexy suggestions are not why one should watch Trouble in Paradise, however, but instead the snappy Lubitsch dialogue that had me laughing out loud throughout. The film is ripe with quick banter among the characters delivered in the most sophisticated manner that makes slapstick look utterly primitive. Apparently, Lubitsch throughout his career would act out every part in a movie to show the actors how to deliver the lines and move their bodies. He had started as an actor in Germany before entering directing there and finishing out the silent era in America, coming here at the bequest of Mary Pickford. Peter Bogdanovich has said that Lubitsch managed to get performances out of his actors that they did not convey in other films, which was likely the result of this control he exerted on the actual acting.

Sources: Peter Bogdanovich introduction on Criterion Collection DVD, TCM.com

Follow

Get every new post delivered to your Inbox.

Join 508 other followers

%d bloggers like this: