It’s my favorite time of year in central Ohio, or nearly. CAPA, our local arts organizing group, has announced its lineup for the 2013 Summer Movie Series held in Downtown Columbus’ historic Ohio Theatre. For those of you unfamiliar with this seasonal gem, the June 28 through Aug. 25 series features a plethora of classic movies shown in the theater that was originally built as a movie house and is now used for concerts, ballets, etc.
I have been notoriously bad about achieving all the CAPA Summer Movie Attendance goals I have set in years past, and I won’t pretend this year will be any better. I do hope to at least catch the Hitchcock flicks, but I’ll admit The Man Who Knew Too Much won’t be at the top of my list.
In the olden days, women stayed at home, raised the kids, planned parties and didn’t ask what their husbands had been up to when they were “working late.” The subject made a great movie in the form of 1936’s Wife vs. Secretary, but in 1934 it did not make for an enjoyable subject as Housewife.
George Brent‘s Bill Reynolds is in the advertising business. He thinks very highly of himself as the office manager for an advertising agent, but his boss does not think terribly much of him. His wife Nan (Ann Dvorak) has become an expert at running the household on his small salary. When the boss hires a new copywriter in the form of platinum blonde Bette Davis‘ Patricia, things change.
Bill had known Patricia in high school, which is the same time he started dating his wife. Patricia went off to New York and became a big deal advertising writer. So big that she is given her own office at Bill’s firm, whereas he only has a desk outside the boss’ room. His old acquaintance –who had a thing for him back in the day– symbolizes the success Bill lacks.
When Bill gets a bright idea about marketing a client’s beauty cream at double the price by saying it is “double strength”, the boss cares not. Convinced of the brilliance of his idea, Bill takes the plunge and starts his own ad firm, eventually luring away the cosmetic company. Patricia joins the businessman in the new venture and both become very successful. The change is great for Nan as a more fashionable life takes over at home. What Bill is doing during those late nights at work, however, might drive her into the arms of another man. No worries, however, the near ruin of their relationship will mend the Reynolds’ bond and they will spend their lives dreamily gazing into the sunset.
I editorialized a bit on that ending for Housewife to illustrate how pathetic a conclusion we are presented in this flick. Despite the title of the movie, the husband and not the housewife occupies the most screen time and stands out as the story’s protagonist. We see more how his life is changed than how it affects the housewife. And given a choice between exotic and young Davis and home-based Dvorak, I think we’d all be choosing the former.
The story lacks the passion and emotion of Wife vs. Secretary and Brent is probably partly to blame there. Whereas Myrna Loy made us love the housewife for her loyalty and fun-loving personality, we find nothing much to like in Dvorak’s character.
Housewife is one of the 11 movies Brent and Davis made together (See also So Big and The Old Maid). That is more than most on-screen teams did together, yet one does not think of the two in the same vein as Hepburn and Tracy. For starters, at this juncture in their careers, Brent was filling bigger parts while Davis was a supporting player. As time went on and Davis finally got noticed for her talent more than her looks, the woman would become the headliner, such as in Dark Victory. It is a wonder a woman of such great talent spent so much on screen time with a man of such great looks, but nothing more.
The sleuthing team of Nick and Nora Charles were bound to find themselves in the midst of a gambling racket at some point in their on-screen careers. As movie history teaches us, gambling and bookies only lead to murder and further crimes, and in Shadow of the Thin Manour favorite detective comes out of retirement yet again to solve the convoluted case.
It is a wonder the writers at MGM could come up with a new and enthralling murder case for each of the six Thin Man movies, yet they do it again here using the same formula as the others. The key to the stories is the overabundance of characters, which in some cases are difficult to keep track of, and a mystery that gets further compounded with subsequent murders and crimes to the point that no viewer can deduce who the one culprit is. But that is why we have Nick Charles.
A portion of the comedic enjoyment of Shadow of the Thin Man is that although Nick (William Powell) is again insisting on his retirement from the sleuthing business, he happens to keep finding himself at the scenes of the crimes. At the start, the Charles’ are at the racetrack where a jockey is found killed –a jockey who was asked to throw the race. The press jump to the conclusion that Nick is on the case because of his proximity, but he denies any involvement. Later, while at a boxing match, Nick is again just a floor below another shooting murder of an unscrupulous reporter and his assault on an honest journalist.
The Charles’ are friends with the honest newspaperman and Nick agrees to get involved in part to prove this Paul (Barry Nelson) is innocent of the shooting of reporter Whitey (Alan Baxter). As the case progresses, complete with untrustworthy women and hoodlums, Nick discovers the first murder was not what it seemed, but he won’t let the public know that. His shrewd technique leads to the familiar ending with the entire cast of characters in one room, waiting for the guilty man to reveal himself and to try to kill Nick.
I have noticed as progressing through the Thin Man movies that Nick has become and increasingly bad alcoholic. At the start of Shadow of the Thin Man, Nick is out with Jr. (Dickie Hall) in the park across the street –reading him the racing form. Looking to get her husband home, Nora (Myrna Loy) starts shaking a cocktail mixer. This causes the distant Nick to remark: “Nicky, something tells me that something important is happening somewhere and I think we should be there.” The maid also notes that Nicky is becoming more like his father everyday: “This morning he was playing with a corkscrew.”
Nick’s drunkenness is always inserted for comedic relief and usually peters out as the story goes on and the stakes become more serious. Nevertheless, I don’t think I am stretching the truth in saying our favorite crime solver was often the worse for wear and not in an admirable sense.
Shadow of the Thin Man is set for 1:30 p.m. ET Dec. 18 on TCM.
In running through TCM’s lineup for this weekend, I came across far too many good flicks to list in my regular viewing recommendations in the left column. Not only are there a number of gems showing this weekend, but I have already written about a few them. So click on the links below to learn more about the movies and consider checking them out yourself this weekend. P.S. All times are Eastern Standard Time and on the U.S. programming schedule.
If Myrna Loy was not in The Naughty Flirt, there would be no reason to watch it. This story of a beautiful, young and popular girl does nothing but dissatisfy. Thankfully, Loy adds some flavor with her dark, conniving character in this flick made early in her talking picture career.
In this thankfully short flick, pretty but pathetic star Alice White plays Kay Elliot, a young rich thing who starts the movie on her way to night court with a group of friends who are being delivered via paddy wagon for their night of drunken tomfoolery. One of the other arrestees, Jack Gregory (Douglas Gilmore), suggests he and Kay get married while in court, having already procured the marriage license. His sister, Linda (Loy), has a strange attitude about the “proposal”, which we will later come to understand.
Despite her best intentions, Alice fails to marry Jack while in court because her father’s employee attorney Alan Ward (Paul Page) is in the room and phones the old man about the impending incident. Alan takes Kay home and the girl tries to flirt with him, to his sheer annoyance. From here on Kay makes it her mission to land the man who finds her frivolous. He is eventually tricked into accepting one of her invitations to dinner on the pretense it is in fact her father’s birthday party. It is not.
Kay does hook Alan at this event, much to Jack and Linda’s chagrin. Linda has been plotting to have her brother wed Kay merely to access her money. At a later retreat, the sister connives to trap Alan in a compromising position by feigning illness in bed. The other tenants of the vacation home walk into to find the two in close company on her bed, prompting the first of several break ups for Kay and Alan.
The biggest problem with The Naughty Flirt is that White makes Kay the most unlikable girl imaginable. We can have no respect for her reckless life and find it hard to believe she genuinely likes this gent. Why Alan falls for her is a mystery, and the movie would have produced a more satisfying ending if he had pulled thePhiladelphia Story move and knocked her to the ground via a shove to the face. But to our disappointment the characters eek out a happy ending.
Loy is wonderfully different as Linda. Far from the “perfect wife” she would become, Loy with her dark hair and eyeliner brings a smouldering edge to her somewhat sinister part. She puts on a great show and is possibly the best actor in the whole film. That being said, unless you’re looking to check a movie off your Myrna Loy list, The Naughty Flirt is ideal for now viewer.
I had never heard of 1933’s Night Flight when I stumbled upon it in a sales pile at Barnes & Noble a couple weeks ago. I’ve tried to train myself not to buy movies on a whim without knowing whether they are good, but the cast for this one was enough to secure its purchase. Besides love of my life Robert Montgomery, the cast also features John and Lionel Barrymore, Myrna Loy and Clark Gable, to name a few.
The story starts with a plot element that we will all but forget before the picture is over. A child at a hospital in Rio de Janeiro teeters on the verge of death from a virus, but doctors assure his mother that because of a new night flight schedule, the life-saving serum he needs can be delivered from across the continent by the next morning.
Now move on to the main story: the plight of those pilots tasked with the treacherous duty of flying mail planes across South America. The trip is dangerous enough during the daytime as Auguste (Montgomery) discovers as he flies the serum and other packages from Santiago, Chile ,to Buenos Aires. In Buenos Aires is the headquarters of the delivery outfit where company president A. Riviere (John Barrymore) stressfully monitors all pilots’ progress. Auguste hits a nasty storm going over the mountains and at one point gets sucked down close to the rough terrain but thankfully makes it to his destination alive.
The package in question and other mail will not leave immediately for Rio de Janeiro from Buenos Aires because another flight is due just in time to ensure the load will leave by midnight. Flying that plane is Gable’s Jules. We will never see him outside of his vehicle and he has surprisingly little dialogue because he communicates with his radio operator via notepad, sending messages to headquarters. His path takes him from southern Chile to Buenos Aires, but he and his radio man encounter a surprise rain storm en route. They are thrown off course and also must battle a fleeting fuel supply. Jules’ wife, Simone (Helen Hayes), knows her husband’s schedule well and becomes distraught when he is late.
A “Brazilian Pilot” (William Gargan) is aroused from his sleep to take the night flight to Rio de Janeiro, leaving worrying wife (Loy) behind. He thinks the only value of night flight is to allow someone in France to get a post card two days earlier than normal, not realizing he is carrying a life-saving serum.
The bulk of the acting heft in Night Flight comes from the two Barrymores. John is a hard-nosed businessman who defies the company board in insisting on the overnight program. Lionel comes in as an “inspector” of some sort who is there as a counterpoint to Riviere’s tough tactics, trying to draw compassion from the man.
All scenes with John take place in his office, a dark room that is literally only lighted by “moonlight” from outside and a desk lamp. The darkness of most scenes in the picture leaves the audience feeling the weight of the night as much as the pilots do. We yearn for the dawn to bring with it safety in the same way they do. The office scenes are also often shot from waist height across the room or closeup low angles. This leaves the viewer feeling less like he is in the scene with the characters and more as an unwelcome spectator.
As with all movies featuring flight, Night Flight contains impressive footage of aerial maneuvering. Day for night shooting was apparently used for the flick, but unlike most picture that take this approach, the fakeness of night was unnoticeable.
The movie was apparently one of Gable’s lowest-grossing pictures. Interestingly, he is scarcely in it. He utters only a few lines of actual dialogue and is never seen outside his plane. A surprisingly small role for such a big star, but given the magnitude of the remainder of the cast, it might be understandable.
Despite being such a great romantic lead, Cary Grant spent a portion of his career playing very convincing family men. Grant is probably the husband and father we all might prefer to have, as he often played these parts subtly fighting for his position as man of the house while still convincing the women around them that he revered them. In Mr. Blandings Builds His Dream House, Grant takes charge of his family’s living circumstances only to be tripped up at every step along the way.
As Jim Blandings, Grant and his family live in a good-size apartment in New York City where he works in the advertising business. Despite living his whole life in the cramped metropolis, the man is starting to get fed up with sharing a tight bathroom with is wife Muriel, played by Myrna Loy, and the lack of closet space in part because of his two daughters. Seeing an ad promoting a country life in Connecticut, Jim makes up his mind to buy a home there instead of let his wife remodel the apartment for $7,000 on his $15,000 annual salary.
The city slickers get duped into buying a run-down “fixer upper” type home for $10,000 that has so many problems it ultimately must be demolished. The couple draw up plans for a new home with an excessive number of closets and bathrooms at a price tag of $11,000. Mishaps galore ensue that continually add to the cost of construction. The bills are driving Jim mad and the couple almost pulls out of the plan but a sketch of the proposed home is too perfect to walk away.
In the midst of this work is family friend and attorney Bill Cole, played by Melvyn Douglas. The man continually advises the family against their initial efforts but supports them regardless. In one scene when the skeleton of the home is in place, Jim and Muriel hear a pounding sound just after the workers have left the site. They ascend to the second floor where they find Bill had become locked in a closet and was there pounding a bucket against the floor. Mr. Blandings insists this special closet made just for him works perfectly. He goes in, closes the door, and comes out. Wanting to illustrate to Muriel the simplicity of an exit, he invites her in, and all three become trapped inside. Jim breaks the window in the small room to secure their freedom just as the door creaks open on its own.
As the hardships of homeownership surmount the family, Jim is struggling at work because of a new account for Wham brand ham. He spends a torturous night at the office trying to find a new slogan. Meanwhile, Bill has been forced to stay the night in the new home because bridge flooding has trapped him in Connecticut. The storm has also trapped the Blandings kids at a neighbor’s house. Muriel assures us from the get go we do not have to worry about an affair, but a jealous Jim is not so convinced in the morning. The house might cost Jim his job, send the family into bankruptcy and destroy a marriage, but the Blandings will endure.
Mr. Blandings Builds His Dream House reminds me of The Money Pit that also dealt with a couple’s endeavors to repair an old house. The latter is the sort of movie that can be too frustrating for some people to watch. This classic, however, is more tolerable because it brings more heart and spots of happiness to the screen and drives its characters to a lower degree of madness.
The best part of the movie is the witty dialogue and wonderful acting by Grant, who brings back shades of the screwball era in which he prospered. Loy stands in as the ever-devoted wife, who is not beyond making a financial mistake here or there. Douglas is charming and has his fair share of comedic lines as he watches the mistakes of his friends bite them in the ass.
Mr. Blandings is certainly among my favorite Grant movies. It helps that Loy is there to back him up, but the man really stands out as the star of this comedy.
Mr. Blandings Builds His Dream House is set for 8 p.m. ET Sept. 4 on TCM.
Myrna Loy‘s Hollywood title of “the perfect wife” reflects the reality that her most memorable roles were those that domesticated her to family life. The Thin Man movies, The Best Years of Our Lives and Mr. Blandings Builds His Dream House are such examples. But she was not always so type cast. She played the exotic early in her career and brought a certain sex appeal that was restrained in her later parts. On the fence between those two worlds is Penthouse. It was directed by W.S. Van Dyke a year before he made The Thin Man and the important decision to cast Loy as Nora Charles, a part that to a large degree makes those movies what they are.
In Penthouse, Loy plays a dame who hangs around with seedy underworld types and who ends up taking up residence at the home of a lawyer. Try as she might, Loy’s charming personality surmounts the suggestive dialogue that would paint her as a floozy. But her wit and comedic delivery of lines here would convince Van Dyke of his find and propel her to stardom the next year.
Warner Baxter plays Jackson Durant, a well-to-do attorney who tarnishes his career by successfully defending mobster Tony Gazotti (Nat Pendleton) from a murder conviction. He also loses the affection of his girl, Sue (Martha Sleeper), because of the new company he keeps. Sue quickly finds a new love, however, in the arms of pal Tom (Phillips Holmes) and the two get engaged.
Tom must break off his affair with low-life Mimi (Mae Clark) who in turn looks to rekindle a romance with gangster Jim Crelliman (C. Henry Gordon). To satisfy the racketeer, however, Mimi must publicly break things off with Tom. At a nightclub, Mimi takes Tom onto a roof balcony for that conversation but Crelliman and others in the club are surprised by a gunshot. Mimi is dead and Tom is holding the gun.
Jackson comes soon to conclude his friend Tom is innocent when he receives a phone call advising him to stay away from the case. He therefore gets involved. As part of his investigation, Gazotti hooks him up with Loy’s Gertie Waxted. Meeting at a club, Gertie confesses she’d be more comfortable at home cooking “a pot of eggs” but also does not wish to return to her apartment where a photo of friend Mimi will depress her. The solution is Jackson’s flat.
Nothing untoward occurs between the duo and Gertie even says she will get rusty at defending her honor after a month of residence at the home. Jackson wants to keep her safe at his place while he continues the investigation. He’s hoping to get unexpected information from her just by talking about Mimi. In doing so, she reveals several clues, such as that her apartment overlooks the murder scene and that building is owned by Crelliman. The racketeer also knows the pawn broker who IDed Tom as having bought the gun in question.
When Jackson leaves the apartment to investigate Gertie’s home, the woman is unable to stay put as she is fearing for the man’s safety. Later seeing Gertie with Crelliman’s “finger man”, Jackson suspects she has betrayed him. With the help of mobster Gazotti, Jackson unravels the mystery and saves his new girl.
Loy, although one must be patient for her first appearance, steals a decent portion of attention given her relatively small role in Penthouse. The gal is smart, kind and tough and exudes too much class for us to actually believe she was of Mimi’s sort. Gertie is the sort of role you would expect Jean Harlow to play, but by using Loy, we get a much more likeable character and one that seems to be classy enough for the once-revered attorney.
Pendleton is very enjoyable and memorable as Gazotti. The character actor often played gangster sidekicks or detective partners, but this is the first I have seen him in a role of power. He is no less congenial nor any smarter than his other parts, but he makes the criminal who is backing our protagonist easy to like.
The Best Years of Our Lives is one of the best movies I have ever seen. I thought it might be prudent to get that out front because this post will be nothing but praise for the masterpiece. But I’m not alone in my assertion as the flick won eight of the nine Oscars for which it was nominated.
The picture, which came out a year after World War II ended, was about just that: the end. It follows three soldiers who return to the same hometown and try to re-enter their past lives. The Best Actor award went to Dana Andrews who plays pilot Fred Derry and steals away the majority of our attention during the movie. The Best Supporting Actor Academy Award went to first-time actor and real-life soldier Harold Russell, who lost his hands and forearms in a training accident and had them replaced by hooks.
Joining both Fred and Homer (Russell) on a flight home to Boone City is Army Sgt. Al Stephenson, played by Fredric March. The three bond over their short trip home and share the same reluctance to leave their taxicab when it pulls up to each house. Al comes home to a surprised and overwhelmed wife in Myrna Loy, whose emotions overwhelm us as much as she in reuniting with her husband. The couple have a teenage son (Michael Hall)and a slightly older daughter who has been working as a nurse.
Homer, meanwhile, comes home to loving parents and a young sister. His mother cannot help but cry at the sight of his disability, frustrating the soldier who has become accustomed to it. He was set to marry the girl next door, Wilma (Cathy O’Donnell), before he left for the war. Although Wilma shows no hesitation around her beau, he is too self conscious about the hooks to believe in their future and so avoids contact with her.
Fred, lastly, stops at his parents run-down home to say hello and to reunite with the wife he married 80-some days before deployment. She no longer lives with the folks, however, and has taken a job at a night club and an apartment in town as well.
Unable to handle the home surroundings that are no longer familiar to him, Al takes his wife and daughter Peggy (Teresa Wright) out on the town, ending their late night at Butch’s Place. Homer too finds his way there after spilling a glass of lemonade he was unable to manage with his prosthetics. Fred, unsuccessful in locating his wife at any of the clubs, joins the gang. A very drunk Fred is forward but polite with Peggy and ultimately spends the night in her bed –although she is on the couch.
The next day, Fred finally reunites with his wife Marie (Virginia Mayo), who is thrilled to see him. The couple soon spend down the $1,000 in cash the man has, and the revelation that nightly outings are nixed from their lives frustrates Marie. The two are growing distant as Fred and Peggy are falling in love, a love of which Al does not approve.
Director William Wellman sets up from Peggy and Fred’s first encounter their destiny together. Seating them beside one another in a crowded booth at Butch’s, we naturally pair them. We also see a great degree of interaction between the two before ever meeting Marie, so we make up our minds early about the winning woman.
The two able-bodied men are finding employment to be a challenge but in disparate ways. Al has not only been offered back his job at the bank, but has been promoted to a post where he will consider GI loans. His idea of a safe bet is different from that of the execs, however, stirring some tension. Fred, meanwhile, returns to a job at what used to be a drug store and works beneath the man he used to oversee. He had sworn never to return to such a low position, but has no skills outside of flying a plane. Poverty challenges his home life.
Both men illustrate for the audience the frustration of returning to the mundane experiences of regular employment. Work is not chief among soldiers’ thoughts when imagining their return home, but it nevertheless remains a requirement to maintain a livelihood. Fred, who was a captain in the Air Force and a pro flyer, is disheartened to be placed in such a menial position where he has no control.
My favorite scene in The Best Years of Our Lives is the last. Fred and Peggy are among the guests in a crowded house awaiting the bride’s appearance. Seeing that Al has arrived, Fred goes on the hunt for Peggy, whom he has weeks before romantially rejected as a way to keep her father happy. When he spots the woman, he stops, standing arms at his side facing her across the room, unmoving. The camera’s high-angle shot does not seem to be focusing on anything in particular, but our eyes are drawn to him. Peggy, who has been in conversation, seems to sense his gaze and turns towards him and approaches. They exchange pleasantries but make not gestures of love. Later, as the bride and groom read their vows, Fred is standing as best man but is looking across the room to Peggy, who seems to glow in her light-colored dress, who is also watching him. The cinematography is subtle as the bride and groom take up half the screen and their speaking can distract us from the shot’s true meaning. The recitation of the vows and pronouncement of man and wife seems as much meant for the bride and groom as for Peggy and Fred. When the ceremony is over, Fred walks directly to Peggy and kisses her as though they are alone in the room.
The Best Years of Our Lives is a masterpiece in its gentle conveyance of the harsh realities of returning soldiers who are damaged goods to certain degrees in physical and mental ways. The prolonged friendship among the men is also a testament to how they could feel more at home with each other than with their own families because of the semi-shared experiences they had overseas. Both the men and their loved ones suffer under the circumstances with Peggy being one neutral and healing figure for Fred. This movie is apt to make you cry, sigh and smile and is one of the most touching pictures I’ve ever seen.
The Best Years of Our Lives is set for 8 p.m. ET Aug. 2 and 2:15 a.m. ET Oct. 10 on TCM.
Although movie audiences had to endure two years between the first and second films in the Thin Man series, the famed characters Nick and Nora Charles had no such luxury. With yet another murder mystery to solve, After the Thin Manpaints an equally convoluted and humorous tale of the master, freelance sleuth and his family.
The crimes of After the Thin Man hit particularly close to home for Nick (William Powell) and Nora (Myrna Loy) Charles, whose train pulls into the station at their home town of San Francisco at the film’s opening and the characters are attacked by friends and reporters still reeling from Nick’s impressive work on the New York murder case featured in The Thin Man.
Also making the latest case more personal is the fact it involves Nora’s extended family. Her cousin, Selma (Elissa Landi) invites the couple over to Aunt Katherine’s house because she is distraught over her missing, philandering husband. Nick and Nora manage to locate this Robert (Alan Marshall) at a night club where he is getting friendly with the floor show, a woman named Polly (Dorothy McNulty). Robert seems to be developing enemies from multiple places: Selma for the cheating, Polly who wants his money, Polly’s brother who wants his money, the night club owner who has some romantic claim to Polly, and the family friend, David, played by Jimmy Stewart, who is in love with Selma.
With all those parties having some reason to want Robert dead, it is no surprise we find the man shot not long after the picture starts. Out of the fog and darkness walks Selma with a gun in her hand, a gun that David takes from her to throw in the river. Naturally the case is not that simple as Selma insists she is innocent. Both Nick and Nora –she has every right to be involved in this crime because it involves her family!– snoop into the murder that is subsequently followed by the killing of a janitor at an apartment building where Polly lives and where someone has been eavesdropping on her apartment.
Nick invites all suspects and involved parties to the vacant room above Polly’s to put together the final pieces of the puzzle. He walks us through the crimes and the motives until the culprit slips up and Nick proves himself the hero detective once again.
As with the other Thin Man movies, the audience derives its enjoyment in After the Thin Man not from the actual mystery but from all that surrounds it. Nick and Nora’s relationship is always laced with humor as Loy plays up to feminist ideals by putting herself in danger and relinquishing no ownership of the relationship to her husband. Nora even lands herself in jail in this episode, another scene marked with comedy.
I have said it before and I’ll repeat myself: Powell and Loy had a remarkably perfect onscreen relationship. The two are so dryly witty and play off each other in both dialogue and movement so ideally. When film buffs title Loy as the perfect wife, it is the Thin Man movies to which they are referring. The harmony between Nick’s love and protection of his wife and Nora’s unwillingness to sit at home and knit translate into wonderfully caring moments and instances of anger that are too mild to be lasting.
The story is too difficult to follow or determine who has the best motive and opportunity for the murder, so it is best to merely enjoy the ride and leave the driving to William Powell. In this movie, however, the actual murderer is perhaps the least likely suspect. To avoid giving away the end, I’ll merely say I am surprised MGM was willing to paint this actor/actress as a murderer, as studios often cast their payers in a certain way to maintain a relationship with their audience.
MacGuffin Movies 