Fifty Years of Film in 50 Weeks, #35: We're No Angels, 1955

"I'll say one thing for crooks - they'll give you an honest days' work."

We're No Angels, 1955

Director: Michael Curtiz
Writers: Ranald MacDougall from a play by Albert Husson
Cinematographer: Loyal Griggs
Producer: Pat Duggan for Paramount Pictures
Starring: Humphrey Bogart, Aldo Ray, Peter Ustinov, Joan Bennett, Basil Rathbone, Leo G. Carroll, Gloria Talbott

Why I chose it
This film was squarely at the center of the Venn diagram of Christmas movies, films from 1955, and movies I've not yet seen. It was an easy choice!

'No-spoiler' plot overview 
Joseph, Albert, and Jules are prisoners who escaped their cells on Devil's Island, and stowed away on a boat to the mainland (French Guiana in South America). The coastal town where they alight on Christmas Eve gives them little notice, as it seems to be populated with all kinds of former convicts(!) Looking to abscond with enough funds to further their journey, the three get hired by a local shopkeeper, Ducotel, to fix his leaky roof. While on the roof, they observe the goings-on in the house and can't help but insert themselves into the family, finding ways to both help them celebrate Christmas, "fix" the financial problems, and get rid of the family tyrant, all while planning to rob and murder them. Of course, as this is a Christmas movie, it's not a spoiler to say things work out in the end. Well...sort of!

Instead of working, the three escaped convicts eavesdrop 
from the roof on all the goings-on in the Ducotel family.
(l-r: Bogart, Ustinov, Ray).

Mr. and Mrs. Ducotel (Joan Bennett and Leo G. Carroll)
debate how to address their financial troubles.

Production Background
Michael Curtiz was on a Christmas movie roll when he made this one, just having completed White Christmas with Bing Crosby. (Of course, We're No Angels as a black comedy bears little resemblance to the earlier beloved classic.) He worked for Paramount, who bought the rights to the French play (La Cuisine des Anges) by Albert Husson. The play was also adapted for a Broadway show in 1953 called My 3 Angels; the producers of that version sued Paramount unsuccessfully, having wrongly assumed the movie ripped them off. 

The film was also the screen comeback for Joan Bennett, a 30s and 40s leading lady whose career suffered after her husband Walter Wanger in 1951 shot Bennett's agent believing them to be having an affair. Bogart wanted Bennett in the part and stood up for her when Paramount equivocated. Bennett said about Bogart "He made the stand to show what he thought of the underground movement to stamp out Joan Bennett...I'll never forget (his) kindness and warmth."

(The above info. from Christmas in the Movie: 30 Classics to Celebrate the Season, by Jeremy Arnold, copyright 2018 by Turner Classic Movies, Inc.)

From the opening credits.

Some other notable film-related events in 1955 (from Filmsite.org):

• James Dean was featured in his first major role and film, director Elia Kazan's East of Eden (1955), an updated re-telling of the Biblical story of rival brothers - Cain and Abel and a paradise lost. Tragically, Dean -- the prototype of a rebellious adolescent -- was killed in a car accident at age 24, driving his new 550 Porsche Spyder. 

• Blackboard Jungle (1955) was the first film to feature a rock-'n'-roll song in its soundtrack, "Rock-Around-The-Clock." (sung by Bill Haley and His Comets during the opening credits). It was the first major Hollywood film to use R&R on its soundtrack, and it inspired the next year's popular R&R film, Rock Around the Clock (1956).

• The iconic 52-foot high The Seven Year Itch (1955) cut-out shot of Marilyn Monroe's white skirt billowing up as she stood over a sidewalk subway grating was located in front of Loew's State Theater in Times Square (NYC), for the film's premiere. Because of complaints of indecency, the original image was replaced with a less provocative one.
  
  
• Andrzej Wajda's first major feature film, A Generation (1955) (aka Pokolenie), was about wartime resistance by young Polish men (in an underground movement) against the German invasion of Poland. It was the first in a trilogy of war films that also included Kanal (1957, Pol.) and Ashes and Diamonds (1958, Pol.). The film marked the renaissance of Polish cinema in the mid-1950s.

My Random Observations

• One of the joys of the film is watching the interaction between Bogart (Joseph), Ray (Albert), and Ustinov (Jules). Bogart is the father figure of the three, nearing the end of his career, while Ray and Ustinov were in their primes. All three played variations of their usual personas: Bogart the gruff brains of the bunch, Ray the jolly hunk, and Ustinov the sophisticated scoundrel.  Additionally, Curtiz choreographed the scenes with the three such that their movements were as smooth and synchronized as a juggling act. 
  

  

  The convicts reveal the Christmas turkey to the Ducotels
  (gif file from oldhollywoodpage.tumblr.com)

• I was initially a bit put off by the casual references to murder in the dialogue, but as the movie progressed I accepted them as part of the ruse. 
  "We came here to rob them and that's what we're gonna do - beat their heads in, gouge their eyes out, slash their throats. Soon as we wash the dishes."

• Aldo Ray was a revelation for me. Maybe because I've not seen much of him, but primarily because his looks and movements seemed so modern - he could have walked right out of a current episode of The Young and the Restless!

  

  Ray (Albert) comes to the aid of Isabelle Ducotel (Gloria Talbott) when she 
  faints; here she just comes to and sees the face of the handsome stranger.

• The cinematography was rich in saturated color, and there were some lovely long shots with gorgeous scenery. It didn't surprise me that the cinematographer, Loyal Griggs, was also responsible for the stunning mountain vistas in Shane.

The roof of the Ducotel property with lovely distant vistas.

• I would love to have a group of beneficent crooks decorate my place and cook my Christmas dinner the way these guys managed it for the Ducotel family!

  

  Joseph (Bogart) dons a pink apron and wields a knife (!) as he and 
  Jules (Ustinov) prepare Christmas Eve dinner.
  

Maybe these guys are angels, after all.

Where to Watch
Tune in to TCM on Monday, December 20th at 8PM to see the film. It's also currently available to Kanopy subscribers and can be rented on many other streaming services or viewed from the DVD or Blu-Ray.

Further Reading
For a fun review of the film with a special emphasis on Bogart, read here. The expectedly excellent TCM article with production details is here.

Book review: The Life and Times of Sydney Greenstreet

Author Derek Sculthorpe continues to conduct exhaustive research leading to the biographies of classic screen actors whose names are less familiar to the casual movie fan, but beloved by cinephiles. The bio of British-born Sydney Greenstreet (1879-1954) is the latest of his for me to read and review, and this time I'm grateful to BearManor Media for providing me with my copy.  Check out my posts on the Van Heflin and Brian Donlevy bios, and my Q&A with author Sculthorpe included in the Donlevy post.

The thing about Greenstreet is this: while his film career was relatively short--he entered the industry in 1941 at age 61, but made his last film in 1949 due to his failing health--his appearances are so striking, his voice so resonant, and his characters' personalities loomed so large, that I'd wager that anyone would remember him after seeing a single of his films.  As his career arc differed so much from other classic film stars, I was particularly interested in learning about him as a way to illuminate some dusty corners in cinema history and early 20th-century cultural history. For this, the book does not disappoint.

Sculthorpe is a completist in his approach and offers everything that is known about Greenstreet, both professionally and personally, in a measured, chronological manner, starting with his family history. He drew from primary sources as well as books such as Ted Sennett's profile of Greenstreet and frequent co-actor Peter Lorre's professional collaboration, Masters of Menace, but his connection with Gail Greenstreet, the actor's granddaughter, was especially valuable, leading to insights and photos never before published. The book offers a complete catalog of Greenstreet's film, radio, and stage appearances, and 36 pages devoted to a bibliography and citations.

Young Greenstreet, ~1920.
From the book's Facebook page

"I seek to ... show that he had a full life before he became famous," Sculthorpe said in the book's introduction. As a result, over half of the book is devoted to his stage career, which actually encompassed most of Greenstreet's working life, but at first I wasn't sure that I would be as interested in that. However, as I continued reading I became fascinated by the new world of early 20th-century theater life was that opening up to me--the touring lifestyles, the larger-than-life theatrical impresarios, and changing tastes of the American public. Greenstreet, while a UK native, made the U.S. his adopted home early in his career, as he toured with a number of theatrical companies here.  Among those were Sir Philip "Ben" Greet of 'The Ben Greet Players',  Col. Henry Wilson Savage's company, which produced mostly musicals, Margaret Anglin, an actress and producer who produced a number of Shakespeare plays that Greenstreet sank his teeth into, and Minnie Fisk ("Mrs. Fiske") with whom Greenstreet excelled in Shakespeare's As You Like It.  Sculthorpe punctuates these histories with colorful stories of alfresco performances and audiences of suffragettes.



Greenstreet's star was considerably high at this point, and he never really actively sought to become a film star, but when John Huston gave him the opportunity with The Maltese Falcon after seeing him in a stage production of There Shall Be No Night by Robert Sherwood, Greenstreet's career was catapulted in a new direction. His success in the beloved noir led him to an Academy award nomination and a contract with Warner Bros., and he made Hollywood his home--this after he assumed The Maltese Falcon was going to be his one film, and did attempt to resume his stage career.

Greenstreet with Humphrey Bogart in The Maltese Falcon.
According to Sculthorpe, the two actors shared a warm relationship.

Sculthorpe examines Greenstreet's film career through the lens of the actor's theatrical experience. In plays, because of his large size (Greenstreet always loved food and was heavy from his early days) he wasn't cast as romantic leads in plays, but rather villains and often clowns or comic characters. [Of particular note to film fans was a 1931 production of Arisophanes' play Lysistrata in which Greenstreet shared the stage with Miriam Hopkins and Fay Bainter, and after he left, Hopkins' role was taken over by Jean Arthur.] In contrast, in films Greenstreet rarely had the opportunity to exercise his comic chops, as his most memorable screen roles were of imposing, albeit refined villains.  He did, apparently, complain to his studio bosses about the narrow nature of his roles, and eventually did receive parts in comedies, that were, for the most part, second rate. Perhaps the best known and loved today is Christmas in Connecticut, in which Greenstreet's relatively straight character had some comic moments--in particular, having a tumble in the snow.

Christmas in Connecticut proves to be less than hospitable
for poor Alexander Yardley (Greenstreet).

Unlike many Hollywood stars, Greenstreet's personal life seemed to be somewhat calm. He married New Jersey native Dorothy Ogden at age 38, and they had one son, John, who spent many years in boarding school in the U.S. while his father toured much of the time. Sadly, Dorothy fell victim to a mental illness and was institutionalized at age 41 for the remainder of her life.  While his wife's illness and absence was a considerable strain, Greenstreet was an outgoing person who formed relationships with his fellow actors and was generally appreciated for his professionalism and warmth.  He mentored up-and-coming stars including most notably Zachary Scott, who credited Greenstreet as his film 'teacher.' He apparently loved a good party and enjoyed regaling everyone around with jokes and stories.

Greenstreet as the trumpeter in a 1938/39 stage production
(with Lunt-Fontanne) of Amphitryon 38 (from the
book's Facebook page here)

Greenstreet succumbed in 1954 after years of battling ill health. Some may say that it's too bad he only acted for nine years and 24 films, but in reality I believe our memory of him is enhanced because his work was preserved in such a concentrated period of time.  I recommend the bio for dedicated film lovers looking to fill in many gaps in our understanding of the man behind the imposing, often frightening physique in many 1940s classics. As previously mentioned, his film work does not dominate the volume, and those picking up the book should know that equal time and analysis is devoted to his stage work.  For those, like me, for whom this part of history was unexplored, those parts of the book will greatly add to your appreciation of early 20th century cultural life.

December Classic Film Screenings in Greater Boston

November turned out to be a much busier month than I had originally thought, and my blog output dropped off precipitously.  I fear December will be the same way, although my goal will be to pick up my game just a bit.  On to the main attraction, which features both holiday and non-holiday themed films to punctuate your cold days and evenings in the cinema this month.

Harvard Film Archive

The HFA is once again offering an intriguing blend of offerings.

Sunday Dec 4, 4:30 PM -- the theatre's 8th Annual 'Vintage Holiday Show' of short films 'from the HFA vault' celebrating all things holiday.  It's billed as 'family friendly' and is likely to be much better than your average walk down holiday nostalgia lane.  And, its total 96 minutes of running time is completely free! These films were originally part of the Boston Public Library's circulating collection.   If I didn't already have a commitment I would attend this -- something very different and sure to be a delight.  Included in the list of films, both animated and live action, are:

From 'A Figgy Duff Christmas' (HFA Website)

The Great Toy Robbery (Jeff Hale, 1963); Six Penguins (Asporoah Panov, 1973);  Max's Christmas (Michael Sporn, 1988); The Cop and the Anthem (Peter Mark Schifter, 1982); The Cherry Tree Carol (Gardner Compton, 1968); A Figgy Duff Christmas (William Gough, 1978); Animal's Best Friend (Hermina Tyrlova, 1973); A Charles Dickens Christmas: From the Pickwick Papers (John Barnes, 1958); The Night Before Christmas (John Wilson, 1968).

Busby Berkeley

'Busby Berkeley Babylon'

Busby Berkeley was a giant in early film musical choreography; his visuals are still stunning today.  He turned big musical numbers into dazzling kaleidoscope-like frenzies of costumes, props, and bodies, especially those of the female variety.  The HFA is presenting an extensive retrospective of Berkeley's films 'Busby Berkeley Babylon' during December and January.  It's worth your time to read the HFA write-up of Berkeley's life and career (did you know he spent some of his earlier years Boston area doing stage direction for the Somerville Stock Company?!), and descriptions of all the films.  Here are the ones that are most exciting to me:  

From 'Gold Diggers of 1933' 

Sunday December 11, 7 PM.  King of Jazz (1930), a 'rediscovery' that I missed at Capitolfest in August, a 'lavish production' in 2-strip Technicolor, celebrating bandleader Paul Whiteman. 

Friday, December 16, 9 PM Dames (1934) starring pre-code superstars Joan Blondell, Dick Powell, and Ruby Keeler.  It's apparently a celebration of sexuality only slightly veiled, flaunting the restrictions of the upcoming Production Code that would prohibit overt references to sex, among other sinful (!) activities.

Saturday, December 17th 7:00 PM Roman Scandals (1933, D. Frank Tuttle), a wild farcical romp through ancient Rome via an extended dream, starring Eddie Cantor, Gloria Stuart, and Edward Arnold.  It's known also for the 'blink-and-you'll-miss-it' first film appearance of Lucille Ball as a 'Goldwyn Girl' with long blond locks.  I saw it at Capitolfest in 2014 and it was quite the experience.

Barbara Stanwyck giving Gary Cooper
More that he bargained for. 

Coolidge Corner Theatre
Monday, December 5, 7:00 PM: Barbara Stanwyck and a young, hot Gary Cooper in the classic screwball comedy Ball of Fire, directed by Howard Hawks and written by Billy Wilder and Charles Brackett. (I can't help but think of Jerry Lee Lewis whenever I hear the title of this movie!)  It's about a group of lexicographers and their collision with a high-spirited young woman mixed up with the mob.  I've not yet seen this film and unfortunately can't attend this screening, but otherwise I would most certainly be near the head of the queue for this one!  Adding to the fun is a special guest appearance -- Ben Zimmer, award-winning language columnist for the NY Times, will speak before the film about the science of studying slang, and how it's evolved over the decades.  A regular feature of the Coolidge's fun Science on Screen Series showcases expert speakers talking about an aspect of science related to the film in some way.  

Monday, December 12, 7:00 PM: Bogey & Bacall send sparks across the celluloid in one of their most heralded noirs -- The Big Sleep, screened in 35 mm as part of the Big Screen Classics Series.  The narrative of this film, also directed by Howard Hawks, is nearly impossible to follow, but heck, the plot's not the main pleasure of watching this one!

Humphrey Bogart and Lauren Bacall form an uneasy alliance in
The Big Sleep (photo from imdb.com)

Kirk Douglas in his prime

Brattle Theatre

Sunday, Dec 25 - Thurs Dec 29 (Christmas week) the Brattle is programming films of Kirk Douglas to celebrate his 100th birthday (actually on Dec 9).  Happy birthday, Kirk!
Check out the whole series, but if you are free on Dec 26th, check out a double feature of  'rarities' from 1951:  Detective Story, a noir directed by ace William Wyler; also starring William Bendix, Cathy O'Donnell, Eleanor Parker.  That's followed by Ace in the Hole, directed by Billy Wilder, and also starring Jan Sterling and Robert Arthur.



Sunday, January 1, and Monday January 2:  While technically a new month, it deserves a mention here: ring in the New Year with the Marx Bros!  The Brattle's presenting a marathon of films from these pioneers of early film comedy, betting on once you see one, you can't stop until you've seen them all!  All are new restorations of the old favorites, all of which are the early, pre-code Paramount films, so if you attend the whole festival you'll see the style of the brothers evolve over a four year period, from The Cocoanuts (1929) to Duck Soup (1933).  My favorite of theirs is Horse Feathers, which I got to see at the 2016 Turner Classic Film Festival. 

Zeppo, Groucho, Chico, and Harpo Marx are up to no good in 'The Cocoanuts'