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.

Capitolfest 2019 - A feast of extremely rare early films

Frances Dee and Joel McCrea

For the fourth time I ventured to Rome, NY for the annual 'Capitolfest' film festival this past weekend. I love it for two main reasons. First, it's a virtually stress-free environment to see friends and bond over a mutual love of old films. Second, the films are so rare and/or have not been seen by the public since they were originally released, watching them makes you feel like you're inhabiting an alternative-reality universe!

Peter McCrea on stage at the
Capitol Theatre Aug 2019

Held at the unique movie palace venue, The Capitol Theatre, this year the festival featured both Frances Dee and Joel McCrea, who were married in real life, and were stars from the early 'talkie' era. Both are appealing, 'girl- or guy-next door types' with enough acting talent to carry many a film. McCrea is probably best known today for his work in Westerns later in his career, or his star turn in Sullivan's Travels (Preston Sturges) from the 1940s. Dee is less well known as she mostly retired from acting in the 1950s to raise their family.

Speaking of family, a highlight of the festival was the personal appearance of Peter McCrea, Joel and Frances' son. He addressed the crowd not once, but twice, and took questions. When he first walked out on stage, I almost fell out of my seat, as he resembles his famous dad so much. He talked about how his parent's shared faith in Christian Science drew them closer and helped them through the rough patches in their marriage. When asked who McCrea's favorite directors were, he mentioned both Sturges and George Stevens. He also shared that his mom was content to let her husband be the star later in their lives, and that McCrea 'relaxed' into familiar Western roles later in his career.

Unlike in previous years where the films from featured stars were both of the silent and 'talkie' variety, this year the only films with either of the two featured stars were talkies from the 1930s and 1940s. Of particular interest to me was The Unseen, starring McCrea, Gail Russell, and Herbert Marshall. By Capitolfest standards this was a recent film, having been made in 1945. As a big fan of Herbert Marshall, I loved watching him on the big screen, and he didn't disappoint. The film itself is a somewhat minor suspense entry, but worth checking out. Gail Russell was one of those talented actors who succumbed at an early age to her demons and the pressures of Hollywood, so it's a thrill to see what little work she left us.

The excellent selection of rare silent shorts and features were screened with expert pipe organ accompaniment by Dr. Philip C. Carli, Ben Model, and Avery Tunningley. I was particularly fascinated by the first entry in the series of shorts about the life of President Lincoln (The Son of Democracy/The Lincoln Cycle, 1917), written by and starring Benjamin Chapin. Chapin was a Lincoln devotee and was inspired to create a series about his life when the U.S. entered WWI. In the first installment, "My Mother", we learn how Lincoln as a boy learned from and was devoted to his mother, who sadly died young. Chapin portrayed Thomas Lincoln, and Charlie Jackson was credited as portraying the boy Abraham and Madelyn Clare portrayed Nancy Hanks Lincoln. All were wonderful in this little gem, and I really want to see the remaining extant episodes in the 10-part series.

Another very different silent was the backstage melodrama Sally, Irene, and Mary (1925) with young Constance Bennett, Joan Crawford, and Sally O'Neil. At a crisp 58 minutes, the film transported us to a time when flappers lived the good life but often choices presented in life complicate the happiness of all involved. This film isn't available on DVD, and we saw the print loaned from the George Eastman House in Rochester, NY.

Bennett, Crawford, and Hines in Sally, Irene, and Mary
(Photo from JoanCrawfordbest.com)

My favorite film of the weekend was the second-to-last one on the program, This Reckless Age. Frances Dee was in this one, along with Charlie Ruggles, Charles "Buddy" Rogers, Peggy Shannon, Frances Starr, and Richard Bennett (father of actors Constance and Joan). Directed by Frank Tuttle and with a script by Joseph Mankiewicz (adapted from a play by Lewis Beach), it was released by Paramount in 1932. As a faced-paced family 'dramedy', it portrayed an upper class middle-aged couple wrestling with the irresponsible, selfish behavior of their college-age son and daughter as they come home for Christmas. The film is well-acted and the script is snappy, if easily tagged as having theater origins. All characters were three-dimensional and believeable, and the narrative kept us in suspense with refreshing unpredictability. I felt warmth and affection for nearly all the main characters, although not at the same time(!) While the film was apparently considered a 'B' picture when released, as its stars were no longer at the top of the movie universe, I felt it was a true gem and I wish more people would see it.

It was a blast to see many Turner Classic Movie festival friends this year - it seems that more and more TCM devotees are taking the plunge into Capitolfest, and all seem to have greatly enjoyed it. (Thanks to Aurora (@CitizenScreen) for the group selfies below!)

Toni, me, Aurora, and Alan on Friday when we
were still fairly rested.

Boston TCM Backlot member Kay
and I meet in person
for the first time

TCM gang dinner at the festival's conclusion.

Toni, Beth Ann and I talked about our
experiences running TCM local Backlot chapters over an
al fresco lunch. (Thanks to @NitrateDiva for the photo!)

Next year, Capitolfest will feature both Constance and Joan Bennett. Can't wait!

July Classic Film Screenings in Greater Boston

Another month and another feast of offerings for the classic film fan in Greater Boston.  Two very special silent film screening events are coming up, and some fun flicks to enhance your summer's entertainment quotient.  Check them out and support your local cinemas!

Coolidge Corner Cinema

July 6 & 7:  Silent film fans should consider coming out to see the Fritz Lang sci-fi classic METROPOLIS (1927) with live musical accompaniment from our own Cambridge-based Alloy Orchestra.  In what is a first in the 'The Sounds of Silents' program, there will be two screenings on back-to-back days Weds & Thurs July 6 & 7 at 7:00.  The Alloy Orchestra was launched at the Coolidge in 1991 with this same film, so these screenings represent a special 25th anniversary celebration for the group.  The film is the newest "complete" version of the film, which premiered in 2010.  The Alloy Orchestra has a unique percussive and electronic sound to their specially-composed scores.  For those new to the film, it's a visual feast - the first full length sci-film ever made.

A video clip of the Alloy Orchestra rehearsing their METROPOLIS score can be seen here:

July 18, 7 PM:  THE HUSTLER (1961) is next up in the Big Screen Classics series.  I've never seen this Robert Rossen film starring Paul Newman, Jackie Gleason, Piper Laurie, and George C. Scott, but all indications are that it's a tremendously-written and compelling drama.  All the stars were nominated for Oscars in the main categories, as was director Rossen and the film for Best Picture.  The only Oscars it DID win were in the cinematography and art direction, which tells me it does need to be seen on the big screen!




Somerville Theater
July 10, 2 PM. The Somerville has a special silent film screening event of its own in July as part of the 'Silents Please' series -- a double feature of W.C. Fields' rarely screened silent comedies in 35 mm:  SO'S YOUR OLD MAN (1926), directed by Gregory La Cava, and IT'S THE OLD ARMY GAME (1926, also with silent screen goddess Louise Brooks).  A special guest will be Dr. Harriet Fields, granddaughter of the actor. (!) I've not seen much W.C. Fields, and none of his silents, and this represents a terrific opportunity.  Both films are shown in 35mm with live piano accompaniment by Somerville regular Jeff Rapsis.

July 28 7:30 PM:  The Somerville will need seatbelts for patrons on this day as Steve McQueen rides in in BULLITT (1968), THE GETAWAY (1972).  Both are 35 mm prints from Warner Archive.  For those who haven't experienced the phenomenon that was McQueen in the second half of the 20th century, this is a way to correct that.

Brattle Theatre
July 4:, 12:00 PM & 8:00 PM  On the holiday, The Brattle will screen the summer classic JAWS (1975), one of the first in the emerging blockbuster category of films and director Steven Spielberg's first huge hit.  It will also screen at the Somerville in August.  I wonder if our proximity to the ocean here makes this such a popular one year after year?  Regardless, if you've never seen it on the big screen you shouldn't miss it.

Jane Greer & Kirk Douglas in OUT OF THE PAST

MORE NOIR!!  The theatre just announced that the 75 Years of Film Noir festival continues with another installment with a focus on the 'femme fatale'.   Here is the list of femmes fatale along with the film and the screening date:

July 11 & 12 Jean Simmons ANGEL FACE (1952).  Also with Herbert Marshall, a fave.
Jane Greer OUT OF THE PAST (1946) Also with Robert Mitchum & Kirk Douglas. This one is spectacular.

July 18 & 19
Yvonne de Carlo CRISS CROSS (1949) Also with Burt Lancaster.
Ava Gardner THE KILLERS (1946) Also with Edmond O'Brien and Burt Lancaster.

July 26
Joan Bennett THE WOMAN IN THE WINDOW (1945) Also with Edward G. Robinson
Joan Bennett THE WOMAN ON THE BEACH (1947). Also with Robert Ryan.

Harvard Film Archive
The programming at the HFA is always exciting.  In July, the complete Robert Aldrich retrospective (...All the Marbles) continues.  What's particularly cool about the program is that it features films that are not only directed by Aldrich, but those in which he served as an assistant or in another capacity.  In addition the HFA has included episodes of the TV series 'Four Star Playhouse' that Aldrich directed, which included several major stars.   In total, the list is too long to completely reproduce here, but check the link above for the full list.  I'm particularly excited about seeing:

July 9, 7:00 PM:  AUTUMN LEAVES (1957), in 35 mm, starring Joan Crawford, Vera Miles, and Lorne Greene.  It's a "late Hollywood melodrama, lurid, strange and overheated," and said to be Aldrich's first foray into the 'women's picture', which would culminate with WHATEVER HAPPENED TO BABY JANE?" Whew!

July 31 4:30 PM:  THE SOUTHERNER (1945), in 35 mm. This one was directed by the great French director Jean Renoir, but Aldrich served as assistant director.  It's starring Zachary Scott and Betty Field, and is totally new to me.  There is a chance I'll be at Woods Hole for their annual Film Festival, but if not, I will be here!