Kiss Them for Me

A good cast (with one major exception) pushes its way through Epstein's smart light satire. Mansfield was never better, or funnier, than she is here paired with Walston, who's a veteran who's determined to become a congressman to get out of the war. He and his buddies -- including suave con-artist Grant -- head to San Francisco on leave and start the city's swinginest party while conniving to escape the service altogether through industrial speaking tours. The only thing about this movie that's not delightful is Suzy Parker's one-note performance as Grant's love interest, which takes up too much of the film's time and slows down the pace in the second half. Walston and Mansfield have good chemistry; the gimmick is that she's set on making love to every serviceman (to do her duty for the war effort, of course) but he's a married man who, nonetheless, loves his wife. They steal the movie with little trouble from Grant (who's amusing here in the first part of the film, when not paired with his non-actor co-star.

Kiss Them for Me (1957)

"Funny how everybody picks him out first." Ah, they are talking about Cary Grant, still charming and handsome and far outclassing this funny, slightly simple comedy about G.I.s on leave in San Francisco.

Not that this is exactly dumb--the screenplay is even by one of the Epstein brothers (of "Casablanca" fame), and it has a few real dingers of jokes. I was laughing in stitches--sometimes. It's silly stuff but the acting is decent. The photography is by Milton Krasner, who had a long career in the black and white years and then took to widescreen color with classic taste, just finishing "An Affair to Remember" (with Grant) the same year. The credits go on, from makeup (Ben Nye) to music (Lionel Newman) to of course the director, Stanley Donen, who had a whole string of brightly colored 1950s hits, little things like "Singin' in the Rain" and "Charade."

What I mean by all this is that there is no reason this movie isn't terrific, except maybe a weak as licorice story idea. Maybe, just maybe, this had resonance in 1957 with the millions of ex-soldiers still going to the movies, but I have a feeling even they were wanting something more, over a decade after it had all ended. It also doesn't help that one leading female star is Jayne Mansfield playing an embarrassing Marilyn wannabe. "It's natural," says Mansfield in one moment. "Except for the color."

The other leading woman is quite the opposite in nature, a stately, restrained woman played by Suzy Parker. Parker has a short resume, mostly known as a model (with Avedon as her partner in crime), and her acting reveals more knowledge of photography than movie-making. That is, she looks good. (She was actually an accomplished photographer for awhile, too.)

So, why watch this movie? For a glimpse of the times, perhaps (a kind of 1957 version of 1944, I think), including lots of great sets and some shots of San Francisco. But mostly it's Cary Grant's show, even if you aren't a fan. He's actually really good as an actor, not just as a handsome fellow. He plays his part with surprising bite, too.

So what rescues this movie from its fault lines? For one, there's a steady, subtle anti-war thread that must have been relatively new to this kind of movie. There's no disrespect to soldiers or the country, but there's disdain for wallpapering over the truths of war, the use of slogans, the aggrandizing. It's refreshing still, and coming from Grant it has special bite. For another, there is a steady peppering of witty lines from all kinds of characters (not just Grant, though he leads). I'm guessing this is where Epstein shows. And then there is the love story, which isn't so convincing, but it's still a nice addition to the bright color and busy scenes that dominate the movie. In fact, as much as Parker is a weak actress, she and Grant alone together make for some of the best parts of the film.

Grant says, "True love almost always fades, but money stays green forever." And it's his sarcasm, his not believing the slogan, that is the theme of the movie.

This film is interesting for only one reason - Cary Grant - he is the star and he stands head and shoulders above everyone in this film - even if you dont believe him in the character he is portraying here. As for the story - it focuses on what it must have like to be on shore leave in San Fransisco during World War II. This was based on a popular play in its day - but 20th Century Fox needed something to do with their new sex symbol - Jayne Mansfield - so they dumped her in these party scenes showing off her figure.(not bad) but it seems misplaced. The big tragedy of this film is gorgeous Suzy Parker - who wasn't that bad in this but didn't have much of a career after this apparently. Thats a tragedy.

Three heroic naval aviators, led by LCDR Cary Grant, wangle four days leave in crowded wartime San Francisco. They are very happy, having spent several years in the Pacific shooting down enemy planes, being wounded, and contracting malaria. Their only goal is "to get drunk and chase girls." Their warder in the city is Werner Klemperer -- also known as Colonel Klink and as the son of famed conductor Otto Klemperer -- who wangles them all sorts of perquisites including a suite at the Fairmont, where loud parties are often in progress.

It's fun. All of us like to see those we approve of having fun. But one irritating obstacle after another threatens to trip them on the hedonistic treadmill. First, there is Suzie Parker, model, who insinuates herself into Grant's affections. Then there is the manager of the Fairmont, whose objections grow more emphatic and who winds up locked in the closet. Then there is the Shore Patrol, regularly nattering them for being in summer kakhis instead of blues. There are solemn encounters with old friends now dying in hospital. Finally, there is poor Lief Erickson, owner of a ship yard, who tries to persuade the trio to tour his plants and make pep speeches to the employees to boost morale, meanwhile removing them from combat duty and seeing that they're properly rewarded. "I know how much money you boys make," bringing a sour expression to Grant's face.

The pace is pretty fast. Episodes and gags follow one another pretty quickly except for some lugubrious dialog involving Suzie Parker, her lost love, and her gradual yielding to the advances of Grant. When you get right down to it, Suzie Parker looks the part of a model out of Vogue or the New York Times Magazine but as an actress she's not convincing. Jayne Mansfield and the bust that precedes her by a quarter of a mile brings more life to the party.

There's something a little troublesome about Grant's character too. As an extremely accomplished and brave pilot he is given a good deal of moral authority and he sometimes misuses it to politely and ironically humiliate those who pay some tribute -- minor or otherwise -- to his status. In a bar he spills a civilian's drink and the victim compliments him on his uniform. "My, civilians are so sensitive these days," says Grant. An intelligent and honest reporter for the Chronicle tries to get a few words from him and Grant treats him with disdain. The blustering and ever importuning Lief Erickson gets a belt in the chops for his trouble. The viewer is always on Grant's side, but still ---

This movie comes off as a half-baked Jane Mansfield / Cary Grant vehicle, but there are some reasons not to immediately turn it off. The plot meanders and the chemistry between the characters is practically non-existent, particularly between Grant's Crewson and Suzy Parker's Gwinneth. It feels as if even the 'war buddies' had just met when shooting began (the movie, not the war). If you've ever wondered why Jane Mansfield was considered the poor-man's Monroe, this film says it all. She has not half of the charm, comedic instinct, or for that matter sexual magnetism of Marilyn.

Having said all that, I found myself actually chuckling out loud at some of Cary Grant's slick lines. Would that we were all as quick-witted and smooth. For younger viewers, it's fun to see Ray Walston (Mr. Hand from "Fast Times at Ridgemont High"...aloha!) in his very first big-screen role. And it is my understanding that Suzy Parker was universally panned for this performance; call me unsophisticated, but I didn't think she was that bad (although her voice was later dubbed out). What do you think?