Loretta Young & Celeste Holm Shine in 'Come to the Stable' 1949

 

Celeste Holm & Loretta Young are nuns on a mission in 1949's "Come to the Stable."

2oth Century Fox's feel-good comedy-drama Come to the Stable makes a perfect companion piece to star Loretta Young's 1947 Oscar-winning vehicle, The Farmer's Daughter. Young as an indomitable nun pairs well with Loretta's plucky Swedish maid. Both films are pure fairy tales, but smartly and sweetly done. Both movies mix humor, sentiment, and light drama expertly. And Young’s characters achieve great goals, against all odds. 

Celeste Holm & Loretta Young both have plenty of warmth and charm to portray
the nuns who ingratiate others to their cause, in 1949's "Come to the Stable."

In 1949’s Come to the Stable, Loretta Young and Celeste Holm play nuns, Sisters Margaret and Scholastica, respectively. They have arrived from post-war France, where they worked in a hospital. Young's sister is originally from Chicago and Holm's nun is French. Their dream is to build a hospital in a small New England town of Bethlehem. They believe divine providence has brought them, due to seeing the work of a local religious painter, Miss Potts (Elsa Lanchester). Upon arrival, they share their plan and ask for shelter. She agrees and so begins the sisters' journey in seeking land and money to build a local hospital. Along their fundraising adventure, they meet and win over many colorful characters.

Elsa Lanchester plays Miss Potts, the local artist who joins the visiting nuns on their
arduous journey to build a hospital, in 1949's "Come to the Stable."

What puts Come to the Stable over is a well-told story, adapted from Claire Luce Boothe’s tale. Famed for her acerbic play The Women, Boothe was a recent convert to Catholicism when she wrote Come to the Stable, inspired by the true story of two nuns who built an abbey in Bethlehem, Connecticut. The smooth screenplay was written by Oscar Millard and Sally Benson. Henry Koster, one of Fox's long-time studio directors, guides what could have been a cutesy or overly sentimental tale, with a sure touch. The sisters' story is filled with their leaps of faith and clearing the hurdles every time. Even with occasional setbacks, God has got their backs! While the coincidences and characters' change of hearts is pure Hollywood fairy tale, it is done with genuine intelligence and heart. You either suspend disbelief or avoid such movies. If this type of film is done with smarts and heart, I have no problem in going along for the movie ride!

Dooley Wilson as Anthony finds that the nuns portrayed by Celeste Holm & Loretta
 Young have many talents, in 1949's "Come to the Stable."

Along with the imaginative storytelling, the stellar cast is the other major component that causes Come to the Stable to resonate with viewers. Loretta Young and Celeste Holm were both Oscar-nominated for their whole-hearted performances. While you might eye roll at two nuns in makeup, it's pretty subtle for a '40s movie. Young's unyielding strength as the lead nun comes through—Loretta wasn't nicknamed "The Iron Butterfly" for nothing. As one of Hollywood's most devout Catholics, this role was tailor-made for Young. Loretta plays with sincerity and subtle humor. Sister Margaret makes the most of each possible opportunity in her goal toward getting a hospital built, and Young conveys that effortlessly. She handles the serious moments naturally, to great effect. And Loretta has to be one of the most beautiful women ever to be depicted as a nun. Wearing a habit throughout, with only light makeup, and beautifully photographed, Young's face, with her huge expressive eyes, big smile, and bone structure, is a miracle in itself.

Loretta Young as Sister Margaret in 1949's "Come to the Stable." Aside from Young's
 warmth and natural charm, I could stare at Loretta's natural beauty all day!

Celeste Holm as the French nun has droll humor in her line delivery as the ever-chipper Scholastica. One of her best bits is when she gives St. Jude coins to the bookies that she and Margaret visit in their mission in securing the perfect parcel of land. Later, when Scholastica displays a hidden talent for tennis, it’s one of the light-hearted highlights of the film. When she loses, despite her prowess, in trying to win funds, Holm's simple declaration of "I lost" to Young is so touching. 

Celeste Holm's line reading as Sister Scholastica, declaring that she lost the tennis
 game is so sweet. I noticed that Holm & Young went light on the makeup, except
in their big closeups! "Come to the Stable," 1949.

Hugh Marlowe plays a songwriter who lives across from the nuns’ dream location for their hospital. Marlowe, whose voice was perfect for radio, never became a top movie leading man. I first watched Hugh as ‘70s teen, playing patriarch Jim Matthews on the NBC soap, Another World. In his tenure at Fox, Marlowe did appear in some great movies, such as playwright Lloyd Richards in 1950’s All About Eve, where Holm played his supportive wife, Karen. Here, as Bob Masen, Marlowe's songwriter is basically a good guy. But he's tested when Masen finds out the hospital is to be built across the way from his dream pad. And until he sees the light, Bob is put out and peevish, with an entitled "not in my back yard" attitude. This is handled in a surprisingly realistic way. Dooley Wilson, of Casablanca fame, has a scene-stealing role as Bob's Man Friday, Anthony. Wilson also has the best line in the movie. When his boss comes back from Hollywood, he asks about a new nun milling about. Anthony replies, “Don’t know, boss. All the nuns look alike to me!”

Hugh Marlowe as the songwriter who's at odds with nuns Celeste Holm & Loretta Young in 1949's "Come to the Stable." Hugh & Celeste later played husband & wife
in 1950's classic, "All About Eve."

Thomas Gomez as the bookie Luigi Rossi, a comic tough guy who carries a heavy heartache, is marvelous to watch. Regis Toomey as the patient Monsignor is well-written and played, and not condescending to the nun characters. Elsa Lanchester gets a chance to shine in a more fully dimensional version of her quirky screen persona, as the painter who becomes a champion in the nuns' crusade. As often the case with a cast of classic Hollywood contract players, everyone stands out right down to the bit players. Louis Heydt is Jim’s amused musician pal ‘Al Newman,’ an in-joke to this film’s music composer!

Thomas Gomez as bookie big dog Luigi Rossi is a standout in a great cast,
in 1949's "Come to the Stable."

The sets and photography of this wintery New England town are stunning, and the music by Alfred Newman and Mack Gordon are really lovely—all receiving Oscar nominations in their categories. The spiritual music that permeates much of the movie is beautiful presented, as well.

Hugh Marlowe as songwriter Bob Masen sees the light that the nuns' mission
for a hospital is more important than his "not in my backyard" entitlement,
in 1949's "Come to the Stable."

Come to the Stable is a top-notch spiritual tale or fairy tale, take it as you like! The premise that faith—whatever kind you believe in—can help you achieve your dreams is a worthy premise for a movie.

The nuns find shelter in Elsa Lanchester's stable turned artist's studio home.
I love quaint abodes in old movies like 1949's "Come to the Stable."

Loretta Young is
"The Farmer's Daughter."

Here’s my look at The Farmer's Daughter, a Swedish Cinderella story. A surprisingly forward-thinking story as Young goes from farm girl to maid to political candidate. My take on this delightful "Daughter":

https://ricksrealreel.blogspot.com/2023/01/loretta-young-just-fine-as-farmers.html

Mankiewicz’ Masterpiece: ‘All About Eve’ 1950

Anne Baxter & Bette Davis face off as Eve & Margo, with the 'All About Eve' cast as their captive audience.

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All About Eve became an instant classic in 1950 and the comedic drama’s reputation has never waned. This knowing look at showbiz is legendary for several reasons.

 First, Eve was director Joseph L. Mankiewicz’ one- two punch, after A Letter to Three Wives, winning back-to-back Oscars for Best Director and Best Adapted Screenplay—a feat unmatched. Also, All About Eve is the only time four actresses from the same film were nominated for Oscars!

Bette Davis with 'Eve' writer-director Joseph L. Mankiewicz. One of Bette's best AND most benevolent collaborations!

Eve also brought Bette Davis’ career back from the dead, according to the icon. After a handful of less than stellar films, capped by Beyond the Forest, her freakish finale at WB, Eve was Bette’s big comeback.

All About Eve has long been a gossip's delight, over whether Margo Channing was a take-off on Talullah Bankhead. Not really, but the theatrical star dined out—or drank out—on that anecdote for decades.

This film, chock full with a great cast, marked the return of Marilyn Monroe to 20^th Century Fox, this time batting a homerun as starlet on the make, Miss Casswell.

'All About Eve' boasted one of the best ensemble casts ever. I think Thelma Ritter should have photobombed this publicity shot!

All About Eve still feels so adult; imagine how audiences felt in 1950. The razor sharp satire must have seemed like a slap upside the head! Eve is the elegant tale of a great theatre star whose position is being undermined by an acolyte who goes from personal assistant to a very personal adversary. The Joseph L. Mankiewicz script is one of the most literate, funny, and entertaining of all time. Director Mankiewicz was great with dialogue and actors, and it really shows here.

Bette Davis, in her career peak performance as Margo Channing, has been justly lauded. Yet, aside from Bette’s larger than life moments, it’s some of the small moments that are so honest and telling. It's really a shame there weren't more Joseph L. Mankiewicz’ in Bette's latter day professional life.

Bette Davis as Margo Channing, temperamental theater star. Davis had no doubts about looking her age, 42 in 1950.

Davis is the first star who I can think of that agreed to play... horrors ...an aging actress! Bette’s first scene, slathered in face cream, was a signal that this wasn't going to be aging ‘in dialogue’ only. The late night phone call, gives an unvarnished Bette a mini-marathon, from light banter with Bill, to Margo’s realization that Eve may be playing her. After she hangs up, I love how that scene lingers, when Bette's Margo lights a cigarette and ponders what just transpired. It’s Bette at her best; you can see her thinking, without saying a thing.

The phone call from Bill scene says so much about Bette, the actress.
What film diva in 1950 would agree to be photographed harshly with mussed up hair and no makeup? 

Claudette Colbert was supposed to play Margo Channing, but dropped out after a back injury on the war film, Three Came Home. At this point, Margo was written to suit her smooth, sophisticated persona. Obviously, Eve would have been a whole different movie with Colbert, and IMO, not as memorable. I thought Colbert was a stellar comic actress, but at best, a solid dramatic leading lady. CC out, Zanuck then brought up Marlene Dietrich, which Mankiewicz vetoed. Imagine “ageless” Dietrich agreeing to play “aging” Margo! Barbara Stanwyck was mentioned, an understated and versatile actress indeed, but not larger than life. Now, Joan Crawford was larger than life, but I can't imagine her “going there” as Margo, the way Bette did. Crawford’s own aging star saga, Torch Song, three years later, is proof of that. Also, Tallulah Bankhead, who claimed Davis appropriated her persona, gave a radio performance as Margo. While Bankhead batted out the comedy lines effortlessly, she is flat in her dramatic readings, especially compared to Bette’s virtuoso delivery. The difference was Bankhead was big on personality, light on dramatic talent, whereas Bette possessed an abundance of both.

Margo sounding off on what she thinks of playwrights! A bit like Bette blasting her opinion of most Hollywood directors?

Some film critics and fans feel that Anne Baxter was not in Bette Davis' league as Eve Harrington, especially not believable as a threat to Bette's Margo. Well, outside of Godzilla, who was? Eve is a tricky role, because audiences have to believe she is demure and mousy until she shows her true colors. Fox head Darryl F. Zanuck wanted Jeanne Crain as Eve, if you can imagine. The other Fox star that comes to mind is Susan Hayward. Now, “The Brooklyn Bernhardt” you could believe as a threat to Davis, filled “with fire and music,” to quote Addison DeWitt. Would Hayward have been able to hide her light under a bushel, while trying to fool Margo and her crew? I doubt it. I think Baxter was the best choice. As early Eve, she reminds me of Joan Fontaine, with the arched eyebrow and deliberate soft voice. Amusingly, when Eve gets busted taking bows while holding Margo's costume, Baxter reacts like she got caught with a corpse! But this was the standard back then, where Baxter's Eve, The Bad Seed's Rhoda, and Mildred Pierce's Veda, were all fairly transparent in their badness.

Center, Anne Baxter as beatific Eve, in awe of power couple Bill and Margo.

When Baxter sheds Eve's veil, she's quite cunning, to me. Her arm twisting Karen over the role of Cora, her showdown with Addison DeWitt, and her post-award butch bitchiness at her plush pad—all superbly performed.

Eve, before the self-wig snatch!

I've never seen Judy Holliday in Born Yesterday, except clips, but it seems dated. While Judy’s persona was fresh at the time, was this really a stretch for her? I’ll just say it: It's hard to believe Judy Holliday won over Gloria Swanson and Bette Davis' legendary characters in Sunset Blvd. and All About Eve. In Hollywood, box office and awards matter so much at the time, but in the end, it's the movies and stars that are remembered by audiences that matter most. 

Much was made of when Anne Baxter asked for Oscar consideration as Best Actress for Eve. Well, many felt she cancelled herself and Bette out with that move. Bette certainly did! But here's a thought: Anne did play the title role and was in the movie throughout. Bette worked for 3 weeks on Eve. Plus, Anne was a Fox star, whereas Bette was freelancing. Why didn't Fox submit Bette as best supporting actress, instead? Anne probably still wouldn't have won, but Bette may have scored a third Oscar as best supporting. Yes, I know, back then, that was a comedown for a star. And yes, Bette's performance permeated the whole movie, but I wonder if anyone else thought this too?

Eve and Margo's friendship faces the final curtain in this rehearsal scene.

Some folks have argued over whether Addison DeWitt and Eve were gay. My first reaction: Who cares? But I always assumed Addison was. To which those with the opposing view say, well, what about his interest in Eve? My thought is, the same reasons that Waldo Lydecker obsessed over Laura: A trophy, a monument to his ego, and more practically, a professional “beard.” As for Eve, “Mank” made later comments that she was fluid in that she went wherever it did her career or ego the most good. A little like Faye Dunaway's Diana in Network? Still, much commented on moments where Eve makes female alliances do seem coded to me. I love the scene where she rips off her feminine curled wig after director Bill Sampson rejects her. While wigging out, Eve’s own combed-back hair looks very mannish. When Addison surprises her, Eve resumes her Bo Peep pose.

Eve's makeup mask is at odds with her short-cropped hair, but Addison is no longer fooled, anyway.

George Sanders was usually cast as acerbic, but in Eve he’s the apex of acerbic. One big difference is that here, Sanders was given a three-dimensional character in Addison DeWitt. Yes, he’s snarky and sneaky, and loves every minute of his scheming. But Addison’s also an outsider. When he describes theater people as “we,” it’s a bit of an eye roll, because we know he’s not one of them. And you feel deep down, he knows that, too. That explains DeWitt’s bitchery toward the real show folk. When Eve laughs at DeWitt for declaring his claim on her, Addison slaps her, and you see his own need for validation, to keep his image maintained. Addison DeWitt is no one-note villain, and Sanders covers the bases brilliantly.

Thelma Ritter is brilliant as Birdie, Margo's gal Friday. I love this moment in 'Eve,'
when the supporting character is observed by the star. A rarity!

Mankiewicz gave Thelma Ritter the role of a lifetime, written specifically for her. As Birdie Coonan, Thelma gets to fly, after scene-stealing bits in Miracle on 34^th Street and A Letter to Three Wives. Next to Addison, Birdie has the best lines in the movie, and Ritter hits them out of the theater. Ritter got the first of four consecutive Best Supporting Actress Oscar nominations. And for All About Eve, Thelma lost to Josephine Hull in Harvey? OK, Oscar. Celeste Holm’s Karen, next to fiery friend Margo, may seem too serene. But watch closely, and you’ll see Celeste is knowing, warm and straightforward, immersed in the character of the playwright’s wife. Marilyn Monroe had one of her two memorable cameos that year, in The Asphalt Jungle and here as Miss Casswell. She's sly fun and already displays good comedy timing.

Bette Davis & Gary Merrill fell in love during 'Eve's' filming, which gave Margot & Bill's romance extra intensity.

With the exception of George Sanders’ Addison DeWitt, the men are more or less straight men, so to speak, and not as dynamic. Still, Gary Merrill and Hugh Marlowe are solid and intelligent as director Bill Sampson and playwright Lloyd Richards.

While Bette Davis plays Margo Channing larger than life, she skirts caricature skillfully.

In the end, All About Eve is all about the women, and what memorable women they are, thanks to Mankiewicz’ witty words and the wonderful actresses speaking them.

Busted! Watch your back, Margo!

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