Enduring Charm of ‘Miracle on 34th Street’ are its Characters 1947

Charming Kris Kringle (Edmund Gwenn) meets tough but cute customer Susan
 (Natalie Wood) in 1947's classic comedy/drama "Miracle on 34th Street."

I only have dim memories of 1947’s Miracle on 34th Street from childhood. Apparently of the three channels we got back in the '70s, the station that showed afternoon movies on TV favored It's a Wonderful Life, at least twice a year!

While not miraculous, there were a number of pleasant surprises watching 1947 version of Miracle on 34th Street completely for the first time. First, it's not told strictly as a Christmas story, but as a character-driven story. This makes Miracle more grounded in reality and universal, and sets it apart from most Christmas-themed movies. That’s also how 20^th Century Fox studio head Darryl F. Zanuck wanted it released, feeling that it would be otherwise pigeon-holed as a genre movie. So, Miracle on 34^th Street was released in May, 1947. The film was a big box-office hit for the rest of the year, and a perennial classic ever after.

The post-war realism touches by director-screenwriter George Seaton are forward-
thinking, in "Miracle on 34th Street." Maureen O'Hara's a divorced working mother
 & John Payne is a lawyer who likes kids & isn't afraid to help in the kitchen!

There are two interwoven stories in Miracle on 34^th Street. One is about a little girl who doesn’t believe in Santa Claus. The other is about a man who believes that he is indeed Kris Kringle. As the two stories become interwoven, the little girl comes to believe in Kris and Mr. Kringle eventually prevails, in court no less, that he is indeed Santa Claus.

One of the most touching moments of 1947's "Miracle on 34th Street" is when the
little Dutch war orphan (Marlene Lyden) wants to talk to Santa. 

Filming began in late 1946 for Miracle on 34^th Street, by director George Seaton, and post-WWII sensibilities infuse this movie, thanks to the writers. Seaton won best screenplay writing Oscar for his take on the story; Valentine Davies won an Oscar for his best original story. First off, Maureen O' Hara plays divorced mother Doris Walker, which raised censors’ eyebrows. It would have been much easier to make Doris a war widow, right? While there were more marriages and a baby boom, there were more divorces after WWII, too. Doris’ little girl, Susan, isn’t a sugary sweet cinema tyke, but a bit of a tough little cookie. O’Hara’s maid is played straight and with no stereotyped humor. When Kris Kringle befriends a shy, chubby teen named Alfred, who finds joy in becoming Santa, I got a distinct gay vibe from this gentle loner. While Miracle could have ignored referencing the recent war, there’s a war orphan who insists on visiting Santa at Macy’s, and it’s one of the film’s most touching scenes. The characters feel more like real people and not movie stereotypes.

Alvin Greenman as Alfred, the shy janitor who gets great joy out of playing
Santa Claus, in 1947's "Miracle on 34th Street."

Adding to the realism was a generous amount of location shooting for the era. Miracle on 34^th Street opens with Edmund Gwenn’s Kris Kringle walking down Madison Avenue. Macy’s famous Thanksgiving Parade was extensively shot, with Gwenn’s Santa looking right at home! There are several scenes at the real Macy’s flagship store. Best of all, Susan’s dream home was real, and still stands in Port Washington, Long Island.

Edmund Gwenn as Kris Kringle in Macy's actual 1946 Thanksgiving Parade
for 1947's "Miracle on 34th Street."

Edmund Gwenn won the Best Supporting Actor Oscar as Kris Kringle, after his cousin Cecil Kellaway turned it down. I’m glad, because Cecil could be very cutesy in lovable roles—see Guess Who's Coming To Dinner? Gwenn plays with good cheer, real warmth, but also with matter of fact common sensibility. His Kris Kringle is probably my favorite film Santa!

Edmund Gwenn, perfectly cast as Kris Kringle, in 1947's "Miracle on 34th Street."

Maureen O’Hara is lovely, intelligent, and spirited as always, so this leading lady role fits her like a glove. She’s a working woman here, and a modern mother, too. Yet, O’Hara softens at the prospect of saving Gwenn’s Santa by the last act. O’Hara always holds her own in a man’s world—in this case, Macy’s!—but she never loses her womanliness. By the end of the movie, you’re rooting for her Macy’s promoter to merge with lawyer Payne.

Maureen O'Hara made a no-nonsense leading lady and looked great doing so!
As Macy's events coordinator Doris Walker, in 1947's "Miracle on 34th Street."

John Payne is lawyer/neighbor Fred Gailey, who is attracted to Macy's event coordinator/ PR person, Doris Walker, played by O'Hara. He gets through her little girl Susan to get to her. These days that might seem dicey, but they were more innocent times. He's taken by the young daughter, who has been taught to be realistic. I prefer John Payne when he was in his young, good-natured leading man era, rather than his later worn-out tough guy. Payne has a good rapport with young Natalie Wood and John had played well opposite O’Hara in another crowd pleaser, Sentimental Journey. Seaton writes a fun post-war leading man role that’s free of posturing. A guy who’s comfortable with kids, Santa, and even puts on an apron and helps in the kitchen! 

Maureen O'Hara's divorced mom is wise to being set up by neighbor John Payne
and her own daughter, in 1947's "Miracle on the 34th Street."

Although I adore Natalie Wood, I never sought out her Miracle on 34^th Street. I guess I preferred her as a sensitive and sultry adult! Much like Elizabeth Taylor, whose star-making turn, National Velvet, I’ve only seen once. I’ve not seen much of Wood’s work as a child actress, but as the pragmatic kid who longs for a home of her own, Nat is a standout here. Her reaction to the war orphan talking to Santa in Dutch is so intensely expressive. Wood works well with the three adult stars and she more than holds her own—in fact, she’s quite the scene-stealer!

Natalie Wood is memorable as Susan Walker, the modern girl who doesn't believe
in Santa Claus, in 1947's "Miracle on 34th Street."

The great supporting cast includes: Phillip Tonge as Julian Shellhammer, head of Macy’s toy department; Porter Hall makes a great comic villain as Macy’s personal man who fancies himself a psychiatrist; Gene Lockhart (June’s dad!) is an amusing wishy-washy judge; William Frawley comes on in the last act as a political con man; and Jerome Cowan’s funny as the frustrated district attorney.

With just one uncredited scene in 1947's "Miracle on 34th Street," Thelma Ritter
 scored with audiences & 20th Century Fox, and became a star character actress.

Enjoy some familiar faces amid the many uncredited players in Miracle on 34^th Street. The most famous is Thelma Ritter. As the harried mother looking for the right gift for her boy, she's astounded when Santa sends her to Gimbels. That distinctive face and voice in that one scene led her to a contract at 20^th Century Fox, where she went on to become a beloved character actress, winning six Oscar supporting actress nominations. 

Young Jack Albertson, right, as the postal worker who has a win-win idea, in 1947's
 "Miracle on 34th Street." Jack later starred in "Chico and the Man."

That guy in the postal mail room who gets the wise idea to send all the letters to Santa to the court room at the climactic scene is Jack Albertson, later famed for Chico and the Man. Character actor and acting coach Jeff Corey is one of the reporters. Future sitcom and Disney fixture Percy Helton is Macy’s drunk Santa. The entire cast is aces, right down to Robert Gist, as the store window dresser who gets pestered by Kris Kringle about his arrangement of toy reindeer!

Natalie Wood's Susan doesn't believe Edmund Gwenn's Kris Kringle or his beard
is real, in 1947's "Miracle on 34th Street."

There have been a slew of remakes of Miracle on 34^th Street, mostly for television. Nearly all demonstrate in their lacking of what the original did so well. All the plastic mugging by those actresses playing little Susan are the common flaw, showing why Natalie Wood's serious yet wryly skeptical performance was so remarkable. The Fox TV '55 remake stars Thomas Mitchell, beloved character actor—Scarlett's Pa! George Bailey's Uncle Billy! Here, as Kris Kringle, Mitchell is on autopilot. MacDonald Carey is all voice, as usual, Teresa Wright is solid but lacking O’Hara’s spark, and pinch-faced little Sandy Descher mugs as usual.

There was a more elaborate TV version in '59, with Ed Wynn mugging insufferably as Kris Kringle. In the '70s, there was Sebastian Cabot—Family Affair's Mr. French—playing Kris Kringle as truly crazy. Cabot is stuck with stiffs like David Hartman and Jane Alexander, who look and act like refugees from an aspirin commercial. Suzanne Davidson is completely false as Susan. A great 70’s supporting cast plays cartoonishly, and this version has that drab early ‘70’s look.

Santa Claus wins! Stick with the original and best version of "Miracle on 34th Street."

There was one big screen 1994 version of Miracle on 34^th Street, produced by John Hughes that was unmemorable, as well. Stick to the more realistic and truly magical 1947 version of Miracle.

Little Susan Walker has a common post-WWII dream, to have a home of her own,
in 1947's "Miracle on 34th Street." This home still stands today!

My take on "Sitting Pretty!"

Here’s another fine Fox comedy with Maureen O’Hara, Sitting Pretty. Maureen contends with Mr. Belvedere here, not Kris Kringle! My look:

https://ricksrealreel.blogspot.com/2025/03/clifton-webbs-mr-belvedere-still.html

 

‘Slightly Scarlet’ is Mostly Camp 1956

Rhonda Fleming & Arlene Dahl as sisters, one good & one bad, and both are
"Slightly Scarlet!"

Slightly Scarlet, a latter day film noir from ’56, teams starlets Rhonda Fleming and Arlene Dahl as sisters, with John Payne as the mister who makes their heartbeats flutter.  I always got Fleming and Dahl mixed up, more for what they had in common than any real resemblance: red hair and creamy skin; born two years apart with long lives (Fleming, 97 & Dahl, 96); six marriages; successful business careers; and eternal glamour.

The stars of 1956's "Slightly Scarlet": Arlene Dahl, John Payne, and Rhonda Fleming.
Fleming's good sister has good reason to look concerned!

A genial leading man for most of the ‘40s, John Payne became a dour film noir or western hero in his ‘40s, much like Dick Powell. Slightly Scarlet is loosely based on a James M. Cain novel, Love’s Lovely Counterfeit. The movie plays like a mashup of Cain’s Mildred Pierce and many crime noirs where the hero, like Payne’s Ben Grace, gets his hands dirty playing both sides to the middle. On the political side, Ben tries to butter up a local hero who’s running for office. On the flip criminal side is “Solly” Caspar, a thug whose temper comes in handy, and who Ben tries to handle him with care, with mixed results.

The above tawdry tagline pretty much sums up the stakes of 1956's "Slightly Scarlet."

The opening of Slightly Scarlet reminds me of a Douglas Sirk soap opera. Each member of the love triangle gets their own dramatic close-up. The good sister-bad sister trope was one of Hollywood’s favorite film plots. The good sister was a bit shady in this film, even though Rhonda Fleming plays June Lyons more like a lamb. Frankly, the women’s angle is more entertaining than the gangster noir, the plot of the anti-hero in over his head with gangsters has been done a hundred times before. The big shoot out finale involves the four leads, with bad sister Dorothy Lyons losing her grip, good sister June suffering nobly, bad boy Ben dying nobly, and Solly shooting everyone in sight.

The opening titles of 1956's "Slightly Scarlet" remind me of a Douglas Sirk soap!

Rhonda Fleming's June Lyons arrives to pick up troubled sister from prison,
in 1956's crime noir, "Slightly Scarlet."

Arlene Dahl as Dorothy Lyons, just sprung from her cage, in 1956's "Slightly Scarlet."

John Payne as Ben Grace, prison paparazzi, in "Slightly Scarlet."

Rhonda Fleming's sis later sees Ben Grace's talent at capturing those special moments,
 in 1956's "Slightly Scarlet."

Rhonda Fleming does well enough as the good sister, who seems a bit self-rationalizing, and a very successful secretary to her sugar daddy boss. Fleming is glam at all times—even her nightgown straps have rhinestones on them! Rhonda looks stunning in her tailored secretary attire and a va-va-va-voom doll in her casual wear. Then there’s the bad sister, played by Arlene Dahl. A precursor to Kitten with a Whip, Dahl’s Dorothy Lyons does everything but roar. “Dor” blames her troubles on her sister, yet always relies on June to bail her out. Dorothy is over the top since she embodies all of the three “O’s”: Klepto, nympho, and psycho! An ex-con just out of prison, as soon as Arlene opens her mouth, every tawdry line is an accusation or an insinuation. I kept wishing for Eleanor Parker’s dramatic chops! The camp value comes from Dahl’s misguided performance of deranged Dorothy. Her playing reminds me of Lucy Ricardo pretending to be a vamp. Both sisters fall immediately in love with weary John Payne, which seems ludicrous. At least the crazy sister has an excuse for her lack of judgment, but Fleming’s June, with a cake job and silver daddy boss—what’s up, sister? Even when Dahl’s alone, she’s posturing and purring. When she steals a pearl necklace, Dahl’s doll drapes them over her head, jutting out her jaw and emoting like Norma Desmond as Salome. The scene where Dorothy is using a back scratcher like a sex toy is an amusing eyebrow raiser. Arlene is sexy in the same overt way that Jennifer Jones and Bette Davis played in King Vidor’s Duel in the Sun and Beyond the Forest. What’s interesting is that Rhonda Fleming got one of her big breaks in 1945’s Spellbound, where she played—yep—an unhinged nympho!

Arlene Dahl's a campy scream as unhinged sister "Dor" in 1956's "Slightly Scarlet."

Arlene Dahl's psycho sister is a real cutup in 1956's crime noir, "Slightly Scarlet."

The director of Slightly Scarlet is Allan Dwan, who has a devoted following of fans, in regards his 50 year history in Hollywood, with some 125 films to his credit. And Dwan lived as long as his leading ladies—96. The stunning color and visuals, the musical score, and lovely leading ladies are well-utilized by this old pro here. Slightly Scarlet is basically a B movie upgraded to a B+ because of Dwan’s solid style and the star watching.

John Payne as bad boy Ben Grace always looks like he has a headache, in 1956's
 "Slightly Scarlet."

Hey, eyes up here, John Payne! Rhonda Fleming upstages Payne in "Slightly Scarlet."

John Payne acted until the mid-70s and while Fleming and Dahl were just in their early 30s, their best days onscreen had already passed, according to ‘50s Hollywood wisdom. However, all three stars became successful business people, as they phased out of full-time acting, yet occasionally performed onstage and in television, to their fans’ appreciation. Slightly Scarlet may be campy, but it is highly colorful fun.

When the leading lady brushes her hair silently, something's up! Rhonda Fleming
in 1956's colorful noir, "Slightly Scarlet."

Arlene Dahl was considered one of Hollywood's great beauties in the 1950s,
seen here in 1956's crime noir "Slightly Scarlet."

Fox’s Faithful Rendition of ‘The Razor’s Edge’ 1946

Gene Tierney & Tyrone Power are the well-cast leads in the 1946 all-star version
of "The Razor's Edge."

The Razor’s Edge from 1946 is remarkably faithful to W. Somerset Maugham’s best-seller, with many key passages of dialogue lifted directly from the book. While movie adaptations still run roughshod over their source novels, back in the golden era, studios were even cavalier with movie versions. The smart movie makers knew to adhere to the story as much as possible, as David Selznick did with Gone with the Wind and Rebecca.

Studio head Darryl F. Zanuck personally oversaw the production of 1946's
"The Razor's Edge."

20^th Century Fox head honcho Darryl F. Zanuck was intrigued by the public’s response to W. Somerset Maugham’s spiritual best-seller. The autobiographical novel’s hero is questioning life after WWI and no doubt mirrored many readers’ feelings after WWII. Star Tyrone Power, having just served in the war, felt a similar chord regarding this work.

Lovers Isabel & Larry can't reconcile their opposite worlds in "The Razor's Edge."

Reading the source novel of The Razor’s Edge, one can see how well Fox cast the film. Larry Darrell is described as dark, slim, with incredibly striking dark eyes. Rich girl Isabel, once she loses her youthful baby fat, is described as sleek and sensual with striking hazel eyes, like Gene Tierney. The stylish society snob, Elliot Templeton, is a great role for Clifton Webb. And tragic Sophie, who’s described as attractive but not beautiful, is fiercely played by young Anne Baxter. Her volatile character is played just as she’s described in the novel. Herbert Marshall makes a most urbane author as M. Somerset Maugham. The only dud is John Payne as Isabel’s “regular guy” husband, Gray. While pleasant enough in musicals and comedies, Payne’s out of his league here.

Tyrone Power's Larry Darrell, both fresh out of the service, in "The Razor's Edge."

The Razor’s Edge was filmed April through July of '46. Power went into the production right out of the service and turned 32 during filming on May 5. Tyrone is at the peak of his male beauty, charm and sensitivity, and with the gravity of having just served in the war. While Power’s seeking Larry Darrell is the mouth piece for the film’s spiritual philosophies, Tyrone is much more natural and convincing than when Gary Cooper looked most uncomfortable reciting Ayn Rand’s beliefs in 1949’s The Fountainhead. When one compares Power to MGM’s robotic Robert Taylor, Tyrone had a genuine quality that complemented his talents and great looks. Director Edmund Goulding also guided Ty through another challenging role, in 1947’s Nightmare Alley.

Tyrone Power as Larry Darrell, after he's sought spiritual enlightenment.

Gene Tierney was 25 during filming and Anne Baxter turned 23 just two days after Power's birthday. It is incredible how actresses back then seemed more womanly, while so young. Tierney is incredibly sophisticated as Isabel and Baxter looks older than her years as working class girl Sophie, who hits the skids after suffering great personal tragedy.

Gene Tierney & Anne Baxter as younger Isabel & Sophie, in "The Razor's Edge."

Gene Tierney was not a highly praised actress in her time. And Gene got some sharp critical jabs in The Razor’s Edge, but I think Tierney's terrific as Isabel. And it's a well-rounded character, not one-dimensional and softened. Gene plays the bright and charming, but self-centered rich girl pitch perfect.

Gene Tierney wows as Isabel, on her last night with Larry, in "The Razor's Edge."

Clifton Webb, while he gets to be the acerbic scene-stealer in a number of scenes, per usual, he also gets to be generous and good-humored. Webb’s deathbed scene surprised me in his touching emotionalism, as the social snob who sobbingly acknowledges that he’s been forgotten by his in-crowd. 

Clifton Webb is genuinely moving in his final scene from "The Razor's Edge."

Herbert Marshall is empathetic, but with dry humor, as author Maugham. Marshall had quite an association with screen works of W. Somerset Maugham, appearing in Garbo’s The Painted Veil, with Bette Davis in The Letter, and George Sanders in The Moon and Sixpence.

Herbert Marshall is W. Somerset Maugham, the author of "The Razor's Edge."

The Razor’s Edge is an intelligent, adult adaptation, though tweaked somewhat to be studio movie-friendly.  Zanuck and those involved in the production put great effort into this film. Edmund Goulding, who directed literate fare such as Grand Hotel, does a great job balancing movie style without letting it take over the film’s story. Since the movie was filmed immediately after WWII, location shooting was out of the question. The production offers a convincing depiction of Paris and other locales, without being obvious—like plunking a landscape of the Eiffel Tower outside of Larry’s apartment window!

Anne Baxter is startling as Sophie, who can't overcome tragedy in "The Razor's Edge."

It’s interesting to compare Power in The Razor's Edge with The Sun Also Rises, two literary Darryl F. Zanuck super productions just over a decade apart. But the difference between Power then and later is a shock. It's really a shame that they didn't film Sun right after Razor.

Gene Tierney's Isabel later looks at Anne Baxter's Sophie as an adversary in 1946's
 "The Razor's Edge."

The comparison to The Sun Also Rises is similar in their lead characters. Both male leads have suffered in WWI, leaving them at odds with the tantalizing women they love.

Also, there’s great similarity in characters between The Razor’s Edge and The Great Gatsby: lone wolfs Larry and Jay; society belles Isabel and Daisy; tragic Sophie and Myrtle; Gray as a nicer Tom Buchanan; and Maugham as the outsider observer, like Nick Carraway. They're variations of certain character archetypes. And wouldn't Tyrone and Gene have made a marvelous Jay and Daisy, as well? Finally, Tierney’s Isabel has a bit of Scarlett O’ Hara in her makeup, willing to be tough as a means to an end. And Power’s Larry is a bit of Rhett and Ashley!

Larry’s transformation is very detailed in the book version of The Razor’s Edge, but the movie does a skillful job of skimming his spiritual change. Both the novel and the ’46 adaptation of The Razor’s Edge are very worthwhile, indeed.

Tyrone Power at his peak, as Larry Darrell, in 1946's "The Razor's Edge."

Tyrone Power in his personal favorite role as a carny con man in the cult classic, 1947’s Nightmare Alley. My take here:

https://ricksrealreel.blogspot.com/2022/01/tyrone-powers-personal-best-nightmare.html

Here’s my look at Gene Tierney in her signature role, as 1944’s Laura:

https://ricksrealreel.blogspot.com/2018/04/laura-1944.html

20th Century Fox does justice to W. Somerset Maugham's "The Razor's Edge."