‘House of Strangers’ 1949

Edward G. Robinson wasn't large, but he's in charge as the patriarch of 'House of Strangers.'

House of Strangers is not Joseph L. Mankiewicz’ typical cinematic cup of tea, but the director does great work in this family melodrama. The ’49 film plays to Mankiewicz’ strongest suit: character dynamics. From 20^th Century Fox, House displays Mank’s trademark snappy dialogue and refreshing adult attitudes.

Robinson's controlling papa pits his sons against each other throughout 'House of Strangers.'

A fine ensemble cast resides in this House. Edward G. Robertson gives his all as the overpowering papa. He plays Gino Monetti totally old school—you love and hate him at the same time. The patriarch claims to do everything for “the family,” but by the finale, Gino’s need to control has cost him everything. Edward’s performance may be too “Eye-talian,” but in a fiery performance, he brings this flawed character vividly to life.

Edward G. Robinson gives his all as larger than life Gino Monetti. 

I knew Eddie that had never won an Oscar, but was SHOCKED to find out that he was never even nominated, for any of these Robinson performances: Little Caesar (the role that made him a star!), Dr. Ehrlich’s Magic Bullet, Double Indemnity (wow!), Scarlet Street, The Woman in the Window, The Sea Wolf, Key Largo (double wow!) All My Sons, House of Strangers, and in his last, as Sol, in Soylent Green. Robinson did receive an Honorary Oscar, given in true half-assed Academy style, when Eddie was dying. Robinson passed away before he could accept.

Richard Conte comes on strong as the cocky, favorite son Max Monetti. 

Richard Conte is so good, but was he ultimately typecast because of his ethnicity? Both Conte and Robinson were later considered to play The Godfather. But Coppola thought outside the box with Brando, and Conte appeared as another “Don,” Barzini.

Susan Hayward is snappy and sexy as Irene Bennett, the rich young woman who’s attracted to bad boys. Her character has a serious side, too, wanting Max to be his own man, and stop following his father’s commands. Susan is superb, in what could have been a dull leading lady role, given great verve by Hayward.

Richard Conte and Susan Hayward make a dynamic duo, whether fighting or kissing!

The attraction between favorite son Max Monetti and sexy socialite Irene Bennett is fiery, magnetic, and love-hate. Richard Conte and Susan Hayward sizzle in the roles, though I kept wondering if Frank Sinatra and Ava Gardner were yet a couple, as this film duo would have been right up their alley!

Luther Adler has the perfect mug to play Edward G. Robinson's son! As oldest son, Joe.

Luther Adler, with a pickle puss that made him perfect to play Edward G. Robinson’s son, is Joe Monetti. He is the eldest who is tired of being second best to father’s fave, Max. Also grating is that he is treated like a lackey by Gino. Adler’s a chilling cold fish here, though you can hardly blame the character.

Then there's Efrem Zimbalist, Jr. as the charming son. Was this guy ever NOT handsome?

Efrem Zimbalist, Jr. is incredibly handsome and all smiles as the go-along, get-along son Tony Monetti. Debra Paget, in her first film, is incredibly lovely and sensuous as Max’s fiancé. A wow since Debra was only 15 years old at the time! Diana Douglas—first wife of Kirk, mother of Michael—plays the dissatisfied wife of eldest son, Joe.

Love how Robinson's Gino is always threatening to pull a Ralph Kramden on future in-law, Hope Emerson.
My money's on Hope! That's lovely Debra Paget in the middle, at 15!

Hope Emerson is humorously cast as Debra Paget’s mother. Emerson was often typecast as the villain due to her imposing height and face. Future in-law Edward G Robinson is always threatening her, though Emerson could knock Eddie flat with her pinkie finger!

The story origin for House of Strangers goes all the way back to King Lear, with sons instead of daughters. The direct story for this film came from a novel, with a script by Phillip Yordan, which director Mankiewicz massively overhauled. The story’s been regularly repeated, from Broken Lance, to The Sons of Katie Elder, and especially, The Godfather. Nothing against the above films, but House of Strangers is an unsung near-classic.

Max Monetti & Irene Bennett at a boxing match. They're no strangers to sparring!

The director’s decision to do some location shooting in NYC’s Little Italy goes a long way in providing some atmosphere. Typical of the era, though the film is set during the Depression era, the look is post-war ‘40s. Still, the Little Italy scenes look far more real than 20^th Century Fox’s prettified back lot.

The story, told mostly in flashback, is tautly told, with great atmosphere. House of Strangers makes you feel like you’re peeking in the windows of the Monetti clan.

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It's not a pretty picture for Robinson's Gino Monetti by the end of 'House of Strangers.'

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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Suddenly, Last Summer 1959

What happened Suddenly, Last Summer? An aging southern socialite wasn’t able to accompany her son on their travels, so he took his beautiful young cousin instead. The poet son died under mysterious circumstances, and the girl has suffered a mental breakdown. The rich aunt now wants extreme measures to quiet her niece. A doctor, at the institution where the young woman is held, fights to find out the truth. That’s the short take on the over-the-top 1959 film, taken from Tennessee Williams’ one-act play, which is still riveting as hell.

"Truth is the bottom of a bottomless well."

Of the many facets of Suddenly, Last Summer that fascinate, it’s Tennessee Williams’ subliminal self reflection on his life and career that resonates for me. The film and its source material have been criticized for gay self-loathing. True, but it was reflective of what many gays experienced during his era, and shouldn’t be forgotten. The playwright also addresses his eternal struggle, to write about often painful things, countered with anesthetic but counterproductive partying with booze, boys, and drugs. Fading youth is a frequent Williams’ lament. The civilized world versus the more base elements of life is another. Williams’ commentary comes through in some of my favorite lines in Suddenly, Last Summer.   

As I get older, this has become my favorite line from 'Suddenly, Last Summer.'

Wealthy New Orleans matron Violet Venable was the lone unsympathetic role in Katharine Hepburn's long career—and she hated playing the part. Why? Speculation ran the gamut. A few naïve souls said that Kate didn’t realize this was gay material—this seems absurd, as Hepburn worked with gays her whole career, and was most likely a lesbian herself. Others said that while Hepburn strongly wanted to work with Williams, but regretted playing the villain, and she preferred to be the headstrong but likeable heroine.

Still, some thought it was simply ego. Hepburn, accustomed to being the star attraction, was now playing second lead to a younger actress, Elizabeth Taylor. Adding insult was the film’s climax, when Elizabeth is shown in flashback in all her sexy swimsuit glory, contrasted with cruel close-ups of Hepburn’s unfiltered face and wrinkled hands, to emphasize that Aunt Violet’s illusions are shattered.

Hepburn was furious after seeing these shots.

Mankiewicz shot Kate unfiltered at 'Summer's' end.

Hepburn was famous for spitting at director Joseph Mankiewicz on the last day of shooting Summer, allegedly over his treatment of troubled co-star Montgomery Clift. For many years, this was the story told by Hepburn and others. Much later, Kate said it was over the director’s above-described treatment of her. It’s noteworthy that Joe was Kate’s producer on two of her biggest MGM hits, The Philadelphia Story and Woman of the Year. Given their history, Kate was unpleasantly surprised that he favored 27-year-old Elizabeth over her 52-year-old self.

For most of the movie, Hepburn was photographed as a mature beauty, easy to accomplish with her slim figure and still-striking bone structure. But Kate, who liked to give the impression that she had no time for Hollywood glamour, was just as fussy as Joan Crawford or Lana Turner over how she appeared onscreen.

Thankfully, Hepburn, with her distinctive staccato vocals, does not attempt a southern accent. The dragon dowager who wants to shut up a “babbling” young woman with a new “operation” is basically Williams’ mother and his emotionally fragile sister, Rose, who was given a lobotomy to control her outbursts. Hepburn’s natural authority as Violet is combined with a cool charm that barely conceals her rage at a niece whom she blames for her son’s death. Hepburn blazes through Williams’ long monologues as though she wants the promising doctor to bear witness to her pain. As Violet, Hepburn gets to lament life’s unfairness, charm the young doctor, insult her greedy family and most of all, confront her young niece, played by Taylor.

Director Joe Mankiewicz with his star. Notice "Mank" is wearing gloves, due to a skin condition exacerbated by stress!

On Hepburn, Joe Mankiewicz later opined in the early ‘70s that Hepburn was “the most experienced amateur actress in the world…whose performances, though remarkably effective, are fake.” Interestingly, critic Pauline Kael echoed the same sentiments later, on Kate’s TV version of Tennessee Williams’ The Glass Menagerie. I think there’s truth in that statement, regarding Hepburn’s latter day performances, but here, Kate’s larger-than-life persona fits Violet Venable perfectly. And for the record, “Mank” thought Kate was “damn good” in Suddenly, Last Summer.

With Tennessee Williams, it's a thin line between love and hate!

Tennessee Williams wrote in Life magazine that he thought Elizabeth Taylor was too mature and worldly as Catherine Holly, though he did say her acting was a triumph over miscasting. Williams’ take was understandable. Starting with his Cat on a Hot Tin Roof, Taylor was on the tsunami ride of her femme fatale image. Patricia Neal, who played the role on stage in London, wrote in her memoirs that she desperately wanted the movie role. Neal was six years older than Taylor, and if you wanna talk about mature and worldly, Pat was your gal. Like Lansbury and Bacall, Neal always seemed older and world weary before her time. And just two years later, Patricia Neal was playing the aging housekeeper in Hud. Age-wise, I think newcomer Lee Remick would have looked the part—Catherine Holly’s age isn’t given, but I always assumed that she was in her early ’20s. Remick was sly that same year in Anatomy of a Murder, but I don't think she was ready yet for such a demanding role. 

Yes, please!

Though Hepburn and Taylors's first monologues are terrific, the film comes to life when Mankiewicz stops treating the movie like a filmed play. The climactic scene, where Catherine is induced with ‘truth serum’ to recall what happened last summer, is visually brilliant. Some unkind souls at the time felt the recreation of events were designed to bolster Elizabeth’s emoting. Later, a few film buffs have sneered that her performance is simply over-acting. I think Taylor’s performance is the right balance between naturalistic and theatrical, which is perfect for Tennessee Williams. Taylor’s exchanges with Montgomery Clift’s doctor are sly and subtle. Later, Catherine’s sedated by the blonde male nurse, as Taylor sleepily recalls her and Sebastian’s next destination—“We’ll fly north, little bird.” Elizabeth is understated, yet powerful here. The camera goes in for a gradual huge close-up of her face, and it is mesmerizing.

Katharine Hepburn & Elizabeth Taylor square off as the the forbidding aunt & the fiery niece, debating Sebastian's memory.

It’s been condescendingly said that Elizabeth Taylor is only good when she has a great director. My response is that’s true with pretty much ALL actors. Hepburn, Davis, and Crawford all benefited from directors who didn’t let them steamroll through movies with their diva personas. Even Meryl Streep is a better actor when she has a great director and material. Plus, Elizabeth Taylor demonstrated that she was able to carry inferior vehicles, like BUtterfield 8.

Hepburn’s cool, steely demeanor and Taylor’s fiery emotionalism makes a fascinating acting counterpoint and is the foundation of Suddenly, Last Summer.

Elizabeth Taylor and best friend Montgomery Clift on the set of 'Suddenly, Last Summer.'

Montgomery Clift was nearly replaced with newcomer Peter O' Toole, by producer Sam Spiegel, due to Monty’s drug and alcohol problems that accelerated after his famous car accident two years prior. Best pal Elizabeth Taylor's response to Spiegel and Mankiewicz, who both wanted him replaced: “Over my dead body.”

While Monty seemed sedated, his intelligence and intensity still shines through. Especially when compared to Rob Lowe's single dumbfounded expression in his amateurish performance as the doctor in the 1993 BBC remake. I’ll never forget when Rob was on Live! With Regis & Kathy Lee, promoting his version of Suddenly, Last Summer. Kathy Lee, like Catherine Holly, was given to “babbling,” and kept interrupting to talk about the Elizabeth Taylor version. Lowe pompously commented that the BBC version, with Maggie Smith as Aunt Violet and Natasha Richardson as Catherine, wasn’t like “the glossy Hollywood version.” And Kathy Lee just went right on talking about how haunting the original version was!

Monty, Mank, Kate & Liz prove there's no problem on this set!

 I’ve seen the ‘93 version again recently, and it is indeed a faithful adaptation of Williams’ one-act play. Yet, the Rob Lowe remake is also dull as dishwater. The wonderful Maggie Smith is dotty right from the get-go as Violet, in a surprisingly one-note, shrill performance. While Richardson is naturalistic and appealing as Catherine, she is often whiny and dull. The dramatic tension between the two women here is zilch. It reminded me a great deal of the TV remake of Whatever Happened to Baby Jane? The ‘91 TV version had two great actresses who were actually sisters, Vanessa and Lynn Redgrave, and yet the more “natural” version had absolutely zero tension.

The 1959 version of Suddenly, Last Summer has been praised, condemned, deemed dated, called camp, and everything in between. The two hour expansion of a one-act play, filmed during the last gasp of Hollywood censorship, is not perfect. Yet, it was groundbreaking and a sign of things to come in ‘60s cinema. Watching Hepburn and Taylor share the screen, speaking some of Tennessee Williams’ most memorable lines, guided by one of Hollywood’s most literate directors, is something to behold.

Catherine finally remembers what happened to Cousin Sebastian last summer.