If Only...

I was thinking lately of things that could've/should've happened - film-wise - that didn't happen. Here is the list:

If only...

- Marilyn Monroe's last film Something's Gotta Give had been completed before her passing. I haven't seen the remaining footage that gets circulated around the web yet, but I've seen screencaps and stills for the film and Marilyn looks so refreshing and happy. I earnestly believe it would have been one of her best films, and with Dean Martin and Cyd Charisse on board, well that would have been delightful.

- Fred Astaire and Ginger Rogers had danced to 'They Can't Take That Away From Me' in Shall We Dance. It just doesn't sit right that this poignant song was danced by Fred with Harriet Hoctor instead.

- The original, unbotched version of Orson Welles' The Magnificent Ambersons could be miraculously re-discovered. Because as much as the current version hints at a good film, it doesn't feel as whole as it may have been.

- Audrey Hepburn could've used her real voice - flawed as it may have been - in My Fair Lady (or else Julie Andrews should've been allowed to reprise her stage role). This might be contestable, but Marni Nixon's dub just doesn't sit right with me. Their voices don't match and so I can't suspend disbelief when Audrey's character sings. Otherwise, I did like Audrey's performance. Yet it would be interesting to see how Julie Andrews' Eliza Doolittle would have been.

And that is all I can think of know. I might make a part 2 if I come up with some more...

A Review: A Damsel in Distress (1937)

In spite of a varied and rich career in front of the screen, Fred Astaire will perhaps always be most remembered for his partnership with Ginger Rogers in the 1930s. It seems the audience knew it even then, if box office statistics are anything to go by. I say this because the one time Fred decided to break away and make a Ginger-less film, it sunk.

Up till this day I'm pretty sure that this 'infamous' film - A Damsel in Distress - is still most well known for being the only one out of Astaire's 1930s output to lose money at the box office. However, with its steady 7.0 imdb rating and its availability on TCM, perhaps all is not lost with this somewhat obscure gem.

The opening title sequence alone promises that this film will deliver. Aside from Fred Astaire, you have a strong supporting cast led by the beloved partnership of George Burns and Gracie Allen. You also have Joan Fontaine who would later become an accomplished actress most famous for Hitchock's Rebecca. Joan was only beginning her career at this point and in addition, she wasn't a trained dancer. So consequently, as people have noted, she seems like a fish out of water in this musical. Nonetheless, it's always intriguing to see actors in pre-stardom roles.

Then there is George and Ira Gershwin, composer and lyricist respectively of the film's soundtrack. George Gershin wanted to be considered as a serious composer at the time, meaning he didn't only want to be working for money, but also wanting to compose for art's sake. Thus, he rarely composed for film musicals. I think due to the sophistication of George's music and Ira's well fitting lyrics, the film has a touch of elegance. The songs 'A Foggy Day' and 'Things Are Looking Up' are particularly beautiful and romantic.

The other major drawcard of the film is the director, George Stevens. At this point he'd already proved his ability with the Katharine Hepburn vehicle Alice Adams and with a previous Astaire-Rogers film Swing Time. In his pre-war career he was an accomplished director of comedy which you see in the film through a lot of light moments injected into the film with ease.

Once the film gets under way, you find out (or at least I did) that the film lives up to the sum of the talents involved. I can't be objective or elaborate where Fred Astaire is concerned, so I can only say that his great dancing, singing and overall persona is in great form here. George Burns and Gracie Allen establish the fundamentals of their partnership - he is the straight man and receiver of her endearingly loopy personality. Just about all the laugh out loud lines are thanks to them and their delivery. In fact their wonderful exchanges could be devoted to a whole new entry. Here's but one example:

Fred Astaire (to Gracie): What's today [the date]?
Gracie: Well I don't know.
George: You could tell if you look at that newspaper on your desk.
Gracie: [picks it up] Oh this is no help George, it's yeserday's paper.

The other main reason to see this film is for the two wonderful dance numbers between Fred, Gracie and George. As I found out afterwards, Gracie and George did a lot of soft-shoe stuff during their vaudeville years and George even taught tap dancing once. Well it's no wonder then that they dance so well with Fred. The standout is a amusement park number called "Stiff Upper Lip" where they go into this swirly room with slides and distorted mirrors. It's both funny, inventive and a showcase for talent.

The slight letdown of the film is the convulted plot akin to that of the Fred and Ginger films; except minus the charm of the latter. It's a formulaic plot that centres around mistaken-identities and mis-understandings. It's supposed to be funny I guess, but having seen these devices already through Fred and Ginger films, they wear thin. Unfortunately, Fred Astaire and Joan Fontaine don't have the best chemistry -- it's sweet and functional, but it doesn't sparkle.

Their dance number 'Things Are Looking Up', though more often maligned than not, tries to work around Joan's limitations: the garden setting blends in with her and Fred's clothing and they are filmed in medium-to long shot through a kind of low angle. You also don't see Joan twirling around much, but when she does she lands a little off-balanced. She's ok with the leaps, though, and there is some nice choreography framed around her strengths. But again, the dance number doesn't sparkle; it begins and ends with little emotion (one of Ginger's strengths) or technical consistency (which Cyd Charisse had in buckets).

However, I will give the romance one positive. The number 'A Foggy Day' not only utilises a beautiful song, but the cinematography too makes it the most profound moment of the film. It comes at a point where Fred thinks (again) that Joan is in love with him, but what he doesn't know yet is that another misunderstanding has occurred. While Joan looks down at him from her window, he's standing around the garden they danced in the day before. He starts singing in his melodic voice that blends as one with the music, and then he looks around himself, seemingly reminescing. All the while there's a sort of fog/light coming from the sky and it gives the whole sequence a magical look.

So in short, the film is delightful and charming in spite of some flaws. What you come away with is a film that holds up better than its box office stats would have you believe.

A Survey (classic-ish style)

A survey mood! I found the following one on this blog
http://harlowcutie11-dreaminginblackandwhite.blogspot.com/.
It's classics-ish which is a bonus.

1. What is your all-time favorite Clark Gable movie?
Probably Gone with the Wind, it's Clark at his roguish charming best I say.

2. Do you like Joan Crawford best as a comedienne or a drama-queen?
Hmm, she's a great drama-queen, particularly in Mildred Pierce. But she's delightful when she's wise-cracking like say in Grand Hotel or The Women. Perhaps a tie?

3. In your opinion, should Ginger Rogers have made more musicals post-Fred Astaire?
I kind of wish she had made a couple or so with Gene Kelly...

4. I promise not to cause you bodily (or any other serious) harm if you don't agree with me on this one. So please be honest: do you like Elizabeth Taylor? Hm?
She can be quite a tour-de-force actress at times (particularly in Cat on a Hot Tin Roof and Suddenly, Last Summer) and she's stunningly beautiful, so I like her for the most part.

5. Who is your favorite off screen Hollywood couple?
Paul Newman and Joanne Woodward. 50 years of marriage, I think that's wonderful. <3

6. How about onscreen Hollywood couple?
Hmm...a tie between Fred and Ginger and William Powell and Myrna Loy.

7. Favorite Jean Arthur movie?
The More the Merrier (I like Mr. Deeds Goes to Town a bit more, but I think The More The Merrier is more of Jean's film).

8. What was the first Gregory Peck movie you saw?
Roman Holiday, but I got my first glimpse of him in the court room scene in To Kill a Mockingbird. I don't think I saw how powerful a person can be on screen until that moment.

9. What film made you fall in love with Alfred Hitchcock? (And for those of you that say, "I don't like Hitchcock" -- what is wrong with you?!)
I've admired Hitchcock for a while, but it was seeing Vertigo last year that gave me a newfound appreciation for his art.

10. What is your favorite book-to-movie adaption?
Gone with the Wind.

11. Do you prefer Shirley Temple as a little girl or as a teenager?
Hmm, I haven't seen any of her films of her as a little girl, and yet that's the image of her that is most prominent in my mind.

12. Favorite character actor?
Charles Coburn.

13. Favorite Barbara Stanwyck role?
The Lady Eve, I think it's the most layered role I've seen of hers so far (I still need to make my way through most of her filmography though).

14. Who is your favorite of Cary Grant's leading ladies?
He worked terrifically with just about all of them, but I've liked him most with Kate Hepburn, Ingrid Bergman and Irene Dunne.

15. Bette Davis or Joan Crawford?
There's a truckload of movies I need to see of both, but so far Bette is a finer actress. But to give Joan credit she has quite a dazzling and dynamic screen presence.

16. What actors and/or actresses do you think are underrated?
Actors: Charles Boyer Actresses: Jean Arthur, Irene Dunne, Claudette Colbert

17. What actors and/or actresses do you think are overrated?
Not sure...I mean I know Marilyn, Audrey and James Dean are probably the most exposed of classic cinema, but their talent beneath their iconic/commodified images is much underrated outside the classic loving sphere imo.

18. Do you watch movies made pre-1980 exclusively, or do you spice up your viewing-fare with newer films?
I was kind of exclusive for a while, but spicing it up is good and allows me to appreciate a wider ranger of films.

19. Is there an actor/actress who you have seen in a film and immediately loved? If so, who?
Maybe Rosalind Russell. When I saw her in His Girl Friday I immediately thought that was one of the best performances an actress could have the opportunity to give.
Also Humphrey Bogart. I saw him in Sabrina and felt I knew immediately he was a good actor.

20. Gene Kelly or Fred Astaire?
Fred Astaire for me.

21. Favorite Ginger Rogers drama?
I recently saw her in Romance in Manhattan and thought she was so touching in there, particularly when faced with the moment where her brother was to be taken to an orphanage. It's a good depression era film and Ginger excels as the struggling working class girl.

22. If you wrote a screenplay, who would be in your dream cast and what roles would they play? (Mixing actors and actresses from different generations is allowed: any person from any point in their career.)
There are probably trillions of 'if only' pictures I could imagine (though strangely they're not coming to me now), but here's one: Fred Astaire, Gene Kelly and Ginger Rogers. The plot would probably be a recycled love triangle one that allows the two leading men to dance with Ginger and then for there to be a nice number at the end where they all come together to dance (something like the near end of Broadway Melody of 1940). It would be made in the early to mid 40s, shot in colour, produced by Arthur Freed and perhaps directed by Vincente Minelli.

23. Favorite actress?
Audrey Hepburn, though she might be more my favourite all round humanitarian and role-model.

25. Favorite actor?
Humphrey Bogart.

26. And now, the last question. What is your favorite movie from each of these genres:

Drama: Bonnie and Clyde

Romance: A Matter of Life and Death

Musical: Top Hat

Comedy: The More the Merrier

Western: Shane

Hitchcock (he has a genre all to himself): Vertigo