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Reviews
Love Crazy (1941)
loy and powell crazy but ...
Myrna Loy and William Powell were truly one of the greatest film couples ever. Sensible chic Myrna and goofy elegant Bill--how they paired well in many of their comedies! "Love Crazy" is the vein of "Double Wedding," "I Love You Again," "Libeled Lady," and maybe a touch of the Thin Man series. One can rely on their on-screen chemistry together in this movie. You know they're bound to make up after he's made an utter fool of himself. In a dress, no less! There are, of course, slow and arguably overly silly scenes in the film (the elevator, perhaps?). But this movie is worth it. If you like it, make sure to watch the other movies I mentioned above.
Let's Live a Little (1948)
hedy can't save this movie
Even after three viewings, I still think this movie is terrible. Its a comedy, but I haven't laughed yet. Robert Cummings is miscast, and I keep wanting to slap this character as I wonder why in the world the casting director chose him (wouldn't Jimmy Stewart be much better?). Hedy as a psychiatrist is intriguing as a concept, but this script falls very short. As a consequence, she looks mostly flat, absurd and misplaced. Unlike a number of her other films, her beauty can't save this movie. Nevermind the fact that Hollywood was slack with boundaries in its portrayal of psychiatrists.
I hope future viewers find enjoyable qualities in this movie.
Comrade X (1940)
watch it for camp
A ridiculous and campy spoof. I initially mistook it for face value and thought it was a screwball comedy. And I was disappointed; what a horrible movie! I first thought. But really, when Hedy places Theodor, an intellectual naive communist girl who freely kisses stranger Clark, a boozing reporter who's actually Comrade X, it's gotta be camp! The tank scene is a classic, special effects and all; I think Hedy driving a tank is about as funny as Hedy driving a fire engine in "My Favorite Spy." Clark reliably plays his usual character. This is a movie that gets better with each viewing; good screenplay, direction, acting, and production. Part of me thinks it would be even better if Walter Reisch countered Hedy's uniform with Clark in a dress; what a tank escape that would have been!
Come Live with Me (1941)
more writing might have helped this pleasant movie
Jimmy, Hedy, goofy Ian Hunter, and "sensible" Verree Teasedale make a wonderful primary cast for this nice film. Unusually, I keep looking for more nuances each time I view it, hoping that there is more to the characters in facial nuances and body gestures. I think 5-10 minutes of additional dialogue to flesh out the characters and their relationships with each other would have helped this movie go beyond its superficiality. This is one of those films where I wonder what was cut from the script and what ended up on the cutting room floor. Clarence Brown directed a lot of fantastic films, so I'm guessing the script/story faults are partly from Virginia Van Upp (story) and Patterson McNutt (screenplay); who knows what the role producers at MGM had in trimming the movie for release.
H.M. Pulham, Esq. (1941)
marvin and harry
Hedy Lamarr and Robert Young are well-paired in this movie. She plays the mature independent woman. He plays the good-natured homespun man. The movie is slow and touching, in the genre of movies where modern life conflicts with old and established life. I was reminded of "The Magnificent Ambersons." I agree that this was one of Hedy's best performances, and interestingly another in which her character has a male name (perhaps to balance her beguiling femininity.) In this and a few other movies, her face conveys a variety of emotions, often breaking the placidity of her porcelain beauty. Robert sets the tone of this movie. It would have been very different if another actor had been cast. He was an excellent choice for this role. Passion and prudence clash in this story, and as was often the case in Hays' Hollywood, the result is bittersweet. One of my favorite lines is when Marvin says to Harry on the sled, "Now don't be like Ethan Frome. I want to live."
I Take This Woman (1940)
watch it for hedy
I liked this movie; it's one of those sentimental movies I like to watch late at night. The reason this film works is Hedy Lamarr. She is a jewel. Naive and vulnerable, she makes bland look exotic. The plot is classic Hollywood melodrama. Spencer Tracy plays the fatherly role he often plays. Their chemistry together is questionable. But I think the key to the romance of this movie is the portrayal of each character's individual experience of love and infatuation, and how obsessive love is not about the relationship but how each person feels. For this reason Tracy and Lamarr's purported disconnect off the set may work to the film's advantage.
Lady of the Night (1925)
luminous and poignant
I saw this silent film at the SF Silent Film Festival in 2004 as well, and it was the highlight of the festival for me. Norma Shearer at her best, and Monta Bell absolutely brilliant. I was amazed by how the narrative was so well told through multiple simple, powerful visual moments, and succinct, thoughtful words. The print was beautiful and crisp.
I hope this film comes out on DVD. It's a silent film that is so subtle, contemporary, and accessible that it defies some stereotypes of silent films as overly dramatic gesturing fests.
Gambling Lady (1934)
Stanwyck deals more cool
Stanwyck plays an honest gambler and she steals the movie. After she ("Lady" Lee) realizes she can't rely on her gambling father, she meets wealthy Joel McCrea, who is, well, young and smitten. Find acting by all, including Pat O'Brien as Stanwyck's buddy and Sir C. Aubrey Smith as a father figure.
I just saw this movie shortly after seeing "But the Flesh Is Weak" on Turner Classic Movies. Sir C. Aubrey Smith is also in that movie, in which he plays the gambling father of young Robert Montgomery, who is smitten by wealthy Nora Gregor and is buddies with wealthy Heather Thatcher. Both movies have a similar parent-child duo wanting to strike it rich, and the start of each movie is similar. But from there on, they are two very different movies, "Gambling Lady" being a more thoughtful, dramatic film, and "But the Flesh Is Weak" being a romantic romp.
-But the Flesh Is Weak (1932)
maybe a second viewing would help...
I'm a big fan of Robert Montgomery, whom I think paired best with Norma Shearer. In his early dashing leading man roles, he's like a princely powder puff, smelling of lavender. In this movie, "But the Flesh Is Weak," he's a sticking rose. Like a bee after honey, he pesters Nora Gregor in frame after frame. The movie became too sickly sweet for me midway, and I was wishing for more scenes with Montgomery and Sir C. Aubrey Smith, who plays his gambling father, surprisingly far more dashing than Montgomery in this film. My guess is that another viewing might be more pleasant. Nora Gregor and Heather Thatcher deliver solid performances and are dressed beautifully. Nils Asther plays an even bigger powder puff in this movie, but he's a delight.