Change Your Image
dbgwwg
Ratings
Most Recently Rated
Reviews
Jesse James (1939)
Acting honors go to Power
Let's pretend this picture is a total work of Western fiction. Putting all those historical pros and cons about the real outlaw aside, it is easier to evaluate this humdinger of a movie. Populated by dozens of first-rate character actors, 'Jesse James' comes alive with personalities, period flavor and emotional nuances. You can feel the hum of a late nineteenth century community through all the bustling movement and characterizations.
The primary cast is excellent with an outstanding performance by Henry Fonda as Frank James, who plays a volcano under the veneer of an iceberg. He's pitch-perfect throughout and he and Power communicate with subtle glances and the slightest nods making you believe they are brothers.
However, while wonderfully scripted, Fonda's part doesn't put much demand on emotional range. Additionally, he's only in about two-thirds of the movie. Compared to Fonda, Power, who is thrilling, is in almost every scene. As Jesse he must be the ardent and tender young lover, the dangerous and vengeful farm boy seeking reparations for crimes against his family, the haunted and hunted son, brother, husband, father and outlaw, by turns in a violent rage and then unsure of his course. Power displays an impressive range as he plays through all of these emotional transitions--and more--seamlessly and beautifully.
I take exception with the idea that acting honors go to Fonda, when Power, IMO, dominated this picture in every way.
I also feel there is another dimension to consider in Power's portrayal, which is that Power, here just a 25 year old actor, got audiences to spend money on theater seats. He continued to do so throughout his career. 'Jesse James' was among the very top movies in popularity in 1939. Another of Power's movies, 'The Rains Came' with Myrna Loy, was also among the top five or six in popularity that year. People loved Power. Many of us still do. (His beauty here still puts a catch in my throat and I've been a fan for over fifty years!) I think there's even a rarer aspect to acting that only some stars possessed, which is their talent to communicate personal warmth and charisma to an audience. Isn't that what makes actors into stars? A few actors had that; Power had that in spades.
The Palm Beach Story (1942)
IMO Highly Overrated Comedy
I am really at a loss to understand how this movie gets the reputation it has earned. Just because Preston Sturges' name is involved doesn't make it profoundly funny or profoundly insightful. Claudette Colbert was a charming cutie and all that. But born in 1903 and at nearly 40 years old when this picture was made, the motivations and emotional responses she is asked to exhibit in Palm Beach Story are way too immature for who she actually is. IMO, that can be said of nearly everyone involved in this coarsely unfunny movie. Mary Astor, another lovely and wonderful actress, is also made to act the complete noisy air-head. When the film was made there no doubt were other criteria to judge her character by. These days however, again IMO, Astor's constant screeching and especially her relationship with Toto, her annoyingly unattractive hanger on, who understands nothing, is actually offensive. Cringe-worthy to be honest. (Toto's character and how he is treated reminds me of the part played by Asta or one of those other terrier dogs that were popular in screwball comedies.) Only Rudy Vallee, who later in his career perfected the Teflon-coated stooge role, seemed to me to almost transcend the material. Everyone is entitled to enjoy whatever movie or star or whatever they like. As for me,I'm darned if I know what the attraction is in Palm Beach Story.
Second Fiddle (1939)
Light as Air Second Fiddle a Sparkling Power and Henie Vehicle
I don't believe this is a movie that needs serious content evaluation. It was served up as a fun showcase for two of Hollywood's most popular stars and as a celebration of the tuneful talents of Irving Berlin. It delivers on all counts as far as I'm concerned. Henie is always enjoyable with her sparkling skating routines, fresh, unstudied acting approach and lively, dimpled face. In '39, the year Second Fiddle was released, Tyrone Power was by popular vote named "King of Hollywood." He also starred in 2 out of the top four highest-grossing films in that Magic Movie Year, 1939. Power created quite a PR storm having just married Suez co-star Annabella after a string of red-hot PR-promoted affairs with among others, Sonja Henie. Second Fiddle, on the one hand is a send up of the over-the-top publicity surrounding the search to find the perfect Scarlett O'Hara, while equally on the other hand it skewers Golden Era Hollywood's overheated PR habit. I would imagine that for audiences fed on gossip columns and fan magazines of the time you couldn't have done better than to star Henie and Power in a vehicle about "the big Hollywood build up." Viewed from that perspective it is a very funny inside joke indeed. Tyrone plays Jimmy Sutton,the PR wiz, in an easygoing and charming way. He is a natural and partners superbly with the excellent veteran character actress, Edna Mae Oliver. Both are consummately professional yet they really seem to be having fun with each other. Which is why, IMO, their comedic scenes together are as delightful as any put on film. Second Fiddle is full of great Berlin tunes that are imaginatively staged. Co-stars Rudy Vallee and Mary Healy do nicely and contribute to this fun golden oldie. Bubbly and light as air, King Lear it surely was never intended to be!
Prince of Foxes (1949)
Power at his best in beautiful black and white
For me, Tyrone Power hit his stride as a major actor in his post WWII years, though towards the end of his contract with 20th Century Fox, the material seemed to become quite thin. Fortunately, he redirected his career when he got control of it and was able to do the stage work he loved and to make several terrific films before his untimely death in 1958. In Prince of Foxes, I think his maturity is seen to fine advantage in the role of a world-weary agent of Cesare Borgia. The script, though flawed by several glaring inconsistencies, is literate and makes for an engrossing historical drama. Power is excellent and so is Everett Sloan, a fascinating actor who's great in a dynamic secondary role. He and Power are a fine pairing with a unique chemistry that makes me wish they had done other films together. I can only take Orson Wells in small doses. Here he's just allowed a short time on screen to knit his brows, wrinkle his nose and chew on the scenery, feathers, grapes, his fingers, etc. Prince of Foxes was filmed on location in glorious black and white with a very rich look that I wouldn't change for the world. I had the great good fortune to travel in Italy, including Venice and San Marino (aka Citta Del Monte in the film), about ten years after this was made. Somehow,the cinematographers magically captured the effects of Italy's light and air just as I remember them. The score is lovely and evocative and along with the perfect visuals I get a pang of nostalgia every time I watch it. Prince of Foxes is a favorite that I heartily recommend to lovers of Old Hollywood-style historical drama. The book it's based on is good, too.
The Black Rose (1950)
Power and Hawkins are First Rate While a Little Wells Goes a Long Way
I have always loved this film for its fairy tale quality. Sure Power is mature to play a student--IMO, the screenwriters, producers and director are to blame for not coming up with a script adjustment--but he is a highly romantic leading man, who is wonderful to look at and fully invested in the action. He is marvelous as well at connecting throughout with all the other actors as he always does. It should be noted that Jack Hawkins is too old for his role, too. In the book and in the film the character of Tris is also a student and contemporary of Power's character. But what of it? He's great and he and Power have good "buddy film" chemistry. In addition to the two wonderful leads,The Black Rose has a nice cast of supporting actors, an attractive score, and lavish sets and costumes to illustrate this purely fanciful story. I personally like Orson Wells only in minor roles such as this one, since for my taste he tends to overact and chew the scenery. Cecile Aubrey, the female lead is unusual and plays it rather naive, but it fits well with her odd character. I recommend The Black Rose to anyone who likes old time movies that transport you to far away places and times.