Besuch in Kalifornien

My favorite of the movie was the "bitch-slappin'" scene where she is on the staircase knocking some sense into neighbor Johnny's head. What a hoot and what a total surprise! And right in front of her wanna-be gangster boyfriend, Nicky! I cheered and clapped myself silly. Fine film,lots of plot twists and turns. San, the piano player, was a dour disappointment. Too stiff and unemotional for me. Looked a lot like Charleston Heston, too. Ida Lupino's gowns were simply divine and she looked simply fine in them. Great costuming for the whole cast. The neighbor's wife, Gloria, was hilarious with her anti-Mom comments that were decidedly politically incorrect. All in all, great fun.

The plot of "The Man I Love" to me is not as important as the snappy dialog and atmosphere...the reasons to see this film. The story just meanders....and I can live with that.

Petey (Ida Lupino) comes to town to see her sisters and brother. During this time, Petey gets a job with a slick but somewhat notorious nightclub owner (Robert Alda) and he's nuts for her. But instead of responding to his many advances, she falls like a ton of bricks over a down and out pianist (Bruce Bennett/Herman Brix). Other stuff happens.

The reason to see the film is to watch and listen to Ida Lupino. She captures the camera with her radiance...and her self-assured and VERY snappy dialog. She's like a combination of a feminist with a touch of NICE femme fatale! Well worth seeing despite the story itself only being mildly interesting.

Ida Lupino is always good or really good--here she is overpowering, but without unbalancing a movie with a very strong script and a cast of actors who may not be all that famous (Robert Alda, beautiful but sinister; Bruce Bennett, the sad shadow of Gary Cooper) but who certainly pull their weight. Ida begins the movie by smoking and drinking while she sings the title song in a killer deadpan, and goes on to confront, unarmed, a gunman and slap him silly. But, unusually, these theatrics are balanced by romantic and psychological dialogue of a maturity that is rare indeed in the movies, certainly at this early date. Occasionally harsh realism (for instance, in the terrifying behavior of a mentally disturbed veteran) more than earns the qualified optimism shown here.

Two other things to be impressed by: Bruce Bennett, as the jazz pianist, does all his own playing (bet Gary Cooper couldn't do that!), and Ida, in skin-tight evening gowns, looks astonishing. What a figure!

I saw this movie and feel it is truly one of the all American classics along with Body & Soul and The Helen Morgan Story. Ida Lupino was magnificent in the role as well as Robert Alda. Bruce Bennett was well cast as the piano man and if nothing else, The Man I Love by Ira and George Gershwin is the most beautiful song ever written. The music is outstanding and the simple lyric by Ira Gershwin compliments this most haunting refrain.

I had the opportunity to become friends with George Gershwin's sister, Frances who performed at Carnegie Hall singing her brother's memorable song Embraceable You. I sent her a tape of my version of The Man I Love and after her death, her maid LaLa said she played it every night for one year. This was the highest compliment for me. I have always been an avid fan of the Gershwin Brothers and as a professional cabaret singer, I have included many of their beautiful songs in my shows. God Bless All of Them. They have gifted the world with the most beautiful music.

Raoul Walsh's The Man I Love opens during an after-hours jam session at a Manhattan jazz boîte, the 39 Club, where Petey Brown (Ida Lupino, dubbed by Peg La Centra) sings the title song while expelling cigarette smoke. And it seems there was a man she loved, but we don't hear much about him, except that their parting has given her wanderlust, leading her back home to California.

Living there is what's left of the family of which she becomes de facto matriarch: Her sister Sally (Andrea King), whose shell-shocked husband (John Ridgely) is in a psychiatric hospital; younger sister Ginny (Martha Vickers); and ne'er-do-well brother Joe (Warren Douglas). Almost part of the family are next-apartment neighbors, the O'Connors - doting and deluded Johnny (Don McGuire) and discontented, two-timing Gloria (Dolores Moran, in a deliciously slutty turn).

They keep Lupino's hands full, but a girl's gotta make a living, too, so she slaps on the war-paint and slithers into a gown, landing a job as `canary' in a nightspot operated by womanizing Nicky Toresca (Robert Alda). She keeps rather tepid company with him, until circumstance brings legendary jazz-piano man San Thomas (Bruce Bennett) into her life; the victim of an unhappy marriage, he's currently AWOL from the Merchant Marine and thinks he's lost his gift for the ivories. They kindle a volatile liaison (apparently the template from which Martin Scorsese struck the romance between Francine Evans and Jimmy Doyle in New York, New York). But Lupino's two lives, family and romantic, start to interlock disruptively....

An unlikely amalgam of freighted, '40s romance, low-key musical and a touch of film noir, The Man I Love relies less on plot than on old-fashioned story. It's a complicated and ever-shifting story that Walsh manages to juggle adroitly (though he lets a couple of Indian clubs clatter to the floor - the shut-away husband and the Vickers character don't come to much, and the usually glamorous King is ill-garbed as the long-suffering hausfrau).

But Lupino, though she shares the movie with a large cast, stays at its center - strong and smart-mouthed but compassionate and vulnerable. (Her grand exit, smiling through tears on the waterfront, recall's Barbara Stanwyck's in Stella Dallas.) Bennett proves a good match for her, in a strong, shaded performance (though top billing among the males goes to Alda, looking like a young Danny Thomas and delivering no more than a bland, generic heavy).

The Man I Love exerts a nostalgic pull that avoids (barely) the campy and the overwrought. Though there's a violent death, it's not a violent film, nor even, really, a crime story. Coming from the immediate post-war era when emotions were still running high and not yet subject to over-analysis, it serves up its thick stew with gusto. Yes, it ends a little too daintily, but with its torch songs, its messy relationships, and unabashed commitment, it still makes a memorable meal.