Uma Loira com Açúcar

I remember the first time I watched this film, was on my father's VHS copy. The title did not really take me at first because it wasn't one of those recognizable blockbuster films from the early 40's. However, when I saw Cagney and DeHavilland's names on the cover, I KNEW this movie HAD to be good. My father already owned most of the Cagney film collection anyway. The first thing that struck me about this film was the opening fanfare, "And the Band Played On...". Wow, talk about taking you back into an era we not fortunate enough to have been born in, Turn of the Century (1900). For the most part, the cinematography is awesome. This film was not produced in Technicolor, but it really didn't need to be, for the brilliant photography really brings out the authenticity of the whole setting, especially the costumes. The vibrancy of the camera photography focused on Rita Hayworth's costuming is almost breathtaking. At times you almost feel like you are watching parts of Gone With The Wind, that's how vibrant and masterful the cinematography is. And older audiences who appreciated Cagneys' later works will most certainly appreciate this movie well. Here's a still-cocky, arrogant angle of the Cagney we remember and loved---however, this film allowed the actor to bring out his vulnerable, charming, romantic side as well. And he does it so smoothly and brilliantly, being well cast opposite the loveliness of legendary Olivia DeHavilland (remember, MISS MELANIE "Gone With The Wind"). DeHavilland shines brightly in one of her better, finer roles, not too soon after GWTW wrapped up, allowing her to really expand not only the soft sweetness we remembered from her Miss Melanie of GWTW, but also take a sharp turn with front boldness as well. So we get a little bit of Scarlett O'Hara in the mix. The best of both world's with DeHavilland's character.

I never even heard of Jack Carson before this film. But I must say, I was widely impressed how he handled his character against Cagney's screen presence. Carson was beautifully convincing as the crude, conniving-yet-vulnerable, conning Hugo Barnstead. And his character ability alongside Hayworth's 'strawberry blonde' is Killer at best. The way their character's are allowed full march to play off each other is the big comic-relief in this movie -- almost stealing the comical cuteness from Cagney's character. This film was also Rita Hayworth's big screen debut. When she originally auditioned for the role, she was ecstatic about the possibility of playing alongside Cagney, for he was her favorite screen villain. She considered Cagney a genius, almost more talented than counterpart Humphrey Bogart. When she was ultimately (and convincingly) cast as Virginia Brush, she about went through the floor (information, courtesy of Warner Bros.). Being in her very first major screen film, and alongside Cagney was a dream come true for Hayworth. She didn't think she would be good enough, however, the rest of the cast (most especially Cagney), worked diligently with her to perfect her character performance, alongside Carson. Overall, the film critics rated her performance as "exceptional". I absolutely LOVED Hayworth in this film. I have always liked Rita Hayworth. But outside this movie, and a few other juicy roles she had, I did not know that she lived in constant insecurity throughout much of her Hollywood career that she didn't feel she 'measured up' to the star-status of the other actresses (poor girl!). Well, she did beautifully in this role of the 'Strawberry Blonde'.

I fell so much in love with this movie classic, that I also modified a personal copy of the script.

PEANUT

Music, Music music.....costumes...what a delightful old movie... Go back in time to an easier period. When you could take your best girl out on the town for $2.50. This movie just makes you long for the old, old days..when life was so much easier. Very little serious matter in the movie. Lot's of lessons to learn to. The beautiful package, the elusive girl, the importance of life. By todays standards this would be an extremely low budget film, yet it captures you and you leave the movie feeling better for watching it. Great cast with James Cagney, Olivia DeHavilland, Rita Haywood, Jack Carter who bring the movie to life. Not a great movie, but one worth seeing just to look back in time and enjoy.

What an enjoyable movie with the three stars making it so! James Cagney as Biff Grimes, the local dentist, is a joy and shows how well suited he was to this type of serio-comedy, and what a pity he did not get the opportunity to play this type more in his early days at Warners. I think Olivia de Havilland is the real surprise as Biff's wife and she also showed a wonderful gift for comedy mixed with minor drama - her very special "wink" added so much - she was just great! As the Strawberry Blonde, Rita Hayworth in one of her earliest roles was excellent, and was well supported by Jack Carson, while "Superman" George Reeves had a cameo role early & late in the movie. If you see this, make sure you watch the very end for the sing-a-long, it certainly leaves you with a very good feeling. Alan Hale as Biff's father was a bit over the top, and his scenes dragged a little, but that is irrelevant in the total package.

Almost all of Cagney's early roles were that of a gangster or a fast-talking con-man. Starting in the 40's as the major studios ramped up their production of patriotic films in anticipation of war, Cagney starred in some military roles such as "The Fighting 69th" and "Captains of the Clouds". However, it was still the same old wise-cracking gangster or con-man - he was just in uniform. Don't get me wrong, I never get tired watching Cagney play these kinds of parts, but I've read that the typecasting was a source of friction between himself and Warner Brothers.

This film is a real departure from the kind of role that Cagney had grown tired of by 1934. In it he plays Biff Grimes, a dentist at the beginning of the 20th century. Biff has had a series of misfortunes heaped upon him throughout his life. To begin with his Dad (Alan Hale) is a ne'er-do-well, and he has a "friend" Hugo F. Barnstead (Jack Carson) who is always managing to get the best of him and then some. Hugo works up from small slights such as not paying back money or leaving Biff with the tab to stealing and marrying Biff's ideal girl and finally setting Biff up to take the fall in some substandard work Hugo's company has done for the city. After Biff gets out of prison after serving time for a crime he didn't commit, he has a chance to get even with Hugo -as in killing him - and make it look like an accident. Since most of the movie is told in flashback, and Cagney is playing a likable if somewhat gullible fellow who has been deeply wronged, you don't know how it will end or what he will do. The supporting cast is great in this one. Jack Carson was always playing the slippery type in Warner films around this time, and he does the job of playing Hugo with believable gusto, always making excuses for his part in Biff's predicaments. Rita Hayworth is cast as "the strawberry blonde" that Biff loses to Hugo, and Olivia De Havilland plays the girl Biff ultimately marries. She turns out to the one piece of good luck that Biff has as she is tough and loyal in a crisis.

A bittersweet romantic comedy, this is one of my favorite post-code Cagney films.

Julius Epstein (the man who gave us Arsenic and Old Lace) excels with his adaptation of James Hagan's play One Sunday Afternoon. (For those who think the credit belongs with the playwright not the scriptwriter, I refer you to the 1948 remake One Sunday Afternoon.) The script is crisp and witty, one liners abound, and I found myself laughing out loud often.

The film gains its strength from the morals of a bygone era, as men and women struggle to find love without overstepping the bounds of decency. Yet it holds up well more than 60 years after it was made. The themes of love and happiness are timeless.

Cagney is excellent as jailbird-turned-dentist Biff Grimes. His famed tough guy persona bubbles not very far below the surface but we are reminded that this actor is much more multi-faceted than history sometimes remembers him.

The female cast members are outstanding. The beautiful Susan Hayworth plays the title character Virginia Brush superbly, showing every nuance of the shallow yet ultimately dissatisfied wannabe socialite. Her best friend, Ann Lind, provides a great showcase for Olivia de Havilland's talent, moving from the brash, forward suffragette to the devoted wife, showing her vulnerability as well as her strength along the way.

Some of Hollwood's fine character actors get a chance to impress too. The hard-working Jack Carson impresses as Hugo Barnstead, the charming womanizer turned sleazy tycoon. George Tobias has plenty of scene-stealing moments as Grimes' good friend, Nick the barber. (Look closely and you may recognize him as Bewitched's Abner Kravitz.) Alan Hale is at his best as Grimes' irrepressible Irish father. Keep your eye out for TV's Superman George Reeves as Harold, the Yale student neighbour.

This film provides an amusing reminder that beauty and wealth do not always bring happiness.

Enjoy Strawberry Blonde. I did.