Por um Corpo de Mulher

"Out of the Blue" is an example of one of those films which result in considered reviews that range from 3 stars to 10 , all of which have credibility and deserve respect. With 18 reviews already registered I would normally not add yet another, but I would like to offer my appreciation and even my admiration for the project.

To begin with, the title is dull and doesn't serve to lather up interest on the part of potential viewers. But one would think the cast would engender interest, as they indeed are composed of participants plying their trade in ways we the viewers are not accustomed to. I believe they all did excellent work and played it the way the director, Leigh Jason, imagined. The writing flows well and naturally, and seldom, if ever, did it occur to me that a line was inappropriate or without logic.

For me the picture is more comfortably placed in the absurdist-droll arena rather than the zany-screwball realm, and really plays more like something akin to movies with dark humor deriving from the late 1950's to mid 1960's. It is a pleasure to see so many veteran hands having fun with something so different from their usual assignments, including Turhan Bey; he looked like a sly so-and-so at the beginning but I came to like his character as the show unfolded.

How they even came to cast Ann Dvorak in this expressively comedic role would be nice to know, and I don't think she overplayed it; if her performance were out of sorts the picture would have been rendered bereft of value. The rest of the players really offered subtle readings compared to what could have been, including George Brent, whose facial expressions were not, as some reviewers have declared, merely mugging. Virginia Mayo might have been the only one who did not have a lot of comedic antics to lend or lines to say, but she too turned in an expert reading, often as the "straight" woman. And her eyes in this film are used to excellent advantage.

I can imagine "Out of the Blue" disappeared pretty fast and without much after-chatter after spending a couple of weeks in neighborhood theaters back in 1947, but I enjoyed spending time with this group of performers and appreciate that the film was created and is here for us to enjoy all these decades later.

Ann Dvorak (Olive) is one of those people you really must avoid in life. Not because she likes a drink – that bit is quite fun – but because she never goes away. Even when she is dead, it would seem.

This is a comedy that makes use of screwball comedy set pieces. It's all about misinterpretations. And it's pretty funny in parts. Some of artist Turhan Bey's (David) reactions are expertly dialogued, especially when a dead body turns up on his balcony and he discovers what has actually happened.

The director could have made more of singer Hadda Brooks. If she's going to appear in a film, then give her a full song. Ann Dvorak takes the attention away during Hadda's scene and we don't really want to hear Dvorak singing the title song "Out of the Blue".

You have to be in the mood for this type of comedy and if the mood takes you, it is quite a good example. I'll be keeping onto it for a future viewing when in the mood. It's got a pretty good cast and is one of Carole Landis's last films.

If any other studio but Eagle Lion had released OUT OF THE BLUE, it would still be listed as one of the best of the zany screwball comedies that still were being produced in the 40's. What is even more interesting is that all of the main stars play AGAINST TYPE, and the result is not only funny but a pleasant and welcome surprise...even today. A madcap comedy, OUT OF THE BLUE focuses on a henpecked husband, the ditzy lady he picks up in a bar, and assorted others who provide ammunition for a comedy of mistaken identity, blackouts, suspicious women and henpecked husbands. The most wonderful surprise of all is the hilarious performance by Ann Dvorak as the tipsy and zonked-out cause of all of the fracas. She is a riot, a shocker for fans who knew her only and always as a DRAMATIC actress. Another key surprise is George Brent as a put-upon hubby of a domineering wife, played expertly by Carole Landis. Add Turhan Bey as a sophisticate (!!!) and Virginia Mayo as his current lady friend. Leigh Jason is the director, and his work, too, is "out of the blue". This film should not be a forgotten little gem... it has been available, briefly, on VHS. Try to catch it.

A slight little film that showcases Ann Dvorak's incredible comic timing something I didnt know she had. Probably one of the best depictions of a drunk caught on film. Her physicality is poetic. And George Brent's silly voices are great even if his facial expressions veer into silent movie mugging. Just listen to his vocalizations the first night with Ann in the bar. Contrived plotline but not any worse than many older films. Really good acting from these two old pros is truely worth watching this for. I am surprised I had never heard of this film as I am an avid screwball comedy viewer.

What makes this movie so remarkable is that all the actors are cast against their type. Romantic lead George Brent plays a henpecked hubby in this film. Glamor gal Carole Landis plays a prissy mouse of a housewife. Turhan Bey doesn't wear a turban in this film, but plays a cool and wise-cracking New York man-about-town. And drama queen Ann Dvorak plays a screwball drunk lady with more than one screw loose. It's a gem. Then add to this the remarkable supporting cast, a script with some zingers I can still remember after not seeing this for 40 years. And it gets great Cool Points for having legendary jazz artist Hadda Brooks play the piano and sing in this film (she also performed in the Bogart / Grahame film IN A LONELY PLACE; and had one of the first regular TV shows ever broadcast in Los Angeles in the late 1940s).