RICK'S REAL/REEL LIFE

James Stewart as Jefferson Smith, who's down but not out, in 1939's comedy-drama,  "Mr. Smith Goes to Washington."

I never watched Mr. Smith Goes to Washington until 2025 for evolving reasons. First, I was not very political in my younger years, so the subject matter didn't interest me. Later, when I did become more invested in politics, I thought a Frank Capra movie on the workings of Washington, D.C. would be too sentimental and clichéd. Finally, after the last ten years of non-stop US political turmoil, I decided to seek comfort in Mr. Smith’s political journey.

I was taken aback watching Mr. Smith Goes to Washington. While there was sentiment in this cinema classic, it is heartfelt. What really surprised me was how strongly the political corruption was portrayed, and how powerful still is Mr. Smith's disillusionment with the system. The latter is especially so when he collapses on the senate floor, and only then is there a positive resolution. 

In Mr. Smith Goes to Washington’s last act, the naïve senator is railroaded by corrupt politicians, and it is great story telling. While some of the David and Goliath aspects of Smith and his young supporters versus the aging fat cats might be considered corny, there have been similar real life incidents in recent US election cycles that show dirty tricks haven't changed all that much: biased press inciting the masses, running the opposition literally off the road, and treating the opposition with aggressive strong arm tactics. 

James Stewart and Jean Arthur make a marvelous team in 1939's "Mr. Smith Goes to Washington.

The political story of Mr. Smith Goes to Washington is surprisingly in-depth and adult. The scene where Washington insider Clarissa Saunders explains the cycle of creating a bill to Jefferson Smith is snappy and priceless. The opening, with a death of a politician, the first concern is who will replace him! Young Mr. Smith’s tour of the Washington monuments might make you feel downright patriotic. The scene where Smith is thrown under the bus in the Senate to deflect blame for corruption feels very current. And when Jefferson goes to lick his wounds at the Lincoln Memorial, with Saunders touched by Smith’s tears, it is genuinely affecting. So rare for an actor of this era to show his emotions, but that was one of James Stewart’s strengths as an actor. And of course, Stewart’s great monologue, where he filibusters to make his voice heard, and innocence believed. This set piece is very powerful, which we just witnessed the power of a filibuster in real life, recently.

James Stewart gives his heart and soul to the role of Jefferson Smith in 1939's comedy-drama, "Mr. Smith Goes to Washington."

The entire cast of Mr. Smith Goes to Washington is terrific. In the title role as Jefferson Smith, this is the embodiment of James Stewart's screen persona. Director Frank Capra cast him because he immediately saw that Stewart’s small town genuineness was perfect for everyman Smith. Jimmy is authentic throughout, as his character is put through the wringer. Movie making in 1939 was considered the peak year in film. In any other year, Stewart would have won the Best Actor Oscar. He got a makeup award the next year for The Philadelphia Story. But hey, that guy who played Rhett Butler lost out in ’39, too!

Jean Arthur plays pragmatic yet spirited reporter Clarissa Saunders, who comes to  believe in James Stewart's new senator, in 1939's "Mr. Smith Goes to Washington."

Jean Arthur plays the experienced, pragmatic reporter and performs in an understated style, rather than the quirky fusspots she later played. Jean’s nervous energy plays well against Stewart’s laid-back demeanor. Arthur’s Clarissa Saunders has a subtle character trajectory, going from cynical disbelief of innocent Smith to admiring his integrity, to falling in love with him. Jean plays each phase beautifully without a false note.

Frank Capra’s perennial favorites are here: This is Jean Arthur’s third time as a Capra leading lady; there’s Thomas Mitchell as Arthur’s fellow reporter; H.B. Warner as a politician; Edward Arnold, perfectly cast as charismatic but corrupt businessman named James Taylor; and Beulah Bondi’s first time out as Jimmy’s Ma. Stewart appeared in three Capra film, and like the later It’s a Wonderful Life, he's serenaded with Auld Langsyne. 

Beulah Bondi is once again Jimmy Stewart's loving Ma in 1939's comedy-drama, "Mr. Smith Goes to Washington."

Capra always had marvelous ensemble casts in his films, this may be the best: Guy Kibbee as the pliable politician who surprises by picking Stewart’s Jefferson Smith as the next senator; Harry Carey, so wryly expressive as the president of the Senate; Eugene Pallette, very funny as Chick, who’s in charge of herding Smith; and best of all, Claude Rains as Senator Joseph Paine, who was best friends with Smith’s father, but is now conflicted between corruption and conscience. Rains gets to run the gamut in his juicy supporting role: subtle, grand, gentle, glib, charming, rotten—everything! My only criticism with Claude is that his hair was dyed a distractingly snow white. At almost 50, Rains was still 20 years older than Stewart, believable enough as a contemporary of Smith’s father. Finally, look for a very young Jack Carson as a reporter.

Whose idea was it to dye Claude Rains hair snow white at 50 for his role in 1939's comedy-drama, "Mr. Smith Goes to Washington?"

There was a fair amount of location shooting for the era in Mr. Smith Goes to Washington, and the images are powerful. In particular, those of James Stewart gazing at Abraham Lincoln—two lanky icons! This entire sequence evokes some powerful feelings. The meticulous reproduction of the senate chamber is striking, a most impressive and convincing set. The script is filled with memorable lines, several worth repeating today! Sidney Buchman and Myles Connolly were Mr. Smith’s screenwriters.

Two icons gaze at each other in 1939's "Mr. Smith Goes to Washington."

I love this scene, where Jimmy Stewart looks on in awe at the Lincoln Memorial, in 1939's "Mr. Smith Goes to Washington."

At just over two hours, Mr. Smith sags just a bit in the middle. The Jean Arthur and Thomas Mitchell quasi-romance could have been trimmed a bit. And that cutesy bit with Stewart’s Smith continually dropping his hat in front of Senator Paine’s glamorous daughter is a bit much.

Frank Capra, an Italian immigrant who hailed America, created a great movie with Mr. Smith, about how the fight for democracy is never-ending. While the homespun aspects of this story might put some viewers off, the bigger picture of Capra’s storytelling still resonates deeply. Even for those who call his work “Capra-corn” or naively populist, well, the man had his point of view. And Frank Capra expressed it skillfully in his work.

James Stewart with director Frank Capra at the Lincoln Memorial for a scene in 1939's "Mr. Smith Goes to Washington."

The machinations of monopolies, big business buying politicians, and dissenters getting crushed, all seems very familiar and timely, sad to say. To get his message across, Capra wisely didn’t pin identifying labels on the crooked politicians and money men.

Mr. Smith Goes to Washington was promoted and hailed as Capra’s best work in 1939. For once, the Hollywood hyperbole was correct. This indeed was Frank’s last film that was both critically and commercially successful. He had more money makers later, but very few critical hits. One film that was underrated at the time later became his signature film, It’s a Wonderful Life.

"Mr. Smith Goes to Washington" was indeed director Frank Capra's greatest hit!

Here’s my look at Frank Capra’s American version of A Christmas Carol, It’s a Wonderful Life: https://ricksrealreel.blogspot.com/2016/12/its-wonderful-life-still-has-wonder-70.html

And here’s Jean Arthur, where this time she’s the idealistic politician, visiting war-torn Berlin, in Billy Wilder’s comedy-drama, A Foreign Affair: https://ricksrealreel.blogspot.com/2023/05/billy-wilders-adult-foreign-affair-1948.html

Jimmy Stewart was perfectly cast as the idealistic new senator, Jefferson Smith, in 1939's Frank Capra classic comedy-drama, "Mr. Smith Goes to Washington."

Katharine Hepburn as Tracy Samantha Lord in her 1940 comeback, MGM's "The Philadelphia Story."

I am not a great Katharine Hepburn fan, though I have admired aspects of her life and career. Aside from being slightly allergic to The Great Kate, I am also not a fan of drawing room comedies. I just watched 1940’s The Philadelphia Story for the first time. As I approach 66 years, I’m trying to make up for missing many classic movies, despite considering myself a life-long film fan.

So I watched The Philadelphia Story mainly out of curiosity, since this was hailed as Kate's great comeback. I can now see why. Katharine Hepburn arguably played her greatest role as Tracy Lord. It is the perfect distillation of the Katharine Hepburn persona, sparkling as the champagne Tracy imbibes too much of the night before her wedding.

Katharine Hepburn with frequent collaborator, director George Cukor, on the set of MGM's "The Philadelphia Story."

Like a lot of classic stars, I first saw Katharine Hepburn in latter day movies in my younger years of the '70s and '80s. Hepburn did some fine work later in Suddenly, Last Summer, Long Day's Journey into Night, and The Lion in Winter; with her other films, I was averse to the sentimental Kate of Guess Who's Coming to Dinner?, On Golden Pond, and those last TV movies where she played her persona self to the point of self-parody. Most of her '30s work I find unwatchable, though she was great in Alice Adams, Stage Door, and a few others. Katharine Hepburn was often badly cast or chose badly. No surprise that she was among the film stars labeled box office poison in 1938.

On Broadway, Katharine Hepburn got BIG top billing in "The Philadelphia Story."

For Katharine Hepburn's film comeback, she got second billing in 1940's "The Philadelphia Story."

The oft-told backstory in a nutshell: after a string of bombs and even a couple of last films that got good reviews, the public and critics finally had their fill of a flighty/eccentric/haughty Hepburn. Kate was in dire need a comeback. So, Hepburn hired Philip Barry to write a play for her. Based on an incident involving a socialite friend of Barry’s, with Hepburn’s prodding, the character became more like Kate! She found the backing to get Barry’s The Philadelphia Story on Broadway and it was a hit, with future film stars Joseph Cotten and Van Heflin. Kate got Howard Hughes to buy the film rights for her so she could take it to MGM, with herself as part of the package. The result was a smash for film version of The Philadelphia Story, followed up by a studio contract for Hepburn.

After a string of film flops, Kate Hepburn was among the stars labelled "box office poison." Kate was down but not out, when she came back in "The Philadelphia Story."

The big question was why didn't this commercial and critical hit get Kate a second Oscar? Well, the competition was tough that year, with Bette Davis in The Letter and Joan Fontaine’s breakthrough in Rebecca. Yet, it was Ginger Rogers who won for Kitty Foyle. At the time, Rogers was very popular with fans and the industry, making a smooth transition from musical to comedy/dramatic star. Kate was making a comeback from Siberia. However, I think Katharine Hepburn's vehicle holds up much better and is better-remembered today. 

The MGM production is top-drawer: George Cukor directing, Joseph L. Mankiewicz producing, script by Donald Ogden Stewart, a snazzy score by Franz Waxman, with Kate radiantly photographed by Joseph Ruttenberg, in gowns by Adrian, and hair styled by Sydney Guilaroff. Oh—and Cary Grant and James Stewart as Hepburn’s leading men. Plus, a great supporting cast, including Ruth Hussey. The resulting film of The Philadelphia Story is studio era style at its finest.

It didn't hurt that Katharine Hepburn had two popular new stars in Cary Grant & James Stewart as her leading men, in her comeback, "The Philadelphia Story."

Katharine Hepburn’s comeback was the greatest of those stars fighting the “box office poison” label. Joan Crawford countered hers by taking on the smaller, but juicy villain role in The Women. Marlene Dietrich took a break from moody fashion plate posturing to perform in the raucous western Destry Rides Again. With Katharine Hepburn, she stepped down her pedestal to become the more accessible Kate. But really, the change was not all that drastic from her previous ‘30s persona, just recalibrated to be more generally appealing. It reminds me of how Doris Day’s image makeover in Pillow Talk was considered such a departure for her. Except for the emphasis on glamour and sexuality, Pillow Talk wasn’t that much different than the previous year’s Teacher’s Pet.

With Katharine Hepburn’s Tracy, she is essentially a heroine, but a judgmental one. And on the eve of her wedding to a respectable dullard, some champagne and flirtatious frivolity makes her realize that she’s only human, too.

Cary Grant and James Stewart do fine work, despite Kate's first preferences for Metro’s kings, Clark Gable and Spencer Tracy. Grant had polished his persona as “Cary Grant” perfectly by this time and it plays wonderfully in this romantic comedy, as C.K. Dexter Haven. Though Dexter has a drinking problem, he scolds Tracy for not being more understanding. That attitude obviously doesn’t play well today. Ironically, Hepburn would soon be an understanding companion to alcoholic Spencer Tracy! Aside from needling Kate’s Tracy to come off her pedestal, Cary’s Dexter obviously still adores her. Their banter is razor sharp and witty.

Cary Grant as C.K. Dexter Haven in 1940's "The Philadelphia Story."

Stewart, after his breakout year in 1939, entered the ‘40s as a boyish leading man with great appeal. As down to earth reporter Mike Connor, who becomes enchanted by Tracy, James Stewart is just fine. He’s charmingly skeptical and goofily besotted by champagne and this society girl. I do think his Oscar win for The Philadelphia Story is a makeup award for missing out for ‘39s Mr. Smith Goes to Washington, as did Jimmy himself. But hey, Clark lost that year for his signature role, Rhett Butler in Gone with the Wind!

Is James Stewart wishing for his Oscar in "The Philadelphia Story?"

Ruth Hussey is a sardonic delight as photographer Liz Imbrie, who accompanies Stewart’s reporter to cover the society wedding of the year. Hussey is expert with the comic lines, but also imbues certain lines about Stewart’s Mike that are touchingly wistful.  She won a Best Supporting Actress Oscar nomination for her intelligent, modern style and holding her own with star Hepburn.

Ruth Hussey was Oscar-nominated & James Stewart won the Oscar, as visiting magazine media, to cover the society wedding of the year, in 1940's "The Philadelphia Story."

There are a number of clever, fun touches in The Philadelphia Story, thanks to screenwriter Stewart’s script and George Cukor’s smart, stylish directing. An example is that brilliant and brief setup, where Tracy and Dexter split up in the film’s opening scene on their front steps.

Love the opening scene of 1940's "The Philadelphia Story!"

Tracy Lord became a basic boilerplate of the type of women Hepburn would play in her best mid-career vehicles. Kate would play strong-minded women who by the finale, were softened by love. This was much like the character arc Rosalind Russell would play in her career woman roles. This would satisfy most mainstream audiences and the audiences who loved such spirited female stars could believe that transformation was just to appease her leading man’s character. Such was life on film in Hollywood’s golden age!

There’s a lot to like about the film adaptation of The Philadelphia Story, but you will love Katharine Hepburn at her leading lady best, adored by three co-stars!

I love this romantic shot of Grant's Dexter finding Hepburn's Tracy asleep in the car, after imbibing too much champagne, in 1940's "The Philadelphia Story."

Here’s Kate in her second outing with Spencer Tracy in a suspense drama, 1942’s Keeper of the Flame:

https://ricksrealreel.blogspot.com/2025/05/tracy-hepburn-team-in-rare-drama-keeper.html

And here is my look at Katharine Hepburn in her only villainous role, as Aunt Violet in Tennessee Williams’1959 Suddenly, Last Summer, with Elizabeth Taylor and Montgomery Clift:

https://ricksrealreel.blogspot.com/2018/03/suddenly-last-summer-1959.html

Hedy Lamarr, Judy Garland, and Lana Turner are a magnificent MGM trio in "Ziegfeld Girl."

Lana Turner proved to be a most worthy MGM star in "Ziegfeld Girl.”

From bit parts to “B” pictures, Lana Turner made her Hollywood climb to the top in just four years. Turner’s breakout year was 1941, in four films, starting with Ziegfeld Girl. Then Dr. Jekyll and Mr. Hyde was unleashed. Next came Lana’s first teaming with Clark Gable, Honky Tonk, one of her hugest hits. And last, another popular pairing, with Robert Taylor, in Johnny Eager. From then on, Lana Turner was a Movie Star. There were dramatic ups and downs, as with most MGM divas. Still, Lana remained a top leading lady through Madame X in 1966. A 25 year run is remarkable in Hollywood, especially for a woman.

Lana & Jimmy share a laugh on the set.

Ironically, Turner is fourth-billed, though her part is the biggest and juiciest. Jimmy Stewart got top billing as her boyfriend, as he just came off The Philadelphia Story. Co-stars Judy Garland and Hedy Lamarr both play noticeably smaller roles than Turner.

When Lana Turner was first signed by MGM, the plan was to make her “the next Harlow.” Jean had died suddenly at age 26, and Turner signed at Metro the next year in 1938, and stayed until 1956. In reality, Lana was groomed to be the next Joan Crawford, who would soon leave Metro after Turner became a star. MGM loved their “great ladies,” like Norma Shearer, Greer Garson, and Deborah Kerr. But Metro had their sexy stars that often played girls from the wrong side of the tracks, whose movies the public flocked to: Jean Harlow, Joan Crawford, and Lana Turner. Later, Elizabeth Taylor was a hybrid of both!

MGM's "3 Girls" movie!

Ziegfeld Girl is really the idealized world of MGM, rather than a tribute to Flo Ziegfeld’s reign on Broadway. Edward Everett Horton is the never seen Flo’s leg man, so to speak. They find perfect “All-American girls” everywhere. Here, Horton meets elevator operator Sheila Regan (Lana Turner) and gives her his card. Hedy Lamarr happens to be at a Ziegfeld audition for violinist husband. One look at lovely Lamarr and she’s hired. Judy Garland’s vaudeville singer Susan Gallagher actually has to get by on her talent! One trip to Flo’s office and he’s got tickets to her show. Show biz fame and fortune are just that easy in MGM’s world.

On opening night, director John Slayton (Paul Kelly) gives the new girls advice that sounds more like a disclaimer:

 “Listen, kids! I've got something important to say to you. Now, except for a couple of hardened veterans, you're all new to the big time. In a few minutes, you're going on in your first number. Do you know what that means? It means you're Ziegfeld girls. It means you're going to have all the opportunities of a lifetime crowded into a couple of hours. And all the temptations. Some of you are gonna wind up with your names in electric lights. Some of you are gonna wind up with a husband and kids. And some of you are gonna wind up—well, not so good. Now, I know what I'm talking about because I've seen all three happen. But, whatever it is, don't blame the Follies; because, it would've happened even if you were still where Mr. Ziegfeld found you. It just might have taken a little longer. So remember this, kids, and it comes straight from Mr. Ziegfeld: "The Follies is life in one stiff jolt, life running instead of walking, life speeded up to a mile a minute. But if you've got the right stuff, the pace won't bother you. And if you haven't, you'll come a cropper. It's strictly up to you."

Did Lana Turner think she was the property of MGM? My guess is NO!

The set up is a film favorite, “the three girls” story, straight from the “silents” through TV’s Charlie’s Angels and beyond. Each “girl” is usually an archetype: the smart one, the gorgeous one, and the tragic/bad one. Like most of this genre, the men are incidental at best, boring at worst.

Ziegfeld Girl’s story was considered clichéd even in ’41, but that didn’t stop Jacqueline Susann from borrowing from movies like this for her ’66 opus Valley of the Dolls—with yes, three dolls. Hedy Lamarr’s Sandra Kolter is an inspiration for VOTD’s Jennifer North, the beauty who prefers a happy home life. Lana Turner’s Sheila is a much nicer Neely O’Hara, the star who can’t handle fame. Ironically, Judy Garland is the sensible Anne Welles type, who just happens to be a great talent. It’s an eyebrow raiser, near the finale, when Lana’s showgirl drunkenly falls onstage, and Judy’s Susan wonders, “How could a girl do that to her career?”

Book learnin' was given lip service at MGM!

What’s amusing about the director’s lecture is that many of MGM’s great stars gave studio head Louis B. Mayer even greater headaches. Three of the biggest offenders star in this film! Between Turner, Lamarr, and Garland, the women totaled 19 marriages! In the “MGM family,” aside from multiple marriages, the stars’ scandals, mobsters ties, nude films, booze, pills, brushes with the law, suicide attempts, and closeted sexuality, all kept MGM enforcer Eddie Mannix busy for decades.

I’ve mostly seen Lana Turner’s later films, where Lana was often lacquered and posturing. But after watching Turner’s key MGM films, especially Ziegfeld Girl, one can easily see her appeal and Lana’s long hold on audiences. Turner is softly pretty, almost cherubic here. And Lana is certainly glam as she becomes a big showgirl for Flo Ziegfeld, despite being quite petite. Lana hadn’t gone platinum yet, hence her character gets called “Red,” or “Flatbush,” to remind us of Sheila’s humble origins. Every time I heard either name, I kept looking for Susan Hayward. In these rags to riches sagas, the story and the stars are more engaging on the way up, as opposed to the stardom, followed by—naturally—heartbreak!

Lana Turner as Sheila Regan, who rises from elevator operator to Ziegfeld showgirl!

Turner, considering her short time in films, plays most believably, and her Sheila has all the big dramatic scenes. Lana acts very well, even considering the acting style of the era, especially at Metro. Turner’s Sheila goes from sassy, energetic, good girl who loves her family to the big star who doesn’t want to travel back to the wrong side of the tracks. Sheila has her devoted but wise maid spritz the air with perfume above our sleeping beauty each morning. When the big star starts to “day” drink, Sheila brushes off Susan’s warnings (coming from Judy Garland!). She then slips into a bubble bath, in full hair and makeup, sporting an encrusted jewel bow in her hair. One scene that falls a bit flat, after Stewart’s Gil leaves in a huff, Lana’s unhappy star quizzes her maid about the number of her various valuables. When the maid asks what for, Lana shrieks dramatically, “I’m counting my blessings!”

Lana's lush of a star is about to take a bubble bath, looking like this!

Once Sheila hits the skids, Turner is surprisingly good as the slumming star. When she’s scrounging in dive bars for a drink, she reminded me of Lana’s latter day unlucky lady, Madame X. Of course, Lana’s final film walk down the stairs made film history for famous exits.

Lana's showgirl on the skids a rehearsal for "Madame X."

Lana Turner’s early movies make sense of her enduring stardom. Turner didn’t have the animal magnetism of Rita or Ava, the great humor of Lombard or Sheridan, the perfect beauty of Hedy or Liz, or the class of Gene Tierney or Grace Kelly. Lana Turner was more like a prettier, sexier Betty Grable. Lana was the All-American girl, but more sensual, feminine, and with an edge. As Turner’s early stardom evolved, she became a bit slimmer, a lot more blonde, and stylized into the Lana Turner sex bomb of The Postman Always Rings Twice, and beyond. Watching Turner in her younger years is to watch Lana at her most likeable.

Hedy Lamarr as a reluctant showgirl, here with Tony Martin, as a dull love interest.

Hedy Lamarr, who enjoys the revisionist reputation as “Hedy the inventor,” has one of her most naturalistic roles here. And while Lamarr’s part isn’t the longest, it’s refreshing to see her presented as a human being. I have mostly seen Lamarr in her exotic roles, as the stone-faced beauty bathed in lavish costumes and shadows, or as the fiery femme fatale. And I never found her particularly compelling in either persona. Lamarr didn’t have that innate talent, charisma, or fire to pull such roles off. That’s why her film career instantly evaporated after she left MGM. On a much smaller scale, Hedy is much more accessible as Ziegfeld Girl’s Sandra, the reluctant showgirl. She’s working for the money, honey, all to help her violinist husband. A bit like Dolls’ Jennifer, Lamarr’s Sandra conveys bemusement over her beauty and sincerity to her leading man and the other characters. Lamarr doesn’t have a riveting role here. But Hedy is believable and she holds her own just fine with Rose Hobart, as a crooner’s wife, in their confrontation. And aside from the showgirl scenes, Hedy is understated in her hair and makeup. Of course, Lamarr is a wow to look at in her “You Stepped Out of a Dream” number.

Hedy's Sandra the showgirl, in the aptly titled number, "You Stepped Out of a Dream."

As Susan Gallagher, Judy Garland handles humor and drama with surprising aplomb, considering she’s only 18. PS—Lana Turner was just 19 during filming! Judy’s young voice is heavenly here. Her version of “I’m Always Chasing Rainbows” is pure and deeply felt. After dropping the vaudeville take that Susan’s father rehearsed with her, Garland sings a simple, superb version. And it’s a cliché moment when everyone stops to listen to her, and when she’s finished, a star is born! You know what? Judy’s vocals are such a knockout here, that you’d stop in your tracks, too. I love the interplay between Judy and Lana in this scene, when Sheila asks the director to give Susan another chance, and then watches. You sense the camaraderie between the two young stars, and it’s sweet. The “Minnie from Trinidad” number is fun, but given the lightweight number, the elephantine production feels overbearing. And once again, MGM busts out the “tropical makeup” on their star!

Judy Garland in "Minnie From Trinidad." MGM gives a star the "tropical" makeup once again!

Despite top billing, James Stewart is stuck in a supporting part that any MGM second stringer could have played, like James Craig or Robert Sterling. If he’d come to Metro a bit sooner, John Hodiak would have been perfect. If they had, Metro could have treated the part accordingly, and a cut some minutes off this overlong musical. Coming off a string of hits since his big break through in ’39, this must have been a come down for Stewart. And Ziegfeld Girl would be Jimmy’s last movie at Metro, before he went off to war. As truck driver turned bootlegger Gil Young, Stewart is Sheila’s nagging conscience. While he is sore that she is kicking up her heels onstage and off, Gil’s solution is to become a bootlegger, which undercuts his moral high ground. Hey, this was a different, more overtly sexist era! While Stewart does what he can with the role, and it’s far more built up than the other male characters, John Garfield could have played this in his sleep.

The other men in the Ziegfeld girls’ lives include Philip Dorn and Tony Martin, vying over Lamarr. They are the violinist and married crooner, respectively, and the two performers don’t bring much to the paper thin parts. Jackie Cooper is in his male ingénue phase and he does well enough, as Lana’s brother who’s sweet on Judy’s singer. Ian Hunter is sincere as the sugar daddy who wants to marry Lana’s showgirl. Dan Dailey has a very early role as the boxer who hits on Turner’s Sheila, who brushes him off. He’s quite believably repellant, especially when he rubs Sheila’s nose in her downfall.

Star watching is a big reason to watch Ziegfeld Girl, here’s a few: Edward Everett Horton is always great fun as the wily talent scout; Charles Winninger gets a number of moments to shine as Judy’s vaudeville vet dad; Eve Arden is the wisecracking, veteran showgirl; and Felix Bressart as the violinist’s mentor.

MGM girls designed by Adrian. Glam or gaga?

Busby Berkeley’s choreography and Adrian’s costumes are both eye-popping, though in an over the top way. Berkeley’s contributions, while stunning, drag on to stupefaction. Speaking of drag, Adrian’s costumes are lavish, but so outlandish that they reminded me of a cross between Pee Wee’s Playhouse and Bob Mackie’s most extreme Cher wear. The tropical costumes especially are so literal, with the showgirls wearing sculpted flowers, fish, and sea shells, etc., that they look like Halloween costumes.

One look at Adrian's showgirl getups and you can see he was one of Bob Mackie's inspirations!

Robert Z. Leonard, one of Metro’s top studio directors, handles his cast well, and they perform their roles and bits of business winningly. The storytelling, however, drags as much as the musical numbers. Marguerite Roberts and Sonya Levien wrote the screenplay, which is very wisecracking, to the point of playing like an old movie parody.

Lana Turner makes a dramatic exit in "Ziegfeld Girl," one of her famous film moments!

Ultimately, Ziegfeld Girl is all about the MGM girls. Especially one—Miss Lana Turner. Was Lana a good actress? Turner’s reputation seems to be shifting toward the revisionist territory of being heralded as an unsung great actress, much like Joan Crawford. Like Joan, no one ever doubted that Lana was a great star. That in itself is an achievement, especially as such an enduring star. The few times that Lana was called upon to do some real acting, I think Lana acquitted herself quite well. As for most of her films, Lana played the movie star persona perfectly.

Check out my take on one of Lana’s latter day hit, Imitation of Life: https://ricksrealreel.blogspot.com/2017/12/imitation-of-life-1959.html

Here’s a tribute I wrote about Judy on the 50^th anniversary of her passing:

https://ricksrealreel.blogspot.com/2019/06/what-if-judy-garland-hadnt-gone-over.html

And here’s my look at Hedy Lamarr’s last film, The Female Animal:

https://ricksrealreel.blogspot.com/2019/06/hedys-last-hurrah-as-female-animal-1958.html

FYI: I put all the movie overflow on my public FB  movie page.

Check it out & join!  https://www.facebook.com/groups/178488909366865/

The billing doesn't jive with size of the stars' roles--that's show biz

Rope: Farley Granger, James Stewart, and John Dall makes small talk about murder.

Rope is one of those films that was regarded as a disappointment upon release, but now has many fans who sing its revisionist praises.

This was Alfred Hitchcock’s grand experiment to create a cinematic effort that looked seamless, with no obvious cuts. What the cast and crew of Rope had to go through to achieve single takes that were about 10 minutes long was arduous, to say the least. It’s been discussed to the point of obsession, so I’ll only say that the end result looks like a beautifully filmed play. Rope actually was a Broadway drama, by the playwright of Gaslight, which ironically, movie fans often mistake the film version as Hitchcock’s work.

(R) Alfred Hitchcock, with his 'Rope' cast, on the film's only set.

Rope is the sum of very extreme parts, so I’ll focus on the positives of this film first. This was Hitchcock’s first film in color, and it’s very subtle for a ‘40s movie, when the creator of Technicolor’s wife—and “advisor”—Natalie Kalmus always wanted color to pop from the screen. The color, lighting, and cinematography are beautiful, but not in the showy studio era way.

Hitchcock creates his customary mood of suspense. The premise is grisly, but the execution is mild, reminding me of Night Must Fall, with the charming killer who kept a head in a hat box. The tension doesn’t come from the murder, but whether the pair will get away with the deed. Rope riffs on the Leopold/Loeb murder case as an inspiration, as Brandon (John Dall) and (Philip) Farley Granger kill for thrills and to prove their superiority.

John Dall and Farley Granger with their title co-star, who gives a more genuinely taut performance than either of them!

They kill a fellow student they deem as inferior and hide the body in a trunk. The macabre kicker is they proceed to host a small dinner party, with the buffet served atop the trunk! The film happens in “real time”—for a movie, that is. Except for the opening, the entire film takes place in the murderers’ apartment. Obviously, these young college grads are rich, as their apartment is resplendent, and they aren’t exactly serving hotdogs and beer. The lavish skylight backdrop, while obviously artificial by today’s standards, is quite beautiful, and I found myself staring at it during the film’s dull patches.

The 'Rope' set got the best reviews upon its release.

Since the killers invited the victim’s father and fiancee to the party, tensions arise as to his whereabouts, as he was also expected as a guest. And once the mentor to the young men arrives, it becomes a cat and mouse game as to whether they can fool him, or if he will catch them in their web of lies.

As the "buffet" is cleared, the body is hiding in plain sight.

Rope is a more cerebral suspense film for Hitchcock, and perhaps disappoints fans who remember the movies that made his reputation in the ‘40s, or his spectaculars of the post-war era. For suspense lovers, the premise is still intriguing, and the execution is expertly smooth.

Rope's play-like presentation isn't helped by staging like this.

However, where Rope slacks is in the dialogue, the characters, and the key performances of the killers. Arthur Laurents, who was gay, wrote the screenplay and makes it clear that the two men are a couple, as Leopold and Loeb were said to be. But I feel Hitch’s influence on the story, both good and bad. The good is the subtle suspense. The bad is the occasional heavy-handed attempts at humor, as when the guests are trying to remember the name of a film they’ve just seen—Hitch’s Notorious.

'Rope's' John Dall and Farley Granger compete in a cinematic jaw-jutting contest.

The two leads are twisted villains and are played by two actors with no depth, charisma, or empathy. It’s a trick to play the star villain and at least make the audience want to understand you. Though John Dall and Farley Granger were both gay, like Brandon and Philip, they still aren’t up to the task. While Dall grandly overacts and makes as many faces as Farley, Granger does his hurt puppy dog routine, jutting his jaw to make his pout even more pronounced. The theatrical acting is from another era at its worst, because there were up and coming young actors who represented a more natural style of acting. Granger, to his credit, tried to expand his range and experience throughout his long career. Much like Richard Chamberlain, Farley was a teen idol first, known for his gorgeous looks, and later broke away from that mantle. As for the affected Dall, his film career ended quickly, for several speculated reasons, and his reputation rests mainly on two cult classics, Rope and Gun Crazy.

Farley Granger and his two go-to acting expressions: pouting & hurt puppy dog eyes.

Frankly, most of Rope’s cast doesn’t fare any better. They are archetypes, performed archly, with the kind of “smart” movie talk that I can’t abide. The New Yorker’s critic hit the nail on the head way back in ’48: "In addition to the fact that it has little or no movement, Rope is handicapped by some of the most relentlessly arch dialogue you ever heard."

Joan Chandler and Cedric Hardwicke give 'Rope's' most empathetic performances.

Constance Collier as the “colorful” party guest and Edith Evanson as the busybody maid are mildly amusing clichés. Douglas Dick is bland as the ex-boyfriend of the female lead. Dick Hogan as the victim, David, retired after this film—no comment! The notable exceptions are Cedric Hardwicke as David’s father, who underplays the worried dad, with genuine heart. Joan Chandler, whose brief career included playing John Garfield’s sweetheart in Humoresque, manages to convey a real person despite the overbearing dialogue. Finally, James Stewart is a rock as the college creeps’ former professor, for whom they seem to have a love/hate relationship. While Stewart was miscast as the sophisticated intellect, this is probably one of the last movies where Stewart seriously tones down his folksy “Jimmy” persona. And he’s really a supporting player, coming in midway into the action. That favor to Hitchcock paid off, when Stewart did three great Hitchcock movies with him in the ‘50s: Rear Window, The Man Who Knew Too Much, and Vertigo.

James Stewart is the murderers' one-time mentor, who should have skipped this soiree.

What’s irritating about Rope is that the two leads go to a great deal of trouble to lure their victim, kill him, and then in an act of bravado, hide his body in a trunk, and serve their guests from a buffet on that trunk. They then act like a couple of basket cases the moment the deed is done. Dall’s character sneers and postures, while Granger is as jumpy as an oversensitive cat. Genius professor Stewart is on to them from the get go—and he must a genius to guess that his hosts murdered someone and then hid the body beneath the dinner spread, right? I also found Stewart’s Rupert berating the bad boys for taking his “superman” superiority talk so literally, it feels like a cop out, given his earlier jibes about murder.

There’s a dualistic feel about Rope: from a technical and storytelling standpoint, it’s tense and taut; but the artificial acting and dialogue alienate one to the point of stupefaction.

John Dall & Farley Granger posture in profile, in 'Rope.'

Here’s my other takes on Alfred Hitchcock movies:

One of my fave fun Hitch films, NBNW: https://ricksrealreel.blogspot.com/2020/08/north-by-northwest-1959.html

A tribute to Hitchcock blonde Eva Marie Saint: https://ricksrealreel.blogspot.com/2019/07/eva-marie-saint-secret-weapon-of-north.html

A perfect Hitchcock picture, Rear Window: https://ricksrealreel.blogspot.com/2017/06/hitchcocks-rear-window-still-thrills.html

One of Hitch’s most controversial, Marnie: https://ricksrealreel.blogspot.com/2017/02/hitchcocks-marnie-misunderstood.html

 FYI: I put all the movie overflow on my public FB  movie page. 

Check it out & join!  https://www.facebook.com/groups/178488909366865/