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Posts Tagged ‘1940s Hollywood’

John Huston’s Lost Film – In This Our Life (1942)

Wednesday, November 12th, 2014

In This Our Life is John Huston’s forgotten film — click here, or on the image above, to see the trailer.

. . . and it doesn’t deserve to be. Though star Bette Davis was critical of the project from the outset, and caused all sorts of problems during production, and even more problems when Huston had to leave to serve during World War II, and the gifted Raoul Walsh took over to finish the film, In This Our Life is a brutally corrosive look at American society in the early 1940s, about the things that power and money can buy, about race relations in the United States during the era, and affords all the stars of the film a chance to do something more than make a conventional melodrama – something Warner Bros. excelled at during the era.

But with its hints of incest, frank references to racial prejudice, the unexpected suicide of a major character, and a fatal hit and run accident added to the mix, In This Our Life showed that behind the placid exterior of the white picket fence houses of the rich there lurked a world of almost complete moral corruption, highlighted only by a few bright spots of decency that pop up with distressing infrequency.

Needless to say, the film didn’t get the critical attention it deserved when first released, and Bette Davis’s public bad-mouthing of the film also did little to help its then-contemporary reputation, but with the passing of more than seven decades, it’s clear that this film has much to say about the time in which it was made – more so than Huston’s other slick entertainments of the period, especially his first film, the crowd pleasing and utter unoffensive detective thriller The Maltese Falcon (1941).

Don’t get me wrong; The Maltese Falcon is a stunning directorial debut, but it’s really more of an escapist puzzle than anything else – an above average mystery with superb performances all around. In This Our Life is something much more – a study of a family and of society in collapse, undone not only by the dissembling of Davis’s scheming central character, but also the weakness of the film’s more thoughtful protagonists, who nevertheless fail to act until it is almost too late.

As TCM notes of the film, “Ellen Glasgow’s novel won the 1942 Pulitzer Prize for Literature. According to a Los Angeles Examiner news item dated February 27, 1941, the studio paid $40,000 for rights to the novel. A February 27, 1941 Hollywood Reporter news item adds that the film was to star Olivia De Havilland and Errol Flynn. Warner Bros. was named to the Honor Roll of Race Relations of 1942 for making this film because of its dignified portrayal of an African-American, although, according to a September 8, 1942 Hollywood Reporter news item, Warner Bros. cut scenes which treated Ernest Anderson’s character [who is framed in the film for a hit and run accident he had absolutely nothing to do with] in a ‘friendly fashion’ in order to avoid offending viewers in the South.

In 1943, when the film was examined by the Office of Censorship in Washington, D.C. prior to general export, it was disapproved because ‘only by the effort of a conscientious white man in whose law office a Negro boy is studying law is the young man saved from a charge of murder…recklessly made by a white woman….[who] claimed that the Negro and not she, was driving the car at the time of the accident and so strong is the race feeling in this Virginia community that the young Negro was practically condemned in advance. It is made abundantly clear that a Negro’s testimony in court is almost certain to be disregarded if in conflict with the testimony of a white person.’ Actor Walter Huston, director John Huston’s father, appears briefly in the film in a cameo role as a bartender.”

With its brutally frank commentary on the sad state of racial inequality in the United States, especially in the South, the film was bound to cause a good deal of trouble. It seems to me that even today, people are more than willing to sweep it under the rug, and favor Huston’s more frankly commercial efforts, such as Key Largo or even The Treasure of the Sierra Madre (both 1948) – again, excellent films, but productions that are much more frankly genre efforts.

But here, as in Sam Wood’s similarly themed indictment of small town American society, King’s Row (1942) – though that film takes place in the 19th century – the foremost concern is social commentary, on both the personal and larger level. Everything about the world that In This Our Life inhabits is wrong from the start, and suggests that there was a corrosive cancer in American society that was about to burst into full view in the postwar era – something that we’re still contending with now, albeit on a much larger scale. Yet In This Our Life is almost never singled out in retrospectives of the director’s career – which is a shame. It’s a strong, honest piece of work.

In This Our Life deserves to be much more widely seen and appreciated – it really is John Huston’s lost film.

The Search for Legendary Los Angeles P.I. Samuel Marlowe

Saturday, November 1st, 2014

Daniel Miller of the Los Angeles Times has an amazing story: the saga of the first African-American Hollywood private eye, Samuel Marlowe.

As Daniel Miller wrote tn the Los Angeles Times today,I spent more than a year reporting the story of Samuel Marlowe, the man who may have been Los Angeles’ first licensed black private detective. Family members and a dogged screenwriter believe he also knew noir writers Raymond Chandler and Dashiell Hammett, and corresponded with them regularly. If Marlowe’s connection to the authors could be verified, he’d belong in history books. But like so many characters out of L.A. noir, he remains cloaked in mystery, his exploits partly unverifiable.

To get the story, I interviewed dozens of people — from Marlowe’s great-grandsons to scholars of Chandler and Hammett. I combed archives and canvassed South L.A. properties. Along the way, screenwriter Louise Ransil, who has penned a script about Marlowe, provided her own insight into the PI’s life. Ransil said that after Marlowe died, his son gave her access to the private detective’s files — but they have since gone missing. In a conversation about the reporting of the story, Ransil shared her thoughts on the private eye who called himself the ‘Answer Man,’ and the hunt to find his lost letters.

You can read the rest of this fascinating story by clicking here; to see a video, click on the image above.

Her Sister’s Secret (1946) – A Forgotten Feminist Classic

Wednesday, October 22nd, 2014

Margaret Lindsay and Nancy Coleman in Edgar G. Ulmer’s Her Sister’s Secret (1946)

As the Laura Grieve wrote on her excellent website Laura’s Miscellaneous Musings a few days ago, “Her Sister’s Secret is fairly unusual for the mid ’40s insofar as it deals at length with unwed pregnancy. There were other films made on this topic in that era, such as To Each His Own (1946), but it was still fairly daring subject matter for the Production Code era. Anne Green’s screenplay was loosely based on a novel by Gina Kaus titled Dark Angel. The title of the film has a double meaning, referring to one sister’s secret pregnancy and the other’s secret adoption of the baby.

Toni DuBois (Nancy Coleman) falls in love with soldier Dick Connolly (Phillip Reed) during a WWII-era Mardi Gras celebration in New Orleans, but when he ships out and they lose contact she finds herself in a desperate situation, alone, unmarried, and pregnant. Toni’s sister Renee (Margaret Lindsay) is happily married to Bill (Regis Toomey), but they are sadly childless. While Bill is away on military service, Toni secretly gives birth, and the sisters agree to pass the baby off as Renee’s. Bill is told that little Billy (Winston Severn) is his son, although it eventually turns out that the kindly man isn’t quite as unobservant as the sisters believe.

After giving the baby to Renee Toni stays away for an extended period, but as time passes she can’t resist the chance to see the child, triggering territorial conflict with Renee. And when Dick unexpectedly reenters the picture, things become even more complicated. Her Sister’s Secret has many positive attributes, including fine performances and gleaming black and white photography by Franz (Frank) Planer. The film has a great sense of mood, whether the setting is a masked party in New Orleans or a comfortable apartment in New York. Coleman and Lindsay are always very watchable actresses, and this film is no exception. The movie also offers a small but attractive role for Regis Toomey as the likeable Bill.

As Jan-Christopher Horak of the UCLA Film & Television Archive wrote of the film, in Noah Isenberg’s book Edgar G. Ulmer: A Filmmaker at the Margins, ‘for a B-picture, the film demonstrated an unusual sensitivity for the complexity of human emotions, for the giddiness of great love affairs, for the difficulty of motherhood, and for the barely repressed jealousy between siblings.’ The film is considered by some critics to anticipate Douglas Sirk’s 1950s melodramas, such as Written on the Wind (1956).”

About ten years ago, I was given a 16mm print of this film for a birthday present, and I wholeheartedly agree with Laura’s assessment; this is a stunningly beautiful piece or work. For a six day picture shot at the lowest of all Hollywood studios, PRC, the film is not only stylish, but also deeply perceptive, and much more forthright about the position of women during the 1940s, and the social pressures that they faced in their everyday lives. Indeed, the scenario of the film is so progressive that it’s a wonder that the MPAA didn’t step in and censor the film. Her Sister’s Secret is seldom mentioned in conventional film histories, but in many ways, it’s one of the most important films of the era; a film that told the truth in an era of evasions.

The film is now in the Public Domain, but DVDs of it can be found on the web; you can also see it on TCM from time to time.

The Most Prolific Director in American Film History

Thursday, September 18th, 2014

This unassuming man made more films during the classical Hollywood era than any other director.

As I wrote about Sam Newfield a number of years ago in Senses of Cinema, “Sam Newfield is, in all probability, the most prolific director in American sound-film history, but very little archival material survives on his career. The director of more than 250 feature films, as well as numerous shorts and television series episodes, in a career that spanned four decades, from 1923 to 1958, Newfield leaves behind him only his work on the set; next to nothing is known of his personal life. However, using conversations with Sigmund Neufeld, Jr., and Stanley Neufeld, the sons of Sam Newfield (born Neufeld)’s brother Sigmund Neufeld (all quotes from them in this essay are from these interviews), as well as materials from the Margaret Herrick Library of the Academy of Motion Picture Arts and Sciences in Los Angeles, I was able to piece together a rough sketch of the man behind such a torrential output of work.

Comedies, musicals, westerns, horror films, jungle pictures, crime dramas, espionage thrillers – Sam Newfield did them all, often on budgets of less than $20,000 per feature, and shooting schedules of as little as three days. But, as Martin Scorsese notes, watching Newfield’s work is hard, because he often seems absolutely detached from the images that appear on the screen, as if he is an observer rather than a participant. Then, too, the conditions of extreme economy that Newfield labored under created a pressure-cooker environment in which the ultimate goal of all his films was simply to get them done on time and under budget. Nevertheless, as arguably the most prolific auteur in American motion-picture history, Newfield deserves mention and brief examination as one of the key ’second-rung’ directors of 1940s Hollywood, Newfield’s most productive era.”

Since then, Neil Roughley has compiled a staggeringly complete filmography; check it out here.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or wdixon1@unl.edu. Visit him at his website wheelerwinstondixon.com.

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