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Posts Tagged ‘Clark Gable’

William Wellman’s Night Nurse (1931)

Friday, February 19th, 2016

Clark Gable and Barbara Stanwyck in William Wellman’s brutal Pre-Code drama Night Nurse.

I have a new essay out on this remarkable film in Senses of Cinema, which notes in part that “there are precious few ‘ethics’ on display in William Wellman’s brief and brutal film Night Nurse, a bluntly titled and efficiently directed Pre-Code film from Warner Bros., a studio that specialized in hard boiled melodramas with a social message in the early 1930s. Wellman and star Barbara Stanwyck would make five films together, and in this, their first outing, it’s clear that Stanwyck’s innate toughness as a performer, coupled with her unrelenting work ethic, found favor with Wellman, who was a very tough customer himself.

Known for carrying a loaded gun on the set, and occasionally threatening actors with it if he felt they were sloughing off on the job (as he did with Ronald Colman in his 1939 film The Light That Failed, when Colman deliberately fluffed his lines during a key scene due to a disagreement with Wellman over casting), Wellman knew exactly what he wanted when he walked on the set each morning, and usually got the results in one or two takes.

This was just fine with Stanwyck, who was known as a ‘one take wonder,’ capable of memorizing pages of dialogue at the last minute, and then delivering the results in one flawless take after another, and delighted Wellman. He was almost as much of a speed demon on the set as MGM’s W.S. Van Dyke, another rough and ready director who famously shot the hit film The Thin Man in a mere 12 days.

For above everything else, Warner’s in the early 1930s was a factory, pumping out films at the rate of one a week to keep pace with the insatiable demand of Depression era audiences for something – anything – to take their minds off the crushing burden of the nationwide financial collapse.

Films such as Wellman’s Public Enemy (1931), Mervyn LeRoy’s Little Caesar (1930), Roy Del Ruth’s Blonde Crazy (1931), and Alfred E. Green’s Smart Money (1931) set the tone and pace for a series of films that moved with breakneck speed in their narrative thrust, and dealt matter of factly with Prohibition (and the complete failure of that ‘great experiment’), murder, rape, drug addiction, alcoholism, prostitution and a host of other social ills, pulling no punches in the process.”

You can read the rest of the essay by clicking here, or on the image above; this is a real gem.

Coo-Coo Nut Grove (1936)

Friday, February 3rd, 2012

Click here, or on the image above, to see Coo-Coo Nut Grove (1936).

Here’s a classic Warner Bros. cartoon from 1936 which has long been a favorite of mine; not so much for the humor, but for the parade of Hollywood caricatures that populate the film. The person who originally posted this on YouTube helpfully provided this list of the stars depicted in the cartoon, many of which will probably be unrecognizable to contemporary viewers. Here it is:

“At 0:53 – Ben Bernie; 1:11 – Walter Winchell; 1:29 – Hugh Herbert; 1:34 – WC Fields & Katharine Hepburn ;1:45 – Ned Sparks; 1:50 – Johnny Weissmuller & Lupe Velez; 2:04 – John Barrymore; 2:18 – Harpo Marx; 2:50 – George Arliss & Mae West dancing; 3:10 – Laurel and Hardy; 3:22 – Edna Mae Oliver; 3:33 – Clark Gable; 3:41 – Gary Cooper; 4:01 – The Dionne Quintuplets; 4:51 – Groucho and Harpo Marx; 5:00 – Helen Morgan, a famous torch singer of the period; 5:18 – Wallace Beery; 5:59 – Edward G. Robinson & George Raft.” Directed by Isidore “Friz” Freling, with animation by Robert McKimson and Sandy Walker, and music arranged and conducted by Carl Stalling.

It’s a sweet reminder of a Hollywood long since past.

Classic Cinema: Red Dust

Monday, August 1st, 2011

Red Dust (1932), a steamy melodrama set on a run-down colonial Indochinese (now Vietnamese) rubber plantation, is the film that made both Jean Harlow and Clark Gable stars of the first rank, after both had been working in films for several years with modest but not major success. Directed by Victor Fleming, Red Dust was shot on a large set that convincingly depicted the day-to-day activities of the plantation, which Gable, as Dennis Carson, rules with an iron hand.

Bored and angry at the ineptitude of his drunken assistant, Guidon (Donald Crisp), Carson is in no mood for company when prostitute Vantine Jefferson (Jean Harlow) unexpectedly arrives on a riverboat, on the run from the law, looking for a place to hide out for a while until things quiet down. Gable reluctantly gives her a room, but when Barbara and Garry Willis (Gene Raymond and Mary Astor) arrive to help Dennis bring the plantation back up to speed, things become complicated.

Barbara is initially repulsed by Dennis and the rustic surroundings she must endure; but when Dennis is stricken with malaria, Dennis sees him through it with quinine and his primitive skills as a doctor, winning Barbara’s admiration, and Garry’s dog-like devotion. But more is going on; Barbara is falling for Dennis, who tries to push her away, but eventually gives in to her advances. Garry, young and ambitious, is also remarkable naïve, and fails to see what’s happening right in front of his nose, but Vantine soon sizes up the situation, and makes a play for Dennis herself.

In the film’s climax, Dennis tells Barbara that her place is with Dennis, a “decent guy,” and that he is “no good” for her. Outraged, Barbara shoots Dennis, wounding him seriously. Barbara and Garry leave, with Garry outraged that a man whom he idolized has made love his wife. Vantine nurses Dennis back to health, and the film ends with Dennis and Vantine still on the plantation, very much in love, and looking forward to their future.

The film is unusual for a number of reasons. For a MGM film, it is remarkably frank in its sexuality, which is due in part to the fact that it was produced before the production code of 1934 took effect, but also to John Lee Mahin and Donald Ogden Stewart’s crisp, pungent dialogue. Then, too, it was a “problem” film that has been kicking around for a while with several unsatisfactory scripts, until Mahin and Stewart successfully tackled the project.

Fleming’s direction wrings every ounce of atmosphere out of Cedric Gibbons’ steamy sets, and the cinematography of Harold Rosson and Arthur Edeson, who suffuse the film with a soft-focus, romantic blur. Fleming, who would go on to be the principal director of both Gone With the Wind and The Wizard of Oz, shrewdly used Red Dust to boost his reputation; the film was thus a crucial turning point for the career of not only it’s two main stars, but also its young director.

About the Author

Headshot of 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. All comments by Dixon on this blog are his own opinions.

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