Classic Film Review: Double Dynamite (1951)

Double Dynamite stars Frank Sinatra as bank teller Johnny Dalton who desperately wants to marry Mildred 'Mibs' Goodhue (Jane Russell). Unfortunately, he believes they can't afford it and Mibs storms off. On his way back to work Johnny stops a bookie being beat up by his rivals. The bookie rewards him by putting some money on a horse for him and soon Johnny finds himself with more money than he could possibly dream of. However, when he gets back to the bank he learns they've discovered a shortfall in the accounts and he'll be prime suspect, unable to prove he got the money from the bookie. He turns to his friend Emile J. Keck (Groucho Marx) for help but it all gets very messy.

Frank Sinatra's at his wholesome stage here, playing the same kind of role he played in Anchors Aweigh (1945) and On the Town (1949) (incidentally, this one was filmed in 1948 but held back from release). He plays the uncertain and anxious Johnny well enough, particularly when he's bouncing off Marx as Emile. Marx himself is excellent, stealing every scene.

My problem, surprisingly, was with Jane Russell. She was completely miscast. The character was weak and soppy for the most part without the attitude and humour I associate with Russell roles. She might've been billed first but it's easy to see this was a Sinatra vehicle and Russell didn't have much to get her teeth into until the last fifteen minutes or so.

The plot itself is flimsy and it only contains two songs but 'Kisses and Tears', the duet between Sinatra and Russell (see below) is quite good. Without the presence of Groucho Marx, though, I suspect this film would be much less enjoyable than it is.

Classic Film Review: The Outlaw (1943)

The Outlaw stars Jack Buetel as Billy the Kid. He arrives in a New Mexico town with a horse stolen from Doc Holliday (Walter Huston). Holliday is intrigued by Billy, taking sides with him over his old friend and new town sheriff, Pat Garrett (Thomas Mitchell). When Billy is injured, Doc takes him to Rio McDonald's (Jane Russell) home to keep him safe. Although romantically involved with Doc, Rio falls for Billy and what follows is a steady build-up of tension between the four main characters.

This film is notably mostly for being the first appearance of Jane Russell on film. It's not a stunning debut but it is a good promise of what's to come. For the most part, Rio is a bland character, won round to loving Billy despite him killing someone she loves. The stronger aspects of her characters shine through before she falls for Billy. Similarly, Jack Buetel is better when paired with Walter Huston instead of Russell.

The interest for me came in the battle between friends Holliday and Garrett. Although Garrett is interested in catching Billy the Kid on a professional level, he also feels betrayed by Holliday siding with Billy against him. This tension sustains the narrative, even though in parts the film drags.

It relies on stereotypes and typical genre tropes and the attempts to make Russell an instant sex symbol are alarming at times. There is one particular close-up of her lips which comes across as more comical than alluring. However, as her first film it remains interesting and the fraught relationship between Holliday and Garrett gives the plot a boost that the Billy the Kid aspect alone could not achieve.

Classic Film Review: The French Line (1953)

The French Line stars Jane Russell as Mame Carson, a millionaire who's just been dumped by her fiancée for being too rich. Under the advice of partner Waco (Arthur Hunnicutt), she takes her honeymoon trip alone and incognito, persuading someone else to take on her name so she can find a man who falls in her with her and not her fortune. Unfortunately, Waco has paid Pierre DuQuesne (Gilbert Roland) to keep an eye on Mame on board. While keeping an eye on who he thinks is Mame, Pierre falls in love with the real deal but the situation gets even more complicated.

This lacklustre film is saved from complete mediocrity by Jane Russell and Mary McCarty who plays her friend Annie Farrell. The songs are fairly forgettable, one exception being their joint number, 'Any Gal From Texas', and the rest of the cast is uninspiring. The plot is very convoluted and there is absolutely no chemistry between Russell and Roland. In fact, his character comes across as one of the most slimy, irritating love interests I've ever seen.

That's not to say The French Line has no redeeming features. There are some amusing scenes, most notably when Pierre gets Mame drunk under the guise of curing her seasickness although, again, the best part of this sequence is when she goes back to her room and sings to Annie about it. The film relies too much on its own credentials: it was Russell's follow-up to Gentlemen Prefer Blondes (1953), is also set on a ship crossing to France, involves two women and a bit of a conspiracy and has a screenplay written by the niece of the writer Anita Loos (whose story Gentlemen Prefer Blondes was based on). It essentially tries to live up to its predecessor but without the power of Marilyn Monroe, Charles Coburn or a decent script and set of songs.

I enjoyed parts of the film because there's no stopping my Jane Russell adoration. But, on the whole, it's a lacklustre piece that doesn't have as many laughs as I thought it would.

Classic Film Review: Son of Paleface (1952)

Son of Paleface is the sequel to The Paleface (1948), which I haven't yet seen. Still, it's not compulsory to have seen the first one to thoroughly enjoy the second.

Bob Hope plays the title character, a hapless Harvard graduate who travels to the Wild West to collect his father's fortune. Unfortunately, he can't seem to find it and his father's creditors are literally breaking down the doors to get to him. Elsewhere in town, Roy Barton (Roy Rogers) and his horse Trigger have arrived to track down the culprit for a recent spate of gold thefts in the area. The criminal is none other than Mike (Jane Russell), who has set her sights on the fortune she thinks Peter Potter Junior has. Oh, and there are Indians with a grudge against him too.

This is an hilarious film. It spoofs all the main aspects of Westerns but lovingly, and it doesn't skimp on the laughs. Hope is fantastic but, for me, Russell steals every scene she's in from the bandit scenes to the seductive dance number 'Wing Ding Tonight'. She and Hope bounce off each other extremely well, especially with their little duet reprise of the same song where she's in the bath and he's trying to peek through the keyhole. However, my favourite scene is definitely the shaving scene in the derelict hotel where they sing 'Am I In Love?' together. Russell is at her most witty and gorgeous in this film, no question about it.

With all my attention on Hope and Russell, I almost disregarded Rogers and Trigger entirely, although the scene where Peter Potter Junior and Trigger fight over bed covers is quite amusing. There are too many good scenes in this one to describe but they all add up to a fabulous comedy that showcases Hope and Russell perfectly.

Classic Film Review: The Las Vegas Story (1952)

The Las Vegas Story stars Jane Russell as ex-singer Linda Rollins who is hoping to pass through Las Vegas without stopping. Her husband, Lloyd Rollins (Vincent Price), insists on stopping off for a little gambling. Linda is apprehensive about facing her past, particularly the Last Chance, a casino she used to work in as a singer alongside pianist Happy (Hoagy Carmichael). That was where she was watched night after night by Dave Andrews (Victor Mature), now a lieutenant in the local police force. At the centre of the film is an expensive necklace given to Linda by her husband. Since he's in financial trouble, the insurance company has sent an agent, Tom Hubler (Brad Dexter), to make sure Rollins doesn't dispose of it. When a man turns up dead Lloyd Rollins is implicated and the necklace is missing.

If the plot sounds complex that's because it is, although it's much easier to watch than to explain. While Price and Russell seem like an odd pairing, as soon as it becomes clear that there's far more to enjoy in the Russell/Mature dynamic this becomes almost irrelevant. Hoagy Carmichael's supporting role is a rather bizarre one, particularly when he launches into 'The Monkey Song', a piece that has to be seen to be believed. The other two songs are performed with typical sultriness by Russell and I have no complaints on that score. There was an obvious decision to focus the camera on her as much as possible throughout and, for me, that's what made it enjoyable. 

The middle of the film sags a little. By the time the murder has actually happened, I was a little tired of waiting for it but there was a lot to set up beforehand. There are a few notable scenes, the best by far being the helicopter/car chase towards the end of the film. I don't know how that was managed in 1952 but it was excellent to watch. However, as an ardent Jane Russell fan, I have to include a scene of hers in this review (and not the shower scene) so I'd have to go with the scene where she walks into the Last Chance again for the first time and is hit with her memories. Wonderfully played by Russell. 

This isn't a fantastic film by any stretch but it's a good one. Victor Mature is ideal as Lt. Dave Andrews and Jane Russell doesn't take herself too seriously. A nice film of its time. 

Classic Film Review: His Kind of Woman (1951)

Starring Robert Mitchum, Jane Russell and Vincent Price, His Kind of Woman attempts to be a spoof of several genres but, for me, it didn't exactly succeed. Drifter and professional gambler Dan Milner (Mitchum) has been earmarked as a way of getting a deported crime boss back into the country. He is bribed to go to a holiday resort and await instructions. En-route, he meets Lenore Brent (Russell), a former singer going around telling people she is a millionaire as she tries to hook in her actor boyfriend Mark Cardigan (Price). She believed he was getting a divorce but that illusion soon vanishes when his wife turns up. Of course, by this time she's become more than interested in Dan.

Perhaps my main issue with this film was how much the first two thirds dragged. I struggle with Mitchum as an actor anyway but being expected to care about his for well over an hour when very little was actually happening to him was difficult. Jane Russell, of course, made up for this in part. She's a joy to watch and listen to as she sings 'Five Little Miles From San Berdoo' (see below). Both she and Price seem to know exactly what they're starring in while Mitchum's impassiveness is unhelpful. You shouldn't care more about the secondary hero than the main one but I found myself frequently rooting for Mark Cardigan over Dan Milner.

The film really comes alive in the final third when Mark decides to stage a rescue to get Dan Milner off the ship where the crime boss plans to - quite literally - steal his face. Quoting Shakespeare, dressing himself in a cape, leading hapless police into battle, Price is absolutely hilarious. There's a moment where he overloads a boat to the extent that it sinks which is possibly the best moment in the film. The comedy of the hammy actor adds speed to a film that sadly lacked it until this point. I suppose it's tolerable if you're a Robert Mitchum fan but there's too much going on - in a rather boring way - to interest me. I'd watch this again for Russell and Price but I'd probably fast-forward through the first half at least.

Eve Arden & Me

Although I'm a relative novice when it comes to Eve Arden's films (I've only seen five to date), I've recently encountered her in two small roles that utilised the best of her caustic wit and damning facial expressions. Ziegfield Girl (1941) and Stage Door (1937) are pretty good films, even if you take away Arden's contributions, but she's the actress who makes them as far as I'm concerned. Not bad for a woman who invariably played the side-kick in Hollywood movies.

Why do I love Eve? Well, I have a great affection for sarcastic women in films. Think of the wonderful Jane Russell in Gentlemen Prefer Blondes (1953) or Virginia O'Brien's underrated role in The Harvey Girls (1946). Bea Arthur stole my heart in the television series The Golden Girls (1985-92) for the simple reason that her outlook matched my own - even at a very young age. Sometimes the world is just so stupid that you need characters played by these wonderful actresses to point it out. But there's something else these roles (and those portrayed by Eve) have in common: the characters have a underbelly of emotion that they release to those that matter when it matters. I'm talking about Dorothy Shaw's (Russell) affection for her friend in Gentlemen Prefer Blondes, whom she would defend to the hilt in spite of her flaws. I'm referring to Dorothy Zbornak's mask slipping as she confronts the potential loss of her mother in series one of The Golden Girls. And in The Harvey Girls, Alma helps out her new friend the blacksmith, giving rise to one of my favourite songs (see clip below). As for Eve Arden, her role as Eve in Stage Door was full of sarcasm until she felt compelled to comfort her friend, played by Andrea Leeds, who had just lost out on a part. These characters are fully-functioning human beings but they like to cover it up with a barrage of sarcasm. That's me all over.

Like many people, my first exposure to Eve Arden was in her role as Principal McGee in Grease (1978). But since then I've seen Cover Girl (1944) and Tea for Two (1950). It was the latter with Doris Day that beguiled me. What's not to like about a smart-talking, strong-willed female?

RIP Jane Russell

Another sad day; another announcement of the loss of a great entertainer.

I absolutely adore Gentlemen Prefer Blondes. It's definitely on my list of top films, and that's mainly down to Jane. I don't think it's a secret that I prefer the sarcastic and caustic characters. Throw in a beautiful actress, a smoky voice, and some amusing scenes alongside Marilyn Monroe and you've got a hit on your hands. When we lost Rue McClanahan last year I counted down my favourite legendary performances and Jane made the list.

As ever, I'm relieved that at least I can watch the film over and over again. And to remind you who she was...

Legendary Performances

Two days ago I heard the sad news that one of the two surviving Golden Girls, Rue McClanahan, had died aged 76. The sadness of this announcement was inevitably intertwined with smiles for many people for whom Rue was inexorably linked with the self-absorbed, man-hungry Southern Belle that was Blanche Devereaux in the hit sitcom. All four primary characters in the Golden Girls have had a longevity that feels unending. As I writer I would love to create characters with such personality but good writing skills must be combined with the skill of some exceptional actors.

In honour of Rue – and Bea Arthur and Estelle Getty (not to mention Betty White who we should cling onto like crazy) – I thought I’d count down my favourite characters, sadly missed, who have had the impact on me that our Golden Girls had.

5. Dorothy Shaw (Gentlemen Prefer Blondes)
I have a thing for dry-witted women! Jane Russell’s portrayal as Marilyn Monroe’s best friend and chaperone in this musical is hilarious, though underrated by viewers who primarily gazed at Marilyn. Jane easily had some of the best lines of the film, my favourite being, ‘Now lets get this straight, Gus. The chaperone's job is to see that nobody else has any fun. Nobody chaperone's the chaperone. That's why I'm so right for this job.’ While trying to seduce an entire Olympic squad she falls for the private detective trying to frame her friend. And the rest – after a particularly sexy courtroom number – is history.

4. Julie LaVerne (Showboat)
Ava Gardner doesn’t get enough acting credit for my liking. Her role as Julie in Showboat, demonstrating the decline of a singer, stood out as one of the performances of the decade. Though she didn’t sing for herself in the film I still have to give her credit for the delivery of an epic character who never fails to enthral me.

3. Carol ‘Toddy’ Todd (Victor/Victoria)
Have I raved enough about this film lately?! I honestly can’t help it: the partnership between Robert Preston and Julie Andrews blows me away every time. This is easily Preston’s best role, blending comedic talent with a great delivery and a genuine rapport with Julie Andrews’ Victoria (but I’ve mentioned that recently!). The final number where Toddy saves Victoria’s relationship by doing a very bad impersonation of a woman is hilarious, touching and pure genius. I can’t watch it enough.

2. Dorothy Gale (The Wizard of Oz)
Predictable for me but what do I care? From the moment she fell into the pigsty I was entranced by Judy Garland’s Dorothy. The story is a fairy-tale, a fantasy, but usually the best stories are. What can’t be denied is the long-lasting effect Garland’s performance has had on popular culture. Clicking your heels three times, accepting you’re not in Kansas anymore; these have become recognisable staples of conversation.

1. Elsie Tanner (Coronation Street)
Perhaps an odd choice for the top of my list but Pat Phoenix was really the first actress who made me go… ‘wow’. I used to watch classic episodes of Corrie on what was then Granada Plus. Compared to contemporary Corrie in the nineties it was positively fantastic. Such legends as Hilda Odgen, Annie Walker and Ena Sharples were amazing to watch but Pat Phoenix shone above the rest. She gave Elsie, the tart with a heart, the biggest personality and the most shattering vulnerabilities I can ever remember seeing on the small screen. Her comic timing was impeccable, her tears real and her exit low-key but memorable. When asked if she’s going for a long trip Elsie replies, ‘Ah, now there’s a question’, before walking away from the street forever.