Class Film Review: The Bachelor and the Bobby-Soxer (1947)

The Bachelor and the Bobby-Soxer stars Cary Grant as Richard Nugent, an artist with a penchant for getting into trouble. The first time we encounter him, he's up in front of Judge Margaret Turner (Myrna Loy) after being involved in a fight. She lets him off but later, after giving a lecture at a school, he finds himself the unwitting victim of Margaret's younger sister, Susan (Shirley Temple). To combat the affection Susan has for Richard, it's decided that he will pretend to date her to make her realise how unsuitable he is. Unfortunately, Margaret also finds herself falling for him, thanks in part to the interference of her Uncle Matt (Ray Collins). The cast is rounded out by Harry Davenport as Thaddeus, Rudy Vallee as Tommy and Johnny Sands as Jerry.

I enjoyed this much more than I expected. The delight of having Myrna Loy in a position of authority and being a responsible sister is juggled neatly with her gradually falling for Richard in a more believable way than is usual in these films. Plus, the chemistry between the leads is brilliant. Richard and Margaret's verbal sparring matches just sizzle and the sisterly relationship between Margaret and Susan is well executed. As a lovesick teenager who thinks she's wise beyond her years, Temple is brilliant and this performance really makes me wish her film career had continued for longer. This film does laugh at teenagers and their devout attachments but not in a way that comes across as condescending. It's an odd line but The Bachelor and the Bobby-Soxer manages it very well.

The script is witty and the film put together with the right mix of hilarious dialogue and action scenes. Of the latter, the best is probably the extended race scenes where Richard competes with Susan's 'other' beau Jerry to win but gets very messy in the process. Cary Grant is at his best in this film, suave and yet bringing in a touch of the David Huxley, especially when he finds himself in prison through no fault of his own. Myrna Loy is brilliant from start to finish and Ray Collins, one of the best character actors around, frequently steals scenes with an expression.

Overall, The Bachelor and the Bobby-Soxer is an enjoyable comedy that showcases the talents of all its cast without exception. Light-hearted, yes, but sometimes there's nothing wrong with light-hearted.

Classic Film Review: Guess Who's Coming to Dinner (1967)

Guess Who's Coming to Dinner stars Spencer Tracy and Katharine Hepburn as Matt and Christina Drayton. Their daughter Joey (Katharine Houghton) returns home from holiday unexpectedly and has a surprise for her parents - she's engaged. The fly in the ointment is that her fiancée, Dr John Prentice (Sidney Poitier) is black. Joey's liberal parents have their views tested by this relationship and when Mr and Mrs Prentice (Roy Glenn and Beah Richards) arrive to join them for dinner the bonds of both families are tested. Rounding out the cast is Isabel Sandford as Tillie the maid and Cecil Kellaway as Monsignor Ryan.

As Spencer Tracy's last film, Guess Who's Coming to Dinner holds a special allure for classic film fans. Certainly, I was as much interested in the power surrounding it as I was the film itself. Given that Tracy was seriously ill during filming and died only seventeen days after it was over, you'd imagine that allowances would have to be made for his illness. He doesn't look well, certainly, but in terms of his acting, he remained on top form. The final lengthy scene where Matt makes a speech to his guests about love is intensely moving. For many, of course, this scene is tied up with the Tracy and Hepburn myth and there is no hiding Hepburn's emotion in the final scene. It feels as though we're witnessing a private occasion. As a final exercise in his own quiet and beautiful style of acting, this film does Tracy proud.

And what of the rest of it? Well, the chemistry between Katharine Hepburn and her real-life niece Katharine Houghton makes their scenes a pleasure, though Houghton is not as compelling away from Hepburn. Some of her scenes with Poitier feel like fillers but that's possibly because the crux of the plot is not their relationship so much as the reaction to their relationship. Poitier's best scenes are John's heartfelt declaration to Matt and Christina about his love for their daughter (watch Hepburn in this scene too!) and his argument with his father much later. An unsung brilliant scene, too, is that between Christina and Mrs Prentice in the garden. However, my favourite moment also comes courtesy of Hepburn as she sacks a colleague and tells her to be on her merry way for criticising her daughter's relationship. I don't often clap in the middle of the film but I did then.

Ultimately, Guess Who's Coming to Dinner reflects attitudes of the time. It can seem dated now but that can only be a good thing. It's a film with some brilliant moments and a decent heart and, as Tracy's final screen appearance, it can't help but be captivating. I felt as emotionally wrought as Katharine Hepburn when the credits had finally rolled.

Classic Film Review: The Philadelphia Story (1940)

The Philadelphia Story stars Katharine Hepburn as socialite Tracy Lord. She's about to be married to the rather boring George Kittredge (John Howard) but ex-husband C.K. Dexter Haven (Cary Grant) is determined to cause mayhem before the ceremony. He's instrumental in getting journalist Mike Connor (James Stewart) and photographer Liz Imbrie (Ruth Hussey) into the wedding but he may not have banked on the attraction that springs up between his ex-wife and Mike.

Picking between the three leads of this film is nearly impossible. Hepburn shines in the role she was born for while Grant is perfect as Dexter. However, if I really had to pick, then it's Jimmy Stewart who steals the show. His drunk scenes with Cary Grant are downright hilarious, I'm smiling just thinking about them. But the chemistry between the cast as a whole is excellent. Ruth Hussey impressed me again (I saw her last month in Tender Comrade, 1943, reviewed here) and her scenes with Stewart are brilliant. There's also one gorgeous scene between Hussey and Grant which lingers in my memory. In addition, I loved the little relationship between the Lord sisters, Tracy and Dinah (Virginia Weidler) and the dynamics of the rest of the family.

The dialogue in this film is fast, witty and sometimes difficult to follow. It's both intelligent and funny, something sadly lacking in many so-called romantic comedies. Hepburn does aloof so well and her crash back down to earth is satisfying and fun to watch. If I had to pick a favourite scene (apart from Stewart's drunk ones), it would probably be the one in the pool house when Dexter interrupts Tracy and Mike and an argument ensues. That scene probably sums up the themes of the film, as well as being brilliant acted by all parties.

I can see why people call this Hepburn's best film. However, my soft spot for Bringing Up Baby (reviewed here) and The African Queen (reviewed here) and, for me, The Philadelphia Story doesn't quite knock them off the top spot. Still an excellent film though.

Classic Film Review: The Glass Bottom Boat (1966)

The Glass Bottom Boat stars Doris Day as Jennifer Nelson. At work she begins a relationship with the head of the aerospace research lab, Bruce Templeton (Rod Taylor), but their relationship becomes complicated when he starts to suspect she's a Russian spy out to steal his latest invention. The cast includes Arthur Godfrey as Jennifer's father, Dick Martin as Bruce's colleague and friend, Zack, and Paul Lynde as Homer Cripps, security guard.

Perhaps the first thing to say is that the glass bottom boat of the title only plays a small part in the film. Yes, it makes for a catchy title but that's about all, aside from some laboured metaphors that you really have to reach for. The action really takes place at the research facility, documenting Jenny's romance with Bruce and how his colleagues come to suspect she's leaking secrets to the Russians - it is rather suspicious to make phone calls several times a day and never speak to anyone but that's the way Vladimir the dog gets his exercise. It's also unfortunate that her father communicates with her via radio instead of phone. It all adds up to a pretty funny farce that really comes alive in the last half an hour or so.

Doris Day is excellent as widower Jenny while Rod Taylor works well opposite her as Bruce. The gems are the supporting cast though, with many others aside from the ones mentioned above putting life into little characters. For me, though, the highlight of them all is Paul Lynde, if only for his drag escapade to entrap the spy. The party that forms part of the climax of the film is full of hilarious moments and if the entire film had been at that pace it would've been brilliant. However, setting up all the dominoes early on seems to take far more time than it should've done and, unfortunately, the attempts to create a plausible romance between Jenny and Bruce take too much time for a farcical comedy. There are little interludes, such as the trip on a boat using electronic controls that goes disastrously wrong. There's an element of technology-gone-wrong about the film that works very well. And, strangely, watching Doris Day interact with a dog-like vacuum cleaner isn't that different to watching her interact with the real animals in the film.

Nonetheless, this was very funny and definitely worth watching. It might not be all about the glass bottom boat but it is all about Doris Day being brilliant and I could never say no to that.

Thoughts on Death in Paradise

Running a little behind on this one but I've only just managed to watch the final episode of series three. As I wrote last year on hearing the news of Ben Miller's departure, I wasn't sure that the show could survive without him. Well, it survived and has been commissioned for a fourth series but is it as good? I'm sorry but nope, not nearly as good.

Let's start with the way they dispatched DI Richard Poole (Miller). It was disrespectful to the fans to treat him like just any other murder victim, not allowing him any closure with Camille (Sara Martins), for instance. While I liked the fact that he solved his own murder from beyond the grave, it was wrapped up far too neatly and he was literally never mentioned again. I know this is light and frothy murder but the death of your superior officer, especially one you were falling for in Camille's case, has to have after-effects. It made the rest of the series seem like an exercise in brainwashing: DI Poole never existed, look - here's Humphrey!

What of DI Humphrey Goodman (Kris Marshall) himself? Well, I suspected the fish-out-of-water scenario would disintegrate and it did. Instead, the hook they hang everything on is Goodman's accident-prone nature. It might've been funny the first few times but it's already a trope - I dread to think how tiresome it'll feel by the end of the next series. When he's not appearing ridiculous, Goodman's not actually too bad a character but he's bland, very bland. It feels like his accidents and his riddles are the only glimmers of personality allowed to him. Oh, apart from the Camille thing...

Perhaps this is the part I most resent. Pushing a romance between Goodman and Camille was stupid but it was evident all series. It disregards Camille's will they/won't they romance with Poole and gives the impression that the writers just had to have a potential couple as their leads. They didn't. A friendship would've worked very well on its own, which is why I actually screamed when Goodman's wife decided not to join him in the first episode. It was being shoehorned into the plot and, quite frankly, it felt stupid. Maybe if they'd given it a few series the relationship would've developed properly. As it is, when Goodman revealed his feelings to Fidel in the final episode I just rolled my eyes.

So, to recap. If you kill off your protagonist, don't pretend as though he never existed afterwards. If you have cultivated a relationship between two characters and one dies, don't pretend he never existed then either. Create characters using more than a few bullet points and do not devalue your fan base by forcing romances to develop. Oh, and as an extra, I know that the thrill of murder mystery shows is working out who did it and how but I figured it out within the first few minutes on three occasions this series - not an incentive to keep watching.

Classic Film Review: Mogambo (1953)

Mogambo stars Clark Gable as Vic Marswell, a big game trapper in Kenya. His equilibrium is disturbed first by the arrival of Eloise 'Honey Bear' Kelly (Ava Gardner), a woman who arrives for a safari only to find the man she was meant to be meeting has stood her up. An immediate attraction springs up but Vic is determined to get rid of Kelly on the next boat and get back to normal. However, that doesn't work when the boat is shipwrecked. In the meantime, married couple Linda (Grace Kelly) and Donald Nordley (Donald Sinden) arrive for their safari. Demure Linda also catches Vic's eye, causing tensions as the group travels up to gorilla country.

Ava Gardner steals this film from Gable. Every scene in which she doesn't appear is lifeless. She brings an energy to the screen that's sadly lacking in the rest of the film. Kelly's fish-out-of-water tendencies are brilliant, especially her introduction to Joe, the camp snake, and her 'cute pussycats' moment near the big cats. However, her scene with a baby elephant and a baby rhino is probably the highlight of the film. Grace Kelly isn't boring as such but the character is. There's never a sense that Linda and Vic belong together, making their romance very difficult to stomach. On the other hand, Kelly's boisterous nature is in complete contrast to Vic with his work ethic, creating a very well-suited pair. Equally, the supporting character of Brownie (Philip Stainton) works well in scenes with Kelly.

The other major character in Mogambo is Kenya. The time spent on location was certainly worth it, creating vivid and memorable scenes. However, the difference between the location shots and the studio ones are so obvious at times that it's off-putting. Like many films of this era, it treads a tightrope between location and studio and sometimes comes up short. The inclusion of native tribes creates some odd interludes with no bearing on the plot but which, I suppose, add to the overall authenticity of the film.

What makes Mogambo exciting is, quite simply, Ava Gardner. What diminishes the power of the film is the lacklustre relationship between Vic and Linda and Donald Sinden as Nordley, who is either completely miscast or the character is just flat and useless. Every memorable moment in this film comes from Gardner. Apparently John Ford was irritated about having to cast Gardner in the film and yet she turns out to be one of the only highlights - how amusing!

Classic Film Review: Stage Struck (1958)

Stage Struck stars Susan Strasberg as Eva Lovelace, an aspiring actress who has travelled to New York intent on getting her big break, not realising quite how difficult that's going to be. She visits the office of big producer Lewis Easton (Henry Fonda) where she also encounters screenwriter Joe Sheridan (Christopher Plummer) and makes a favourable impression on actor Robert Harley Hedges (Herbert Marshall). Her hopes are repeatedly dented, though, especially because one role she might be good for is already occupied by the formidable Rita Vernon (Joan Greenwood). To add to Eva's problems, she's also fallen in love with Easton...

Unfortunately, the central performance in this film was abysmal. I suspect the intention was to make the character dreamy and flighty but it failed spectacularly - she became irritating, repetitive and the only moment I felt any sort of positive feeling for the character was when she was quoting Juliet. In fact, Strasberg's whole performance reeks of her trying to play Juliet throughout. This was disappointing because my first experience of Strasberg in Picnic (1955, reviewed here) was positive. I just don't think Stage Struck was a particularly good fit for her.

The rest of the cast improved matters. Christopher Plummer, in his film debut, was nothing short of sublime as Joe, the writer who falls hopelessly in love with Eva in a way that doesn't feel contrived. Equally, Herbert Marshall's performance as Hedges is brilliant. He provides a nice, calm foil to Strasberg which takes the edge off some of her more manic moments. Henry Fonda generally works well as Easton, although the love affair with Eva leaves much to be desired. I came away thinking that the Strasberg/Plummer pairing was much more desirable that the Strasberg/Fonda, though I appreciated the ending.

Perhaps the main trouble with this film was the central performance. There are some nice insights into comprising and how the theatre works along with some brilliant supporting performances. However, it lacked, for me, a lead character I want to see succeed. I'll admit, I wanted Eva to fail and go home to the country. Maybe not the effect the writers were going for.

Classic Film Review: Ann Vickers (1933)

Ann Vickers stars Irene Dunne as the title character, a social worker who falls pregnant following a dalliance with an officer about to go off to war. With the help of her aunt, Malvina (Edna May Oliver), she procures an abortion (though this is never explicitly stated) then throws herself into prison reformatory work. She becomes very successful but meets Barney Dolphin (Walter Huston), a married judge whose complex past may be her downfall once again.

I felt the film was too short for everything it tried to include. You got a lengthy set-up between Ann and Captain Resnick (Bruce Cabot), only for it to be merely the catalyst that throws her into prison reform. Her experiences observing the women are potent but they're glossed over far too easily. My opinion was that a few more intimate conversations with the prisoners would've been more helpful than the scenes in the background while a distressed Ann watches. However, this was 1933 so the reticence has context. Ann's affair with Barney is handled more openly, although the romance between them does feel rushed, as much of the film does.

Irene Dunne's performance is, as usual, superb. She handles the scenes after Resnick's betrayal well and you do get a sense of the character developing and maturing as the film progresses. However, my favourite scenes were the ones between Irene Dunne and Edna May Oliver as Malvina, though that may be because this is the second Oliver film I've reviewed this week. The evident warmth in their relationship offset the somewhat shallow relationships Ann has with the male characters.

Overall, I found this film undeniably rushed, detrimentally so. Too much time was spent building up characters who later played no or very little part in proceedings and the central romance didn't feel authentic at all. However, Irene Dunne is excellent in the role, particularly in the scenes following the abortion and when she is forced to make a big decision about her job later on. There are some twists, yes, but nothing you wouldn't expect if you were paying attention. A little formulaic, perhaps, but entertaining nonetheless.

Classic Film Review: Flower Drum Song (1961)

Flower Drum Song is one of Rodgers and Hammerstein's lesser-known musicals. It tells the story of stowaway Mei Li (Miyoshi Umeki) who arrives in San Francisco with her father Doctor Li (Kam Tong) for an arranged marriage to Sammy Fong (Jack Soo). Unfortunately, Sammy is in love with dancer Linda Low (Nancy Kwan). He decides to palm Mei Li off onto his friend Wang Chi-Lang (Benson Fong), who is looking for a bride for his son Wang Ta (James Shigeta). But Wang Ta already has his own crush on Linda Low and the situation gets ever more complicated.

This is a glossy, colourful film that deals with a clash of cultures alongside the actual love story. The luscious opening credits set the scene for a vibrant film and, on that level, it certainly delivers. The songs, however, aren't the best Rogers and Hammerstein ever wrote. The most enduring song within the score is no doubt 'I Enjoy Being a Girl', dubbed here by B.J. Baker for Nancy Kwan, and a couple of others are decent - 'Chop Suey' about the clash of cultures and the amusing 'Don't Marry Me' performed by Miyoshi Umeki and Jack Soo. The song sung by yet another woman in love with Wang Ta, Helen Chao (Reiko Sato, singing dubbed by Marilyn Horne), 'Love, Look Away', is an excellent song of a broken heart. One of my main criticisms about the film is that Helen Chao is the best character and she doesn't get a proper ending.

The central love story of Mei Li and Wang Ta doesn't work for me - I never once thought they should get together. Equally, the amount of dubbed singing in the film irritated me. There are plenty of humorous lines but it doesn't add up to a coherent whole. I don't know if it just translated badly to film, trying to make itself shorter, but the main love story didn't get the energy it should have from the initial set-up. Mei Li sees Wang Ta and immediately loves him - why?

Overall, this is a colourful film with some excellent commentaries on culture clashes and some good comic performances from the likes of Benson Fong and Jack Soo. However, on the basic plot level, it didn't hook me. I really wanted to know what happened to Helen Chao - never a good way to end a film like this.

Classic Film Review: Mr Lucky (1943)

Mr Lucky stars Cary Grant as Joe Adams, a gambler who has appropriated the name of a dead gangster in order to escape the army. He plans to con a war charity by affixing a gambling den to their function and siphoning off the profits. Volunteer and society girl, Dorothy Bryant (Laraine Day), suspects he's trying to con them but they gradually fall for each other. What they don't know is that Joe's former partner Zepp (Paul Stewart) is plotting against them. If Joe does have a change of heart, it won't be simple.

One of my issues with this film stems from the confusion about what it's meant to be. IMDB lists it as a comedy/romance while the television guide had it down as a drama. For me, it was all those things - a comedy in the first half with drama in the second and a romance string stretching through the piece. Cary Grant plays the charmer extremely well but once Joe begins to fall in love with Dorothy the humour necessarily disappears. There is one scene in a Greek church where he learns about the fate of his appropriated name's family at the hands of the Germans that signals a complete shift in tone and sets up the final half an hour.

Grant was good, though struggling with a script that kept information back from the audience in a rather sluggish manner. Laraine Day was excellent as the feisty society girl, less so as the romantic sap who falls for Joe. The supporting cast, with the exception of Gladys Cooper as Dorothy's boss, are mediocre with no depth. There are a few good comic moments, with Joe conning people on behalf of the charity and learning how to knit, but once the serious tone sets in, it becomes more run-of-the-mill.

I did enjoy it, for all the difficulties. It was an odd role to find Grant in and, on occasion, the romance aspect seemed completely implausible. That said, I wanted to see how it all ended, so it can't have been that disastrous a film.

Classic Film Review: Bachelor Mother (1939)

Bachelor Mother stars Ginger Rogers as sales clerk Polly Parish. She's finishing a temporary Christmas stint at a department store owned by J.B Merlin (Charles Coburn) and David Merlin (David Niven) and, when out searching for a new job, she finds a baby being abandoned at a foundling home. She picks it up and, when the door opens, she's presumed to be the mother. The home contact her boss and David is outraged at the prospect of this 'mother' giving up her child. He lets her keep her job if she'll take back the baby leaving Polly in a bit of a predicament.

I found this hilarious. Ginger Rogers comic timing never fails and she's outstanding opposite David Niven. She also gets to show off some of her dancing skills in a nice scene that involves David storming a dance hall with the baby to try and get her to take responsibility. There are some excellent moments including the New Year's Eve event where David recruits Polly as his date and tells everyone she's Swedish to save her from talking. The romance aspect is lovely but it's the comedy that wins out.

Charles Coburn's role enlarges as the film goes on and I really enjoyed his interactions with David Niven as father and son argued about the baby that Merlin Snr believes is his grandson. Misunderstandings galore but with a few heartfelt moments dropped in for good measure.

Of course, the attitudes which surround this film are out of date but it indulges in remarkably little condemnation either. The problem seems to be that Polly has abandoned 'her' baby, not that she had one in the first place. Worth a watch not only for the nice sparring between Polly and David but also for the cute interactions between Ginger Rogers and her minute co-star. Lovely scenes and an excellent romantic comedy all round.

Classic Film Review: The Big Street (1942)

The Big Street tells the story of Little Pinks (Henry Fonda), a busboy who falls in love with singer Gloria Lyons (Lucille Ball). When she's injured in an argument with her boyfriend and benefactor Case Abels (Barton MacLane) he takes care of her, paying her hospital fees and having her stay with him until she's better. The trouble is, Gloria is ungrateful and mean - she has her sights set on a rich playboy Decatur Reed (William T. Orr) and she'll have Little Pinks push her in her wheelchair from New York to Florida to get her way. The supporting case includes Agnes Moorehead as Little Pinks' friend Violette and Eugene Pallette as Nicely Nicely Johnson.

Based on a Damon Runyon story, this is a reasonably good film. It manages to bring to life the gambling and hustling of New York whilst still showing the hearts of those involved - there is a splendid scene where a group is pitching in money to help Pinks get Gloria to Florida, even though they don't like her and she's treated them like dirt. In this film, Gloria is the unreasonable one, pushing and pushing Pinks until he can't take it any more.

Lucille Ball, however, is excellent in the role. There are a few over-dramatic moments, particularly during the argument with Abels, but her moments of weakness as she struggles to acknowledge her injury, make up for this. She's a difficult character to like but it is a performance you can respect. With Henry Fonda, its the other way round: he's an altogether good character, easy to like but too liable to allow himself to be walked over. His defining moments come in the final minutes, which make up for his weaknesses as a character earlier. In addition, Agnes Moorehead is brilliant throughout, becoming a sounding board for Little Pinks but also enjoying a whirlwind romance with Eugene Pallette as Nicely Nicely.

All in all, this is an interesting little film that avoids the simpering ending I anticipated. Some of the dialogue is difficult to swallow but, on the whole, this is a bit of a lost diamond.

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 Devil and Miss Jones (1941)

The Devil and Miss Jones stars Charles Coburn as reclusive tycoon Mr Merrick who is appalled when an effigy of him is hung outside a department store he owns. Determined to bring the culprits to justice, he goes undercover as a slipper salesman in the store. Once there, he finds himself taken under Miss Mary Jones's (Jean Arthur) wing, who feels sorry for the hungry and helpless man she sees. Fellow colleague Elizabeth (Spring Byington) takes a different kind of shine to him. But of most importance to Merrick is Joe (Robert Cummings), the ringleader of the trouble - and Mary's boyfriend. Will Merrick press ahead with his plan to blacklist them all or will experiencing things from the other side of the fence change things for him? S.Z. Sakall and Edmund Gwenn also have supporting roles.

This is a fantastic film. It gets the tone just right, from Merrick's first intimidating scene interrogating his employees to being interrogated himself by his new manager at the store. Coburn is wonderful, bouncing off all the other actors without exception. Jean Arthur is also excellent, particularly in the scene where she's trying to club Merrick over the head with a boot. There are some excellent scenes including when Merrick asks his butler (Sakall) to bring in a girl to make a purchase in order to make him look good - but she won't play nicely. The Coney Island outing scenes are also excellent, particularly when Merrick gets himself accidentally arrested.

Merrick's romance with Elizabeth works very well and Mary does a good job of explaining what she likes about Joe in a memorable scene with Merrick on the beach. In fact, I can't think of a bad scene in this one. My only gripe, if I'm to have one, is that there was no scene between the revelation and the finale - it could've done with one just to iron out the tensions between Merrick and Elizabeth/Mary/Joe.

All in all, this was a thoroughly enjoyable comedy that works perfectly. With arguments about the rich having no concept of reality and advocating workers' rights, The Devil and Miss Jones is probably as relevant today as it was in 1941.

Classic Film Review: Love Affair (1939)

Love Affair tells the story of playboy Michel Marnet (Charles Boyer) and Terry McKay (Irene Dunne) who meet on a ship and fall in love. Michel wants to prove he can earn a living as a painter so they arrange to meet again in six months if they both feel the same. However, a tragic turn of events stops the meeting from happening.

This is essentially a film of two halves. The first half, set on the ship, is the story of two people trying valiantly not to fall in love because they don't want to hurt their respective partners. When the ship stops in Madeira, Michel visits his grandmother (Maria Ouspenskaya) and Terry goes along with him. This little group of scenes are perhaps the best in the film, including a scene in the chapel which is beautifully shot and creates a wonderful image which is referred to later.

The second half of the film is something of a painful love story. It alters very suddenly and from then on it's difficult to watch and, really, I wanted to throttle Terry for being so stubborn about the whole thing. However, the final scene between her and Michel more than makes up for the frustration preceding it. The dialogue between the two is more complex and more evocative than it has been throughout the whole film - and that's saying something. Boyer and Dunne play this final scene to perfection and I freely admit to shedding a tear.

On the whole, this is an excellent film with the main roles not overplayed by the two leads. It's a sensitive, clever piece that gets slightly sentimental in the second half when a group of orphans take centre stage but, for the most part, it remains a delicate film that is true to its characters.

Classic Film Review: Government Girl (1943)

Government Girl stars Olivia de Havilland as Smokey, secretary to a new man in Washington, Ed Browne (Sonny Tufts). Browne needs to oversee the production of as many bomber planes as he can but finds himself faced with a wall of bureaucracy. He circumvents it but ultimately comes up against angry people who would rather he respect the red tape. Meanwhile, his feelings for Smokey have been growing but she's seeing Dana McGuire (Jess Barker), an ambitious man who finds himself on the opposite side to Browne and Smokey.

The problem with this film is that it tries to be two things at once. It could either be a drama about bureaucracy impeding the war effort or it could be a romance. It tries to be both and this just doesn't work. Sonny Tufts is ill-fitted to the role of leading man with very little character consistency. Olivia de Havilland saves the film from complete disgrace simply by being Olivia de Havilland but it's not enough. The plot is fragmented, trying to focus on the subplot relationship between May (Anne Shirley) and Joe Blake (James Dunn) who are desperately trying to have their honeymoon. There is a mad motorcycle ride involving Smokey and Browne then a completely nonsensical subplot involving a spy trying to obtain secrets from Smokey and May. It all adds up to a bizarre film.

The patriotism is undeniably and to be expected. However, it hammers home the messages of 'bureaucratic mess' and those 'good government girls' to the point where I ceased to care. It switches between seriousness and farce, quite badly in my opinion, and that is ultimately its failure. Even the rich character played by Agnes Moorhead disappointed through a complete lack of characterisation. It's interested as a piece of wartime propaganda but perhaps not as a film of artistic merit, although the mad motorcycle scene is quite amusing in its way.

Classic Film Review: Christopher Strong (1933)

Christopher Strong tells the story of a happily-married politician who falls in love with a famous flier, jeopardising his marriage and the happiness of all those around him. The title character is played by Colin Clive while Katharine Hepburn is Lady Cynthia Darrington, the woman who catches his eye in one of her earliest films. Lady Strong is played by Billie Burke while their daughter, Monica, is played by Helen Chandler. Rounding out the main cast is Ralph Forbes as Monica's married boyfriend Harry.

Perhaps the most difficult aspect of this film for me was understanding what Lady Cynthia saw in Sir Christopher Strong. His attraction to her is understandable but there is little about her feelings until later in the film. Arguably, Lady Cynthia is the most important character and deserves to be the title character. She is a record-breaking aviator who is very good at what she does. While Strong is a successful politician, yes, she seems above him in all senses of the word.

The supporting cast is good, especially Billie Burke. Intriguingly enough, the film doesn't dwell on the potential ramifications of Lady Strong finding out about the affair. She finds out fairly rapidly and her quiet reaction is heartbreaking to watch, along with a subsequent scene where she finds her husband listening desperately for news of Lady Cynthia's latest flight on the radio. Burke doesn't overplay these scenes when it would be very easy to do so and she shines all the better for it.

Unfortunately, parts of the dialogue melt into over-the-top declarations of feelings. Thankfully, these don't ruin the entire film but they do spoil parts of it. The best scenes for me are not the Hepburn/Clive ones but the ones where other people - Lady Strong, Monica - are involved.

The ending, though perhaps predictable, is well worth sticking around for. The montage scene of memories that Lady Cynthia dwells on during a flight is fairly innovative and effective for 1933. As one of Katharine Hepburn's early films, it signals the promise of what's to come and, if you ignore certain aspects, it's a very good analysis of infidelity, propriety and society. It also contains an attempt at a bedroom scene between the lovers - nobody is seen but the intention is very evident. Again, not bad for 1933.

Classic Film Review: Born to Be Bad (1950)

Born to Be Bad stars Joan Fontaine as Christabel Caine. After living with her poor Aunt Clara (Virginia Farmer) for most of her life, she moves to train as a clerk for her rich Uncle John (Harold Vermilyea). His current assistant Donna (Joan Leslie) is giving up work to marry the philanthropist Curtis Carey (Zachary Scott). When Christabel arrives she is physically attracted to novelist Nick Bradley (Robert Ryan) but also Curtis's money. Her kind, unobtrusive exterior masks a calculating young woman who is determined to get the kind of life she wants.

I was interested to see Fontaine as something of a villain. My previous experiences with her have been in inherently 'good' roles in films such as Rebecca (1940) and Jane Eyre (1943). However, the role suited her very well. Christabel is a complex character, saying one thing and wanting another, and Fontaine managed to pull this off with subtlety, particularly in the second half of the film. She was a manipulative character who, nevertheless, I half-wanted to see succeed but, ultimately, she can't be happy if she is sacrificing half of herself to fuel the other half.

I wasn't too sure about Robert Ryan as Nick. For me, he overplayed it in places. He was much more believable when he was being harsh and cutting. As soon as the character moved to expressing emotion, I lost a little interest in him. I also struggled with Zachary Scott as Curtis in places but this was due to the about-turn the character makes in the middle of the film with little warning and no real motivation. My favourite male character was probably painter Gobby (Mel Ferrer), a man who sees all and practically sees through Christabel from the start. He adds a little light humour to what could've been a heavy film. In addition, Joan Leslie as Donna was brilliant and I adored the scene where she confronts Christabel.

In places, this film is very clever and expertly put together. I don't think that Born to Be Bad is the best film any of those involved did but it unashamedly allows Christabel a decent ending, something I wasn't expecting. Overall, an enjoyable film.

Classic Film Review: Higher and Higher (1943)

This madcap film stars Jack Haley as Mike O'Brien, valet to the broke Mr Drake (Leon Errol). To appease Drake's creditors, Mike suggests a plan whereby they dress up the scullery maid Millie (Michele Morgan) as Drake's daughter Pamela and marry her off to a wealthy man who would then save Drake's finances. The man they settle on is Sir Victor (Victor Borge), although he may not be all he seems. Rounding out this rather nice cast are the ever-wonderful Mary Wickes as Sandy, Barbara Hale as Katherine Keating and Mel Torme as Marty. However, the third-billed star shines the brightest - Frank Sinatra playing Frank Sinatra.

Some of the songs in Higher and Higher are forgettable. However, two Sinatra numbers went on to become standards - 'I Couldn't Sleep a Wink Last Night' and 'A Lovely Way to Spend an Evening'. There's something pure about Sinatra's voice in the early 40s, making his performance on these songs nothing short of captivating. He also does an excellent job on 'The Music Stopped', a song new to me and possibly unjustly forgotten. There's an excellent comic duet he has with Marcy McGuire called 'I Saw You First' to look forward to as well. The stand-out 'other' song is probably 'You're On Your Own' but, again, the few lines of the reprise by Sinatra are more memorable than the actual performance by the cast.

That's not to say that the acting performances are drab, just that they're overwhelmed by Sinatra's singing talent. Jack Haley gives a good central performance, although I couldn't really connect with Michele Morgan. Anything with Mary Wickes in it already has the thumbs-up from me and she was as funny in this as I've seen her in other films. Another favourite performance of mine came from Elisabeth Risdon as the stately Mrs Keating - a rather understated performance that offset some of the madness going on elsewhere.

The storyline is, essentially, barmy but that doesn't mean it's a bad film. There are plenty of humorous moments and Sinatra gently lifts the whole piece up to another level. Even with my ambivalence towards the heroine, I enjoyed this one.

Classic Film Review: Star of Midnight (1935)

Star of Midnight stars William Powell as lawyer Clay 'Dal' Dalzell. He's approached by Tim Winthrop (Leslie Fenton) whose girlfriend went missing in Chicago a year ago. Dal agrees to try and find her but when a journalist is shot in his apartment just before giving Dal a vital clue, he realises the case may be more complex than he thought. Helping him out is the woman who insists she's going to marry him - Donna Mantin (Ginger Rogers).

I knew I was going to enjoy this film because Rogers was in it but I wasn't expecting to become as absorbed in the plot as I did. It's a good whodunnit and, although I had my suspicions, I was kept guessing until the final minutes. The supporting cast is very good, including J. Farrell MacDonald as Inspector Doremus and Vivian Oakland as Jerry Classon, but far and away the best support comes from Gene Lockhart as Dal's butler Horatio Swayne. He's a delight to watch, especially in his little conspiracies with Rodgers.

Powell and Rogers work well together, sparking off each other to an extent. I was happy to root for their relationship, which isn't always the case in this era for me. Rogers gets her fair share of zinger lines but her strength, as ever, stems from her facial expressions and reactions. She can steal a scene by simply being in the background. Then again, so can Powell so they're in competition in this film.

I won't say too much about the plot but it certainly captured my interest and I enjoyed this film immensely. Recommended for any fan of 30s mysteries but particularly for fans of Ginger Rogers.