1937 - One Hundred Men and a Girl

Don't forget to vote (in the poll on the right) for the next year to be covered in Matt vs. the Academy. Still plenty of time as we reach the halfway point of the 1937 review. Speaking of which, the film at the centre of discussion today has proven to be a hard find. Despite being available on DVD in most overseas markets, it has never had a DVD release in the United States. Fortunately, though, the New York Public Library boasts two copies on VHS, according to their online database. I'd need to purchase a VCR, but at least I'd be able to watch it. After putting one of those copies on hold, I waited to be notified of its availability. Two weeks later, I contacted the library to ask of its whereabouts, only to be told that it was last seen well over a month ago and there appears to be no sign of it. What about the second copy? Oh, that one was lost a long time ago and it shouldn't even be in the system at all. Fantastic. A quick Google search and eBay comes to the rescue. Someone in California is selling a DVD import brand new. Problem solved. And I don't even need to buy a VCR. I probably should have started there.

So, after that adventure, yesterday Kat and I spent a rainy day inside watching this 1937 Best Picture nominee...

One Hundred Men and a Girl

Director:

Henry Koster

Screenplay:

Bruce Manning, Charles Kenyon & James Mulhauser

(based on an idea by Hanns Kräly)

Starring:

Deanna Durbin, Leopold Stokowski, Adolphe Menjou, Alice Brady

Academy Awards:

5 nominations

1 win, for Best Original Score

Despite its porn-sounding title, One Hundred Men and a Girl is not the least bit filthy. In fact, it is a charmingly innocent comedy-musical about Patsy (Durbin), a girl whose trombonist father (Menjou) is desperately unemployed. With a stroke of luck, Patsy stumbles upon a rich woman (Brady) who promises to sponsor the formation of a new orchestra. Patsy assembles one hundred out-of-work musicians, including her father, but the sponsorship deal will fall through unless she can get famous conductor Leopold Stokowski to join the team.

This pleasant and winsome picture is thoroughly enjoyable and it is difficult to understand why it has been all but forgotten. It sports a wonderfully chipper attitude, evident in such songs as "It's Raining Sunbeams", which may sound sickly sweet, and ... well, quite frankly, it is, but somehow it's not too nauseating. Probably due to Deanna Durbin's exquisite singing voice, made all the more impressive considering she was only sixteen when the film was made.

Not only does the story revolve around a symphony orchestra, but it also heavily features Stokowski, an actual conductor of notoriety. Hence, there are inevitably several scenes in which we are treated to orchestral performances of classical music. At times, it may seem like overkill, but these sequences are cleverly staged and edited to avoid tedium. In fact, there is invariably something else going on while the orchestra is playing, so the story is always moving forward. Besides, it is remarkably elegant music, after all.

The heart of the picture's entertainment, though, is the humour. The cast of genuinely funny characters create a comedy of errors that retains its humour even today. Seemingly, naiveté never goes out of comedy style. There's a singing cabbie, a happy-go-lucky flautist, an easily excited upper-class lady. My favourite, however, is the slow-witted but insistent garage owner, who utters such gems as, "You call me a shutup? You can't call me a shutup?" and "I don't know nothing from arismesticks."

Adolphe Menjou provides the heart as the down-and-out musician, a starkly different persona from the arrogant producer he plays in fellow 1937 nominee Stage Door. It is clear that acting is not Leopold Stokowski's first talent, but he manages to hold his own. And for a sixteen-year-old, Deanna Durbin displays a great deal of maturity in her performance. All in all, One Hundred Men and a Girl is a wonderfully entertaining way to spend an hour and a half on a rainy day.

1930/31 - The Front Page

I am writing this post from Las Vegas, the third city I have visited in as many posts. The last few days have been spent preparing for the opening of Aussie Improv Comedy Explosion, the comedy show in which I'll be performing for the next month. You may not think there would be any need for rehearsals for an improvised show, but believe it or not, we have found plenty of things to work on, not the least of which is promoting the show to our potential audiences. While the show opened earlier tonight, we have a small rotating cast, so I participated only as an audience member this evening. My first performance on stage will be tomorrow night.

Last night, I made the most of some down time by watching another in the Academy's race for Best Picture of 1930/31...

The Front Page
Director:
Lewis Milestone
Screenplay:
Bartlett Cormack and Charles Lederer
(based on the play by Ben Hecht & Charles MacArthur)
Starring:
Adolphe Menjou, Pat O'Brien, Mary Brian, Edward Everett Horton, Walter Catlett, George E. Stone, Mae Clarke, Slim Summerville
Academy Awards:
3 nominations
0 wins

Top reporter Hildy Johnson (O'Brien) is packing in the Chicago news scene to run off to New York with his fiancée Peggy (Brian), much to the annoyance of Hildy's editor, Walter Burns (Menjou). As Hildy says his goodbyes to his colleagues in the court press room, a big story begins to unravel that he simply can't resist. Convicted murderer Earl Williams (Stone) escapes and, while all the other reporters are out looking for him, he stumbles right into Hildy's lap. With a scoop like that, how can he possibly leave town? Walter is happy, but Peggy is not, and Hildy can't string them both along forever.

There is an immensely fun and vibrant quality about The Front Page, which is almost entirely on account of the snappy dialogue. The fast-paced conversations, clearly the product of a stage adaptation, are delightfully droll and occasionally risqué (the restrictive Production Code was not quite in force just yet). A lively ensemble of sarcastic characters keep the story moving at an exciting pace.

Of course, as is the case with such wordy pieces, the static staging can seem a bit tiresome at times. Fortunately, the witty barbs come with such frequency that the lack of movement goes largely unnoticed. Besides, the latter half of the picture features more action which alleviates any monotony. In fact, the film's second half is more engaging for other reasons, too. Whereas the opening scenes feature a whole bunch of subplots, albeit related, the second half is satisfyingly cohesive, concentrating on the main narrative.

As mentioned, the ensemble cast ensure the sarcasm is delivered with appropriate speed, led by Pat O'Brien and Adolphe Menjou, a Matt vs. the Academy regular. Also of note are Frank McHugh, whose infectious laugh I noted while reviewing Going My Way, Edward Everett Horton, a prolific character actor of early Hollywood, and George E. Stone, fresh from another 1930/31 contender, Cimarron.

Unsurprisingly for a film that is 80 years old, The Front Page suffers a little from a lack of video and audio quality. For example, the rapid-fire dialogue is often difficult to comprehend. However, only a month ago, the National Film Preservation Board added the film to its National Film Registry, so hopefully, it will undergo a much-needed restoration soon.

1937 - Stage Door

As is probably evident, I love the Oscars. Unwaveringly. Unconditionally. In an utterly pig-headed defensive sort of way. I'm not even sure what it is exactly that I love so much. It's not the glitz or glamour (although I'm sure that's part of it). Perhaps it is the prestige. Or maybe it's just that it combines two of my favourite things: movies and statistics. In any case, I love the Oscars.

However, if you are so inclined, you'll always be able to find something to complain about ... The awards were given to all the wrong people ... They snubbed my favourite movie ... The ceremony was too long ... too boring ... too gaudy ... too fake. Not me, though. Try as they might, the Academy will never lose favour with me. They can give an American Idol contestant an Oscar. They can allow late-night personalities to host the ceremony. They can omit Farrah Fawcett from the In Memoriam montage. They can turn Norbit into an Oscar-nominated film. No matter what, I love the Oscars. I accept the subjectivity of the winners. I accept the artistic intentions of the show's producers. They'll never please all of the people all of the time. But they can please me all of the time. The Oscars are like my Disneyland. I'll say it again. I love the Oscars.

On Oscar Day this year, I had the girlishly exciting experience of holding one of the golden statuettes at a public exhibit presented by the Academy and Kodak here in New York. Quite a thrill, I assure you.

Then, for the telecast, Kat and I hosted a few friends at our annual Oscars party, at which we served dishes inspired by this year's nominees. For your amusement, I present to you the menu.

In Oscar's aftermath, I travelled back to 1937 to watch another Best Picture nominee from that year....

Stage Door

Director:

Gregory La Cava

Screenplay:

Morrie Ryskind and Anthony Veiller

(based on the play by Edna Ferber & George S. Kaufman)

Starring:

Katharine Hepburn, Ginger Rogers, Adolphe Menjou

Academy Awards:

4 nominations

0 wins

Terry Randall (Hepburn) arrives in New York City with dreams of being a Broadway actress. She finds accommodation at the Footlights Club, a boarding house for theatre types, mostly young women, where she rooms with Jean Maitland (Rogers). The two are not the happiest of roommates, especially when Terry muscles in on Jean's relationship with big shot Broadway manager/producer Anthony Powell (Menjou).

Snappy is an understatement when describing Stage Door's dialogue. The rapid fire repartee is thick - and I mean thick - with sarcasm. From the first scene, it barrels along like the announcer of a horse race. Each young wannabe actress is more caustic than the last and they always have a biting one-liner ready to go at a moment's notice. There's very little time to breathe at all for a good part of the movie, it moves that fast. Quite a feat, considering physical action is a rare occurrence throughout the film's 90-minute running time. It truly is all due to the script's fast-paced dialogue.

The cast must be acknowledged for their aptitude in delivering this lingual roller coaster. They talk over each other constantly yet there is a precision to it. To make it more difficult, many scenes involve at least a half dozen girls. Still, they manage to keep the pace at a steady gallop. Colour me impressed.

After a while, though, this constant lexical energy begins to feel a tad one-dimensional. As remarkable as it is, it retains the same level for ninety percent of the film. Towards the end, the story takes a serious turn, but rather than being a refreshing change, it's just slightly too tragic. And it happens so late in the film that there's no real time to recover the humour, so there's a tiny depressing taste left in one's mouth. Although, Andrea Leeds euphorically ascending the stairs hearing echoes of her memories is a very effective shot indeed.

Katharine Hepburn takes part in her second Matt vs. the Academy year in a row (from the previous 1981 to the current 1937 - not many performers will achieve a feat of that longevity). She and Ginger Rogers display such intelligence in these roles. Neither allow their characters to become stereotypically naive young girls. A young Lucille Ball is especially delightful to watch, delivering the sharpest wit of the group. And two other future showbiz stars, Eve Arden and Ann Miller, take on small roles as well.

1937 - A Star Is Born

There is an odd phenomenon that occurs in the vast expanse that is the Times Square subway station. Inside, there is a small electronics store. If that weren't inexplicable enough, the store has a few television displays in its window, one of which appears to be stuck on a channel that only plays footage of boxing matches. But wait, I'm still not at the odd part yet. Every time, and I mean every time, that I walk past this store, there are a handful of men simply standing motionless, eyes transfixed on the bout. Sometimes, it's about half a dozen onlookers. Sometimes, it's more. I can't figure it out. What is the fascination? Do they know the sports schedule so well that they time their commute to be at Times Square at the opportune moment? Or are they merely not in any kind of rush to get to their destination that they are easily distracted by sweaty men pounding the crap out of each other?

Whatever it is, they all seem completely hypnotised. Just like the man gazing at the freeway sign that Steve Martin drives by at the beginning of L.A. Story. Which worries me. Because by the end of that film, Steve Martin was doing exactly the same thing...

Today, I continued the review of the Best Picture contenders of 1937 by watching...

A Star Is Born

Director:

William A. Wellman

Screenplay:

Dorothy Parker, Alan Campbell & Robert Carson

(based on a story by William A. Wellman and Robert Carson)

Starring:

Janet Gaynor, Fredric March, Adolphe Menjou, May Robson, Andy Devine, Lionel Stander

Academy Awards:

7 nominations

1 win, for Best Original Story, plus a Special Award for colour cinematography

Remade in 1954 with Judy Garland and then again in 1976 with Barbra Streisand, the original 1937 version of A Star Is Born is the only one to receive a Best Picture nomination. The story follows the plight of wannabe starlet Esther Blodgett (Gaynor) as she arrives in Hollywood with big dreams and no plans. The work is tough. Or at least it would be if she could get any. With no prospects, she takes a job as a waitress for Hollywood parties, where she catches the eye of silver screen sensation Norman Maine (March). The two quickly begin a love affair and Norman uses his connections to shoot Esther to the top. But as her star rises, Norman's string of flops and struggle with alcoholism see his career fade into oblivion.

It seems unlikely that this is a realistic account of how the movie business actually operated in the thirties. While there must have been a few ingénues plucked from obscurity to star in major studio films, Esther's rise to fame is just a tad too fairy tale. Then again, perhaps I just have a case of sour grapes. I mean, I've travelled a lot further than she has. Where's my Norman Maine? (Relax, Matt, she's a fictional character...)

In any case, the Hollywood star system is really just a backdrop to the real drama of A Star Is Born, which is the fascinating marital dynamic created when one spouse is the talk of the town and the other is a has-been. In fact, the most interesting aspect of the protagonists' relationship here is that they rarely discuss the issue. Esther and Norman are not at each other's throats at all. They have a genuine love and respect for each other. Sure, Norman pulls a Kanye, interrupting Esther's Academy Award acceptance speech in a drunken tirade, but he doesn't denigrate his wife. Instead, his rant is just a stinking bowl of self pity. And rather than hold a grudge, Esther is profoundly concerned for him. Which is understandable. He's an alcoholic, after all. Norman's struggle is heartbreaking, and while his tragic end is probably an act of cowardice, it could also be interpreted as the ultimate sacrifice to ensure Esther lives out her dream.

The petite Janet Gaynor, Oscar's very first Best Actress, received her second nomination for this role, which includes a spate of brief but accurate impressions of Greta Garbo, Katharine Hepburn and Mae West. The talented Fredric March is exceptional as the fading movie star, delivering a touchingly subtle performance. Andy Devine succeeds again as the quirky sidekick, appearing in his second nominee from 1937 along with In Old Chicago. He is topped, however, by Adolphe Menjou, appearing in his third, a trio of showbiz-related pictures. His meatier roles in Stage Door and One Hundred Men and a Girl leave a greater impression, though.

And as if this film hadn't been remade enough already, there is yet another remake in the works, this time starring Beyonce and, potentially, Russell Crowe.