Marilyn Monroe Premiere Collection

More Marilyn Delights!

By Kristin Battestella

Thanks to my lucking out on finding the Marilyn Monroe Premiere Collection box set on sale at Target, I am back into all things Marilyn, including several previously unreviewed gems and early Monroe appearances.

All About Eve – Monroe of course has a small role in this much-lauded 1950 classic headlined by Bette Davis (Jezebel), Anne Baxter (The Ten Commandments), Supporting Actor winner George Sanders (Rebecca), Celeste Holm (Gentleman’s Agreement), and Thelma Ritter (Pillow Talk). Director Joseph L. Mankiewicz (A Letter to Three Wives) accents the tongue in cheek winks and play within a play look at the stage versus Hollywood, its stars, scandals, and the interconnected, Dickensian favor or demise with fun name drops, freeze frame narrations, and Shakespearean asides. Contemporary audiences may not like all the telling, yelling, multiple narrators, or flashback frames, but the stories, characters, archetypes, and interplay unfold spectacularly – and the furs, fashions, cigarettes, score, and theatre dressings look so sweet. The filming here looks like a stage presentation yet its story telling constructs heighten the drama and feel quite modern. The then cutthroat ambition, catty attitudes, latent symbolism, us versus them curtain divides, and aging starlets really haven’t changed all that much have they? Ageism, sexism – there will always be a younger actress waiting in the wings. Where does the stage stop and reality begin and who do you trust or stab in the back to go on with the show? For her part as a would be aspiring actress, Monroe only has a few scenes forty-five minutes in, but she holds her own with the heavyweights thanks to a great script, witty lines, and fine delivery from the entire company. This is the Black Swan of its day, so why aren’t there more pictures like this now?

As Young As You Feel – Thelma Ritter joins Monty Woolley (The Bishop’s Wife) and David Wayne (Adam’s Rib) for this 1951 switch-a-roo comedy, a neat 77 minute time capsule of social and financial issues then and now. Forced retirement, struggling whilst on social security, men working to support a wife before marriage, a woman expected to leave a job upon marrying – people back then waited and worked one job their entire lives yet still found difficulty because someone else said otherwise regardless of age, money, or romance. The plot is a little slow to get rolling thanks to exposition or to and fro transition scenes, but the older ensemble provides the comedic music, dancing, and tomfoolery amid the straightforward conversation and mature relationships. Marilyn, of course, is a secretary to die for complete with a great white dress that pops onscreen. Despite the sexy, she’s actually a capable assistant and keeps up with these cantankerous older men! Acting old is what makes you old, indeed – there are some serious and cranky truths here. Once the bemusing games are afoot, however, this remains an entertaining little piece of fun and study.

 

O. Henry’s Full House – The John Steinbeck narrating frame for this 1952 anthology showcasing the eponymous author’s works is a treat in itself – add Charles Laughton (The Private Life of Henry the VIII) as a charming bum with refined tastes alongside David Wayne for the first tale “The Cop and the Anthem” and the touching scene with Monroe sets off the irony and spiritual accents. Madcap crook Richard Widmark (Don’t Bother to Knock) then steals the morality in “The Clarion Call,” an interesting little look at both sides of the law and how men can’t quite escape their criminal pasts. Story tres “The Last Leaf” is a snowy period piece featuring an ill Anne Baxter. The illicit suggestion and bleak countdown perfectly capture the bittersweet of art and life cut short before really having started – but at under 2 hours, this anthology packs a lot into its vignettes. Each story is a separate, well paced, quality drama thanks to the often ironic literary source. Next, Howard Hawks (Red River) directs the humorous backwoods kidnapping in “The Ransom of Red Chief.” The backfiring getaway vehicle and blasé, whatever parents may seem out of place amid the character dramas, but the lighthearted Fred Allen radio star sass goes a long way before the Victorian holiday finale “The Gift of the Magi,” starring Jeanne Crain (State Fair) and Farley Granger (Strangers on a Train). The sad newlywed faces gaping in store windows as others buy exorbitant gifts while they scrimp on food and count hidden pennies is still quite relevant. They give of themselves and sell their most treasured things, but are they really worth it? Not only will fans of the author delight, but the commentary, literary extras, and restoration notes make for a quite pleasing finish here.  

We’re Not Married – Fred Allen and David Wayne are here again beside Ginger Rogers (Top Hat), Mitzi Gaynor (There’s No Business Like Show Business), Zsa Zsa Gabor (Moulin Rouge), and more for this 1952 humorous romance. Miss Mississippi Monroe is a young beauty queen more interested in pageant success then her bitter househusband or baby, and it is intriguing to see this mid century time capsule of marital mood and relationship mores – they are certainly different from today’s casual couplings! Some transition scenes are slow as we bounce from one couple’s story to the next – our players never crisscross but rather serve as separate not so wedded bliss vignettes. This halting approach must restart with each segment, making the comedy and drama uneven as these unhappy duos react to their marriage dilemma with varying degrees of heavy or comical. The tone would have been more balanced and witty if our couples had interacted and thus perhaps reacted differently to their situation. Illegitimacy, military legalities, and the serious latter half make the time here a bit overlong at 85 minutes. Some pairs are more likeable than others are, and the script isn’t as funny as it thinks it is. Fortunately, the then scandalous unwed notions, bumbling judges, licensing technicalities, and holiday accents make for some lightheartedness and social interest along with pleasant fashions, fifties décor, and behind the scenes radio show drama. And dang, young Zsa Zsa, wow!

A Split Decision!

Let’s Make It Legal – I’m not a fan of Claudette Colbert (It Happened One Night), but she and Robert Wagner (Hart to Hart) look so young in this 1951 comedy! The separate beds and set dressings feel somewhat mid century standard, but Colbert shockingly shows off her legs and signs those divorce papers. She’s a little too feisty to be a grandmother and the way these men – who are actually younger than she is – fight for her affection feels awkward. The misogynistic dialogue is also too of the time casual, with men discussing the legalities of beating a woman while gambling on horses instead of paying their alimony. This script is perhaps meant to be witty as the battle of the sexes complaints go round and round, but the dry, back and forth meddling gets tiresome fast. Fortunately, young model Monroe adds a much needed spark with a great bathing suit, fun delivery, and a brief, but juicy zing. At 77 minutes, the attractions and rivals feel under cooked and on the nose – the score is largely silent and this kind of romantic charmer has been developed better with a more likeable cast elsewhere. Fans of the stars and fifties comedies, however, may yet enjoy the fun along with Wagner’s commentary and the bemusing period newsreel featurettes.

About the Premiere Collection set

Certainly it’s understandable that not every Marilyn Monroe film has been included here – namely less quality fair such as Hometown Story or Clash by Night or even well done, but minimal Marilyn fair such as The Asphalt Jungle. However, it is very surprising that River of No Return and The Prince and the Showgirl are absent from the Premiere Collection. Granted there may be an MGM or Warner, non-Fox Studios technicality in place, but other non-Fox films are included and it is ironic that films where Monroe has one or two scenes are here over such starring roles. Fortunately, the features on the individual discs are retained – subtitles, commentaries, trailers, photo galleries, newsreels, restoration comparisons, and more. The streamlined box also has a pleasant design with three separate volumes folding out to create fun Marilyn centerfolds. I was apprehensive in purchasing the Premiere Collection online after hearing this somewhat cardboard packaging caused damaged discs, but the $30 I lucked upon at Target was cheaper than Amazon and there have been no set problems. Despite any perceived selection or box set flaws, Monroe completists will delight in this convenient edition, and my Marilyn collecting sister probably knows what her next gift is going to be! 

 

Monkey Business (1952)

Monkey Business Loads of Fun

By Kristin Battestella

Thanks to its star studded cast and award winning talent both in front and behind camera, the 1952 comedy Monkey Business doesn’t screw up its screwball wit.

Chemist Barnaby Fulton (Cary Grant) and his wife Edwina (Ginger Rogers) are hopeful for his next scientific breakthrough at Oxley Chemical. Barnaby thinks he may have the right youthful formula at last, which excites boss Oliver Oxley (Charles Coburn) and his secretary Lois Laurel (Marilyn Monroe). However, after one of the lab monkeys mixes up a brew of her own and it gets in the office water cooler, this true fountain of youth elixir effects Barnaby – and his wife – in ways never expected.

Director Howard Hawks (Red River, Sergeant York) and writers Harry Segall (Here Comes Mr. Jordan), Ben Hecht (Notorious), I. A. L. Diamond (The Apartment), and Charles Lederer (Ocean’s Eleven) begin with some self referential charm, adorably dry jokes, friendly jabs, and even cooking insults before building the fifties fun and witty science. The dialogue and deadpan reactions are on form and keep what is quite a preposterous premise relatively smart. Subtle, silent slapstick scenes force the viewer to pay attention to the players at hand and their experimental elixir changes. Those unaccustomed to classic film comedy beats and rhythms may find the characters both too slow going and too talkative, but this style fits the plot perfectly. Yes, Monkey Business is similar in slapstick to Bringing Up Baby, and several scenes are too rowdy, fifties familiar, and overly stereotypical, granted. The whole predicament is also fairly obvious today – he drinks, she drinks, then they drink together!  Fortunately, the hair-brained trouble each step causes is nonetheless charming, and even the monkeys are cute. Okay, so the primate elements may be cliché too, but at least real monkeys were used. That’s more than I can say for all those old man in a gorilla suit horror pictures!

Well, well the be-spectacled and socially dim witted but sophisticated scientist Cary Grant looks great, surprise, surprise. Whether it’s merely an undone tie around his neck, cruising in his new car, or taking a swim, Grant (star of 5 pictures helmed by Hawks) is certainly having a good time in Monkey Business. Is it ridiculous to have the king of suave jumping out the window, acting like a kid, and scalping his rival? Of course. Does the mayhem work? Absolutely. His scientific dialogue and innuendo alliteration isn’t easy either, but Grant’s delivery is spot on – although I can’t say the same for his singing! Though known more for her dancing with onscreen partner Fred Astaire than her first picture with Grant, Once Upon a Honeymoon, Ginger Rogers is equal to the task as Barnaby’s sassy, bossy wife Edwina. The part could have easily become annoying or trite, but Rogers is so classy and charming whether she’s a supposedly simple housewife with a smile on her face or a juvenile victim of the formula. Her trickster ways and finger wagging jealousy may seem a bit too childish for modern viewers, but then again, that’s the point of Monkey Business. Rogers does have a few chances to get her dance on, too, and her baby scenes in the final act are far more amusing than the Indian scalping play-acting. The proverbial letting their hair down and matching of wits between Grant and Rogers makes for lovely dynamics and a fun, coupled adventure, and their tandem work is delightful. They just don’t make comedies like they used to – or have the right pairs of stars to go in them! 

Today Monkey Business may be billed as one of her big pictures, but Marilyn Monroe (also of Gentlemen Prefer Blondes with Hawks) is not the star here and she doesn’t have much screen time. Nevertheless, her cluelessly loveable and steamy, but harmless secretary Lois Laurel is the perfect fodder for our fountain of youth experiencing duo.  The innuendo and misunderstandings she causes are just as amusing as her stupidity. From not being late because of bad punctuation and needing someone to type for her to enjoying her acetates – err stockings – the delivery from Monroe is smooth, even innocent. Monroe isn’t over the top and deliberately putting on the sexy, and thus Grant can match her as the straight man with no laugh track, rim shots, or hammering the viewer’s head with the nudge nudge wink wink required.  Yes, Monroe’s bullet bra enters the room before she does and her fans will enjoy what time she has onscreen, but her performance is really wise, well done comedy. Charles Coburn (The More the Merrier) is also a hoot as the monocle wearing and definitely noticing Oliver Oxely – after all, “Anyone can type.” Perhaps the subtext is tame today, but intelligent hints and charming performances never go out of style. In addition to these big stars of Monkey Business going kid, it’s also an ironic twist to add the deep voiced little George Winslow (My Pal Gus and Gentlemen Prefer Blondes) as a child voice of reason on the whole wacky matter.

Although the black and white photography may hide some of the sweet costumes from oft Monroe designer Travilla, all the mid century touches are here – the jazz, her pearls, those gloves, that kitchen!  I have to say, I love the obviously fake driving scenery and crazy stunt work.  It’s such a fifties staple!  The laboratories are fun, and the monkey filming is well done, too.  Naturally, one can’t go looking for serious science or the moral and ethical consequences of youthful experimentation with Monkey Business. While parts here are predictable, dated, and definitely of their time, one can’t pull off this kind of witty magic and comedic delivery today without resorting to gross out, college sex romp humor. Yes, it may be tough for younger audiences who didn’t grow up seeing this type of fast-paced screwball fun to appreciate. However, the deadpan zingers here can still make one crack up and smile. Fans of the cast and classic comedies certainly know and love Monkey Business, but older audiences or viewers looking for smart, sophisticated fun need look no further than the delightful shenanigans here.

Early Horror and Silent Hits

Early Horror Delights!

By Kristin Battestella

While some, even the most adamant classic or horror fans, may baulk at the idea of silent films and Hollywood’s earliest horror efforts, there is most definitely a good amount of decent-and in some cases stellar- frights to be found in film’s infancy.

Dr. Jekyll and Mr. Hyde – This 1920 John Barrymore silent classic still looks good, with fine style and design and eerie organ music to match. There’s a lovely level of atmosphere for a spooky event- project this baby on some creepy cloth and you’re set! Granted, it’s a little slow to start and long for a silent film at 80 minutes. The presentation itself is almost Victorian in establishing the parlor goodness before its hint of pre-code sauce- the dance and proposition of Nita Naldi (The Ten Commandments). The posturing and makeup for Hyde may seem hokey, there isn’t that much of a visual difference compared to today’s high tech effects transformations. Nonetheless, Barrymore (Don Juan) sells the depravity without over exaggerating as the era often dictates, and the result is quite timeless.  There aren’t many title cards, either.  As the film progresses, the good and evil torment steadily increases thanks to the freaky pictures and creepy performance. A must see. 

 

The Monster Walks – There’s poor sound, dry dialogue, and it’s almost tough to tell what’s going on in this 1932 caper. The ladies are stereotypical and we have an utterly inappropriate portrayal of subservient black chauffeur: “I’d just love to take my shoes off and skip in the rain! Yes’um!” Is he supposed to be some sort of comic relief, the first example of a wise cracking brother?! Faults of the time aside, a creepy opening scene, eerie décor, spooky lighting, and a “must stay the night” storm make for a dangerous setting as the will is read and the scares come in the night. Of course, an evil ape must be involved, but fortunately, there’s some good suspense. The story gets better as it goes on, with plotting over the inheritance, mysterious passages, erroneous deaths, and family secrets to up the ante for this entertaining little hour.  

 

A Shriek in the Night – This 1933 crime stopper is loaded with hokey effects, wooden investigators, copper colloquialisms, annoying old ladies, and yet another racist, subservient portrayal, “It’s too much, yes sir!” Fortunately, the interesting and inventive penthouse crimes are accented with awesome vintage cars, glorious fashions, and period style.  Famous song and dance star Ginger Rogers (Kitty Foyle) looks sweet as a sassy get the scoop reporter, and her fans will enjoy this serious, pre-Astaire turn.  For only being an hour long, the plot meanders somewhat with seemingly useless, sexist scenes. However, today’s audience can see the attempted establishment of the suspense procedural and murder mystery. It’s not major scary, despite a few good screams and light and darkness tricks, but fans of the mystery genre and its evolution onscreen can have a good time with this predictable, but fun study.  

The Unknown – Lon Chaney (The Phantom of the Opera) and Joan Crawford (Whatever Happened to Baby Jane?) star in this short but memorable 1927 silent from writer and director Tod Browning.  Similar to Browning’s Freaks in many ways, the grotesque yet tender and sympathetic love triangle here is fast paced and well edited with intense twists and a great, revitalized score.  Sure, it may be a Leap of Faith in taking Chaney as armless and the carnival set-ups are hokey- but trust me.  There’s no over the top acting, only perfect expressions and emotions all around. Crawford looks dynamite, too, with great eyes and readable lips that don’t need inter titles. It’s not all Chaney’s footwork and bravo to his double Paul Desmuke; their combination is strangely delightful to watch. It’s probably a tough concept for some contemporary, effects-obsessed audiences to comprehend, but hearing or reading words aren’t required for the viewer to receive the trauma here.  Yes, some of the essential plot points are fairly obvious today. However, the performances keep it splendid nonetheless. This hour is by necessity of the silent style yet also very modern in its own way. It’s definitely a must see for classic fans, lovers of the cast, and film makers or would be actors- who should definitely take a lesson on the big reveal here!

Vampyr – It’s tough to partially pay attention to this restored 1932 international horror tale, as it has both subtitles for the spoken German and English title cards between scenes. It’s a lot to read onscreen, and won’t be easy for everyone to watch. However, I like the fun opening spider web designs, lovely yet creepy music, and excellent lighting and shadows. I can’t imagine director Carl Theodor Dreyer (The Passion of Joan of Arc) receiving bad reviews for its debut. The candles and décor complete the mood and atmosphere and set the scares perfectly. There’s a foreboding feeling, and one can get chills just by watching a few minutes. Again, this is a great one to play in the background for a theme night or viewing party, as one ends up stopping, captivated into taking notice of this peculiar little tale.  There’s a beautiful and careful attention to detail, making each shot look like a pretty picture in addition to advancing the story. There aren’t any in your face jump out and scare you moments, just a lot of artistic brooding and a total sense of macabre. Of course, the women are a bit much, with typical old ladies of the time, and it is a slow, heavy 70 minutes devoid of today’s simply mindless entertainment.  There’s even some religious study with innocent, virginal victims, nuns, and white/purity symbolism battling against a demented, unholy photography of skeletons, poisons, and surreal death dreamscapes. Thankfully, it really is stylized- I want to say exquisite- work, and students of horror and early film should at least take a look. Ironically, one may very well be delighted here.  

Cinderella (1965)

Rogers and Hammerstein’s Cinderella Never Gets Old

By Kristin Battestella

I’m not a girly girl by any means, but I do have a few purely indulgent, guilty pleasure pictures, and the 1965 Rogers and Hammerstein’s Cinderella is one of them. There’s really no reason for an adult to see this television production now and fall in love; but for those of us who grew up with such charming songs and costumes, this Cinderella can still get us singing along.

After a year of adventure rescuing princesses and slaying dragons, the Prince (Stuart Damon) returns home to seek his bride. Along the road, the Prince and his entourage stop at a cottage for a drink of water. The servant girl there, Cinderella (Leslie Ann Warren), is home alone, but overcomes her fears with kindness for the guests. Later, Cinderella’s cruel Stepmother (Jo Van Fleet) and two Step Sisters Prunella (Pat Carroll) and Esmeralda (Barbara Ruick) make ready for the Prince’s homecoming ball, where the King (Walter Pidgeon) and Queen (Ginger Rogers) hope their son will find a bride. Cinderella wishes she herself could attend the ball and marry the Prince, and shortly her Fairy Godmother (Celeste Holm) appears to show her nothing is impossible!

Some classic audiences might remember Rogers and Hammerstein’s first 1957 television production starring the wonderful Julie Andrews, but I suspect most viewers think of this musical version before all others-except for the Disney animated tale of course. Some of Oscar Hammerstein’s lyrics are a little anachronistic for the fantasy medieval setting, but who cares? Long time television director Charles S. Dublin (Hawaii Five-O, Kojak, MASH, Matlock) swiftly handles the silent, dramatic scenes and balances the fun and light-hearted romance with Richard Rogers’ songs. Though not entirely for a juvenile audience, the composers of such classics as South Pacific, Oklahoma!, and The King and I touch your inner childhood with enchanting music of love, charm, and adventure. Maybe ‘In My Own Little Corner’ is a little silly, just like the ‘Impossible! It’s Possible!’ medley. ‘Ten Minutes Ago’ and ‘Do I Love Because Your Beautiful’ are indeed sappy. However, who just started singing along as you read those song titles? Cinderella is charming, catchy, fun, and even a little inspiring for the young and young at heart.

The same audiences who grew up on Rogers and Hammerstein’s Cinderella are also probably the same audiences who watched the long running and now slowly dying network daytime soap operas. Those viewers will of course recognize Stuart Damon at the Prince, for the long time General Hospital patriarch proves he’s more than a one trick pony with some fine vocal talent. He’s a little mellow and lovey dovey, of course, but having a good time-just like his onscreen parents Ginger Rogers (Top Hat, Kitty Foyle, Monkey Business) and Walter Pidgeon (Mrs. Miniver, Madame Curie, How Green Was My Valley). Despite all the musical flare, it’s nice to see Rogers in a non-dance spectacular role, and she looks medievalriffic as the Queen. Likewise, Pigeon has fun with the revered but good-natured King with his son’s best interests at heart.

Lesley Ann Warren’s (Clue, Victor Victoria, In Plain Sight) debut here as Cinderella is a little imperfect, but delightful nonetheless. Her voice isn’t bad, but a little too raw or untrained. Warren’s capable ballet skills are also oddly displayed in a weird, somewhat out of place solo interlude- but when you’re looking at the fourth wall, pointing to mice that aren’t on your Astroturf lawn, it’s all okay. Warren is all smiles, loveable to young and old, and clearly enjoying herself with this magical introduction. Also bewitching us is Celeste Holm (All About Eve, Gentleman’s Agreement) as the Fairy Godmother. Her tongue-twisting tune isn’t easy to deliver, but Holm carries herself with the necessary grace and charm. It’s such fun to see these classic elder actors being able to perform, give back, and have a good time-unlike today where visuals and effects can overtake performance and style. Wicked Stepmother Jo Van Fleet (East of Eden, Gunfight at the O.K. Corral) and Pat Carroll (Too Close for Comfort, The Little Mermaid) and Barbara Ruick (Carousel) as her less than desirable daughters are like three kitschy blind mice. You love to hate them, but look forward to all their witty scenes. Their songs are understandably a little off key and for the humor, but the bad girl fun is just as juicy as all the fairy tale love: ‘Why would anyone want a girl like her-a girl who’s merely lovely!’

Although the music, story, and performances in Cinderella have stood the test of time, the cardboard sets and stage like production can hinder modern audiences. On one hand, yes by gosh they are absolutely hokey looking and completely fake and pathetic. Honesty, is there a green Styrofoam topiary tree in Cinderella’s garden? However, Cinderella’s châteaux also has a fun fireplace and a great set of stairs upon which to pretend. Likewise, the chandeliers and palace interiors set the mood for the big ball. Fans of musical theater won’t have a problem letting the minimal set design spark the mood, but I worry that contemporary, CGI obsessed effects mavens can’t appreciate the idea of pointing a camera at a dressed stage and letting people work. Cinderella has lovely waltzes, great songs, even horses on set! This was the height of television production heights back in the day!

The costumes are also not quite accurate to a particular time period, going rather for a mix of fantasy looks and styles from any and all medieval varieties. Nevertheless, they are delightful and everyone in the production is surely in the mood with such great outfits! Costume enthusiasts will spot the use of bright and shiny modern fabrics and way too many truncated henins–that’s the big pointy princess hat every little girl simply must have growing up that actually was as historically brief as the also appearing beehive. But come on now, ‘unicorn oil’ is also named as the remedy for Prunella’s creaking knee! Though there’s not much that can be done to fix innate blips in the onscreen values, the Cinderella DVD does have some fine sound and even a few features. The Retrospective is short, but it’s nice to see Lesley Ann Warren, Stuart Damon, and Celeste Holm recall Rogers and Hammerstein, their favorite songs, and the ambitious production.

Naturally, modern audiences have probably moved on from the dated look here to the 1997 Disney update with Brandy and Whitney Houston leading a multi-talented, lavish, culturally ambiguous version- but the young at heart who grew up with Cinderella can watch again and again and sing along just as though nearly fifty years haven’t gone by. Younger folks like me who were fortunate enough to get some viewings in as a child can also still enjoy. Very young viewers might still be charmed, as will musical and medieval fans, but tweens and up are probably better served by the 1997 redo. Pick up the DVD of the 1965 version today or dig out your video copy and sing along late at night in your own little corner in your own little chair with Cinderella.