Category: 1948

Superman (1948, Spencer Gordon Bennet and Thomas Carr), Chapter 6: Superman in Danger

Superman in Danger opens with another fine action sequence from directors Spencer Gordon Bennet and Thomas Carr with the animated flying Superman. It leads into another really short scene between Noel Neill and Kirk Alyn.

Then there’s another action sequence, involving Alyn and kryptonite, with Alyn’s best acting as Superman so far in the serial. Alyn’s got some decent stuff as Clark Kent this episode, as he tries to steal Neill’s faithful stoolie (Frank Lackteen). Neill catches on to Alyn trying to scoop her and heads out. Unfortunately, the lack of teamwork and communication put them both in danger.

Neill in real danger, Alyn in ostensible danger. Though they do get in trouble, it’s because they’ve been really stupid. In Alyn’s case, the stupid’s sort of permissible (he’s new to the reporting game, after all). Neill’s isn’t permissible. She does get a solid moment a little later when she’s once again abducted; it doesn’t last long, but it’s something.

For whatever reason, Bennet and Carr can manage to do the opening action well for cliffhanger resolution, but never the closing action for the new cliffhanger. The cliffhangers are never good. There should have been at least one by chapter six, but no.

Some rather bad audio dubbing this chapter too.

Superman (1948) ch06 – Superman in Danger

Superman in Danger opens with another fine action sequence from directors Spencer Gordon Bennet and Thomas Carr with the animated flying Superman. It leads into another really short scene between Noel Neill and Kirk Alyn.

Then there’s another action sequence, involving Alyn and kryptonite, with Alyn’s best acting as Superman so far in the serial. Alyn’s got some decent stuff as Clark Kent this episode, as he tries to steal Neill’s faithful stoolie (Frank Lackteen). Neill catches on to Alyn trying to scoop her and heads out. Unfortunately, the lack of teamwork and communication put them both in danger.

Neill in real danger, Alyn in ostensible danger. Though they do get in trouble, it’s because they’ve been really stupid. In Alyn’s case, the stupid’s sort of permissible (he’s new to the reporting game, after all). Neill’s isn’t permissible. She does get a solid moment a little later when she’s once again abducted; it doesn’t last long, but it’s something.

For whatever reason, Bennet and Carr can manage to do the opening action well for cliffhanger resolution, but never the closing action for the new cliffhanger. The cliffhangers are never good. There should have been at least one by chapter six, but no.

Some rather bad audio dubbing this chapter too.

Superman (1948, Spencer Gordon Bennet and Thomas Carr), Chapter 5: A Job for Superman

A Job for Superman has the serial’s first enthusiastic use of the cartoon flying Superman. Kirk Alyn has just ditched Tommy Bond with a goofy excuse so he can put on the long-johns (behind rocks this time, not shrubbery) and he’s flying between rock outcrops to get ahead of the bad guys’ car. They’ve kidnapped Noel Neill. Then cartoon Superman flies off the outcrop and lands on the car.

It’s a good action sequence, even if its dramatically pat. Neill’s just survived her first encounter with Spider Lady Carol Forman. Forman’s proving to be a lousy supervillain, with chief henchman George Meeker challenging her every decision. Doesn’t help Forman’s always wrong.

Once Alyn rescues Neill–this time she at least gets one line of dialogue before the scene ends, so far there’s zero Lois and Superman stuff in Superman–the action moves back to the Daily Planet for some lengthy exposition setting up Forman’s next scheme. Threaten Superman publicly and tell him her plans.

Of course, turns out Alyn knowing her plans doesn’t mean he’s not going to screw up stopping them. Worse, the action sequence setting up the cliffhanger is nowhere near as good as the first one.

Alyn and Bond have a good scene together. Still no character development, but a good scene. Neill gets some lines for the Daily Planet scene; when she’s out on assignment, Superman cuts away. To that lame finale action sequence.

A Job for Superman starts iffy, gets better, goes back to iffy. The script’s way too erratic.

Superman (1948, Spencer Gordon Bennet and Thomas Carr), Chapter 4: Man of Steel

Man of Steel opens with a good scene for Kirk Alyn, as both Clark Kent and Superman, as he has to decide if he’s going to reveal his secret identity. He’s trying to convince scientist Forrest Taylor to destroy kryptonite.

Unfortunately, Taylor’s got an assistant who’s more interested in personal profit than the well-being of the Man of Steel, which brings Carol Forman’s Spider Lady into the mix.

But not for Alyn. After the opening, he gives up the chapter to Noel Neill. For a few minutes, anyway, before she gets kidnapped. She and Tommy Bond do get a good scene together–visiting a stool pigeon, Neill has to school young Bond in proper reporting.

Once she’s kidnapped and off to Forman’s lair, Man of Steel starts to get its familiar drag. Forman’s performance isn’t good; her character is stupid too. Spencer Gordon Bennet and Thomas Carr have Neill ostensibly in danger the whole time, yet when she gets to have the cliffhanger, it’s like they just remembered to do something with her. Before the cliffhanger, it’s all Forman doing expository.

Bennet and Carr’s lack of urgency hurts Man of Steel. Alyn, Neill, and Bond are all good, but the finale gives none of them anything to do. Just Forman. And she wastes anything she gets to do. It’s not entirely her fault. Spider Lady’s a weak character

Superman (1948, Spencer Gordon Bennet and Thomas Carr), Chapter 3: The Reducer Ray

The Reducer Ray drags. It opens with an okay, not great, cliffhanger resolution–with the best use of the animated Superman action so far in Superman. The resolution’s truncated so the action can get back to the Daily Planet so Noel Neill can meet Kirk Alyn (as Clark Kent). She already met Superman, but just for a moment and it has no apparent effect on her.

There’s a promising hint of Alyn and Neill bickering, then the chapter moves ahead an indeterminate period. There’s a newspaper headline montage of all Superman’s feats.

When the montage ends, Reducer Ray introduces villain Carol Forman and her stooges. Forman is “The Spider Lady.” She wears a black gown and an eye mask. She also has a giant silvery spider web in her foyer. It’s unclear why she’s such a powerful villain, but her stooges do her bidding. Including when it gets them killed, like here.

Turns out the U.S. government has a job for Superman. There’s a lot of action–and The Reducer Ray–before it’s back to Metropolis for Alyn as Clark Kent. A meteor is expected to land nearby and they’re supposed to get the story. Can he and Neill work together?

Or will she strand him on the side of the road.

Neill’s good. Alyn’s better as Kent. Especially during the bickering scenes with Neill, Tommy Bond, and Pierre Watkin. The script just doesn’t take any time with them.

Lots of Superman cartoon flying “effects.” Never too bad, but never good. If Superman’s got to fly as a cartoon, they ought to still be excited about the cartoon.

It feels long–there are a lot of people standing around in Reducer Ray, most of them new characters, most of them probably just here for the one chapter. It’s a lot to get through.

The cliffhanger involving Kryptonite is at least a shocker.

Also–Neill gets screen time but nothing to do as a reporter. Her part is to actively dislike Alyn, amusingly so, but zilch else.

Superman (1948) ch03 – The Reducer Ray

The Reducer Ray drags. It opens with an okay, not great, cliffhanger resolution–with the best use of the animated Superman action so far in Superman. The resolution’s truncated so the action can get back to the Daily Planet so Noel Neill can meet Kirk Alyn (as Clark Kent). She already met Superman, but just for a moment and it has no apparent effect on her.

There’s a promising hint of Alyn and Neill bickering, then the chapter moves ahead an indeterminate period. There’s a newspaper headline montage of all Superman’s feats.

When the montage ends, Reducer Ray introduces villain Carol Forman and her stooges. Forman is “The Spider Lady.” She wears a black gown and an eye mask. She also has a giant silvery spider web in her foyer. It’s unclear why she’s such a powerful villain, but her stooges do her bidding. Including when it gets them killed, like here.

Turns out the U.S. government has a job for Superman. There’s a lot of action–and The Reducer Ray–before it’s back to Metropolis for Alyn as Clark Kent. A meteor is expected to land nearby and they’re supposed to get the story. Can he and Neill work together?

Or will she strand him on the side of the road.

Neill’s good. Alyn’s better as Kent. Especially during the bickering scenes with Neill, Tommy Bond, and Pierre Watkin. The script just doesn’t take any time with them.

Lots of Superman cartoon flying “effects.” Never too bad, but never good. If Superman’s got to fly as a cartoon, they ought to still be excited about the cartoon.

It feels long–there are a lot of people standing around in Reducer Ray, most of them new characters, most of them probably just here for the one chapter. It’s a lot to get through.

The cliffhanger involving Kryptonite is at least a shocker.

Also–Neill gets screen time but nothing to do as a reporter. Her part is to actively dislike Alyn, amusingly so, but zilch else.

Superman (1948, Spencer Gordon Bennet and Thomas Carr), Chapter 2: Depths of the Earth

Depths of the Earth opens with Superman saving a train. Only on a budget. Yet everyone acts like it’s the second coming, from Noel Neill’s Lois Lane to the stunned rail worker. All the rail worker saw was Kirk Alyn run out of the bushes in his Superman costume and kneel next to the train tracks. But it’s enough to wow the rail worker. He can’t even form sentences to tell people what he saw, which is good since Alyn’s not really good with the secret identity thing. Clark Kent runs into the bushes (three times this chapter) and Superman runs out.

After Neill and Tommy Bond file a story about the rail incident, they head off to a mine disaster. Alyn heads to Metropolis to get a job. But first he’s got another rescue to do as Superman, his first time flying. A mob of citizens tries to chase him down after the rescue, but Alyn gets away. He’s too adept at hiding in bushes.

Alyn heads to the Daily Planet, where editor Pierre Watkin tells him if he can scoop Neill and Bond he’s got a job. So off Alyn goes to the mine disaster, which is further away than his hometown. But he gets there quick.

Not in time to save Neill from her bad instincts; she follows an old codger to get into the mine and ends up trapped.

Watkin is rather good in his scene with Alyn. He does angry newspaper editor well. Neill and Bond are good too. Alyn’s fine so far. He hasn’t really had a scene with anyone yet–his rescue was unconscious so there’s no interaction.

The cartoon flying Superman is still a little weird, but nowhere near as weird as Alyn going to cover the story of a mine disaster without helping as Superman.

The cliffhanger’s weird too. Directors Bennet and Carr are having a lot of problems with building tension. Hopefully they improve.

Superman (1948) ch02 – Depths of the Earth

Depths of the Earth opens with Superman saving a train. Only on a budget. Yet everyone acts like it’s the second coming, from Noel Neill’s Lois Lane to the stunned rail worker. All the rail worker saw was Kirk Alyn run out of the bushes in his Superman costume and kneel next to the train tracks. But it’s enough to wow the rail worker. He can’t even form sentences to tell people what he saw, which is good since Alyn’s not really good with the secret identity thing. Clark Kent runs into the bushes (three times this chapter) and Superman runs out.

After Neill and Tommy Bond file a story about the rail incident, they head off to a mine disaster. Alyn heads to Metropolis to get a job. But first he’s got another rescue to do as Superman, his first time flying. A mob of citizens tries to chase him down after the rescue, but Alyn gets away. He’s too adept at hiding in bushes.

Alyn heads to the Daily Planet, where editor Pierre Watkin tells him if he can scoop Neill and Bond he’s got a job. So off Alyn goes to the mine disaster, which is further away than his hometown. But he gets there quick.

Not in time to save Neill from her bad instincts; she follows an old codger to get into the mine and ends up trapped.

Watkin is rather good in his scene with Alyn. He does angry newspaper editor well. Neill and Bond are good too. Alyn’s fine so far. He hasn’t really had a scene with anyone yet–his rescue was unconscious so there’s no interaction.

The cartoon flying Superman is still a little weird, but nowhere near as weird as Alyn going to cover the story of a mine disaster without helping as Superman.

The cliffhanger’s weird too. Directors Bennet and Carr are having a lot of problems with building tension. Hopefully they improve.

Superman (1948, Spencer Gordon Bennet and Thomas Carr), Chapter 1: Superman Comes to Earth

Superman Comes to Earth starts on the rocky, barren planet of Krypton. Which has just experienced a tidal wave, according to the narrator. There’s a little incongruity between the narration and the dialogue. It ceases to be an issue once Krypton’s elders start heckling Nelson Leigh for telling them the planet is going to explode. They even accuse him of staging earthquakes–kryptonquakes?–to further his point.

The Kryptonian costumes look like stylish bathrobes and it’s sometimes difficult to take the elders seriously. Leigh manages to make it through though. No matter how silly the scene or his costume, Leigh has a good presence.

Except he’s Jor-El so he’s not long for Comes to Earth.

Once the action moves to Earth, Ed Cassidy takes over for a bit as Pa Kent, then Virginia Carroll as… you know, Martha. Cassidy seems entirely out of place with the rocket landing on Earth scene, but he’s better once young Clark Kent (Ralph Hodges) is saving him from a tornado.

But then it’s time for Clark to grow up and become Kirk Alyn. Who inexplicably wears glasses before he decides to have a secret identity. Then Cassidy and Carroll die (off screen) and Alyn leaves the farm.

Except he can’t because there’s a train in danger. Not just any train–though Alyn doesn’t know it–but one with ace reporter Lois Lane (Noel Neill) and girl-crazy photographer Jimmy Olsen (Tommy Bond) on-board. The track is broken. No one can stop the train. What’s Alyn going to do?

Run into the bushes and change into his longjohns. Then it’s time for the cliffhanger.

Everyone who makes an impression in Comes to Earth is dead by the end of the chapter. Superman regulars Alyn, Neill, and Bond barely have any screen time, though Neill and Bond make more impression than Alyn.

Spencer Gordon Bennet and Thomas Carr’s direction is all right. Nothing amazing, nothing terrible. The tornado sequence is fantastic. The cartoon objects superimposed for flying–just the rocket ship here–are a little disjointing. If Superman embraced them a little more, played with having animation a part of the serial, maybe they’d work better. So far no.

Comes to Earth gets the job done. Alyn’s definitely on Earth by the end. He’s definitely Superman–something Bennet and Carr have no interest in showcasing. Alyn changes into the outfit and immediately gets to work. And the cape gets in the way right off.

It’s an okay start, reasonably well-produced. Krypton is a little boring, but Leigh makes it work. Luana Walters has nothing to do as Leigh’s wife except look terrified, which she does well; Earl Turner’s editing is solid throughout and exquisite when it comes to Walters. Superman’s entertaining enough. The cliffhanger–before any Superman does any super-heroics–comes way too fast.

You Gotta Stay Happy (1948, H.C. Potter)

It takes You Gotta Stay Happy a while to get there, but it’s actually a road movie. Well, it’s flying movie. Owner-operator James Stewart flies his cargo plane from New York to California with a number of paying passengers (a no no), with co-pilot Eddie Albert doing most of the ticket sales. The film’s title is Albert’s favorite phrase, used mostly to remind boss and friend Stewart he’s not doing enough to make himself happy.

Except the film’s not about Stewart and Albert’s post-war attempts at getting a freight airline going (okay, maybe fifteen or twenty percent), it’s about Stewart and Joan Fontaine. He doesn’t know it, but she’s a wealthy spinster (at the ripe age of twenty-eight) who’s running away from her new husband on their wedding night. Willard Parker plays the husband. He’s awful. Not the performance, the performance is fine, but the husband. He’d be a troll if he weren’t so tall; he’s a dipshit. There’s no better adjective. He’s a dipshit.

And Fontaine releases she doesn’t want to be married to a dipshit, regardless of his social position, personal wealth, and career success. So she ends up in Stewart’s hotel room, letting him make assumptions about why she’s running away from Parker. Stewart too knows Parker is a dipshit and feels sorry for Fontaine. She doesn’t correct any of his wrong assumptions.

Stewart and Fontaine’s first night, which features mishaps with wake-up calls, sleeping pills, and intrusive hotel staff, sort of acts as first act, sort of not. Karl Tunberg’s screenplay is an adaptation of serialized story, which would make the film seem more episodic if Tunberg weren’t so good at streamlining and director Potter didn’t have such a fine sense of comedy. And, of course, there’s Stewart and Fontaine. They have very different styles in first act; he’s tired and distracted, she’s on the run. They have entirely different motivators and different ways of pacing their performances. The whole film has great pacing and it’s right from the start.

Then Albert comes in and the plane and the passengers and the cargo. There are newlyweds onboard, there’s a chimpanzee who only likes Fontaine, there’s an embezzeler on the run. The plot progresses along the plane’s flight plan, with Stewart and Albert mistakenly concluding Fontaine’s the embezzeler (not a rich heiress). Fontaine gets some fun scenes before the romance subplot takes over. Turns out Stewart’s taken with her, regardless of suspecting her to be a fugitive.

Many complications ensue, including some with phenomenal minature special effects of the airplane. And Stewart and Fontaine get in sync as far as their performances. You Gotta Stay Happy has a short present action–two and a half days at most–and for the romance to work, the chemistry’s got to be palpable. It ends up so thick it needs to chiseled. With Stewart’s arc mostly pragmatic–he’s got a plane to fly, cargo to deliver, Albert to control–and Fontaine losing her share of solo screentime after she gets onboard, their romantic subplot becomes Happy’s relief moments. They’re somehow set back from the plot–they’ve both got their own trajectories, which have to conclude, and their gentle, tender scenes together hint at something deeper.

It’s not easy to imply that depth, either, because the film is pretty clear about Fontaine’s romantic feelings after a certain point. But there are still problems to be resolved and Tunberg has some last act revealations about Stewart’s character to get in as well. There just wasn’t time to reveal them during the screwball scenes.

The supporting cast is excellent. Albert’s awesome. If it weren’t Fontaine and Stewart in the leads, he’d be able to run away with the movie. Percy Kilbride, Porter Hall, Marcy McGuire, Edith Evanson, they’re all excellent. Potter always gives his supporting cast a lot of room to work without ever overpowering a scene. Though Stewart and Fontaine are always more than willing to make room. The film’s got a wonderful balance. Helps there’s a built-in plot with the flight.

Daniele Amfitheatrof’s score, which is very screwball, gets a little much at times but never enough to break a gag. Russell Metty’s photography is gorgeous, especially once he gets to do night time exteriors. The film spends its open in hotels and hotel rooms, then moves into an airplane interior. Getting outside in to the air gives Metty a chance to shine.

Albeit at night.

You Gotta Stay Happy is a lot of fun. Potter’s direction. Stewart, Fontaine, and Albert’s performances. It’s not a surprise it’s a success–it puts a smile on your face and keeps it there once it’s over. The only time it doesn’t is when it’s making you laugh.

3/4★★★

CREDITS

Directed by H.C. Potter; screenplay by Karl Tunberg, based on a story by Robert Carson; director of photography, Russell Metty; edited by Paul Weatherwax; music by Daniele Amfitheatrof; production designer, Alexander Golitzen; produced by Tunberg; released by Universal Pictures.

Starring Joan Fontaine (Diana), James Stewart (Marvin), Eddie Albert (Bullets), Willard Parker (Henry Benson), Porter Hall (Mr. Caslon), Marcy McGuire (Georgia Goodrich), Arthur Walsh (Milton Goodrich), William Bakewell (Dick Hebert), Percy Kilbride (Mr. Racknell), Edith Evanson (Mrs. Racknell), and Roland Young (Ralph Tutwiler).


THIS POST IS PART OF THE JOAN FONTAINE CENTENARY BLOGATHON HOSTED BY VIRGINIE OF THE WONDERFUL WORLD OF CINEMA.

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