Tag Archives: Dennis Morgan

The Very Thought of You (1944, Delmer Daves)

Delmer Daves–for someone whose directing occasionally makes me cover my eyes in fright–does an all right job with The Very Thought of You. He has these tight close-ups and, while there are only a few of them, they work out quick well. Otherwise, technically speaking, he doesn’t have many tricks. He’s on the low end of proficient and I kept thinking, as I watched the film, what a better director could have done with the material, since the film’s so strong.

There isn’t much internal conflict in The Very Thought of You. World War II applies pressure on the characters, pushing them into conflicted situations, which gives the film a nice lightness. It gets slow occasionally, since the only foreseeable suspense throughout is Dennis Morgan’s character getting killed in battle–except he and Eleanor Parker have multiple goodbyes, only to get to see each other again before he goes off. The first act is loaded with good scenes and great conversations and, while the second doesn’t have as many, it has enough the pacing doesn’t get too bothersome.

I suppose the film is propaganda, but it’s incredibly light propaganda if it is–a shot here or there, an extra line of dialogue. Morgan looks like a leading man, but he’s probably the weakest actor in the film. I’ve seen it before but didn’t remember much and I was worried he’d be expected to carry it. Instead, Parker’s got an awful family–Beulah Bondi and Andrea King remind of wicked characters from a fairy tale and both are excellent. Obviously, Parker needs some support in the family scenes, so Henry Travers is her understanding father and does some nice work. Georgia Lee Settle is her precocious little sister and she’s good too. The 4F brother, played by John Alvin, also does some good work. The family scenes are most of the best written ones, since they have visible conflict. The other good scenes are the ones with Parker and Faye Emerson and the ones with Dane Clark as the comic relief (with a heart of gold). The romance between Morgan and Parker–the majority of the film takes place over two days–has all off-screen conflict and, though it’s the subject of the film, one just takes it for granted and engages with the rest.

The film is well-made (though there’s mediocre direction–with a few exceptions) and it’s nice and a pleasant viewing experience. Still, without any conflict and any real suspense, it’s a chore to maintain interest. It’s rewarding, but still a chore.

3/4★★★

CREDITS

Directed by Delmer Daves; screenplay by Alvah Bessie and Daves, from a story by Lionel Wiggam; director of photography, Bert Glennon; edited by Alan Crosland Jr.; music by Franz Waxman; produced by Jerry Wald; released by Warner Bros.

Starring Dennis Morgan (Sgt. David Stewart), Eleanor Parker (Janet Wheeler), Dane Clark (Sgt. ‘Fixit’ Gilman), Faye Emerson (Cora ‘Cuddles’ Colton), Beulah Bondi (Mrs. Harriet Wheeler), Henry Travers (Pop Wheeler), William Prince (Fred), Andrea King (Molly Wheeler), John Alvin (Cal Wheeler), Marianne O’Brien (Bernice), Georgia Lee Settle (Ellie Wheeler), Richard Erdman (Soda Jerk) and Francis Pierlot (Minister Raymond Houck).


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THIS FILM IS ALSO DISCUSSED IN SUM UP | ELEANOR PARKER, PART 1: DREAM FACTORY.

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Flight Angels (1940, Lewis Seiler)

When the studio system collapsed, so did the B-picture promotion system–a star of a B-picture could end up the star of an A-picture… For example, Jimmy Stewart started out in B-pictures, so did Eleanor Parker, so did Humphrey Bogart (I think). Occasionally, B-pictures made A-picture money (The Thin Man). It was a good system and there hasn’t been anything like it since–the rash of soap opera actors going mainstream did have a few good results (Alec Baldwin, Anne Heche) but none lasting–and that phenomenon has ended. It was never as successful as the promotion system and its disappearance is unfortunate, because it did produce good actors.

Flight Angels has an odd mix of actors, career-wise. Virginia Bruce, the star, was on the downswing. Her romantic interest, Dennis Morgan, was on the upswing (he ended up in musicals no less). Jane Wyman has a supporting role and runs wild with it, making the best of the script and turning in the film’s best performance. These actors’ success in light of the script–which alternates between a commercial for American Airlines and an astoundingly sexist portrayal of working women–is Flight Angels biggest surprise. The film doesn’t start out as anything but the commercial, so when the flight attendants–sorry, stewardesses–all get together to talk about marrying rich passengers and scream and run around and… fight (there’s a cat fight in Flight Angels), I couldn’t help but dream of a showing of Flight Angels with a debate afterwards between Margaret Cho and some female Conservative. Many A-features, for example, have a strong sexist attitude running through them (The Women, The Philadelphia Story), but I guess studios reserved the blatancy and cat fights for the B-features. Maybe not many theaters on the coasts played B-features. I suppose it’d be worth investigating. Oh, I forgot… not a history major anymore.

Still, Flight Angels is a well-handled film. Director Seiler has a lot of experience and the film even had one really nice shot. The special effects by Byron Haskin (who later directed) aren’t as nice as the aerial photography. On one hand, Flight Angels is an interesting historical document, on the other, it does have some nice performances from a likable cast. Either way, it’s a diverting seventy minutes.

1/4

CREDITS

Directed by Lewis Seiler; screenplay by Maurice Leo, from a story by Jerry Wald and Richard Macaulay; director of photography, L. William O’Connell; edited by James Gibbon; released by Warner Bros.

Starring Virginia Bruce (Mary Norvell), Dennis Morgan (Chick Farber), Wayne Morris (Artie Dixon), Ralph Bellamy (Bill Graves), Jane Wyman (Nan Hudson) and John Litel (Dr. Barclay).