Tag Archives: Franklin Pangborn

It Happened in Hollywood (1937, Harry Lachman)

It Happened in Hollywood is very nearly a success, which is surprising since most of the film is entirely mediocre. There’s a great lead performance from Richard Dix, as a silent movie cowboy who can’t make it in talkies (though, to be fair, the one bombed screen-test scene was more used to comment on the industry’s problematic transition to sound), and it’s nice whenever Fay Wray shows up as his regular onscreen love interest and off-screen possible love interest, but she’s not in it much. And the script doesn’t start getting inventive until well into the second half of the film, which only runs sixty-seven minutes. The direction, which has all sorts of opportunities to comment on sound storytelling versus silent storytelling, misses them all. Then in the second half, when Kid Melodrama starts kicking in (more on him in a moment), director Lachman misses the most perfect opportunity, one where it’s hard to forgive him.

Because Lachman isn’t a lazy director by any means. Hollywood is on a budget for sure, but Lachman and cinematographer Joseph Walker have a lot of big establishing shots (and small ones) and the one fight scene is good. Even if the production values are a little slim. It’s just Lachman isn’t interested in the story and Hollywood needs someone interested in it. Dix seems pretty interested in it, Wray seems pretty interested in it (when she’s around); the entire supporting cast, with the sole exception of Kid Melodrama, is solid. And they need to be really solid for what the script does with them in the second half. Hollywood doesn’t necessarily start with a lot of potential, but it builds up steadily throughout. Only to choke in the finale and not even because of Kid Melodrama. So let’s get to Kid Melodrama.

Kid Melodrama is Bill Burrud. He’s in the hospital at the start of the film, which is where we meet Dix. He’s on a children’s hospital tour, showing his latest silent Western with Fay Wray as his damsel. He’s the biggest Western star in Hollywood, beloved by children nationwide. Both boys and girls based on the hospital audience, which makes it weird when Dix gives a speech ignoring the girls. Something similar happens again even worse at the end, but it’s not the finale choke so it’s just, you know, 1937.

Anyway. Burrud. Burrud is the sickest kid on the ward. He’s going in for surgery and it doesn’t look good, but Dix promises the kid he can visit Dix and his horse in Hollywood if he gets better. Sadly, Burrud gets better. And he sends Dix letters throughout the first half, which chronicles Dix’s immediate and catastrophic fall from stardom in the first few months of the talkies. While he fails, Wray succeeds. For a short while it seems like the film might be about them, even though Wray’s in the film less and less. When Dix gets a chance in talkies again thanks to the aforementioned fight scene, it’s in one of Wray’s pictures, but only barely returns to Hollywood. She’s around for a second, then disappears again, including from Dix’s disaster. Because Dix is scared of her.

Basically Hollywood is forty-four year old Dix acting like a bashful teenager. Wray’s not much better, but she’s a little better. Dix pulls it off, sure, but eventually it gets a little tiresome, which coincides nicely with Dix deciding to abandon Hollywood forever.

Luckily for him, Kid Melodrama Burrud shows up. He got better just to come out and see Dix and he’s an orphan and the foster care guy makes fun of Dix all the time and Hollywood too. Even though Burrud’s annoying as hell, Dix’s concern for him works. Out of nowhere, It Happened in Hollywood all of a sudden gets to do something different. For a while, it gets rather inventive.

So the utterly pointless finish, which actually manages to interrupt a rather nice scene for Dix and Wray where it seems like at least the script understands how things echo throughout the picture… it’s disappointing. And silly. The film all of a sudden stops taking itself seriously just so it can wrap up. Nicely, Dix and Wray have enough charm to get through.

2/4★★

CREDITS

Directed by Harry Lachman; screenplay by Ethel Hill, Harvey Fergusson, and Samuel Fuller, based on a story by Myles Connolly; director of photography, Joseph Walker; edited by Al Clark; released by Columbia Pictures.

Starring Richard Dix (Tim Bart), Bill Burrud (Billy – The Kid), Fay Wray (Gloria Gay), Victor Kilian (Slim), Charles Arnt (Jed Reed), Granville Bates (Sam Bennett), William B. Davidson (Al Howard), Arthur Loft (Pete), Edgar Dearing (Joe Stevens), James Donlan (Shorty), Franklin Pangborn (Mr. Forsythe), Zeffie Tilbury (Miss Gordon), Harold Goodwin (Buck), and Charles Brinley (Pappy).


THIS POST IS PART OF FAY WRAY AND ROBERT RISKIN, THE BLOGATHON HOSTED BY ANNMARIE OF CLASSIC MOVIE HUB AND AURORA OF ONCE UPON A SCREEN.


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The Great Moment (1944, Preston Sturges)

There are a handful of “Sturges moments” in The Great Moment. I suppose I’d define those moments as the ones where the predictable or familiar filmic device transcends artifice (even if it’s as artificial as the text a character is reading appearing on the screen for the viewer to read as well) and becomes… ideal. Sturges’s understanding of how to make a comedic scene work is amazing. His pacing is perfect, the editing, everything. But The Great Moment isn’t a comedy. It’s the rather depressing story of the discoverer of anesthesia, played by Joel McCrea.

Sturges is visibly passionate about the story (the film’s thesis being the discoverer got a raw deal), but he allows that passion to blind him from his strengths. So, even while there are those good Sturges moments and the film’s generally well-written, there’s a lot of problems. First, Sturges frames it as a flashback with, presumably, bookends. But he quickly discards the framing. Second, the end… once it becomes clear the story’s got a terribly depressing conclusion… Sturges has a serious problem (there’s no, for example, great moment in the film for McCrea–I kept waiting for it, no less). It reminds me a little of Mason & Dixon. Both Sturges and Pynchon are stuck with some sense of historical reality, but Sturges didn’t find… damn it… any great moment.

But the biggest problem is with McCrea and wife Betty Field. They barely have a relationship (though they do have mostly invisible, off-screen children) and it only gets worse near the end, when Field’s become a nouveau riche would-be society woman. The film’s focus is on McCrea’s discovery and both he and Sturges do a good job chronicling the various experiments and developments. But Sturges doesn’t have a story to do it in… he’s lionizing the man, certainly not examining him, but not even acknowledging his surroundings (which is why the film has a terrible ending–Sturges didn’t see outside his strict constraints).

The film’s got some masterfully done scenes, McCrea’s performance is solid as can be (though even he can’t pull off Sturges’s all too contrived ending), and the supporting cast is excellent. Harry Carey and William Demarest (who might look a little too much alike) are both quite good, as is Julius Tannen. But Field’s most present in those framing scenes, so there’s a major hole.

I’m not sure I’d say it was a good attempt, but it’s one with a lot of integrity… another reason Sturges couldn’t pull it off–he was way too invested in it. Biopics belong to the subject, regardless of liberties taken, never to the storyteller.

2/4★★

CREDITS

Directed by Preston Sturges; screenplay by Sturges, based on the book by René Fülöp-Miller; director of photography, Victor Milner; edited by Stuart Gilmore; music by Victor Young; released by Paramount Pictures.

Starring Joel McCrea (William Thomas Green Morton), Betty Field (Elizabeth Morton), Harry Carey (Prof. Warren), William Demarest (Eben Frost), Louis Jean Heydt (Dr. Horace Wells), Julius Tannen (Dr. Charles Jackson), Edwin Maxwell (Vice-President of Medical Society), Porter Hall (President Franklin Pierce), Franklin Pangborn (Dr. Heywood), Grady Sutton (Homer Quimby), Donivee Lee (Betty Morton), Harry Hayden (Judge Shipman) and Torben Meyer (Dr. Dahlmeyer).


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Hail the Conquering Hero (1944, Preston Sturges)

Well.

I’m trying to think about how to talk about Hail the Conquering Hero. It shouldn’t so difficult. The film is great, better than I remembered it, but it’s never easy to talk about great films. I mean, how many words can you pull out of your ass for something you love? You want to share things you love and defecate on the things that deserve it. Hail the Conquering Hero deserves reverence.

Still, there are a few specifics I can comment on. And not Sturges so much. Yes, he constructed an almost perfect film in 96 or so minutes. The structure of a film’s interesting and helps you talk about it if you have to think about how the film succeeds or fails. I’m not doing that here. Yes, there are the great moments of comedy, the wonderful small character relationships between supporting characters that’s seemingly a lost art, there’s lots of stuff….

But, I noticed two things in particular, watching Hail the Conquering Hero today. First, William Demarest is amazing in this film. I know the name and the face, but he’s never stuck out before. For the first hour or so of the film, you can just watch Demarest. Sturges also does a great job directing group scenes. Anyway, the other big particular is Ella Raines. She’s great in this film. I’m a fan of hers anyway, but I don’t remember any of her other performances being quite this good. Maybe they are, maybe I’m just forgetting… Eddie Bracken, as the lead, is good too, but he’s ideal for the role. He doesn’t do any work. There are some good supporting performances that I’m not going to look up on IMDb too. Raines just has a few really good scenes in this one and it pissed me off that I was so surprised.

4/4★★★★

CREDITS

Written, produced and directed by Preston Sturges; director of photography, John F. Seitz; edited by Stuart Gilmore; music by Werner R. Heymann; released by Paramount Pictures.

Starring Eddie Bracken (Woodrow Lafayette Pershing Truesmith), Ella Raines (Libby), Raymond Walburn (Mayor Everett D. Noble), William Demarest (Sgt. Heppelfinger), Franklin Pangborn (Committee Chairman), Elizabeth Patterson (Libby’s Aunt), Georgia Caine (Mrs. Truesmith), Al Bridge (Political Boss), Freddie Steele (Bugsy), Bill Edwards (Forrest Noble), Harry Hayden (Doc Bissell), Jimmy Conlin (Judge Dennis) and Jimmie Dundee (Cpl. Candida).