Tag Archives: Maureen O’Sullivan

The Thin Man (1934, W.S. Van Dyke)

While enough cannot be said about the efficiency of W.S. Van Dyke’s direction of the The Thin Man, the efficiency of the script deserves an equal amount of praise. Albert Hackett and Frances Goodrich get in so much little character stuff for the supporting cast, it’s hard to imagine how the film could possibly function without it. Robert Kern’s editing is essential for it to work too–the pace of reaction shots is fabulous.

Of course, the script’s structure is also peculiar. Until their second big scene–their first one alone–William Powell and Myrna Loy aren’t the leads of the story. Instead, it’s Maureen O’Sullivan. She starts out the film and it then moves to introduce various people into her story. Even at the end, after O’Sullivan has long since given up the primary supporting role to Nat Pendleton’s police inspector, she’s still integral.

From Powell and Loy’s first scene, their chemistry commands the film. The script has the banter, but it’s the way the actors play off each other (under Van Dyke’s able direction). Also wonderful is how the intercuts of their dog enhances the scenes. Van Dyke cuts to these reaction shots of Asta the terrier and it makes the viewer feel part of this peculiar family.

It’s important too, since much of the film takes place in Powell and Loy’s hotel suite.

The leads are great, the supporting cast is excellent–Edward Brophy, Harold Huber, Minna Gombell, Porter Hall being the standouts.

The Thin Man’s a masterpiece; it’s brilliant filmmaking.

4/4★★★★

CREDITS

Directed by W.S. Van Dyke; screenplay by Albert Hackett and Frances Goodrich, based on the novel by Dashiell Hammett; director of photography, James Wong Howe; edited by Robert Kern; music by William Axt; produced by Hunt Stromberg; released by Metro-Goldwyn-Mayer.

Starring William Powell (Nick), Myrna Loy (Nora), Maureen O’Sullivan (Dorothy), Nat Pendleton (Guild), Minna Gombell (Mimi), Porter Hall (MacCaulay), Henry Wadsworth (Tommy), William Henry (Gilbertt), Harold Huber (Nunheim), Cesar Romero (Chris), Natalie Moorhead (Julia Wolf), Edward Brophy (Morelli), Cyril Thornton (Tanner) and Edward Ellis (Clyde Wynant).


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THIS FILM IS ALSO DISCUSSED IN SUM UP | THE THIN MAN.

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My Dear Miss Aldrich (1937, George B. Seitz)

All My Dear Miss Aldrich is missing is a good script. Well, it’s missing some other things, but with a good script, it could have survived.

The film has a lot of events in the first thirty or forty minutes, with the remaining minutes centered on a mystery. But it’s not really a mystery because Aldrich is a comedy at a newspaper. Even when there are crimes committed, no one pays attention, because being held hostage isn’t a crime if the victim’s a newspaper employee apparently.

Maureen O’Sullivan inherits a New York newspaper and heads there (from Nebraska) with her aunt, played by Edna May Oliver. O’Sullivan and Oliver are great together; it’s unfortunate they soon get separated.

The paper’s run by Walter Pidgeon’s sexist editor. He’s so sexist, his all male staff thinks he’s overboard. So the film seems like it’s O’Sullivan out to prove him wrong… only she never does. In fact, she proves his argument—she’s just a silly woman and needs to marry him. Maybe if Pidgeon were charming or in any way appealing, it might be passable as a dated, unfortunately sexist picture.

But Pidgeon’s not appealing. His performance isn’t terrible, but he’s a jerk. Everyone thinks he’s a jerk. It’s hard to see why anyone is supposed to be in his corner.

Seitz’s direction’s merely adequate. He doesn’t get enough coverage and editor William S. Gray has to make some nasty cuts.

O’Sullivan and Oliver almost make Aldrich tolerable… but it’s a losing battle.

1/4

CREDITS

Directed by George B. Seitz; written by Herman J. Mankiewicz; director of photography, Charles Lawton Jr.; edited by William S. Gray; music by David Snell; released by Metro-Goldwyn-Mayer.

Starring Edna May Oliver (Mrs. Lou Atherton), Maureen O’Sullivan (Martha Aldrich), Walter Pidgeon (Kenneth ‘Ken’ Morley), Rita Johnson (Ellen Warfield), Janet Beecher (Mrs. Sinclair), Paul Harvey (Mr. Sinclair), Charles Waldron (Mr. Warfield, ex-governor), Walter Kingsford (Mr. Talbot), Roger Converse (Ted Martin), Guinn ‘Big Boy’ Williams (Red Apple Inn attendant guarding room), Leonid Kinskey (Red Apple Inn waiter), Brent Sargent (Gregory Stone), J. Farrell MacDonald (‘Doc’ Howe) and Robert Greig (Red Apple Inn majordomo).


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Tarzan the Ape Man (1932, W.S. Van Dyke)

It’s hard to believe a movie called Tarzan the Ape Man is going to be boring, but this one drags on and on. After a solid opening twenty minutes, the movie stumbles and never regains its footing. The problem is with Tarzan. Johnny Weissmuller’s Tarzan obviously doesn’t speak English but he also doesn’t communicate. He makes noises and so on, but there aren’t any conversations between him and the apes. He just runs around, occasionally getting into fights with lions or having to run from crocodiles. The action scenes are all very well done–beautifully edited, seeing as how there’s the shots of the actors cut together with location footage of the animals–but there’s no narrative. Even some of the sequences with Weissmuller and Maureen O’Sullivan, while well done (O’Sullivan being fantastic doesn’t hurt), are of little consequence to the actual plot.

The opening’s a different matter, however. It’s a far more literate film than what follows. O’Sullivan arrives in Africa to reunite with father C. Aubrey Smith after a long absence and there’s a great moment with Smith realizing his daughter has become a woman. It’s an entirely unexpected, wonderful scene and it really had me looking forward to the rest of the film.

Then it’s Smith, O’Sullivan and Neil Hamilton into the jungle as they search for a fabled elephant graveyard (for the ivory, of course). There’s some good action scenes as they climb a mountain and then have to get across a river of angry hippopotamuses. These sequences are all good… but immediately following the river traversing, Weissmuller shows up and the good plotting stops.

Hamilton becomes a bad guy, which isn’t unexpected since he plays him as morally ambiguous from the start. What’s strange about the transition is the film doesn’t recognize it. Hamilton’s shooting all over the place, but the movie still treats him like a good guy in the end. It’s inexplicable.

At some point, as the end finally neared, I realized I was going to watch a movie–the earliest where I can remember this scene happening–with the hero versus the impossible adversary. Here it’s Tarzan versus a monstrous ape. The evil dwarf trip keeps him in a pit and dumps tall people in for him to kill. It’s a lot like Return of the Jedi… and then Tarzan’s elephant friends show up and destroy the dwarf village and it’s even more like Return of the Jedi.

What’s also strange about Tarzan is how the film can be so meandering with all its technical glory. It isn’t just that fantastic editing, there’s also wonderful set design and great matte shots. W.S. Van Dyke’s best scenes are probably at the beginning with O’Sullivan arriving, but the rest of the film is good too. The sound design is phenomenal, bringing how must be men in animal costumes to life. It’s just all for naught. The movie fast forwards to its conclusion in four minutes, skipping a lot of important details (like how O’Sullivan decided to stay with Tarzan).

There’s one more interesting thing I don’t want to forget. There’s a knowing fade-out followed by a stunningly obvious postcoital scene; the two never even kiss on screen.

O’Sullivan’s great, which I already said, and Weissmuller’s fine. He has nothing to do. Smith’s good, Hamilton’s also fine–he similarly has a disadvantaged character. Ivory Williams is particularly good as the chief guide.

I’ve been looking forward to seeing Tarzan for over ten years (it never aired on AMC or something). I figured Van Dyke wouldn’t do it wrong… but then, not only does he do it wrong, he does it boring–and I never thought Van Dyke would make a boring film.

1/4

CREDITS

Directed by W.S. Van Dyke; screenplay by Cyril Hume and Ivor Novello, based on the novel by Edgar Rice Burroughs; directors of photography, Clyde De Vinna and Harold Rosson; edited by Tom Held and Ben Lewis; produced by Bernard H. Hyman and Irving Thalberg; released by Metro-Goldwyn-Mayer.

Starring Johnny Weissmuller (Tarzan), Neil Hamilton (Harry Holt), Maureen O’Sullivan (Jane Parker), C. Aubrey Smith (James Parker), Doris Lloyd (Mrs. Cutten), Forrester Harvey (Beamish) and Ivory Williams (Riano).


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