Tag Archives: Sidney Toler

Double Wedding (1937, Richard Thorpe)

Much of Double Wedding–around two-thirds of it–is a supreme comedy. It might feature William Powell’s best comedic performance, just because of the limitless opportunity it offers him. It’s hard to top Powell in a fur coat and a fake wig… with a German accent (and a walking stick). Or Powell going through a big demonstration of how sidekick John Beal should win back his fiancée (who’s now in love with Powell). A crowd gathers to watch Powell and Beal and it’s the most natural thing–who wouldn’t want to watch Powell in this film.

The script gives him a lot of freedom–his character is revealed (a little) throughout, so there’s very little constraint on him. For whatever reason, I wouldn’t have thought Powell could have done the Peter Pan bohemian painter but he does it great. Double Wedding even makes a joke at expense of the dignified characters he more often portrayed in a spectacular little scene.

There’s a lot of dialogue in Double Wedding, which is probably not from the source play (given it was probably written in Hungarian). The actors have some lengthy deliveries–starting with Myrna Loy’s hilarious explanation of how she’s related to Beal. It’s so confusing, it’s hard not to see the connections drawing out in the mind’s eye… just to keep up with Loy, whose delivery is wonderful. But Beal and Powell also have some long monologues and both are a joy to watch.

Beal’s character, quiet and reserved, gets these great situations–often when he’s got to explain why he’s acting passive, but the ones where he nears his boiling point are funny too. He has good chemistry with the object of his affections, played by Florence Rice. So it’s too bad when she disappears a third into the film, since Powell’s got Loy to romance, not her. It’s hard to even remember Rice is around, especially during some of the sequences with Sidney Toler, as Loy’s dimwitted butler who fancies himself a detective and spies on Powell for her. Powell gets the aforementioned beard from Toler, who’s trailing him in disguise.

The various absurdities in Double Wedding–along with a couple convenient revelations–create a fanciful atmosphere. It’s like the film anticipates what the viewer wants to see happen and delivers. Loy and Powell, for instance, have a romantic scene in the forest and it turns comedic at just the right moment–and then the film doesn’t stick with it too long, director Thorpe gets out at the ideal moment.

I’m sure I’ve seen other films of Thorpe’s before, but his direction here is very impressive. He knows how to use the actors well, even when it’s as simple as walking across a room or glancing into a mirror. And Thorpe manages to keep the rather large and out of control conclusion together, which is a significant feat.

The ending is where Double Wedding falls apart. It relies on standard comedy pacing instead of doing its own thing, it follows the standards instead of writing them–the first two-thirds is unlike anything else and the last third is extremely comfortable. The film stops before the story’s done, but also before the viewer is ready for it to be over. The tedious final act, with its paltry pay-off, is okay… however, the film raised expectations much higher.

And I can’t forget Loy. The third act really fails her, in terms of material. She becomes a fifth wheel in her own film.

3.5/4★★★½

CREDITS

Directed by Richard Thorpe; screenplay by Jo Swerling, based on a play by Ferenc Molnár; director of photography, William H. Daniels; edited by Frank Sullivan; music by Edward Ward; produced by Joseph L. Mankiewicz; released by Metro-Goldwyn-Mayer.

Starring William Powell (Charlie Lodge), Myrna Loy (Margit Agnew), Florence Rice (Irene Agnew), John Beal (Waldo Beaver), Jessie Ralph (Mrs. Kensington-Bly), Edgar Kennedy (Spike), Sidney Toler (Mr. Keough), Mary Gordon (Mrs. Keough), Barnett Parker (Mr. Flint), Katharine Alexander (Claire Lodge), Priscilla Lawson (Felice) and Bert Roach (Shrank).


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Upperworld (1934, Roy Del Ruth)

Upperworld starts incredibly strong–Warren William and his son (I knew I’d seen Dickie Moore’s name in credits before–he’s in Out of the Past) feeling abandoned by Mary Astor, who’s more interested in throwing costume parties than spending time with her husband and son. The scenes with William and Moore are great throughout, even after the change I’ll get to in a second… but it’s the whole film for the beginning. The scenes with William and Andy Devine are fantastic, even the scenes with William going to work are great. Upperworld sets itself up as a traditional story–successful businessman becomes unhappy with his disaffected life–and does it real well.

Even the scenes with William and Ginger Rogers are excellent, because neither of them play it as a romance until, obviously, the script forces them to do so and then Upperworld turns in to something else entirely. It turns in to a goofy movie with William running around trying to destroy evidence, pursued by angry ex-traffic cop Sidney Toler. Toler’s performance is ludicrous, but so is his dialogue; it might not be all his fault.

Where Upperworld was interesting and unique was the friendship between Rogers and William… the resulting changes to both characters (she all of a sudden has a seedy boyfriend, played by a fun J. Carrol Naish, while William becomes a villain–except for the scenes with Moore) do irreparable harm to the film. I also was expecting, from the opening titles, Mary Astor to either have a big part or a glorified cameo. Either would have worked well, but they went for in between and, while she’s quite good, her role’s dumb and unbelievable.

The first half was so solid, I thought I’d be more depressed by end of Upperworld (the last half’s badness simmering itself), but the film closes with Andy Devine and he closes it well.

Del Ruth does a real nice job directing too, which might have made the second half more palatable than it would have been without him.

1.5/4★½

CREDITS

Directed by Roy Del Ruth; screenplay by Ben Markson, based on a story by Ben Hecht; director of photography, Tony Gaudio; edited by Owen Marks; music by Bernhard Kaun; released by Warner Bros.

Starring Warren William (Allexander Stream), Mary Astor (Mrs. Hettie Stream), Ginger Rogers (Lilly Linda), Andy Devine (Oscar), Dickie Moore (Tommy Stream), Ferdinand Gottschalk (Marcus), J. Carrol Naish (Lou Colima) and Sidney Toler (Officer Moran).


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