Tag Archives: William Jacobs

Never Say Goodbye (1946, James V. Kern)

The first thirty-nine percent of Never Say Goodbye is phenomenally paced. It could be a short movie, if there were a little tragedy through in. A little melodrama. Seven year-old Patti Brady is moving back in with mom Eleanor Parker after living six months with dad Errol Flynn. They’re divorced. Flynn’s a successful cheesecake pinup artist and a cad, Parker was his star model and a Fifth Avenue blue blood. But they still love each other, Brady just knows they do.

And, even just as light forties screwball, it’s pretty good. S.Z. Sakall is the loveably inept owner of their favorite restaurant, Flynn is charming, Parker is lovely. Brady’s kind of cute. Her performance is fine. She’s not too obnoxious. She’s good with the other actors, but less so when she’s got to do a scene on her own. Hattie McDaniel’s her nurse. McDaniel’s good. Everyone’s kind of good.

Only then the script jumps ahead two months. I.A.L. Diamond and director Kern, in the second two thirds of the film, basically just string together screwball sequences. Not bad ones, but not great ones. It doesn’t help Lucile Watson–as Parker’s disapproving mother–is no fun. She’s not bad, just no fun. Donald Woods is no good as Parker’s new suitor, even if he does get one of the good screwball sequences.

The last third is similar. Forrest Tucker shows up. McDaniel and Watson (and Woods) are all gone. There’s new screwball, but nothing particularly good; it’s the weakest section–Parker’s characterization completely changes and Brady becomes incidental.

A lot of it is Kern’s mediocre direction–he manages to mess up a sequence where Flynn is pretending to be a Bogart tough guy (voiced by Bogart himself)–and a lot of it is the script. Flynn’s character is generic. Parker’s is even more generic. They’re both charming but don’t really have any chemistry. They’re far better with Brady than one another, which really cuts into the film itself’s charm.

It’s a really boring movie too. It’s less than a hundred minutes, but once that first third is up? Never Say Goodbye never gets moving again.

2/4★★

CREDITS

Directed by James V. Kern; screenplay by I.A.L. Diamond and Kern, adaptation by Lewis R. Foster, based on a story by Ben Barzman and Norma Barzman; director of photography, Arthur Edeson; edited by Folmar Blangsted; music by Friedrich Hollaender; produced by William Jacobs; released by Warner Bros.

Starring Errol Flynn (Phil), Eleanor Parker (Ellen), Patti Brady (Flip), S.Z. Sakall (Luigi), Hattie McDaniel (Cozy), Forrest Tucker (Cpl. Lonkowski), Donald Woods (Rex), Peggy Knudsen (Nancy Graham), Tom D’Andrea (Jack Gordon), and Lucile Watson (Mrs. Hamilton).


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Crime by Night (1944, William Clemens)

Jerome Cowan’s detective in Crime by Night slides through the film soaked in bourbon. While the film’s mystery isn’t a bad one, perfect for a seventy minute running time, the suggestions of off-screen actions are a lot more fun to think about. The detective, with his love interest secretary along (played well by Jane Wyman, who manages ditzy humor without coming off dumb) manages to find time to romance the hotel operator, get to know all the bar staff intimately, and generally just settle himself in to small town life, enough he doesn’t seem alien to it when he’s investigating in it. The film rarely deviates from the era’s standard–we follow the detective, finding clues with him (not always getting to piece things together as quickly as he does, though all the necessary information is actually presented to the audience in Crime by Night, it’s so obvious), but the private life of the detective is–to a degree–kept from the audience. It’s a different approach, especially since Cowan’s detective is only likable in his dealings with the country bumpkins (he uses electoral competition to get paid more for investigating) and it’s Wyman who’s the likable character throughout. Given Cowan’s practically goofy performance, it’s easy to read the detective as a drunk jerk. The best thing about him is he brings Wyman around and he’s better than the country bumpkins. Still, at the end of Crime by Night, I still found myself wishing Warner had done more films with Cowan and Wyman.

I’m trying to think if the film does one unexpected thing, or even one unique thing, but, like most of the Warner b-movies from the early 1940s, it’s really a crock pot of reused ideas. The competing politicians are a comedic subplot out of something else, the family troubles precipitating the falsely accused client of Cowan’s (which is a recycling of a Thin Man plot, probably two or three or six of them) are such a non-starter the kid in the custody battle never even shows up… which is unfortunate, because Eleanor Parker, at this age, is always see working with kids–but what’s more interesting is the film forgets about the kid, just like it forgets about the inheritance after it’s introduced in the case set-up. obviously, there’s a far amount of editing incompetence, maybe there were cut scenes or maybe everyone forgot, because those scenes weren’t fun. Cowan hadn’t come out as a drunk in the opening; he wasn’t very serious, but he certainly wasn’t as goofy as immediately following. In any event, it doesn’t matter… the seventy minute b-movie needs to entertain and engage, which Crime by Night does, mostly with its cast.

Wyman’s incredibly personable performance aside, there’s also Parker as the suspicious, shady daughter of the victim. She’s one of the film’s villains, the detective’s foils, throughout, and she manages to bring some depth to a shallow role (you almost believe she has a kid somewhere, while she’s off with the nightclub singer). At the end, for her big scene, director Clemens makes his only terrible directing misstep–he inexplicably shoots her from the ground up. It looks funny; the camera on the floor appears to be the perspective of Cowan’s left shoe. Faye Emerson is unfortunately disappointing as one of Cowan’s extracurricular activities and Charles Lang is too bland, but Stuart Crawford is good as the falsely accused and Cy Kendall is amusing as the slow-witted sheriff.

I just checked IMDb and Night is the only one with the these characters. Too bad. It’s a fine setup for a series.

2/4★★

CREDITS

Directed by William Clemens; screenplay by Richard Weil and Joel Malone, from a novel by Daniel Mainwaring; director of photography, Henry Sharp; edited by Doug Gould; music by William Lava; produced by William Jacobs; released by Warner Bros.

Starring Jane Wyman (Robbie Vance), Jerome Cowan (Sam Campbell), Faye Emerson (Ann Marlow), Charles Lang (Paul Goff), Eleanor Parker (Irene Carr), Stuart Crawford (Larry Borden), Cy Kendall (Sheriff Max Ambers), Charles C. Wilson (District Attorney Hyatt) and Fred Kelsey (Dad Martin).


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