Employees' Entrance: The Monsters We Make

This is my entry in The Classic Movie Blog Association Early Shadows and Pre-Code Horror Blogathon. Click HERE for more monstrous fun.

This store is an HR nightmare

Film and literature have given us non-human monsters who sometimes serve to instruct us about or illuminate our own inhumanity. Some are fearsome, some are weirdly touching, some bring out the best in mankind, and some bring out the worst. But there is no more horrid monster than the kind our society makes and allows; you know, the ones who walk among us and look just like us. They are the ones who not only are allowed to live, but are encouraged to thrive. They are the ones who gleefully hold up a mirror to our society and proudly say "look what you've made."

A wolf in a Brooks Brother suit is still a wolf

1933's "Employees' Entrance" is such a fun Pre-Code feast that it is easy to check your emotions at the door and enjoy all it has to offer. First and foremost, it has Warren William at his leering, lupine best. Here he is Kurt Anderson, the manager of a large department store. It is a position of considerable power and he wields it with glee and gravitas. How tiresome his day is! He is surrounded by ninnies everywhere. From the snooty do-nothings that make up his Board of Directors (but who love that fact that he makes them money), to his uninspired co-workers and business associates (one whose suicide elicits the bloodless response from Anderson that the man had outlived his usefulness), Anderson is the ruthless self-made man rising from the ashes of the Great Depression. So, who would begrudge this hard-driving workaholic a little fun? After all, even monsters need to relax.

The job interview

And boy does this guy take his relaxation seriously - almost as seriously as his work. You see, Anderson just loves the ladies, especially those young, vulnerable ones who depend on him for a living. He is the classic predator. And who was more vulnerable and lovely in 1933 than the moist and luscious Pre-Code  Loretta Young? While Loretta later became rather great lady-ish on screen, her Pre-Code films reveal a very sexy gal of fungible morality. Here she is the perfect prey, a down-on-her-luck beauty who desperately needs a job. She tries that old trick of keeping Anderson at bay without insulting him, but this wolf will not be denied. He's played with amateur babies before. After a night of too much drink (Prohibition has ended. Yay!) and some personal turmoil due to the fact that she is secretly married to another employee, Anderson makes his move and rapes her. 

Some store goods are not for sale to the general public

Make no mistake. Although he has been given a bit of a sorrowful back story (love lost and all), Anderson is a monster. But monsters can not move among us unless they have help. In "Employees'' Entrance" the chief helper in the seduction game is Alice White at her cunning, conniving but somehow pathetic best. She, too, needs to survive and she throws her lot in with the monster. She helps Anderson in a direct, quid pro quo way, but there are other helpers, so many of them, whose silence enables Anderson to thrive.

Alice White reminding her boss of her value to the company

Now before I get all huffy, let me say this is quite an eye-opening, fast-moving and sometimes funny film with lots of snappy dialogue peppered throughout. Was anyone as dangerously oily as Warren William? Was anyone more beautiful than Loretta Young in 1933? Add the always welcome Alice White and the stable of Warner Brothers supporting players and you will definitely be entertained for 75 minutes. Because it is Pre-Code, Anderson is not required to pay for his past bad behavior and he is allowed to soldier on behind his power desk even though Loretta manages to escape his clutches. However, there are those lurking in the shadows who seek to supplant him - monsters that Anderson has helped create. So, maybe karma awaits Kurt Anderson after all.

A Pre-Code feast: back off, Barrymore - Warren William is the real "great profile." And any time Alice White appears, everything just seems better.

Now for the rant. "Employees Entrance" is one of those films that you can only enjoy is you are able to view it through the lens of the time it was made. Once you do that, you can sit back and enjoy. But I'll wager you will find it impossible to watch this film in 2025 in America and not draw parallels to our current headlines. Monsters and their helpers still exist. And it is not funny, and it is not charming. Victims rarely get a happily ever after and it all doesn't go away in 75  minutes. That, to me, is scarier than any fantasy monster born in a laboratory.

Evalyn Knapp: Not Just Quite.....

Why do some performers make it into the unquestioned "star status" stratosphere and others not? Many are just as talented, just as beautiful and just as willing as some of Hollywood's classic greats, but why do some make it into that special circle and others just fall short? It must be that intangible special quality called "star power."

Evalyn Knapp looking like she should be a star

Betting on Evalyn: Lucky 15

Take for instance Evalyn Knapp. She was one of 15 hopefuls in 1932, part of that promising gaggle of gals known as WAMPAS Baby Stars, that annual promotional affair run by the Western Association of Motion Picture Advertisers. The purpose of the campaign was to select 13 young actresses who the association was betting on becoming bigger stars. While most of these ladies failed to live up to the promise of great stardom, a few, such as Clara Bow, Colleen Moore, Joan Crawford, Joan Blondell, and Loretta Young did manage to fulfill their promise. The class of 1932 was so  filled with promise that 15 young actresses were selected. This embarrassment of riches included Evalyn along with Lona Andre, Lilian Bond, Mary Carlisle, June Clyde, Patricia Ellis, Ruth Hall. Eleanor Holm, Dorothy Layton, Boots Mallory, Toshia Mori, Ginger Rogers, Marian Shockley, Gloria Stuart, and Dorothy Wilson. Many went on to respectable careers in film, but clearly Ginger was the best of the bunch. 

From her earliest appearances in film in 1930,  Evalyn was under contract with Warner Brothers. Another ingredient in Hollywood success is the faith that a studio has in their performer. The studio had to believe that the person they had under contract was worthy of the investment: the publicity, the parts, the grooming. Evidently, Warner Bothers felt Evalyn was worth it and they bet on her becoming a bankable star.

Evalyn (top right) along with her fellow WAMPAS Baby Stars
Joan Blondell (1931), Lilian Bond (1932) and Marian Marsh (1931)

Looking glamorous as she seduces and cons
Edward G. Robinson in "Smart Money" (1931)

From 1930 to 1943 Evalyn was featured in over 50 films. She worked a lot, often with the biggest names at the time, but rarely made it into the name above the title category in major studio productions. The few times she did get star billing, it was at poverty row-type studios such as Goldsmith Productions, Chesterfield, Monogram and Screencraft  where she worked more frequently during the 1930s. Eventually, Warners lost interest.

See? Just not that interesting

There is definitely something interesting about Evalyn, but just not that interesting. She doesn't light up the screen the way fellow Warners performers Blondell and Rogers did. She seemed nice - and maybe in those days of Depression cynicism that was the problem. Or maybe it was just her vibe that says "I'm not really all that interested in being a movie star."

At any rate, Evalyn did find her groove in film, just not in parts dripping with jewels. She became the reliable heroine of westerns such as "In Old Santa Fe" and  "Rawhide" (starring Lou Gehrig) and serials like "The Perils of Pauline."

Evalyn married in 1934 and remained married until her husband's death in 1977. She dabbled in film and made some appearances where her name appeared way down in the cast list, sometimes even uncredited. Her last appearance on film was in 1943. She passed away in 1981 at age 74. A nice career, just not the one on which Hollywood placed a bet.

Crying at the Movies

This is my entry in the Classic Movie Blog Association Cry Me A River Tearjerkers Blogathon. Click HERE for more weepies - and don't forget to bring a hanky.

So, here's my story.

I was walking down a dark street of the soul when James Cagney grabbed my hand and pulled me into the light. He did this not once, at least twice, and maybe a few more times that I can’t specifically recall.

The last time this happened was a month or so ago at a screening of "Ragtime." Of course, it wasn’t the real and long-dead James Cagney. No, it was the glittering, electric, oh so alluring silver screen shadow Cagney. The one that never dies.

The first time this happened was when I was 12. Oh gosh, I loved that adolescent girl, standing on the brink, thinking and believing everything she desired was possible. Time was an unending runway. Like a cattle brand, those first and early passions that rise past mere wants were imprinted in me. And even now, after the slow, sometimes dreary, sometimes wonderful blink of an eye that passes for life I can rub my figurative finger over my true self and still feel the faint impressions of that brand.

Funny. We seem to spend the first part of our life developing an armor against hurt and then the remainder peeling away that armor in search of our authentic emotional self. This leaves a tender spot, and as a consequence, we cry a lot. And not just over sad things. Which brings me to this little clip, the closing credits of 1984's "All of Me."

Cute, right? Yet, every time I see it, I start to sob real tears. But all tears are not an expression of sorrow or hurt. At this point in my life, those emotions bring a frown and something in my chest that feels like heartbreak. Now it is joy and beauty that elicit those tears. Steve Martin and Lily Tomlin are pure joy, happiness, unbridled silliness -a great and beautiful thing. 

I've been writing about movies for quite some time now. I'm not much of a reviewer. I like to explore the emotional experience of watching a particular film, which brings me to "Ragtime." Cagney was 82 at the time that movie and his role was small, yet the sight of him made me cry. I cried not because he was so changed from the way he looked in his prime. No, I cried because in his face on the screen I saw all of the history and stories I had written on my heart tangled up with his cinematic history and how grand a ruin he appeared and how raw and real I felt in my seat, in the dark, deep in rapture, crying and filled with joy.

The Time of Their Lives: Bud and Lou Every Night at My House

This is my entry in the Classic Movie Blog Association's A Haunting Blogathon: In the Afterlife. For more eerily delicious articles, please visit here.

Bud and Lou on opposite sides of the revolution in 1946's "The Time of Their Lives."

My Father: How many times can you watch the same film?

9 year old me: a lot.

If you grew up in the New York metropolitan area in the 1960s - 1980s, you probably remember Million Dollar Movie. Twice nightly for an entire week channel 9 would run the same movie. The opening theme was especially memorable. Upon seeing "Gone With the Wind" for the first time in its theatrical release in 1967, my friends and I (and probably a bunch of others in the theatre) exclaimed "that's the theme from Million Dollar Movie!" when we first heard Tara's Theme.

The same movie every night! What joy during an era when there were no VCRs, no DVDs, No DVRs and no cable or streaming TV! I wonder how many little movie lovers followed that siren song that opened the door to classic movie mania (and I write that without an ounce of shame). My brothers happily watched "Mighty Joe Young" every night, but my favorite, by far was Abbott and Costello's "The Time of Their Lives."

Bud and Lou were already well known in my house via reruns of their television show (an afternoon ritual). Seeing them in a story, and such a funny and rather scary story, only made me love them more.

Ghosts Lou Costello and Marjorie Reynolds realize they are ghosts condemned as traitors

"The Time of Their Lives" is an un unusual Abbot and Costello film because Bud and Lou are not a team here. In fact, Bud is the target of Lou's antics. Briefly, Lou plays a Revolutionary War era tinker named Horatio Prim. Horatio was a patriot who wanted to earn enough money to buy his servant girl sweetheart out of her indentured servitude. In the meantime, a plot with Benedict Arnold was afoot. In a case of mistaken identity (what else?) he and patriot lady Melody Allen (Marjorie Reynolds) are taken for traitors, shot, their bodies thrown to the bottom of the well and bound by a spell that condemns them on the Danbury property unless they are proven not to be traitors. Of course, the real traitors were butler Cuthbert (Abbott) and Melody's fiancé, Tom Danbury. A letter from General Washington could clear the doomed duo and one did exist, but it was hidden by the duplicitous Tom. 

Fast forward to modern times and the old Danbury estate has new tenants. Horatio and Melody have been rambling around the property for centuries, but this new crew moving in consists of a Cuthbert look-alike (Abbott again as Cuthbert relation Dr. Greenway) and a few other non-believers. The ghosts are able to communicate their plight via psychic housekeeper Emily (Gale Sondergaard), Washington's letter is found thanks to a message sent by the repentant Tom, the cursed duo are united in Heaven with their loved ones and Cuthbert/Greenway finally gets punished.

What charmed me as a kid were the special effects. The ghosts have some fun with cars and radios and the fact that they can walk through walls. When Melody spots the beautiful fashions of the day and dresses up in a modern evening gown and jewels, only the clothing and jewelry are visible to mortal eyes, setting the stage for only a pair of stockings running up the stairs past a terrified Binnie Barnes.

A special shout out to Gale Sondergaard as Emily. She is Judith Anderson's equal when it comes to creepy housekeepers (making Binnie Barnes's line "didn't I see you in Rebecca?" even more amusing) and I can still hear her spooky way of calling to Melody as the long-dead Tom Danbury during a séance (Mel-o-deee.....Mel-o-deee). 

"Didn't I see you in Rebecca?"

Those ghosts are real!

I apologize for taking so long to get to the main topic here, but truly, the main topic is that every night viewing that prompted a question from my father that I have not yet been able to provide a quantitative answer. 

Why Do We Blog?

A funny thing happened recently. 

I received a comment on a post written over 13 years ago from a fellow in, of all places, Ireland. The post was my little love letter to Clara Bow (https://flickchick1953.blogspot.com/2010/10/clara-bow-i-want-to-be-happy.html). Imagine my surprise to see this new comment:

Many, many thanks for your beautiful article. (Over a decade late, but still!)

Here in Ireland we are having a special showing of 'It' on June 15 and I have 'borrowed' a paragraph from you for an accompanying piece - with full credit to both you and the blog, of course!

I am currently enjoying going through your archive and enjoying it very much! It's always so great to come across genuine enthusiasts.

Greetings and warm regards from

Charley Brady

Silent Cinema Galway.

Here is Charley's great article.

https://www.silentcinema.ie/blog/hot-girl-summer-clara-bow.amp

When you write something and push it out there into the black hole of the blogosphere, you never  know if it lands anywhere, much less gets read. Receiving a communication like that, from someone so far away about something written so long ago, kind of validates why we blog.

* How great it felt to share something with a kindred spirit.

* How great to have your work appreciated.

* How great to learn about someone doing something so wonderful so very far away. 

* How great to find a new site and learn and enjoy more about classic film.

And so, every now and then, as the spirit moves me, I'll keep at this.

And if this just gets sucked into that black hole, well so be it - and in another 10 years ago, it might just land.

Please check out Silent Cinema Galway - it's a  beautiful site:

https://www.silentcinema.ie/_blog#_blog

I'm sure special screening of "It" was a success - how could it not be?

One, Two, Three - Seasoned Cagney Can Still Spice It Up

This is my entry in the Classic Movie Blog Association Screen Debuts and Last Hurrahs Blogathon. Click here for more memorable firsts and lasts.

Cagney and the grapefruit make one last joint appearance

Season is an interesting word. It can mean to add flavor to something, or it can define a period of time. In the case of James Cagney, from day one he always seasoned the screen with some invigorating cinematic spice. He was also a performer who, in over 30 years, presented himself to the audience in various seasons of his acting life. From the summer of "The Public Enemy" to the winter of "Ragtime," Cagney not only physically matured, but also matured in the depth and humanity he brought to his roles. All before our eyes. While those two winter roles - the aforementioned "Ragtime" and the final performance in the television movie "Terrible Joe Moran," gave us a final glimpse of a cherished star, it is the late autumn performance in Billy Wilder's "One, Two, Three" (1961) that offers us the final major performance of a great star. At age 62 he was as dynamic as he was 30 years earlier.

Not as well known as many of Wilder's other great films, "One, Two, Three" is a sharp, sly and very funny look at the cold war and corporate moral flexibility (to put it kindly). A lot of the topical humor may be lost on those who didn't live through the cold war or are not familiar with it. Originally slated to be filmed in Berlin, the crew had to quickly relocate to Munich because those pesky Russians decided to build a wall. The dialogue is filled with topical references (do modern audiences know who Khrushchev was, or the significance of the shoe banging on the table?). Fortunately, I am old enough to remember (wow - that's the first time I ever had occasion to use that phrase!).

Proving the cold war could be fun

Thanks to Wilder's script (co-written with I.A.L. Diamond) and direction, this all results in fast and furious fun. The supporting cast of Horst Buchholz, Arlene Francis, Pamela Tiffin, Lilo Pulver, and especially Hanns Lothar as Schlemmer, is top-notch. Cagney proves to be a good sport, allowing  several jokes at the expense of his long career - the grapefruit, the gangster quote from "Little Caesar" (even though that was uttered by Edward G. Robinson, it still harkened back to those good old gangster days), and a Cagney impression by Red Buttons. While those references made gentle fun of Cagney's decades-long public reputation, in true double-edged-sword Wilder fashion, it also seems an homage to many well-loved movie memories; an acknowledgement that we are in the presence of a living cinematic legend. I was getting those Norma Desmond/Gloria Swanson conflicted vibes here, though not in such a tragic framework.

An executive's work is never done

The film is very early 1960s, and I admit it's a bit arresting to see this particular star as a man of the modern world. For some reason he always seemed to be a man who lived in a past era. Even when his character was current in the 1930s and 40s, he seemed a man who lived by an earlier code. Cagney wears the 1960s suits and ties well and proves that he was a real actor playing something he never tried before - a slimy, married Coca-Cola executive, always conniving while canoodling with his mercenary secretary on the side. Still, he manages to retain that special sympathetic star shine something. That was his super power. Even when he was a gangster he was never slimy. Come on, weren't we all rooting for Rocky Sullivan?

Love and Capitalism wins the day

Cagney's personal struggles during filming are well known. While he could wear the clothes of the modern man, he was privately uncomfortable. Besides butting heads with Wilder, a very strong-willed director, he came to actively dislike co-star Horst Buchholz. In his autobiography, Cagney, who rarely had a harsh word for any co-workers, openly complained about the scene-stealing ways of the younger actor. Add to that those wildly changing times and Cagney decided he had had enough. At the end of filming, there seemed no place for him to go but to his beloved farm and let the world go by for a few decades. 

Cheers to you!

For some reason this topical and breathless movie reminds me of a line in Checkhov's "Uncle Vanya" about "autumn roses, beautiful, sorrowful roses." I feel a twinge of sadness in between the laughter. There would be those two graceful appearances much later, but watching this now, knowing this would be the last time we would see him in full power, is truly like looking at the twilight of the gods.

New Movies Do Not Fill the Landscape of My Dreams

 

Why do I find going to the movies to see new films so unsatisfying? I want to keep an open mind and heart and want to support the theatergoing experience, but I rarely, if ever, find new films at the theaters truly, madly, deeply enjoyable. They might be truly enjoyable. They might be madly enjoyable, and they might even be deeply enjoyable. But rarely, almost never, are they meet the truly, madly, deeply threshold for me. Why?

The answer is in the title of this article and it came to me while watching Peter O'Toole in "Goodbye, Mr. Chips." Objectively, the film is not great, although it has a lot going for it. It's very long, a little full of itself, and the score is forgettable. But, it has the captivating Mr. O'Toole, who always leaves nothing unfelt or unexpressed, and I saw it when I was a teenager when the landscape of all that I would love forever and always was being painted on my psyche.

I've read countless books about Charlie Chaplin and one of the things that touches me is how the trauma and longing associated with his childhood poverty and fractured family were embedded in all of his work. What scarred him, what inspired him, what frightened him and where he found beauty was imprinted on his soul at a tender age and there was no changing that no matter what life held. Fame and wealth and celebrity could not change it, nor could the reversal of professional fortune. Time revealed the public's changing tastes, but Chaplin could not change at his core.

And so I find it to be with me. The films that drew me to them were the ones I discovered early on. What is charming, what is beautiful, what is good and what is desirable all were found in the movies I saw in my youth. Films that moved me after I became an adult somehow were related to the same type of film. I probably should have gotten some of that stuff from family life, but clearly I needed to seek them elsewhere. While not at all a horror of a childhood like Chaplin's, I admit there might have been a few things lacking. Or maybe I just had a dreamer's imagination. Mercifully, there were movies. And I am so very grateful that I can access so many of my favorites upon demand these days and not wait until 3 a.m. to watch the Late Late Late show ( I did stay up until 3 once to watch a Bing Crosby film when I was about 12). They are like a comfortable blanket or a hug from a friend. At some point during those formative years, a private understanding between myself and Cary Grant, Crosby, Chaplin, Gene Kelly, Fred Astaire, both Hepburns, Bette Davis, Olivia de Havilland, Bob Hope, and especially Cagney was established that endures to this day. We truly, madly, deeply get one another. If this sounds weird to you, your landscape and mine are completely different.

So, today's films, for so many reasons, can not connect with a landscape of dreams and desires that has been built and fortified over time. It can not change and I don't want it to change. I like it. I only hope that young people who go to the movies are building their own internal landscape with images and feelings that will stay with them throughout their lifetime.