Sunday, March 1, 2020

Second Thoughts and Second Chances: My Dinner With Andre (1981)

39 Years ago I had the worst movie-going experience of my life. I convinced a date to take me to see "My Dinner With Andre." And, no, the date was not the cause of the bad experience (although I will never forget the  "I pick the next movie" look on his face at the end of the film). The cause of this memorably bad experience was twofold; one: an hour and a half of pretentious on-screen drivel and, 2) the rave reviews by critics that made me think I had to like this.

And so, for 39 years, "My Dinner With Andre" has become the standard for my most hated movie of all time. Nothing, not even "Titanic," could compare. It has been the running joke in my life. If I compared anything to this movie, it pretty much stunk. My opinion was shared by some, so I felt completely validated in my negative view and there it has sat, for 39 years, my total disdain carved in stone.

So why, after all this time, have I chosen to revisit these 2 knuckleheads and their conversation over quail? Honestly, I don't know! Maybe I thought I would feel exactly the same, but, I ask you, how many things do you feel exactly the same about after 39 years?

Anyway, I dove in with an open mind and I humbly admit, I have changed my opinion... somewhat.

At first, I found myself again squirming in my seat over Wallace Shawn's Woody Allen-style New York monologue before meeting director Andre Gregory. Sorry, but whenever I see Mr. Shawn, I always think of Woody Allen's description of him in "Manhattan" - a homunculus (sorry, Wally). His complaint that he was now struggling in the theater and that he was raised in wealth still left me cold. And don't get me started about the two of them ordering quail and talking about esoteric BS while the poor old waiter had to stand by and serve them and probably listen to this drivel about seeing fauns in a Polish wood and being buried alive in the Hamptons on All Hallows Eve, not to mention creatures with poppies growing out of its toenails. 

But, at about 55 minutes in I started to lean in. Suddenly Andre, who had seemed too privileged and elitist, started making sense (no, I had not broken open the Cabernet). In 1981 he was talking about a society that was making us immune to feeling, to originality, to resistance. His intense quest to feel, to be authentic, was extreme (and nuts), but when he states that, as a society, we are bored, and because we are bored we are asleep and if we are asleep, we can not say "no," well, that made me think. And then I thought about all of those deep, and seemingly important conversations I had in college, before "real life" took front and center stage, when feeling and thinking deeply was not silly, and I felt that little tug that said I had lost something.

So, Wally and Andre, while I am still not sure I would want to spend an entire evening with you (although Andre generously picked up the check), I might consider a fast cup of coffee. Watching a movie that makes you think is pretty darn special.

Tuesday, January 21, 2020

Lady Sylvia Ashley: 2 Kings, 2 Lords and a Prince

This is my contribution to the Wedding Bells Blogathon hosted by the always elegant Annette at Hometowns to Hollywood. Click here to immerse yourself in more cinematic wedded bliss.

Who is Sylvia?
The elegant Sylvia
I love a good Hollywood true true-love story. Lucy & Desi, Larry & Viv, Liz and Dick.... wait a minute..... Seems like somebody else always has to muscle their way into perfect harmony, doesn't it?
2 Kings of Hollywood
Two of my favorite Hollywood stars are Douglas Fairbanks, Sr. and Clark Gable. Aside from their unforgettable screen performances, there was something so dashing, so masculine about both men, along with the big plus of each having a breathtaking singular love story.

One of the biggest love stories of early Hollywood was the one between America's Sweetheart, Mary Pickford and that swashbuckler deluxe, Douglas Fairbanks. Both ditched inconvenient spouses and braved public scorn to be together. The lord and lady of Pickfair were so beloved by their public that their split in 1936 after 16 years of (alleged) wedded bliss was shocking.
True love
Even more shocking was the appearance of this lady on Doug's arm.

Doug and his new lady with dear friends Norma Shearer and Irving Thalberg
Who was she? Who was this nobody, this Yoko, who stole the virtuous, sweet Mary from her one true love? She was none other than the notoriously delicious and fun-loving Lady Sylvia Ashley (Silky to her friends, thank you).

A little background on Silky (if I may call her that). Born Edith Louisa Sylvia Hawkes to a decidedly middle class British family, Sylvia worked her way up from lingerie model, dancer to show girl/stage actress of middling success during the 1920s. But Sylvia's eye was not on a great theatrical career. A wise gal who played to her strengths, she devoted her considerable talents to marrying well. In 1927 she bagged an English aristocrat, Lord Ashley, and put her stage acting days behind her.

The marriage only lasted until 1934, but she was forever after known as Lady Sylvia Ashley, no matter who the current spouse. The main reason the marriage went south was because Sylvia had fallen for Douglas Fairbanks and he, a sucker for British nobility* no matter how tarnished, was smitten. Smitten enough, in fact, to ditch the calm and quietly aging Mary for this delightful, young social butterfly of cafe society. Doug relentlessly pursued youth while his own slipped away and Sylvia pursued the glamorous and more relaxed world of Hollywood society. It was much more her style. When they wed in 1936, she was 32 and he was 53.

Awkward! Ex-wife Mary Pickford and current wife Sylvia accidentally book a flight on the same plane. Good thing BFF Norma Shearer was there to referee.

I love this photo. Sylvia is shown in all of her charm and beauty, while Doug looks simply too old and too tired to keep up with her.
By all accounts, Sylvia was a hot number and the aging swashbuckler had a hard time keeping up with his cosmopolitan bride. Ever impressed with British titles and high society, Doug did his best, in tux, to squire his lady through endless late nights of partying, but, clearly, she exhausted him. Ex-wife Mary, who knew him best, predicted "that woman will kill him."

In the end, after 3 years of marriage, at age 56, Doug's heart gave out. Sylvia was genuinely grieved over Doug's demise and always spoke of him with great affection and respect. It was Sylvia who oversaw the creation of her husband's final resting place, one appropriate for a king of Hollywood.
Doug's final resting place in the Hollywood Forever Cemetery
In 1944, Sylvia took another quick trip to the altar with Edward Stanley, 6th Baron Stanley of Aderley, but Hollywood society was more appealing to her than the stuffy drawing rooms of the British aristocracy and by 1948 the couple had divorced.
Gable and Lombard enjoying each other's company
The adorable love affair of Clark Gable and Carole Lombard charmed the public and her tragic death in a plane crash in 1942 saddened the world and broke his heart. This was one Hollywood love affair that did not end in divorce.

This King of Hollywood had to go on and live his life, and somehow, the man's man who loved the down to earth Lombard ended up with Silky. And it didn't end well.
No words are needed
Both Sylvia and Gable called the union a mistake. Maybe she was looking for another Doug. Maybe he was looking for another Lombard. After all, Sylvia did like horses and claimed to like to fish, kind of like Lombard. Their married life, at least in public, seemed to be a series of posed photos of wedded fun and bliss. The reality was much different. The spontaneous joy of his life with Lombard was nowhere to be seen.
It only looked like fun
It wasn't long after the wedding day that Gable developed an active dislike for his extravagant and very social wife. Sylvia simply referred to the marriage as a mistake. The odd couple marriage lasted a whole 3 years before they divorced in 1952.

Sylvia took one more walk down the aisle in 1954 to Russian Prince Dimitri Jorjadze. Since the Russian royal family had long been ousted, the Prince made his living by dabbling in the hotel business and racing cars. While she was never officially crowned a Queen as a result of her marriages to her 2 Kings, she did manage, in the end, to receive the title of Princess. She remained married to him until her death in 1977. While this marriage endured, it seems they spent most of their time apart. At last Sylvia discovered the secret (for her) to a successful and lasting union.

Great friends with many Hollywood regulars (including the ever-present Norma Shearer and the equally elegant Constance Bennett), Sylvia was never a second choice or replacement, which may be a reason her marriages to those 2 Hollywood leading men didn't last. She wasn't Pickford and she wasn't Lombard. She was simply herself - lively, extravagant and fun loving. She was more than just a showgirl with ambition or a heat-seeking bride in search of a lonely groom. Along with Constance Bennett and other Hollywood heavy hitters, she was very active in helping provide food, clothing and medical aid for refugees as a result of WWII.

Maybe I'm being a bit of a romantic, but it seems that her marriage to Doug was, for her, a happy one. Sylvia, Princess Jorjadze, rests in the same Hollywood Forever Cemetery, her grave in direct sight-line to Doug's. I think she just wanted to be nearby.

Head on over to Hometowns to Hollywood for more matrimonial mischief!

* The allure of Britain and its nobility seemed to run in the Fairbanks DNA. Son Doug Jr. was an avowed Anglophile who developed a British accent and spent a great deal of his adult life across the pond (before finally resting with his dad in Hollywood). Jr. was firmly on Team Mary and memorable dubbed his new step-mother "Lady Ashcan."

Thursday, November 14, 2019

What A Character: The Ever Scandalous Estelle Winwood

This is my contribution to the What a Character! Blogathon hosted by this trio of magnificence, otherwise known as Aurora of Once Upon a Screen, Kellee of Outspoken and Freckled and Paula of Paula's Cinema Club. Check out all three for all character updates.

Estelle Winwood
Hold Me! Touch Me!
Okay, I confess. It was this quote from Louise Brooks that made me want to look into Miss Winwood:

" When I was dancing with Dario at the Persian Room in the Plaza, after the midnight show I would walk down to the Gotham Hotel to visit Tallulah Bankhead. She would declaim Phaedre in lousy French and read the Bible in her lovely Alabama accent while everybody said she stunk and tried to do it better; and in a hooded corner sat Estelle Winwood nursing her latest dose of the clap from one of her little boys." 

Say what? So, I did a little digging and found out a few things about Estelle. First to her career.
Estelle appeared on stage with Bela Lugosi. There were rumors of an affair;
he allegedly broke her ribs with an overly passionate embrace.
Estelle seemed to have that effect on men.
Estelle was primarily a stage actress and prided herself on being such. This proper British young actress, born in 1883,  made her debut at age 20 and eventually made her way to the London stage. She moved to the USA in 1916 and had much success on Broadway. She continued to act in first class productions on both the Broadway and London stages, but the 1930s called for desperate measures, and nothing was more distasteful for this desperate actress during the depression than acting in the movies. But, desperate times do call for desperate measures, so Estelle, at age 50, dipped her dainty toes into movies. While her first film appearance was in 1931's "Night Angel," her scene was cut, so her official film debut was made in 1933 in the "House of Trent," with her first notable role having to wait for 1937's "Quality Street." She is the lady with the scandalous wink:
Estelle stayed away from film during the 1940s, but later found working on television not so awful. She can be found in an Alfred Hitchcock Presents, a Robert Montgomery Presents, an episode of The Donna Reed Show and even an episode of The Real McCoys.

But, Estelle was lured back to film again in the 1950s, appearing in supporting  roles in "23 Paces to Bakers Street," "The Glass Slipper," "Darby O'Gill and the Little People," "The Misfits," and "Camelot."

Estelle with Marilyn Monroe and Clark Gable in "The Misfits"

Of course, who could forget her as Hold Me! Touch Me! in Mel Brooks' "The Producers"?
Estelle, predictably, hated the role and the film and said she only did it for the money. 

Estelle also did a memorable stint as Aunt Enchantra on "Bewitched."

But, as memorable a personality as she was on screen, Estelle was an unforgettable character in real life. 

Estelle was married 4 times, her first husband being the renowned theater director and producer, Guthrie McClintic. Her second husband was actor Arthur Chesney, her third a New Zealand rancher and her fourth an actor by the name of Robert Henderson who was 21 years her junior, and of whom she said "I can't remember if I divorced him or not."  Estelle was most famous for her great friendship with Tallulah Bankhead. While a bit more lady-like (at least on the outside), she and Tallulah were great party girls and all around carousers.  She described her first meeting with Tallulah when they met at a party in New York in the 1920s. The host introduced Estelle to Miss Bankhead, who happened to live in the same building:

“Tallulah was so gloriously lovely that I hated her on sight. Later, to my horror, everyone had left the party and the host, who had been flirting with me all evening, had an affair with me. I began to panic and remembered that Tallulah lived in the same building. She let me in and when I explained what had happened she immediately ushered me to the bathroom and loaned me her douche kit and this was the beginning of our enduring friendship.”

She was smart, she smoked, she drank, she loved men and she looked down her veddy English nose at just about everyone. She lived to be 101 and remained feisty, irreverent and utterly charming in her crusty, dismissive and oh-so-British way.

And while we generally know Estelle as a woman of a certain age, she sure was a cutie back in the day, wasn't she?

Please check out more memorable characters!

Monday, October 14, 2019

"The Stars" and 57 Years of Fascination

This is my contribution to the Classic Movie Blog Association (CMBA) 10 Year Anniversary Blogathon. For more musings on auspicious anniversaries, click HERE.

Anniversaries are important. Our first date, our first kiss, marriages, births, deaths - all landmarks that we mark with a card, a good wish, a present, a fond memory, joy or a prayer. Now, if you're a movie lover like me, I'll bet you remember the first time you fell under the spell of a film or an actor. For me, the film was "The Public Enemy," and the actor was James Cagney. However, there was another important moment; the one where I discovered "The Stars" by Richard Schickel for $3.95 in the bargain bin of the Cherry Hill Book Store and fell in love with those unforgettable faces.

These are the ones that did it:

Jean Harlow. She was kind of awful in "The Public Enemy," but she was positively mesmerizing to me in these photos. That hair! That white satin dress! Those jewels! And so it happened that my first intrigue with classic film stars really began with still portraits. Before cable and DVDs and VCRs you had to wait for classic films to be shown on television (usually in the early morning hours), so it would be many years before I could sample the work of these stars, but the photos were like catnip to me.

A few favorites:

Theda Bara: yikes! I could not stop looking at this one. Who was she? What happened to her?

Barbara Stanwyck: This was Victoria Barkley on TV's "The Big Valley"?? 

Cary Grant: hmmm... even then I was spellbound.

Clark Gable: Gosh he was handsome. And Carole Lombard was pretty cute, too.

Audrey Hepburn: loved her look, loved everything about her then and now.

Marilyn: Sigh. The book was published the year she died. And though I had yet to see her in a film, she was famous. I couldn't stop looking at this photo. Schickel offered this epitaph, a line from W.H. Auden's memorial poem to Yeats: "You were silly like us, but your gift survived it all."

Elizabeth Taylor: Schickel called her the last star, the last star manufactured and supported by a studio system, one created in its dying hours and gone forever.

The book ended with these 2 iconic images:

Chaplin, at the dawn of his career, awaiting a gift from the sea:

James Mason, playing a fading star in the 1954 version of "A Star is Born," walking into the same ocean to commit suicide.

I am guessing I was about 12 or 13 when I purchased this book, so this is probably more like a 54 year anniversary instead of 57 from the book's publication, but an anniversary that I cherish nonetheless. Plus, $3.95 was a mega bargain even then!

And, you guys know the rest. More books (does anyone remember the Cadillac Publish Company Film Series? I had and still have about 12 of them), more late nights with the Late, Late Show and yada, yada, yada..... here we are, hopelessly devoted.

A special note: This blogathon marks the 10 year anniversary of The Classic Movie Blog Association. Many thanks to the vision of its founder, Rick Armstrong, a true gentleman and author of the excellent blog, The Classic Film and TV Cafe. It has been an honor to rub elbows (blog-wise) with so many fine writers. 

Saturday, August 24, 2019

Liliom(1934): A Funny Thing Happened on the Way to Hollywood.. or What Happened When 2 Germans and a Frenchman Met in Budapest

This is my contribution to the "Vive La France Blogathon" hosted by the dynamic duo of Christian at Silver Screen Modes and Patty a.k.a The Lady Eve at The Lady Eve's Reel Life. Click here for more cinematic inspiration from the land of the City of Lights and beyond.

Liliom (1934)

Why "Liliom"? This French film takes place in Budapest and was directed by Fritz Lang, who made a stop in France on his way from Germany to America. So, what makes it so French? Mainly, this guy:

Is that you, Charles Boyer?
Mon dieu! Was there ever an actor more French than Charles Boyer? The French typically do not transplant well to Hollywood. Yes, Chevalier was the charming boulevardier and Louis Jordan was quite dreamy in any language, but French mega-stars like Danielle Darrieux, Michele Morgan and Jean Gabin dabbled but headed back home after a few films. Even great directors like Renoir and Clair found the atmosphere in Hollywood inhospitable. But Boyer - boy was he the American's image of a French man. He was smooth, he was sophisticated, he paid attention to the fit of his clothes, his lower lip pouted in that sexy French way and he was slightly untrustworthy where the ladies were concerned. This was the Boyer I was used to:

Hmmm... I know you're a rogue, but you're so suave.....
But this is not the Boyer of "Liliom." In "Liliom" we get the pre-Hollywood stardom Boyer, and he is rougher, shaggier and more dangerous than the impeccably groomed continental into whom he was transformed.

The story of "Liliom" has had several incarnations, the most famous being the basis for the 1945 Rodgers and Hammerstein musical, "Carousel." Based on Molar's play, it depicts the story of Julie, a chamber maid, and Liliom, a carousel barker, who flirts madly with the ladies to drum up business for the owner of the ride, who happens to be in love with him. The owner's control over Liliom makes his love affair with Julie difficult, but ultimately he decides to leave the carousel and strike out on his own with her. 

Liliom and Julie: love at first carousel ride
Having no particular skill or desire for honest employment, Liliom becomes filled with resentment towards society (shown in his self-fulfilling prophecy of his treatment by the local police) and towards Julie, whose devotion never waivers no matter how badly he treats her. Upon learning of Julie's pregnancy, Liliom allows himself to be dragged into a scheme of robbery and ultimately kills himself rather than be caught and confined to prison. On his deathbed, he confesses his guilt and accepts that he will have to face God for what he has done. Julie is left to raise their unborn child alone. 

We next find Liliom in purgatory, sitting before the magistrate who looks exactly like the police chief he faced on earth. He is given once chance to earn his way to heaven. Bringing something special (a star) to his daughter, he meets her and tells her of the himself, the father she never knew. He tells her the truth of himself, but she refuses to believe he was such a bad man and their confrontation results in Liliom reverting to type and striking her.  The magistrate is unhappy with Liliom, who simply states he can only be himself, and it appears that he is headed for a trip to hell, However, back on earth, when his daughter tells Julie of her meeting with the stranger, she asks if it was possible for someone to strike you and have it feel like a kiss. Julie says yes, and because his daughter, like Julie, felt the love through Liliom's anger, he squeaks his way into heaven.
Purgatory is a lot like earth... unfortunately for Liliom
If you know "Carousel, " you can see (and hear) how heavily it rests on this story. Songs are based on dialogue from the film and Billy Bigelow and Julie, although transported from Budapest to Maine, are exactly like the Julie and Liliom of Budapest.

Speaking of the love story of Julie and Liliom (or Billy), it is a hard one to watch. It's difficult not to be mad at Julie. Liliom beats his wife and treats her terribly, yet she stands by him and offers unconditional and gentle love. Of Course, Liliom knows he's a scoundrel - it's his signature move - but the story is not about Liliom's love for Julie. It is about the gift of Julie's love for the unworthy Liliom and how he squandered it. The cop on Heaven's beat gives him that one last chance and, true to character, he almost blows it. Because he is still the same man he was on earth, Liliom does not know how to show love, but, as we knew from Boyer's sensitive portrayal in those rare quiet moments, he does love. And so he is saved. Barely.

Lang's depiction of purgatory has the look of his German expressionist films. It is eerie, mesmerizing,  romantic, dark and somewhat magical. His view of justice, both on earth and beyond, validates Liliom's view that, for the non-privileged, it is a rigged system.

This cop is everywhere!
It is interesting to see Boyer in his natural French element, before the transformation. His star power is undeniable. Boyer had a few false starts earlier in Hollywood, never seeming to click, but shortly after this film he made one more trip across the Atlantic and made his mark. Poorly received at the time, "Liliom" was viewed as a French/Hungarian/ German mish-mash. Lang, however, always had a soft spot for the film and, seen today, it is impossible not to make those mental comparisons with "Carousel" or to deny that Charles Boyer was one Frenchman who was going to survive the transplant from his native land to Hollywood. An actor of charm, depth and staying power, he became our ideal of the sophisticated, romantic Frenchman, a true Hollywood creation.


Charles Boyer

With Hedy Lamarr in "Algiers."
Can you blame her for coming wiz him to the Casbah?
More than just a leading man, Boyer shared the screen with such imposing leading ladies as Marlene Dietrich, Ingrid Bergman, Greta Garbo, Bette Davis and Olivia de Havilland. From cads to heroes, his range and work remains impressive. I like him more and more each time I see him.

Terrorizing Ingrid Bergman in "Gaslight." 
He was married to the same woman, British actress Pat Patterson, for 44 years. 2 days after her death, Boyer committed suicide, a tragic end, yet somehow befitting our ideal of the romantic Frenchman.

Madeleine Ozeray (Julie)

Ms. Ozeray had a sterling and important career both on the French stage and in French film. Judging by her success in her native country, she was wise to stay put.

Fritz Lang

The master of German expressionism made a number of unforgettable classics in Germany ("M," "Metropolis") before making that one stop in France (to evade the Nazis) and then sailing on to Hollywood where he had a few more classics up his sleeve (Scarlet Street," "The Woman in the Window," "Rancho Notorious" - to name a few).

Franz Waxman

A German Jew who, in 1934, received a beating from Nazi sympathizers in Berlin. "Liliom" was his first original film score before relocating to America, where his great work included the scoring for such films as "Sunset Boulevard," "Rebecca," "The Bride of Frankenstein," "The Philadelphia Story," and "A Place in the Sun." Again - so glad he and Lang stopped in France on the way to Hollywood.

Sunday, July 7, 2019

This Magic Moment: The Apartment

While a film may be 2 hours or more in length, there are those special moments - unforgettable moments - that linger in the heart and mind. These moments can crystallize in a flash all we need to know about a character or their story. They are the poetry of motion or a word or a look that jolts the senses and tells us all we need need to know.

Jack Lemmon, Shirley MacLaine and a broken compact mirror from "The Apartment" (1960):

The set-up: C.C. Baxter (Lemmon), the up and coming executive who loans out his apartment to his cheating married boss, is sweet on Fran Kubelik, the company elevator girl. At an office Christmas party, C.C. shows off his new hat to Fran while Fran hands him her compact to check his look.

The moment: Looking into the cracked mirror, C.C. realizes that the girl he adores is the girl who is sleeping with the boss. 

The feeling: I'm heart broken for C.C.'s loss of innocence in his adoration for Miss Kubelik and also for Fran, as she states she likes the broken mirror because it makes her look like she feels.

Brilliance in a moment that tells us all we need to know about these 2 and that we must root for them to the end.

Thursday, June 6, 2019

Biff Grimes: Character Crush 'Cause Character Counts

This is my entry in the Reel Infatuation Who's your Character Crush Blogathon hosted by the dynamic duo of Silver Screenings and Front and Frock. Click HERE for more cinematic affairs of the heart.
Oh for a man of character! They are few and far between in this world, aren't they? Thankfully we can escape into the world of movies where a man's word is as good as his heart because that's the kind of hairpin he is.

Father & son: Biff aspires to be a dentist and practices all
he learns from a correspondence course on his willing pop.

Biff Grimes of "The Strawberry Blonde" (1941) isn't your typical hero. Played in an incredibly sympathetic manner by James Cagney, he repeatedly plays second banana to his blowhard friend Hugo (Jack Carson) and is always a step behind his ne'er-do-well father (Alan Hale, Sr.). He has 2 critical weaknesses in his tough turn-of-the-century New York neighborhood: his basic decency and his romantic and chivalrous infatuation with the beautiful Virginia Brush (Rita Hayworth), the strawberry blonde of the title. 

All the boys at the barber shop long for Virginia

Biff is all bluff and bluster (in that charming Cagney way), but underneath he is honest, trusting, and maybe a bit naive (in the beginning). Outmaneuvered on that first double date, Hugo gets the luscious Virginia and Biff is stuck with suffragette wannabe  Amy (Olivia de Havilland). She, too, is all bluff and bluster, leading the shocked Biff to believe that she, a working woman (a nurse), smokes and, with the wink of an eye, might be open to premarital sex. Good girls in the 1890s didn't do or say things like that! As Amy later noted, she was without a date because "free thinkers usually have a lot of time on their hands."

Biff does manage a date with his strawberry blonde, but it is unsuccessful. While Virginia appreciates Biff's respectful ways, the material girl in her is drawn to sharpster Hugo, so much so that she runs off and marries him, leaving the ever hopeful Biff stunned and proposing to Amy as a consolation prize.

Virginia and Hugo: a deserving duo
As fate would have it, the gentle Amy and the trusting Biff were a good team, while the slimy Hugo and gilt-edged Virginia were also a match made in, if not hell, then at least purgatory. At Virginia's urging, Hugo hires Biff as an executive in his company. Virginia seems to enjoy torturing Hugo by keeping Biff around, as Hugo knows he sneaked in when a better man wasn't looking. 

Sitting behind a desk really wasn't Biff's style.
Biff is incredibly cute when he urges Amy to buy a new dress they clearly can't afford because he doesn't want Hugo and Virginia to show him up. But, Hugo, being Hugo, sets Biff up to take the fall for some shady practices  at his company and Biff goes to jail. Not only is Hugo dishonest, but he's also a coward (those 2 qualities usually go together, don't they?).

Biff kisses Amy goodbye before he is hauled off to jail.
It's upon Biff's release (with his dentistry diploma in hand) and his meeting with the patiently waiting Amy that reveals the truth about both characters: Biff has come to realize the depth of his love for Amy and Amy's patience is finally rewarded with the same love and appreciation she has shown all along.

Okay, so maybe I have a little girl-crush on Amy, too.

No pain killers for you, Hugo! We're doing this the manly way!
Fast forward to the present time. Biff is the neighborhood dentist (a dream fulfilled!) who finally gets an opportunity for revenge when, on a Sunday afternoon, he is the only dentist available to treat old nemesis Hugo's aching teeth. He's tempted to pay the lout back with a bit more gas than needed, but ultimately opts for pulling the tooth without any gas at all. Seeing the wedded misery of Hugo and Virginia only confirms what he has already learned: true love counts more than a pretty face. It took Biff a while, but this man of good character valued and loved the life he made with a woman of equally good character. Not only do they, presumably, live happily ever after, but a little Biff or Amy is on the way.

A note on the film: Rita Hayworth and Jack Carson make a dastardly duo, and some of the usual Warner Brothers suspects (George Tobias, Alan Hale Sr., Una O'Connor) are on hand (as well as a pre-Superman George Reeves ready to give Biff another black eye) to lend support, but it is the amazing chemistry between Cagney and de Havilland that gives this film its zest. There weren't many actresses that could hold their own in a great way against Cagney, but de Havilland matches him wink for wink and heartfelt look for look.