A site designed for all of the wonderful people out there in the dark and dedicated to the unabashed passion for silents, early talkies, all stars and all films.
My love of film has to do with how they make me feel. While I don't always remember the exact plot lines, the camera angels or directorial strokes of genius, if I love a film I can always remember how it makes me feel. And the feeling I get from History is Made at Night is magically, unashamedly romantic... otherworldly romantic ....twinkling white star against a velvet midnight sky romantic.
See the look of love?
The chemistry between Charles Boyer (can you hear me sigh?) and Jean Arthur is bathed in enchantment. Now, I am not Ms. Arthur's biggest fan. Her quirky voice and quizzical manner seems a bit too much like a tightly wound corkscrew for me. However, here, with Boyer, she simply walks on stardust The way she looks at him and her quiet, delighted manner is an unapologetic surrender to love. In fact, the entire film makes no apology for it's singular devotion to love. There are no sly moments, no snarky comments that pass for sophistication.
Jean Arthur: still the American girl, this time with a continental glow
So why does this Jean Arthur wholeheartedly convince me she is more than the little list of annoyances she has presented to me in the past? Perhaps her appeal lies in the influence of a more continental partner in Mr. Boyer. Here he is the waiter who gives his all to his job and his all to romance. His charm is wrapped in his utmost and serious 100% devotion to love.
To the Romantic, food and love require total devotion
There is a pretty great villain here, too, in the person of Colin Clive. Man, he's a real stinker.
Not the look of a happy wife
Mr. Clive suffered from severe alcoholism and would die in 1937 at the age of 37. His dissipation is evident in this film and only adds to the depravity of his character as Jean's evil and possessive husband.
Is it any surprise here that "History is Made at Night" was directed by Frank Borzage, a true master of romance?
So, here's the bottom line: all the romantic, moonlit cinematic stars aligned for this film. There is a delightful plot, which I've totally neglected, and even a pretty exciting climax involving a Titanic-like ship sinking, but what stays with me is the feeling I get from this film. My heart aches for Boyer and Arthur, I root for them to succeed, they make my heart happy, I am enchanted by their charm and chemistry and, finally, I believe in the power of romantic love in its purest form.
This is my entry into The Classic Film and TV Cafe's annual National Classic Movie Day blogathon. This year's theme is 6 films - 6 decades. Click here to see more personal choices by some awesome movie lovers.
If you're like me, you have a list of favorites. And, because they are favorites, I've written way too many times about them. So, in the spirit of not boring myself, let alone you, to death, I've decided to pair an almost- top favorite with an absolute favorite to create a National Classic Movie Day Double Feature (remember those? If you do, you're probably a classic yourself). I'm also tying them together with a (sometimes very loose) thematic thread...sort of. Here goes...
1910s: The Immigrant and The New York Hat: Big Apple Love and Longing
The main feature is one of my favorite Chaplin shorts, 1917's "The Immigrant." The second feature is 1912's "The New York Hat." Chaplin gazes at the Statue of Liberty in New York Harbor and Mary Pickford gazes longingly at a fancy New York hat in a shop window. There's always been something about New York.
$10 is a fortune for Mary in "The New York Hat."
Have you seen this film? This is a charming little short with a hefty pedigree. Directed by D.W. Griffith and written by Anita Loos and Frances Marion, it stars Mary Pickford and Lionel Barrymore in Mary Pickford's swan song to her Biograph association. I love everything about this film, including its sly and humorous take down of small town gossips, but mainly I am always - always - astounded by Mary Pickford's incredible star power. It is impossible not to take your eyes off of her or be enchanted by her. After 109 years, she is undeniably a bright and shinning and ever lasting star.
1920s: Our Hospitality and The Thief of Bagdad: Go Big.
The main feature for this decade would be Buster Keaton's great first feature, 1923's "Our Hospitality." I love the incredibly clever story and, of course, Buster's humor. But mainly I love this film for Buster's bravery and audacity in both his stunts and his incredible period recreation. The little guy went big in all ways.
The second feature pairing is Douglas Fairbanks' 1924 "The Thief of Bagdad." This film is epic in its splendor and size and in its romance. Photos cannot do itjustice. Check out this beautiful trailer for a real flavor of this film, accompanied by a beautiful Carl Davis (and Rimsky-Korsakov score). Norma Desmond (more about her later) said "they took the idols of the world and smashed them." Here at the height of his star power, Fairbanks creates an over-sized fantasy that is a feast for the eyes and imagination. This was the golden decade of movie magic and romance. Never again would film speak to the entire world in such a singular voice, never again would the private imaginations of movie goers soar in such private and personal splendor.
1930s: City Lights and Love Me Tonight: I Humbly Apologize...
The main feature is Chaplin's great 1931 "City Lights." I've written way too much about it already, so let's just focus here on the beautiful story of a poor fellow who will stretch the truth about his humble conditions to win the heart of his lady love.
Chevalier and MacDonald sizing each other up
The second feature here is 1932's "Love Me Tonight." Ah, "the son of a gun is nothing but a tailor!" (so the song goes). Chevalier, the humble tailor who masquerades as a nobleman to win his princess, oozes his most cheeky French charm, Jeanette MacDonald is at her sexiest and least artificial, there's a score to die for by Rodgers and Hart, and it's all directed in the Lubitsch manner by Rouben Mamoulian. An added plus: A delicious Myrna Loy, Charlie Ruggles and Charles Butterworth are along for this joyous and carefree ride. "Love Me Tonight" is a perfect cinematic confection that tastes like desert but is as pleasing as a full course meal. Isn't it romantic? Yes!
1940s: Double Indemnity and Leave Her to Heaven: Pretty Poison
"Double Indemnity" (1944) is one of my all time favorites. What more can I say? It is Billy Wilder perfect - which is perfect x 10 (at least). Barbara Stanwyck's unforgettable femme fatale is poisonously fatal to everyone, including herself. But, she had us at the ankle bracelet.
Please don't let Ellen take you swimming.....
The second feature for this decade is 1945's "Leave her to Heaven." Talk about a poison femme fatale. This noir in glorious color has everything: great locations, sympathetic secondary characters, and an irresistible potboiler of a plot. However, it all bows in service to Gene Tierney's psychopathic Ellen. Beautiful to look at, deadly to hold. I can't think of a femme fatale more beautiful and ultimately more loathsome.
1950s: Sunset Boulevard and Strangers on a Train: Kooks and Unrequited Love
Kooks and unrequited love seems to be a theme that runs through this decade. Sunset Boulevard is my favorite film of any decade and Norma Desmond one of my most favorite characters. Period. Poor Norma.... fruitcake mad for Joe Gillis... and poor Max...fruitcake mad for Norma. More Billy Wilder perfection.
Criss Cross....
Hitchcock's 1951 "Strangers on a Train," the other half of this nutty double feature, also has a kook who seems to be, if not in love, at least enthralled with his unwilling partner in crime. The way the word "Guy" drips out of Bruno's mouth is about as creepy as it gets. I kind of think even Norma Desmond would head for the door in Bruno's presence.
1960s: The Apartment and Charade: surrounded by baddies
Billy Wilder again! I guess all I need are Chaplin and Wilder films to feel happy. Aside from the complicated and adorable love story between Jack Lemmon and Shirley MacLaine, one of the uncomfortable aspects of "The Apartment" is the casual immorality of of all those guys at Consolidated Insurance.
Seriously, what's not to love here?
1963's "Charade" finds Audrey and Cary (I'm on a first name basis with these 2) also surrounded by bad guys. That's about it for any connection to "The Apartment" (except maybe each has a memorable theme song). But, since this is one of my favorites from the '60s, I had to include it. It is beautiful, clever, thrilling and I love it. I never tire of it.
Oh wait! Can we have a triple feature for the 60s? I would gladly get more popcorn and sit through Mel Brooks' "The Producers" (1967) any time, any place. There are too many reasons why to count, but mainly because for the previous 4 years I kept repeating one line of the film over and over again (last line before the fade out):
Thank you, Mel Brooks, for all the laughs.
And many thanks to Rick at The Classic Film and TV Café for reminding us about National Classic Movie Day.. although for most of us, that's every day, right?
