Showing posts with label bette davis. Show all posts
Showing posts with label bette davis. Show all posts

Sunday, October 06, 2019

As Hometown Lowell Celebrates-The Girl With The Bette Davis Eyes-With Lowell’s Bette Davis And Jack Kerouac In Mind

The Girl With The Bette Davis Eyes-With Lowell’s Bette Davis And Jack Kerouac In Mind







By Special Guest Writer Greg Green   
  
[Greg Green, a writer well known to me in this space for his articles on his and others experiences in the devil’s war, the Vietnam War, that carved a nation in two, maybe more and from which at least culturally it has never recovered mentioned to me one day when he was getting ready to review an old time black and white movie Of Human Bondage for the American Film Gazette for which he writes occasionally that the female star Bette Davis had been born in Lowell, Massachusetts. Something that he did not know although he grew up a few towns over in leafy suburban Westford. Greg has been a longtime admirer of another Lowell native Jack Kerouac who torched a placid post-World War II world with his On The Road some sixty years ago (and which we have as Seth Garth mentioned “seemingly endlessly” and he may be right commemorated in this space recently on the sixtieth anniversary of its publication). That got Greg thinking that there must be some connection that he could draw between two such iconic celebrities from an old dying mill-town (dying even back then as the mills headed cheap textile labor south and then cheaper foreign shorts worldwide-in their respective birth times 1908 and 1922) that had seen better days beside the inevitable “there must be something in the water” theory. So he asked me to let him do a little piece trying to make some cosmic connection between the two icons and the town. Pete Markin]             

A river runs through it. The great rushing from the New Hampshire mountains, at least that is what I have been told is source ground zero of the broken down millwheel towns to the seas and unto the great cold wash Atlantic and there to homeland (homeland before Lowell migration and Quebec flee failing farms up north looking for factory river work) Europe left behind from desolation days Merrimack. Merrimack some potent Indian signifier (excuse me Indian when Indian was the name spoken and not the correct Native American or even better indigenous peoples who can  stake serious and legitimate claim to sacred ground now ill-trodden over by umpteen generations and no reparations in sight) long before the devils came in their blasted wooden hull ships from across that briny North Atlantic no high note in sight unlike the great big blow out in Frisco town when a skinny black kid blew that one to perdition. Great rushing river dividing the town between the remember “fake natives” and the on-coming foreigners come to pick up the slack in the bottomless spinning wheel pits (the noise drowning out sing-song voices and whiskey hoarse alike and maybe that is where the sober siren sought his Jack strange mystifying voice and he his throbbing pace that in the end wound up like whiskey breath).        

River, two forked river come flowing from the great ices of New Hampshire hills laying down sediments (and sentiments) along a path unto the great turn and rock formation by Pawtucketville Bridge-dividing that town even further (or is it farther) pushing out Highland visions of august majesty. Then a poor besotted girl emerges, emerges out of the dust hitting the high trail west landing forlorn and mystified in some fallen angel diner and a gas station town near the Petrified Forest (trees so ancient, think about it, that they have turned to stone some kind of metaphor there-something about staying in one place too long) in the Arizonas, out off of Route 66 heavy-travelled in the next generation by hungry guys tired of diner and gas stations at home drift to the cities but need to catch some dust and grit although what they thought of benighted stone trees who  knows in between those expansive cities). There some Papa generation before her came out looking for El Dorado or gold something different and landed in two bit desert stretches and kind of got stuck, got good and stuck there. (Not everybody made it as the skeletons along the way of cattle, horse, and human set among the bramble and down some aching arroyo tell every daredevil passer-by and every sensational dime store penny a word novelist in the days when that “contract” ruled writers on “spec” too.)

And there abandoned by a big city dream mother and an ill-defined no account wimp father she came of age dreaming the dreams, funny city girl dreams of faraway places away from the dust and those fucking stoned trees when the wind howls through the crevices (making one think of other social howls and wolves and Molochs and white-dressed nurses in mental wards and of cool jazz man hipsters and Times Square con artists working the rubes), her father the king of the species all dressed up and cowardly when it came right down to it. Dreaming book dreams, small printed page books sent from far away by those who could not take the dust, the heat, those howls and once again those fucking night-blinding stone trees which tourists would pay a pretty penny for a clip, a sliver. Jesus. Dreamed fourteenth century or was fifteenth dreams of mad man con man rabble Villon out of some Balzac French novel but real enough speaking about how he could not stay with civil people but sought solace among the petty thieves, the cut throats, the man murderers (little did she know who would come through door to marvel at her bug-eyes and blinkers making sorry Villon nothing but a second-rate Time Square hustler, hey, pacifist even) , the flotsam and jetsam among the people who lived outside the moat, who did not dream but planned.         
          
“Hey there stranger” she spoke quickly to that stranger with the strange pale voice and the paler skin despite walking the sun-drenched walk of the tramp no better than Villon’s men outside the moat and who looked like he had not had three squares in many a moon so that is what she thought when he first came in, came in and recognized in that small book, that funny thought poem by mad monk gone astray Villon and thus was kindred against the Papa silliness and some gas station jockey who tried to make love to her before her time. So they talked, he called it conversation, and told her that the night-takers descending on the flat land earth, out even in the freaking (his term not hers) stone tree desert filled with arroyo-seized skeletons that the day for conversation was quickly coming to froth, was dangerous beyond whatever small thoughts she had ever had out in that vast night sky thunder-blazed desert. She thought him the new Messiah come that she has heard about over the blaring radio that made the diner hours go by more quickly so she could retreat into Villon’s manly dreams without distraction. He, the stranger he, laughed and said no vagabond who was out filching (cadging in what he meant she thought) free eats in dust-bitten rocks could claim Messiah-hood, could survive the new age coming and coming quickly right through her door. Her bug-eyes blinkered at that, at her silly illusions when she thought about it later after he was gone, gone to who knows what savior-driven place.          

No sooner had the stranger taken his filched food (she still insisted it was cadged and would whenever anybody asked her if she had actually seen the savior, had maybe slept with him for good measure) when the night-takers stormed in (stormed in more than one way bringing half the desert hell with them as boon companion) and made her savior stranger sit on his ass on the floor. Made hell come to pass before the night was through. (He, the stranger, would comment that the night-takers took their sweet-ass time whenever they descended and that those descended on took their sweet-ass time figuring out how to get rid of the bastards). Sweet manna. Then that forlorn stranger had an idea, a good one if somebody beside her thought about it later that he would go mano a mano with the night-takers, would play the gallant when all was said and done (giving lie to the idea that he didn’t have any ideas about the night-takers except their time had come). Naturally he lost, better won/lost and left her with her book, her small Villon book, a guy from the fourteenth century or was it the fifteenth and her dreams kind of intact. A few years later some guys in a 1949 Hudson (or was it Studebaker) tired of the Route 66 road came by looking for grub, looking for free eats and some whiskey but by then she was long gone to some city that Papa and father could not fathom            

[On in the frozen Western night the no longer girlish girl hung up on old time French bandit-poets, con men, desolation angels, and holy fools, and lost in thought time of the intellectuals far from the blessed stone trees, as far away as she could get to Southern California and so “frozen” ironic she picks up a book, a paperback left on the counter by a forgetful customer who after paying for his Woolworth-quality lunch must have given up all hope. She flips it into her pocketbook to either wait on his owner’s return or for something to read that night, that lonesome stone tree wilderness night that never left her thoughts. That guy, or whoever it was, never returned and so that night she read, read until the early morning hours and then read some more.          

Read about a guy, although in her mind it could have be a girl, who had the same wanderlust that drove her west, drove her to the great blue-pink American western night he called it looking for some father that he had never known, looking forlornly, for that father from some oil-spilled New Jersey shore river to the wind-swept China seas before the Golden Gate Bridge. Looked high and low for the missing brethren who long ago had crossed her path out in the hard stone tree night when everything was possible but the intellectuals then flabby and ill-disposed to fight the night-takers even to a draw abandoned all hope, decided that primitive man would take the day and crush any free spirits. This guy though flush with the expectations of many new adventures once the night-takers were put to the sword took to the road, took a chance that he could find that father some fucking place-maybe Latimer Street in Denver, maybe Neola, Grand Island, Reno, Winnemucca, Tulsa, Fargo (although give up all hope if you wind up in that locale). She wondered that maybe he had stolen her dreams. Maybe he had stared at the same rivers that drove her desires, yes, just maybe that was the case.]    

A young boy only spoke patois until he went to school played hooky one day and sat in the lost souls library hoping to find something that would challenge his fevered brain and slip-slopped over to the poetry section and found this guy Villon, a poet of the fourteenth or was it the fifteenth century, who spoke of dreams and crashing out (spoke too of ruffian petty larcenies outside the moat but the boy let it pass because he knew all about that, knew that poet kings only spoke of such to work up a sweat, to deal better with hipsters, con men, sullen fallen women, junkies and assorted felons riding on the railroad jungle tracks. Knew he had kindred in that long ago poet king and sought out fellows who could understand such dreams, could understand too the patois that he thought in. Would find plenty of hipsters, cons, con men, Molochs, holy goofs, cowboy angels, a teenage Adonis is spar with his brethren soul. Find Moloch, insanity, the clap, jungle fever, whiskey shakes, penniless forsaken highways, lost boys, sullen youth, Zen, chicken shit and on some days, but only some days, he wished he never left that fucking river, that holy of holies Merrimack and those wistful eyes that he remembered out in cold Winnemucca, Neola, Grand Island, Big Sur nights          

[Weird thoughts along the Merrimack lifeline (remember like bodies make-up filled with arteries and canals) a fervent solemnly disciplined fourteen year old boy armed with Woolworth’s ten cent notepads and chewed raw No. 2 pencils, sits arms akimbo, strange gangling not yet athletic fourteen year old position like some latter day saint Buddha seeing all knowing all with hashish pipe tucked into some secret place sitting out with cans of beans and rat shit on desolation row waiting for fires and damnation, in a silent black back row orchestra seat (no red dress girl singing swinging Benny Goodman songs that night to come hither him to perdition and have to ask the eternal boy-girl question-orchestra or balcony-and he would know the answer always know the answer balcony of course she silly why else would I come into the shadows with you) of the of long gone to condos or cute shops Majestic Theater off of Bridge Street staring intensely at the big white screen suddenly turned to magic motion pictures with a dust storm brewing out in some fucking petrified forest and some girl not his holding off some ragged sweater gas jockey, and dreams too.   

Waiting, eternally waiting like that fervent fourteen year old boy for something to happen, for some kicks, for something better than listening to the average swill the customers brought in the door, waiting she thought for culture, or her idea or culture anyway. What grabbed that poor boy boy though was that scene out of some latter day great American West night when he thought he would be able to choke the Eastern dust from off his shoes and live-and write, always write. So kindred, kindred too when some holy goof hobo, tramp, bum angel Buddha comes traipsing down the road looking for hand-outs and God Jesus that would be the life. He, she, they make small kindred talk and speak of that damn poet, that Villon who knew more than he should about the human condition, more than any fourteen year old boy anyway. 

But before long the dream shattered, the night-takers released from their caves come swooping down like hell’s avenging angels, avenging the lost paradise that he had read a guy by the name of Milton, half-blind had gone on and on about in some heaven’s battle and they the losers-and what of it. But when you take on the night-takers you better realize that you will take some casualties, take some holy sacred blood from the holy earth returned and that ain’t fair, ain’t fair at all but who knows maybe Buddha, Rama. Zoroaster, Jehovah, the unnamed one, planned it out that way. Out the door of that no longer silent black back row orchestra seat he was glad that he had not had some red dress come hither girl to bother him. For he wondered, wondered as he sank his eyes into the white froth of the mighty Merrimack below whether she, that Western tableau girl would ever acknowledge him, ever read his mind like he read hers.]  


Ha, as he tried to climb Bear Mountain with a dollar and a quarter in his stained dungarees (not called jeans then, not around him anyway) splattered flannel shirt and broken toe boots looking for that father he never knew (although his own father had passed on before he knew that he was looking for another father somewhere along the wino camp tracks, some arroyo bush or in some county jail working out a scheme). Had Route 66 cold because if he could search that highway he would miss some connection, some angst the shrinks called it among the hot rod car, surf board, motorcycle lost winding in stir and some rough trade honey to some beast, boys he would meet out in the great blue-pink American Western night. As he pulled his thumb out of his back pocket he finally relaxed and dug the scene. Hit long rides and short, mostly lonely truckers looking for company and searching for the sons they had never known, tramp diner stops, railroad stews on nights so cold his broken toe boots seized up on him, grabbed a couple of big rides with big blondes looking for some max daddy to be-bop with and leave in Doc’s drugstore while they waited to be “found” by some Hollywood agent. Took tokay swigs with the best of them, met up with rabid New Jersey poets, New York City Times Square gangster dope peddlers and sainted poets (funny always the poets driving him forward he would have to write that down, Ivy League junkies on the nod, and finally the Adonis of the western night whom he would be-bop with unto the San Francisco Bay dropped that high white note out in the China seas. Yeah, he had it all except maybe those bug eyes from childhood lost in some flophouse. Still on some days, and only on some days, he wished he never had left that fucking river, never that sacred ground river. He wondered if she though that same thought.               

Sunday, February 17, 2019

Malignant Obsession-Bette Davis and Leslie Howard’s Film Adaptation of W. Somerset Maugham’s “Of Human Bondage” (1934)-A Film Review


Malignant Obsession-Bette Davis and Leslie Howard’s Film Adaptation of W. Somerset Maugham’s “Of Human Bondage” (1934)-A Film Review



DVD Review

By Sam Lowell

Of Human Bondage, starring Bette Davis, Leslie Howard, based on W. Somerset Maugham’s novel of the same name, 1934

No question love can take some funny turns from eternal bliss to the malignant obsession of medical student Phillip Carey, played by Leslie Howard, for waitperson (then known as waitresses) Mildred Rogers, played in an incredible performance by Bette Davis in the film adaptation of W. Somerset Maugham’s Of Human Bondage. The human, the very human capacity to find love in some very wrong places gets a full-throated workout in this 1934 film. Moreover even though the smitten and tortured character here is a man the feelings know no gender boundaries.     

The first problem for our troubled medical student is the class issue in very class-bound England then, and now. The play between the up and coming doctor and the tart-like waitperson could only spell trouble even if Mildred had been half as perfidious as she was-always looking for the main chance-for the next Mister Big. The second problem was that the very smitten Phillip was physically- challenged (then called crippled which Mildred at one point made a point of being disgusting to here). The combination would have been daunting even if Mildred had been less of an opportunist. See while she was leading Phillip on she was also seeing her meal ticket-her Mister Big. Phillip played the sap for her on that one thinking he would marry her when all she was doing was making moves to marry Mister Big. Well Mildred should have checked his credentials or at least his marriage because Mister Big dumped her-turned out he was already married. All he did was leave her to the wind with child. Still Phillip took her back.                  

Okay once is okay but then the next best thing came along, a fellow medical student of Phillip’s and she was off again. Still once it was question of helping or her on the streets with an unwanted child he succumbed again. But he was getting wiser. At least he wasn’t as smitten as in those fresh bloom days. All she kept doing though was holding him in contempt while feeding off his feelings for her. At some point, a point where a young gentile women is interested in him, he begins to withdraw, begins to break from his feverish desire for Mildred as she begins her descent down into well, the gutter, the ”life,”  the hard streets. In the end T.B got her (then called consumption and if I recall earlier called the vapors), left her on deep cheap street and an unloved grave. Phillip, well Phillip finally got himself free, got free once Mildred passed the shades. Took life in his own hands and grabbed that gentile woman who was made for him. Still Mildred let him a not so merry chase. An excellent performance by Miss Davis especially one scene when she went berserk and cut up all of Phillip’s precious nude paintings (he had started out as a failed art student) and another when after she had been finally rebuffed by Phillip she spewed forth her utter contempt from day one. Watch this one-and read the book too.            

Sunday, November 18, 2018

The Girl With The Bette Davis Eyes-With Lowell’s Bette Davis And Jack Kerouac In Mind

The Girl With The Bette Davis Eyes-With Lowell’s Bette Davis And Jack Kerouac In Mind







By Special Guest Writer Greg Green   
  
[Greg Green, a writer well known to me in this space for his articles on his and others experiences in the devil’s war, the Vietnam War, that carved a nation in two, maybe more and from which at least culturally it has never recovered mentioned to me one day when he was getting ready to review an old time black and white movie Of Human Bondage for the American Film Gazette for which he writes occasionally that the female star Bette Davis had been born in Lowell, Massachusetts. Something that he did not know although he grew up a few towns over in leafy suburban Westford. Greg has been a longtime admirer of another Lowell native Jack Kerouac who torched a placid post-World War II world with his On The Road some sixty years ago (and which we have as Seth Garth mentioned “seemingly endlessly” and he may be right commemorated in this space recently on the sixtieth anniversary of its publication). That got Greg thinking that there must be some connection that he could draw between two such iconic celebrities from an old dying mill-town (dying even back then as the mills headed cheap textile labor south and then cheaper foreign shorts worldwide-in their respective birth times 1908 and 1922) that had seen better days beside the inevitable “there must be something in the water” theory. So he asked me to let him do a little piece trying to make some cosmic connection between the two icons and the town. Sam Lowell-not related in any way to the founders of the town or the damn wage slave mill-owners]             

A river runs through it. The great rushing from the New Hampshire mountains, at least that is what I have been told is source ground zero of the broken down millwheel towns to the seas and unto the great cold wash Atlantic and there to homeland (homeland before Lowell migration and Quebec flee failing farms up north looking for factory river work) Europe left behind from desolation days Merrimack. Merrimack some potent Indian signifier (excuse me Indian when Indian was the name spoken and not the correct Native American or even better indigenous peoples who can  stake serious and legitimate claim to sacred ground now ill-trodden over by umpteen generations and no reparations in sight) long before the devils came in their blasted wooden hull ships from across that briny North Atlantic no high note in sight unlike the great big blow out in Frisco town when a skinny black kid blew that one to perdition. Great rushing river dividing the town between the remember “fake natives” and the on-coming foreigners come to pick up the slack in the bottomless spinning wheel pits (the noise drowning out sing-song voices and whiskey hoarse alike and maybe that is where the sober siren sought his Jack strange mystifying voice and he his throbbing pace that in the end wound up like whiskey breath).        

River, two forked river come flowing from the great ices of New Hampshire hills laying down sediments (and sentiments) along a path unto the great turn and rock formation by Pawtucketville Bridge-dividing that town even further (or is it farther) pushing out Highland visions of august majesty. Then a poor besotted girl emerges, emerges out of the dust hitting the high trail west landing forlorn and mystified in some fallen angel diner and a gas station town near the Petrified Forest (trees so ancient, think about it, that they have turned to stone some kind of metaphor there-something about staying in one place too long) in the Arizonas, out off of Route 66 heavy-travelled in the next generation by hungry guys tired of diner and gas stations at home drift to the cities but need to catch some dust and grit although what they thought of benighted stone trees who  knows in between those expansive cities). There some Papa generation before her came out looking for El Dorado or gold something different and landed in two bit desert stretches and kind of got stuck, got good and stuck there. (Not everybody made it as the skeletons along the way of cattle, horse, and human set among the bramble and down some aching arroyo tell every daredevil passer-by and every sensational dime store penny a word novelist in the days when that “contract” ruled writers on “spec” too.)

And there abandoned by a big city dream mother and an ill-defined no account wimp father she came of age dreaming the dreams, funny city girl dreams of faraway places away from the dust and those fucking stoned trees when the wind howls through the crevices (making one think of other social howls and wolves and Molochs and white-dressed nurses in mental wards and of cool jazz man hipsters and Times Square con artists working the rubes), her father the king of the species all dressed up and cowardly when it came right down to it. Dreaming book dreams, small printed page books sent from far away by those who could not take the dust, the heat, those howls and once again those fucking night-blinding stone trees which tourists would pay a pretty penny for a clip, a sliver. Jesus. Dreamed fourteenth century or was fifteenth dreams of mad man con man rabble Villon out of some Balzac French novel but real enough speaking about how he could not stay with civil people but sought solace among the petty thieves, the cut throats, the man murderers (little did she know who would come through door to marvel at her bug-eyes and blinkers making sorry Villon nothing but a second-rate Time Square hustler, hey, pacifist even) , the flotsam and jetsam among the people who lived outside the moat, who did not dream but planned.         
          
“Hey there stranger” she spoke quickly to that stranger with the strange pale voice and the paler skin despite walking the sun-drenched walk of the tramp no better than Villon’s men outside the moat and who looked like he had not had three squares in many a moon so that is what she thought when he first came in, came in and recognized in that small book, that funny thought poem by mad monk gone astray Villon and thus was kindred against the Papa silliness and some gas station jockey who tried to make love to her before her time. So they talked, he called it conversation, and told her that the night-takers descending on the flat land earth, out even in the freaking (his term not hers) stone tree desert filled with arroyo-seized skeletons that the day for conversation was quickly coming to froth, was dangerous beyond whatever small thoughts she had ever had out in that vast night sky thunder-blazed desert. She thought him the new Messiah come that she has heard about over the blaring radio that made the diner hours go by more quickly so she could retreat into Villon’s manly dreams without distraction. He, the stranger he, laughed and said no vagabond who was out filching (cadging in what he meant she thought) free eats in dust-bitten rocks could claim Messiah-hood, could survive the new age coming and coming quickly right through her door. Her bug-eyes blinkered at that, at her silly illusions when she thought about it later after he was gone, gone to who knows what savior-driven place.          

No sooner had the stranger taken his filched food (she still insisted it was cadged and would whenever anybody asked her if she had actually seen the savior, had maybe slept with him for good measure) when the night-takers stormed in (stormed in more than one way bringing half the desert hell with them as boon companion) and made her savior stranger sit on his ass on the floor. Made hell come to pass before the night was through. (He, the stranger, would comment that the night-takers took their sweet-ass time whenever they descended and that those descended on took their sweet-ass time figuring out how to get rid of the bastards). Sweet manna. Then that forlorn stranger had an idea, a good one if somebody beside her thought about it later that he would go mano a mano with the night-takers, would play the gallant when all was said and done (giving lie to the idea that he didn’t have any ideas about the night-takers except their time had come). Naturally he lost, better won/lost and left her with her book, her small Villon book, a guy from the fourteenth century or was it the fifteenth and her dreams kind of intact. A few years later some guys in a 1949 Hudson (or was it Studebaker) tired of the Route 66 road came by looking for grub, looking for free eats and some whiskey but by then she was long gone to some city that Papa and father could not fathom            

[On in the frozen Western night the no longer girlish girl hung up on old time French bandit-poets, con men, desolation angels, and holy fools, and lost in thought time of the intellectuals far from the blessed stone trees, as far away as she could get to Southern California and so “frozen” ironic she picks up a book, a paperback left on the counter by a forgetful customer who after paying for his Woolworth-quality lunch must have given up all hope. She flips it into her pocketbook to either wait on his owner’s return or for something to read that night, that lonesome stone tree wilderness night that never left her thoughts. That guy, or whoever it was, never returned and so that night she read, read until the early morning hours and then read some more.          

Read about a guy, although in her mind it could have be a girl, who had the same wanderlust that drove her west, drove her to the great blue-pink American western night he called it looking for some father that he had never known, looking forlornly, for that father from some oil-spilled New Jersey shore river to the wind-swept China seas before the Golden Gate Bridge. Looked high and low for the missing brethren who long ago had crossed her path out in the hard stone tree night when everything was possible but the intellectuals then flabby and ill-disposed to fight the night-takers even to a draw abandoned all hope, decided that primitive man would take the day and crush any free spirits. This guy though flush with the expectations of many new adventures once the night-takers were put to the sword took to the road, took a chance that he could find that father some fucking place-maybe Latimer Street in Denver, maybe Neola, Grand Island, Reno, Winnemucca, Tulsa, Fargo (although give up all hope if you wind up in that locale). She wondered that maybe he had stolen her dreams. Maybe he had stared at the same rivers that drove her desires, yes, just maybe that was the case.]    

A young boy only spoke patois until he went to school played hooky one day and sat in the lost souls library hoping to find something that would challenge his fevered brain and slip-slopped over to the poetry section and found this guy Villon, a poet of the fourteenth or was it the fifteenth century, who spoke of dreams and crashing out (spoke too of ruffian petty larcenies outside the moat but the boy let it pass because he knew all about that, knew that poet kings only spoke of such to work up a sweat, to deal better with hipsters, con men, sullen fallen women, junkies and assorted felons riding on the railroad jungle tracks. Knew he had kindred in that long ago poet king and sought out fellows who could understand such dreams, could understand too the patois that he thought in. Would find plenty of hipsters, cons, con men, Molochs, holy goofs, cowboy angels, a teenage Adonis is spar with his brethren soul. Find Moloch, insanity, the clap, jungle fever, whiskey shakes, penniless forsaken highways, lost boys, sullen youth, Zen, chicken shit and on some days, but only some days, he wished he never left that fucking river, that holy of holies Merrimack and those wistful eyes that he remembered out in cold Winnemucca, Neola, Grand Island, Big Sur nights          

[Weird thoughts along the Merrimack lifeline (remember like bodies make-up filled with arteries and canals) a fervent solemnly disciplined fourteen year old boy armed with Woolworth’s ten cent notepads and chewed raw No. 2 pencils, sits arms akimbo, strange gangling not yet athletic fourteen year old position like some latter day saint Buddha seeing all knowing all with hashish pipe tucked into some secret place sitting out with cans of beans and rat shit on desolation row waiting for fires and damnation, in a silent black back row orchestra seat (no red dress girl singing swinging Benny Goodman songs that night to come hither him to perdition and have to ask the eternal boy-girl question-orchestra or balcony-and he would know the answer always know the answer balcony of course she silly why else would I come into the shadows with you) of the of long gone to condos or cute shops Majestic Theater off of Bridge Street staring intensely at the big white screen suddenly turned to magic motion pictures with a dust storm brewing out in some fucking petrified forest and some girl not his holding off some ragged sweater gas jockey, and dreams too.   

Waiting, eternally waiting like that fervent fourteen year old boy for something to happen, for some kicks, for something better than listening to the average swill the customers brought in the door, waiting she thought for culture, or her idea or culture anyway. What grabbed that poor boy boy though was that scene out of some latter day great American West night when he thought he would be able to choke the Eastern dust from off his shoes and live-and write, always write. So kindred, kindred too when some holy goof hobo, tramp, bum angel Buddha comes traipsing down the road looking for hand-outs and God Jesus that would be the life. He, she, they make small kindred talk and speak of that damn poet, that Villon who knew more than he should about the human condition, more than any fourteen year old boy anyway. 

But before long the dream shattered, the night-takers released from their caves come swooping down like hell’s avenging angels, avenging the lost paradise that he had read a guy by the name of Milton, half-blind had gone on and on about in some heaven’s battle and they the losers-and what of it. But when you take on the night-takers you better realize that you will take some casualties, take some holy sacred blood from the holy earth returned and that ain’t fair, ain’t fair at all but who knows maybe Buddha, Rama. Zoroaster, Jehovah, the unnamed one, planned it out that way. Out the door of that no longer silent black back row orchestra seat he was glad that he had not had some red dress come hither girl to bother him. For he wondered, wondered as he sank his eyes into the white froth of the mighty Merrimack below whether she, that Western tableau girl would ever acknowledge him, ever read his mind like he read hers.]  


Ha, as he tried to climb Bear Mountain with a dollar and a quarter in his stained dungarees (not called jeans then, not around him anyway) splattered flannel shirt and broken toe boots looking for that father he never knew (although his own father had passed on before he knew that he was looking for another father somewhere along the wino camp tracks, some arroyo bush or in some county jail working out a scheme). Had Route 66 cold because if he could search that highway he would miss some connection, some angst the shrinks called it among the hot rod car, surf board, motorcycle lost winding in stir and some rough trade honey to some beast, boys he would meet out in the great blue-pink American Western night. As he pulled his thumb out of his back pocket he finally relaxed and dug the scene. Hit long rides and short, mostly lonely truckers looking for company and searching for the sons they had never known, tramp diner stops, railroad stews on nights so cold his broken toe boots seized up on him, grabbed a couple of big rides with big blondes looking for some max daddy to be-bop with and leave in Doc’s drugstore while they waited to be “found” by some Hollywood agent. Took tokay swigs with the best of them, met up with rabid New Jersey poets, New York City Times Square gangster dope peddlers and sainted poets (funny always the poets driving him forward he would have to write that down, Ivy League junkies on the nod, and finally the Adonis of the western night whom he would be-bop with unto the San Francisco Bay dropped that high white note out in the China seas. Yeah, he had it all except maybe those bug eyes from childhood lost in some flophouse. Still on some days, and only on some days, he wished he never had left that fucking river, never that sacred ground river. He wondered if she though that same thought.               

Friday, September 14, 2018

You Can’t Always Get What You Want -A Devil’s Bargain-With Bette Davis’ “All About Eve” In Mind


You Can’t Always Get What You Want -A Devil’s Bargain-With Bette Davis’ “All About Eve” In Mind





By Sandy Salmon



[When I first took on this assignment which was in an unusual case assigned to me by the Editorial Board and specifically from its chair Sam Lowell (whom in the interest of transparency I knew in the old days when we were both stringers at American Film Gazette) rather than directly from site manager Greg Green there was talk around the water cooler that this piece would really be autobiographical. That is emphatically not the case.



To give a little biography in high school in Newark, New Jersey I developed a very strong interest in art, in being an artist. That interest was nurtured and inflamed by Mr. Jones-Henry a transplanted Englishman whose roots included some now forgotten connection with the artist Burne-Jones. He was an alumnus of the Massachusetts School of Art in Boston and had assured me that I could get into that school on his recommendation and that the all important question of scholarship money would also be forthcoming since he had some connections in the Financial Affairs Office.     



As is hopefully clear from this vantage point I did not pursue that route, although some fifty years later I, at times, wish I had gone the “starving artist” in the Soho garret route. What happened to block me from going to art school was a very determined mother who feared unto the high heavens that I would stay down in the mud, stay poor for the rest of my life if I became a struggling artist. That factor was important to her since I was the one child in the family who looked like he (or she) would get out from under the grinding factory worker history of our extended family with its periods of unemployment and always, always, wanting habits for stuff we did not have, would never have. Although I was not as frantic as her about my future success that tipped the scales away from art school. But as can also hopefully be seen from this vantage point I did not become a civil servant which was my mother’s, and not only my mother’s, idea of success.      



I eventually came to this publication though through a connection with art so maybe I am sanctified. Back in the early 1970s while in college I got involved with an alternative newspaper, The East Coast Eye, which carried many articles and such that mainline newspapers wouldn’t or didn’t touch. I became something like the art reporter for the publication although unpaid as most of us were. That in turn after I graduated got me a job as a stringer for American Film Gazette (where I met Sam) doing all kinds of assignments including reviewing films a subject I hadn’t previously touched. I eventually became film editor there before my retirement, or rather before I was lured over to this publication as a half-way house to retirement once Sam persuaded me to finish my career on what he called a high note. Still some days, some pencil in hand doodling days during conferences, I wish I had chosen another road like old Robert Frost said in his famous poem. S.S]       



Confession: I, Jeffery Jaspers, had never wanted to be a film critic, or any kind of critic at all. What I wanted, what I dreamed of from an early age, maybe ten or eleven, after seeing a stage production of The Wizard Of Oz was to be an actor, a stage actor the only kind. To be on the Great White Way, on Broadway in New York City far away from my Cannon’s Bend, Pennsylvania roots. They say that politicians, successful politicians have made a devil’s bargain to get where they are, to gain power over people and projects but that profession is not the only one where individuals willingly consort with the devil, gladly, make their bargain for fame and a little stardom. I was willing to strike such a bargain to gain the bright lights but I never got that far, never got to go mano y mano with Satan for my soul against earthy paradise. Instead I have labored in the field of film criticism as something like the booby prize since I shared, still shared, what used to be called the legitimate theater’s, Broadway’s disdain for cinematic and television actors (to speak nothing of the contempt for huckster actors shilling for some godawful commercial products). I have never gotten over my failure to smell the sawdust and dabble with the greasepaint.             



There is a story behind this failure, a failure that I had some what suppressed for many years or so I thought until I did a recent re-watching, no, re-re-watching of a DVD of the classic inside Broadway film All About Eve starring Bette Davis, Anne Bancroft, George Sanders and a host of other very fine performers. When I was a senior in highs school I grabbed the lead in the senior year play Shakespeare’s Hamlet. I was so thrilled to get the Hamlet role that I asked my mother, nee Harriet DeWitt, to ask her uncle to come to the play and see if I had any serious acting ability. (Of course I thought I did and that uncle would only confirm such truths.)



See my granduncle was none other than the famous Broadway theater critic Addison DeWitt. For those who don’t remember that name for many years before he died about twenty years ago he was the critic for the Broadway Call. More importantly by that time he had been syndicated in most of the major newspapers in the country so that what Addison DeWitt had to say about a play carried much weight for anybody coming to Broadway or viewing an on-the-road production of such plays. If he left during the first act to relieve himself in the men’s room (really to have a cigarette for he was a serious chain-smoker in an age when such practices were considered manly and cool) the play would probably close that night. Although not before he had raked the dead thing over the coals for the next five days to make sure it never arose from that death spiral. If he liked a play or an actor, actress really, then he would smother with praise. As I will mention shortly there were ways, non- theatrical ways, to get that praise beyond honest work. He really was a Class A scoundrel.



So one Friday night he came up from New York (he dearly loved my mother, or maybe better, his sister and through her my mother) to see the production. Although he sat through the production I could see that he was fidgety, that he kept taking his cigarette case out and looked at it longingly. I think in retrospect I was only saved by the “no smoking” rule on school property. That and maybe an extra size devotion to my mother one of the few people he was kind to without regard to interest. Now that I have mentioned that tell-tale cigarette signal I don’t have to explain that he put two thumbs down on my acting career that night. Said I should be an English major since my mother (who secretly did not want me on the stage and had asked him once she knew he had panned me to plug that English major idea) had asked him to help along that path. Strangely he would be the person who got me my job at the American Film Gazette through some connections he had developed over the years although his contempt for film actors (and later television actors) was even greater than mine in those days.



The strange part of his part in my career is that when Broadway had gone through one of its down cycles (due to those films and television and later the cost of production and lack of deep pockets investors who were going elsewhere) he had actually been forced to get a second job at the Gazette where he bombed. Had on a whim I think or maybe as I found out more about the way he operated later, that non-theatrical way to get his attention something more he had touted the film To Tell No Lie when every other critic had deep six panned it. Had, and here is my non-theatrical speculation at play, touted Lola Moran as the greatest actress since Sarah Bernhardt. She was never heard again after that disaster and Uncle Addison probably moved onto the next best thing.            

                    

That school play night though he not only gave me my acting career walking papers but tried to put things in perspective- that was his word. Gave me a very long talk about having to make a devil’s bargain to get those stars beside your name on your dressing room door. He sensed I didn’t have it in me. I wasn’t hungry enough like he had been. He told me straight up that he had made his own devil’s pact and that was only so that he would be the number one theater critic. Had gladly done it. Then he proceeded to give me what I later realized, much later, was a cautionary tale. That was the night he told me about how he had ridden Eve Harrington’s talent to solidify his positon in the Great White Way. I had heard of Eve Harrington vaguely when I was researching and reading plays in high school and had remembered that she had lit up Broadway with her performance as Cora in I Remember The Night according to the liner notes after each play and the chronology of who performed various parts over time in the productions.     



Uncle Addison had a gleam in his eye when he mentioned her name that first time and made me think maybe he loved her, something like that. I was probably wrong, and it doesn’t change the story but here goes. Margo, yes, Margo no last name needed in the old days, in the 1940s, when her star flamed white hot on the Great White Way, but now Margo Channing for readers who are rightly clueless about who I am talking about, was truly the queen bee of Broadway with a series of hits beginning with her breakthrough role as the young ingénue in You Reap What You Sow. Like every other profession worth fighting over for number one status the contenders came early and often. Most fell down, went back to the small town or out of town theater circuit but some and Eve, Eve no last name needed in the old days when her star flamed white hot on the Great White Way, but now Eve Harrington for readers who are rightly clueless about who I am talking about did not, did give Margo one hell of a battle.         



Such rises and falls do not occur all at once or by happenstance as Uncle Addison would be the first to tell you. Tell you that a very well-placed critic or producer can pave your way with his favors for your favors (then women mostly for men but today who knows with all the possible sexual preferences abound in the land). What Uncle Addison failed to tell me, would fail to tell anybody especially those impressible ingenues blinded by the bright lights is that some actors will harness their own energies to step more quickly up the food chain. That may have been Margo although my uncle never mentioned her roots since he had not made her a star as he did with Eve but it defined Eve to a tee. From the minute she entered Margo’s life, as a dresser at first and go-fer too, every move she made was to both undermine Margo’s theater reputation-and her personal life including throwing herself at Margo’s well-known director writer fiancé. This was a no holes- barred metaphorical fistfight to the death with plenty of barbs and trickery and while Margo held her own for a while the new blood Eve rose to the top based on talent and talons.



That is the public story but Uncle Addison gave me the back story now that both Margo and Eve have passed. Eve, on her way up, had planned to take a well-known Broadway writer away from his wife but he cut Eve short. Eve had created, as many have for lesser reasons, a whole sob story previous life which was all fairy tale. After failing to lure Margo’s fiancé away from her she went after that married writer who was smitten by her. Uncle had found out the real shady story behind Eve’s façade and used that to keep her back from the writer and all for himself. (When I asked if Eve had gone to bed with him Uncle demurred but that meant to me that he had). Here is where things got weird though. Since fame is fleeing I asked Addison what happened to Eve whom like I said before I had never really heard of. He told a very chilling tale about how a young wannabe actor in her turn befriended Eve and would go on to undermine Eve and rise to the top herself. Since she is still alive Uncle would not give her name but from his look I knew too that he had something to do with her rise-and her bedding by him too.                     




Saturday, March 17, 2018

The Girl With The Betty Davis Eyes-Well Bette Herself-Bette Davis And Franchot Tone’s “Dangerous” (1935)-A Film Review

The Girl With The Betty Davis Eyes-Well Bette Herself-Bette Davis And Franchot Tone’s “Dangerous” (1935)-A Film Review




DVD Review

By Laura Perkins

Dangerous, starring Bette Davis, Franchot Tone, 1935  
  
Sam Lowell hates Bette Davis, Bette with the Bette Davis eyes as he was always fond of titling his film reviews when she was in play. Hates her despite his generally positive reviews of her films in her long career. Did a paean to her growing up in working class Lowell in Massachusetts as a companion piece about another Lowell native Jack Kerouac. Called her a channeling influence on Jean Bon out along the factory town on the Merrimack River. Sam’s gripe which I don’t particularly share is that after watching together (Sam and I are longtime companions) the film under review Dangerous he yelled out “What the hell she is playing the same theme as she in Jezebel and about twelve other movies.” Playing the untamed shrew, the bitch, the catty man grabber, the coquettish schoolgirl with a heart of stone, the vampish working class slut driving poor Leslie Howard crazy in Of Human Bondage and lots of stuff along that line. Even in films where she is playing a positive role like in All About Eve (in comparison to the gatecrasher Eve) and gullible Gabby in The Petrified Forest he says you are always waiting for her to pull the trigger and walk away without the slightest qualms. So says Sam. 

I think something else is going on though. Something that has nothing to do with Bette Davis as such but everything to do with his place in the dog eat dog film criticism world. Looking over his reviews here in the archives (and those from long ago when he was a free-lancer for American Film Gazette when he was younger and had just divorced his first wife and needed some serious alimony money) he certainly has changed his tune from calling her one of the great actresses of the American cinema. Called her role as Gabby plying her Petrified Forest naivete with her break out desires and Francois Villon poetic dreams electrifying.

What gives. Well what gives is something like one-ups-man-ship among “the boys.” The fraternity of film critics-who as Seth Garth pointed out in a recent review of one of the endless James Bond 007 flicks are worse than even the back-biters in the academy who have made a science of jockeying for position, of climbing up the food chain over the literary dead bodies, who knows maybe literal too, of their colleagues. So it is about staking “turf” in that milieu of not being seen as too obliging when taking swipes at the film being reviewed- or another reviewer’s take on that same film. Add in that Sam has “retired” from the day to day grind of reviewing films and has become the occasional contributor and probably feels he needs to make each contribution stick out against the rest of the fraternity.        

As far as I can tell the whole business started when David Stein from American Film Gazette lambasted Phil Larkin for fawning over one of the Marvel Comics cinematic productions like a twelve year old. (Don’t ask me which one but I think it was one where all the Marvel characters ganged up on the bad guys.) That stiffened Phil’s back when he started doing reviews of the James Bond 007 series and came out swinging in defense of original screen Bond Sean Connery as the ultimate expression of the role. Did that in reaction to Will Bradley’s partisanship of what Phil called Pierce Brosnan’s pretty boy take. Even got staid Seth Garth who likes to think he is taking the intellectual high road in his reviews down in the mud for being wishy-washy. They are still duking it out with no holds barred.

Along that same line, and maybe something that has also egged on all these boys, is Bruce Conan’s attempts to rip up the Sherlock Holmes legend. Bruce Conan not his real name but a pseudonym since he claims that his torrid exposes have made him and his family vulnerable to some international criminal cartel called either the Kit Kat Club or the Baker Street Irregulars I am never sure which is threatening him and his which is totally dedicated to keeping Holmes memory unsullied. I can see why he feels the need of an on-line moniker since not only has he raked Holmes (whose real name is Lanny Lamont according to Bruce) and his companion Doc Watson of being total amateurs and frauds but has done the very politically incorrect thing these days of “outing” the pair as closet homosexuals. That is the kind of stuff the boys are creating gathering storms over. Who knows where it will end but more than one reputation will fall under the bus.         

But enough of that since the average reader probably now knows infinitely more than they need to know about the inner workings of the catfight aura of the profession. As I mentioned I did not, do not share Sam’s estimation of Bette Davis, certainly not in the role here which won her an Oscar, of a high-strung faded falling down drunk actress Joyce Heath who is nothing but poison to anyone she touches (stage actress of course in the days they called that the legitimate theater to distinguish it from the muck coming out of Hollywood). The victim on screen this time is Don Bellows, played by Franchot Tone, an up and coming New York architect with plenty of promise and a certain amount of naivete or need for living dangerously on the edge-take your pick. Also very engaged to a scion of a Mayfair swell family.    

After picking Joyce up from a gin mill the action that will seemingly seal his fallen fate begins as he starts to fall for her after she has used every trick in her playbook to hook him. It is always touch and go about whether she loves him or just sees him as a plaything. Most of the time it seem she has outsmarted herself and really does love him. Especially as Don is the key agent for her return to Broadway and fame in a big time role. Things get tricky though when after throwing over that Mayfair swell dame he, square guy that he is, insists that they get married right away. Monkey wrench, big monkey wrench, our Joyce is already unhappily married to a still smitten holy goof (Sam’s term). Things come to an impasse when her hubby refuses to let her go and she thereafter crashes them into a tree in a suicide attempt. They both recover but the bloom is off the rose when Don finds out what is what. Here is where I don’t get Sam’s ire. Joyce seeing that she has been selfish and self-serving accepts her fate and lets Don go (in her head, he was already gone in his, gone to his old Mayfair swell dish) and goes on to her bright stage career and caring for her husband who was severely injured in that crash. What’s wrong with that.     


Thursday, December 07, 2017

Out In The Be-Bop 1930s Night-When Primitive Man “Wins”- “Petrified Forest”-A Film Review

Out In The Be-Bop 1930s Night-When Primitive Man “Wins”- “Petrified Forest”-A Film Review

By Brad Fox  



Okay here is the genesis of this review. Recently, being on a something of a film noir tear, especially a crime noir tear, I reviewed a little light puff of a noir film, Moontide, where well-known 1940s French film star Jean Gabon tried to break into the Hollywood film racket with a role as a tough hombre, seen-it-all dockworker who is really, just ready, to settle down after all the wine, women and song escapades have worn thin. And settle down in 1940s movie parlance (and maybe life too) was with a good woman and a white picket fenced house (or in this film a barge, it’s near the sea, see). The good woman, a kind of eternal working-class version of everywoman also happened to be down on her luck, and in that film was played by Ida Lupino.

Well, seeing Ms. Lupino in that role got me to think about a similar role that she played trying to be a good “wifie,” (and “mother” to the dog Pard) to Humphrey Bogart in High Sierra. In that film the grizzled Bogart played a serious desperado, a three-time loser desperado, Roy Earle, looking to “retire” to that picket-fenced house except the cops would not let him. Let him, especially after a certain messed-up resort hold-up caper went awry. And when Mr. Earle bought it, as it had to be since crime does not pay, grizzled wised-up gangster or not, Ms. Lupino was left to keep his memory fresh and keep moving on.

Of course all of that high Bogartism got me to thinking about other grizzled gangster roles (and grizzled detectives too) that the bad boy actor Humphrey Bogart played, and that led naturally to the film under review, Petrified Forest, where as Duke Mantee Bogart put in his bid for king of the gangster hill. In fact this film (he had also played the role on Broadway, I believe) first established him for that challenge. The story line here has him on the run from, what else, a busted bank robbery, and every cop in the Pretty Boy Floyd, John Dellinger, Bonnie and Clyde American untamed West was looking for him and his confederates. He winds up in a flea-bitten café located, where else, next to the Petrified Forest, a great symbol of humankind’s age old struggle to deal with nature, and to break with the primitive past.

And that isolated, flea-bitten café setting is important because there is a young serving- them-off-the-arm waitress, Gaby, played by a very young Bette Davis, as the owner’s daughter, trapped there, full of dreams, literary dreams, and a very, very strong to desire to put those silly tree rocks behind her. And, as the film opens, a very well-turned out gentleman/intellectual/ hobo/alcoholic, Alan, played by Leslie Howard, on his uppers trying to get off that dusty road. And that little tension, a tension that was palpable to audiences in the 1930s, between Bogart’s gangster take-everything-you-can-grab-and-grab-it-quick and Howard’s ordered intellectual world gone awry with the times, the 1930s despair times what they were, is what drives the theme of this one. Alan, knowing his time has passed, in any case, makes a pact with the devil to insure Gaby’s future hold on her dreams. And while Bogart, perhaps, played more memorable roles later he certainly was believable as the primitive man gangster trying to claim his rightful place in the modern world. Naturally, in movie life he must pay, pay big-time, with his life because we all know, or should know, that crime does not pay.

Tuesday, November 07, 2017

The Girl With The Bette Davis Eyes- Before The Deluge-Bette Davis’ “Jezebel” (1938)-A Film Review

The Girl With The Bette Davis Eyes- Before The Deluge-Bette Davis’ “Jezebel” (1938)-A Film Review




DVD Review

By Senior Film Critic Sandy Salmon

Jezebel, starring Bette Davis, Henry Fonda, George Brent, 1938

No today I am not going to bemoan the fact that once again I have started on something like my old friend and fellow film critic Sam Lowell called a “run,” a run meaning jumping on a subject, here the films of the girl with the Bette Davis eyes Bette Davis herself, and running it into the ground if that is where it would finally lead. No today I have a bigger idea, an idea about what could and could not be cinematically produced today in quite the same way that it was yesterday as in the case of this film under review Jezebel (a topic which could equally include the role Ms. Davis did not get the classic Gone With The Wind as well). What I am talking about, although I will have to temper this with the recent happenings ostensibly around the issue of preservation of Confederate memorials, is the way the so-called gentile ante-bellum South was portrayed in the film from the cotton is king gentry to the fate of lowly blacks slaves whether in the house or in the field. I won’t belabor the point further since this film passes for a romantic drama of the times except to note that this subject is worthy of some kind of doctoral dissertation if it hasn’t already sparked one.  

So what is the hullabaloo all about. Julie, a strong-willed Southern belle of means who through a guardian, male of course, has a big plantation outside of New Orleans in ante-bellum days (the year the film’s plot is supposed to start, 1852, lets us know that civil war clouds are brewing, that various compromises will come undone before the decade is over although the failure to keep those compromises intact was hardly the problem of why the bloody conflict seared the country asunder-continuing slavery in half the country was). Julie, played by Ms. Davis last seen in this space by me giving her fiancé played by George Brent also starring here the heave-ho to run away with her sister’s husband in In This Our Life, besides being head-strong is leading her beau, Pres, a merry chase. Pres, played by Henry Fonda last seen in this space as Tom Joad fresh from Oklahoma’s McAllister Prison for killing a man getting ready to run out to California looking for Paradise but finding nothing but anguish and once again a need to be on the run from John Law in the film adaptation of John Steinbeck’s The Grapes Of Wrath, is a son of Southern gentry who through his banking connections has dealing with the cotton-starved North. By the way to round out the leading roles this shameless, hence Jezebel, Julie has thrown over Buck Cantrell, a free-spirit sportsman gentleman reflecting the old values of the Old South, the role that the afore- mentioned George Brent played, for Pres.                   
 
Of course you can lead a guy, even an ante-bellum member of the Southern gentry on that merry chase only so far before he sends you to the big step-off. The actual event if you can believe this that triggered the adios from Pres was when Miss Julie decided for spite to wear a red dress to some silly cotillion and received nothing but the cold shoulder and humiliation from the assembled guests who were shocked beyond belief that an unmarried woman would break the code and not wear white. That is only the most egregious example of how the gentile slow slavery-drive customary code Southern way of life differed from the Northern busy building factories shoulder to the wheel way of life. The sporting life complete with mint juleps and an off-hand duel when somebody, some man, thought he was being insulted were others. Old Buck Cantrell was the epitome of the old ways that were crumbling a bit even then.     

But back to the core romance. Or rather failed romance once Pres gave Julie the heave-ho and she refused out of vanity, spite, ill-humor or some combination of them all to go after him. That finishes the prologue here. The big deal, the way the coming civil war gets noticed and is played out is when Pres, having gone North to forget Julie and learn some capitalist business skills, comes back after a year with a fresh as a daisy Northern wife a happening which was treated by some of the gentry around Julie, notably Buck, as an affront to Southern womanhood. Of course Miss Julie having pined away for Pres for her transgression is both frantic and bitter when she finds out she has been thrown over for another woman. But this hussy will seek her revenge-seek to make Pres jealous of Buck when she starts playing court to him. No go. Pres is all in for his wife as he makes clear to her constantly. (Here is where a scene that I think would be cut today comes in when now knowing she has lost Pres Miss Julie gathers around her a coterie of slaves and has a sing-along with them dancing and prancing “all the darkies are gay” style as Stephen Foster would put it in a song.)  Moreover dear old Buck knowing that he has been used by Miss Julie in her scheme winds up under a winding sheet having lost a duel to Pres’ younger brother when the lad called him out for his ill-mannered behavior toward his sister-in-law.      


Now Ms. Davis may have done an Oscar-worthy performance in this film although I think she was robbed when she played the tart/waitress in the film adaptation of Somerset Maugham’s Of Human Bondage and failed to get the coveted award but apparently those who directed and produced the film could not leave her as a fallen sullen Jezebel. They needed some redemption for her. The way Miss Julie was able to rehabilitate herself was by nursing Pres when he came down with the yellow fever that periodically swept the city and surrounding areas of New Orleans when the authorities, mimicking today’s climate change deniers, failed to drain the swamps and take other precautions. Not only did she nurse him but arguing with Pres’ wife that she should accompany him to the deserted island where the known yellow fever cases were dumped. That wife relented and Miss Julie got to pay penance. Not Ms. Davis’ best picture despite her performance but good. You can think through how such an ante-bellum scenario it would be set up today.      

Monday, November 10, 2014

***The Girl With The Bette Davis Eyes-Part II-Marked Woman  





DVD Review

From The Pen Of Frank Jackman

Marked Woman, starring Bette Davis, Humphrey Bogart, 1937

Guys, guys like me from old-time working class neighborhoods whatever their take on the situation learned early on that you did not cross the local tough guys, the corner boys, the nickel and dime hoodlums who inevitably populated such neighborhoods and held them in check. Guys, guys like me, also figured the angles a little, made a decision, one way or the other, to either lean into the criminal life, the life of the drifter, grifter, midnight sifter or break out and try some other way, some other life. So some guys who figured all the angles a little toward those dark midnight stars figured a couple of easy scores, maybe with a little luck thrown, although they really believed that you made your own luck, and they would be on easy street. Or face down in some rain-soaked back alley with a couple of errant slugs in their kissers for having played the angles a little too closely. The other guys, guy like me, dipped our fingers in for a minute, drawn by the lure of easy street (compared to the “from hunger” street staring us in the face) and backed off, although that back off was a close thing for guys, guys like me, with big wanting habits. Apparently, at least going by the story-line in the film under review reputed to be based on the case of the then fallen mobster Lucky Luciano, Marked Woman, some gals from the “wrong side of the tracks” also had some decisions to make, had some dreams to make some fast dough and then step out onto easy street, or die trying.            

Here is how the female version goes. Well a girl, a girl from the “wrong side of the tracks” has got to look out for herself especially if she has no great skills other than dressing and dancing well. And that is what corralled five women who made their way in the world as “hostesses,” you know party girls and I don’t to spell out what was expected of them do I, besides dancing and looking beautiful although the film leaves that part, the sex part, rather vague, in a clip joint recently taken over by one hard-nosed, no holds barred mobster, Johnny Vanning (the Lucky Luciano-based figure) who made his decisions strictly by the signs of the cash nexus and of keeping himself out of jail by any means necessary. Of course all the hostesses had dreams, soft, small dreams, but the ones here knew the score and figured easy street was not coming their way. Except Mary (played by the girl with the Bette Davis eyes). See Mary was smart, not school smart but “street smart,” the kind of smart that matters if you are running your dreams toward easy street. She figured a few more bumps and then easy street, no problem.  

What Mary didn’t figure on was one of her “dates,” a guy who ran afoul of Johnny Vanning, and you do not run afoul of Johnny and live to a ripe old age, was found face down in the river. And what Mary also did not figure on was that she was going to be collared for the crime while her kid sister was in town, was right in the room when the coppers pinched her. See Mary had been supporting that kid sister, had sent her to college, and the sister was clueless about how Mary made her dough. So things begin to fall apart in Mary’s well-ordered know all the angles life.  And the number one thing that broke her up, made her see some light, was that her sister, caught in the middle all confused about her future now that Mary’s house of cards world had tumbled, had attended a party at Johnny’s, had squawked when some guy thought she really was a party girl and wound up very dead in Johnny’s favorite spot, the river.           

So Mary, with the same determination that drove her easy street dreams made Johnny V. a marked man and turned to an up and coming assistant district attorney, Graham (played by Humphrey Bogart) who had been put in charge of that “date” murder case and  now was going to nail Johnny for Mary’s sister’s murder. But it was not so easy because a guy like Johnny Vanning knew a few angles too, had a smart mouthpiece who had kept him out of jail for a long time, and had not become a major crime boss by being nice. Worse, worse for Mary’s case, was that her fellow hostesses initially would not come forward against Johnny. Would not come forward until Johnny tried to kill the hostess who had actually seen what Johnny had done to Mary’s sister at the party. Then Mary rallied the other hostesses and between them and our up and coming assistant district attorney Johnny Vanning was going to do some very hard time. And Mary? Well Mary, like all the Marys, hell, like all the guys and gals from the wrong side of the tracks, guys like me, was going to have to reevaluate the kind of angles that she knew about, and her easy street dreams too.