Anne Baxter
In The Blizzard -With The Film O. Henry’s Full
House In Mind
By Zack
James
“The turn of
the 20th century short story author known as O. Henry sure knew how
to do the ‘hook,’ knew how to grab a reader and throw him or her a curve ball,”
Jack Callahan was telling Sam Lowell after he had just seen a DVD that he had
ordered from Netflix, O. Henry’s Full House,
a black and white film anthology produced in 1952. Jack further mentioned “this
cinematic effort to put some of O. Henry’s more famous short stories on the
screen was interesting. What they did was pick five beauties from his treasure
trove of work, had five different screenwriters shape up the plotlines for
film, brought in five different director and not B-film hacks either, and a
slew of stars famous then or would be famous later like Marilyn Monroe and
David Wayne and wrap the thing up with a bow. The bow being bringing the big
time writer, John Steinbeck, a guy who was very familiar with the ‘hook’ in his
stories from desperate Tom Joad Grapes of
Wrath to the Cain and Abel lusts of East
of Eden to introduce each story.”
Sam Lowell
who fancied himself an amateur writer told Jack that he was surprised that he
had seen the film since usually Jack’s interests were with detective stories or
sci fi eyes treats. He told Jack, “I remember reading O. Henry’s The Gift of the Magi as part of anthology
of great American short stories for English class sophomore year in high school
and telling you guys about the twist in the story when we were sitting at Jimmy
Jack’s Diner over on Thornton Street chewing the fat one Friday night when for
some reason we had nothing else to do, no dates and no dough for dates, the
usual story, and you all rained hell down on me for even talking about a school
subject. I remember you said, I think it was you because you used your favorite
expression back then, “you didn’t give a rat’s ass” about a couple of goofs
getting mixed up getting each other the wrong Christmas gifts. That’s right
isn’t it?”
Jack thought
for a moment and said he was not sure that is what he said, or whether he even
said it but he probably had. He realized that Sam was trying as usual to one-up
him when it came to so-called literary matters just like always so he uttered,
“Sam, I glad you brought that up because that is a classic case of where if you
“deconstruct” what O. Henry did you will see what I mean about his ability to
use the “hook” to draw you in. You know I could, Chrissie too who watched that
segment with me, relate to the part about the young couple “from hunger” but
desperately in love just like us getting their signals mixed up. She goes off
to sell her hair to get him a geegad for his heirloom watch he had eyed at a
jewelry store and he on his own hook gets her some barrettes for her long hair
that she had eyed at another store after he sold his precious watch. Yeah,
great hook.”
Sam, knowing
that Jack had for once set the bait for him, had tried to one-up him so he let
it pass, let Jack have the point although he felt a ping of regret about doing
so as he asked Jack what the other segments had in the way of the “hook.” Jack
responded, “One story I forgot the name of it was about a bum, a high-style
fancy talking bum, played by grizzled old actor Charles Laughton, who once
winter came in cold ass New York City would do something illegal to get himself
put in jail to ride out the cold. Spend the winter in the cooler with three squares
at city expense. That year though he couldn’t get anybody to arrest him no
matter what he tried to do and so he had an epiphany, decided to go straight,
but while he is making that decision outside a church a brutal looking bull of
copper pulled him in and the judge gave him his him three months. So much for going
straight. Not as good a hook as that Magi thing but the way Laughton played it
was funny in its own way.”
Sam thinking
seriously about the name of that short story that Jack could not remember knew
he had read at some point, probably in another anthology since he did not
remember reading any O. Henry collected stories when he was younger asked Jack,
“Was the name of the story The Cop and
the Anthem?” Jack snapped his fingers,
an old habit from the corner boy days, “Oh yeah, I think that was the
name.”
Jack
continued after thinking for a couple of minutes about the plots of the other
segments, “Another segment titled The
Clarion Call had Richard Widmark, you know the guy who played all those
psycho criminals like Tommy Uno which won him an Oscar, in another criminal
role as this burglar who wound up killing a the guy at one of his break-ins.
The only clue the coppers had was a dropped at the scene gold pen engraved with
the words Camptown Races like the
old, old song by that name that my grandmother used to sing while she was doing
her household chores which he had won when he was kid in some kind of
barbershop quartet competition.”
Sam
interrupted, “Didn’t we sing that song in Mister Dasher’s Music class in
seventh grade over at Myles Standish?” “Yeah, that’s the one and the reason
that is important is that it just so happened that one of the coppers at the
precinct in which the crime took place had been in that same quartet. So he
knew exactly who had done the crime,” Jack laughed. “Just coincidence right,
and there would be no problem finding old Widmark and bringing him to justice.
Except this copper, played by Dale Robertson whom I didn’t recognize at first
but who played on television in some Western when we were kids was in Widmark’s
debt. See he had gotten in over his head with some high- roller gamblers, had
written a bad check for a thousand bucks and Widmark covered him, covered him
with the proviso that he would get paid back some day. Well that killing was
the pay-back day and since, if you can believe this, although I can believe
anything about coppers these days just like when they hassled us when we were
kids, old Dale couldn’t pay up. Widmark walked away, walked away laughing at
Dale as he made his plans to get out of town.
“But you
know as well and I do since we saw a million 1930s and 1940s gangster films at
the Majestic Theater on those Saturday matinee double-headers whether we had
money for popcorn or not, that no stone-cold killer was going to get away with murder. What Dale did was to go to the
editor of the town newspaper The Clarion
and have him put out a reward for a thousand bucks for information leading to
the killer of that guy who was robbed. Of course Dale stone-cold knew who the
killer was and grabbed the dough. Grabbed it and paid Widmark off. All even,
right. A little gunplay ensued when Widmark resisted but Dale brought his man
in, no problem. Sam chortled, “How many times have we seen that same scenario,
or something like it, in gangster movies and then the guy gets grabbed anyway.
Those gangster scriptwriters were ripping off O. Henry just like I do when I
read something that hits me between the eyes. Go on”
Jack told
Sam that he had dozed off through something called the Ransom of Red Cloud. “It was nothing but a goof story about a
couple of city-slickers who are con men looking to fleece some rube farmers
down in rural Alabama by kidnapping their kids for ransom. They picked the
wrong kid in this one, a wild boy who would just as soon kick your ass, big or
small, as look at you, like Billy Bradley used to in elementary school, except
this kid thought his was channeling some Indians or something. The long and
short of it was that the con men were so baffled by the situation they paid the
rube farmers to take the kid off their hands. Like I said a snoozer.”
Jack pleaded
tiredness, said he didn’t want to talk about the last segment he had not
mentioned yet but suggested that he would let Sam take the DVD home and watch the segment (watch it soon
because he wanted to return the DVD so he could get Out Of The Past with Robert Mitchum and Kirk Douglas which was next on his list and the faster he
returned it the quicker he would get his next selection that he really wanted
to see, see after having not seen it for many years since he had seen it as
part of a film retrospective at the Brattle Theater in Cambridge).
Sam did so,
actually watched the whole film since Jack had been so clever about the
literary device that many authors use, the hook, to draw a reader in, had
watched the missing segment titled The
Last Leaf, starring Anne Baxter. That night after he had watched the film
though when he went to bed he had a dream, a dream connected back to the time
when he had had a serious schoolboy “crush” on Ms. Baxter after seeing her in her
devilish role in All About Eve. Everything got a little mixed up when he
started to write about the dream the next day in his journal in hopes of
getting some story out of the experience for the blog he wrote for
occasionally, The Black and White Film
Classics:
A young
woman seen through a window, as the winds howled and the snow was blowing
fiercely every which blocking on occasion the view of that frosted window,
arguing, or maybe better, pleading, with a man, an older man with mustaches,
dapper, well-dressed, or at least his dressing jacket and the fine crystal
holding a good portion of what looks like high-grade liquor in his hand tells
that tale, a man whom seemed at first glance recognizable, seen in the
newspapers, no, on stage, an actor, that makes sense since at the corner of the
street as we zoomed in on the scene we can see a sign which says McDougall
Street, which means nothing other than Greenwich Village, the Village in New
York City at earlier age when the immigrants, the artists, the actors all vied
for space in the cheap rent districts while they waited for their fortunes to
come in. The look on the man’s face and his surroundings indicate some success,
that of the young woman not so, she has the look of being one in a long line of
beauties who have succumbed to the older man’s charms and is now being shown
the door, maybe a rising starlet who even in the times we are talking about,
the early 1900s knew that one way to stardom was through the casting couch, or
the couch of a leading male actor.
The pleading
fruitless, endlessly fruitless, she drags herself in a heap to the door and
down the stairs. She is next seen walking, walking bareheaded, despite the
snows swirling madly about her, despite the bonnet she has in her left hand
that could have been used to cover that long luscious black hair that she owns,
handbag in her right hand down one street and up another, criss-crossing many
blocks, stopping occasionally in anguish, then moving on almost unaware of the
traffic in the street, the horse-drawn carriages and transoms which she could
have taken to wherever she was going. More blocks, more snow, the snow swirling
in such a manner that it could only be a blizzard she is attempting hatless to
walk in, a couple of stops to moan, then gather herself, a couple of
gentlemanly offers of a ride, and who knows what else but she finally makes it
to Green Street, Green Street and home at the south end of Greenwich Village,
the place where the newest arrival immigrants from Southern Europe, but mainly
artists and actors down here, find themselves shelter when they hit the city
looking, well, looking for something not to be found in Utica, Syracuse,
Rochester, Buffalo, hell, Lima, Ohio either.
At the
corner of a six story building on Green Street she runs into an older man, an
artist of some sort from the framed painting he has in his left hand sheltering
it against the winds and snows. He asks about her health and she moans, moans
the moan that he as a man of the world, a man of the old country, and wise
knows meant that she had been forsaken by that gigolo Joe Stella, whom he had
told her over and over again was nothing but a womanizer, and liar too. Knows
that she is now “tarnished” goods having given herself mistakenly to that
bastard hoping that would ease the way for her onto the Broadway stage. Such
has been the fate of women since Adams’s evil apple time. He groaned the groan
of the knowing and tells her to get upstairs and get the wet clothes off and
dry her hair which has become a Medusa mass of snarls in the wind and snow.
As she
stumbles and rumbles up the stairs she can barely make it to her third floor
apartment but does so, knocking faintly. Her sister, let’s call her Sue, as we
will call our bedraggled beseecher, Anne, Anne Baxter, of the long black hair,
opens the door into their studio apartment, a sure sign that they are newcomers
(later finding out they had arrived from upstate Albany a few months before so
we were not wrong in the greenness factor) Sue the budding young artist and
Anne, well, Anne as the besmirched young actress. Sue is appalled at Anne’s
appearance and orders her to bed, orders that old man artist Anne had talked to
on the street, called Cezanne, who had just come up the stairs as she was
closing the door since he lives above them to fetch the doctor. Pneumonia,
pneumonia, but not fatal in a young heart determined to live another day. Some
medicines are bought and things look on the surface to be going okay.
Sue of
course having lost her own formerly cherished virtue to a fellow Art Student
League member whose whereabouts these days is unknown although she had no
regrets surrounding what she had to surrender to the lad as it turned knew full
well what ailed Anne, had like a million young women moved from the country and
small towns to the big city lost her moorings and lost her virginity to Stella,
for no gain. She is distraught, cannot sleep is feverish, as she keeps to her
bed, her shelter from the storms in her body, in her life outside the studio as
she watches the winds blow against some remaining leaves from a tree that shed
late, late before the early winter blizzard was coming to finish the task.
Strange what
thoughts the feverish, the lost, the forsaken will draw from the slightest
object. Anne had been in the throes of her fever counting the leaves as the
fell off the single cityscape tree. Dying down in the alley somewhere to be
fertilizer for some future tree, perhaps. The dying leaves, Anne dying inside
(Sue suspects the worse that Anne is with child and tries to approach her on
the subject of, a delicate matter, then and now, abortion so more dying to no
avail) has cast a spell on her romantic imagination. She will cast her fate
with the blizzard blown last leaf. If that cannot withstand the swirl and whirl
of winter’s hardest blows then she cannot either. The morning light will tell
the tale. Anne threatens seven kinds of hell if Sue does not open the night
curtain to expose the branch, expose that one last life-giving leaf. No leaf. After
a few awful days of struggle for the death she craved they buried Anne several
days after that up in the family plot in Albany.
