A Letter to Three Wives is one of the few movies in the forties that pass the Bechdel Test. Perhaps that’s because Vera Caspary did the screen adaptation from a Cosmopolitan Magazine novel by John Klempner. Caspary, a writer of movies and novels, also wrote the movie Laura. Perhaps her influence is why this movie is dialogue driven, with even casual remarks bearing weight and meaning. A Letter to Three Wives is all about wants and desires, and how to people rationalize, pursue, and achieve them. A Letter to Three Wives pulls everything from the shadows. Consumption, advertising, and financial security are all dragged into the open. It’s a dialogue-driven movie because it’s through dialogue that fears, secrets, and concerns are revealed for the purpose of creating better relationships. This is what brings the drama because we know from the beginning of the movie that one relationship has been betrayed, doomed by closeted secrets and feelings. A Letter to Three Wives is meant to have people take a second look at both their desires and how they are pursued. A Letter to Three Wives might get a little preachy in places. But soapbox rants are just as much a part of relationships as words or cooing love or snarky teasing. The movie holds up well and even if the trappings of the world have changed, the same dialogue could be played out today, just as relevant now as in 1949.
The Home of the Creative Mind
Welcome to PooBahSpiel, the online voice and home of the creative mind of Mark Monlux, Illustrator Extraordinaire. Prepare yourself for an endless regaling of art directly from the hand of this stellar artist. And brace yourself against his mighty wind of pontification. Updates are kinda weekly and show daily sketches, current projects, and other really nifty stuff.
Sunday, June 17, 2018
Monday, May 21, 2018
The script for The More the Merrier was custom written as a vehicle for Jean Arthur. And while she was nominated for Best Actress, it was Charles Coburn who walked away with the Best Supporting Actor Oscar for his performance of the rapscallion Mr. Benjamin Dingle. Coburn tended to be given the same type in all the films he was featured, but in The More the Merrier, his character is given more room than normal, taking an impish delight in outwitting those around him while playing matchmaker. The movie does its best to show how crowded Washington, D.C. was during WWII. The actors are tripping over each other in their apartment, and when we see their characters anywhere outside their apartment, there’s a crowd of people in every scene, in every room, at every table, even on every rooftop. You will also notice that throughout the movie, the camera draws closer to the couple as their feelings for each other become closer. The madcap comedy does a great job of holding up over seven decades. Mr. Dingle’s antics and audacity remains fresh and entertaining. While I couldn’t capture the antics in the comic, I did my best to make it look crowded by filling each frame with a different character from the movie.
Received an Academy Award out of six nominations.
Monday, May 14, 2018
Cat Ballou is the name of this movie and the name of Jane Fonda’s character, a schoolmarm she plays straight. Her straight acting is necessary as she strikes the perfect counterbalance for most of the other main characters, who are provided comedic roles. Lee Marvin, who’s given the chance to overact in not one but two roles, gets most of the laughs. Historically, the gimmick of a double role, while interesting, doesn’t enhance a movie very much. But that isn’t the case in Cat Ballou. Had the writers decided to write the movie as a straight-up traditional Western, the gimmick would have been stale and lonely in its presentation. But they gave up on making Cat Ballou a classic Western and instead decided to make a Western that parodies Westerns. And that is why Lee Marvin was given full rein to be as broad as he wanted. Few actors get this chance. Marvin was deeply familiar with Westerns. He knew which subtle quirks would poke at audiences’ experience of Westerns. As a result, filled theaters roared each time Marvin hiked up his belt. Cat Ballou became the breakaway hit of 1965 and audiences ate up Marvin’s performance as he walked away with the picture. Not that Cat Ballou is a particularly tight picture. One of the plot holes is Cat Ballou herself. Fonda is introduced as a rancher’s daughter returning home from boarding school where she’s learned to be a schoolmarm. But the town takes little to no notice of a returning citizen, let alone the arrival of a new teacher. In fact, Fonda never steps foot in a schoolhouse. The schoolmarm is there because there’s usually a schoolmarm in Westerns. Just like there are usually horses, fancy shooting, sheriffs, trains, and other trappings. The story’s inconsistencies are overlooked because the movie doesn’t take itself, nor the genre it parodies, seriously.
Received one Academy Award out of five nominations.
Wednesday, April 4, 2018
Lee Marvin might have fallen into his acting career, but he was a natural as a hardboiled tough guy. He became one of Hollywood’s iconic leading men and parlayed the power he wielded to work with the directors he wanted on the projects he wanted. Point Blank was one of those projects. Filmed in the Sixties, the movie hyper-focused on a particular look, Mod, from the word Modernist. The clothing, furniture, and art were the most recent in style and production. Clean sharp lines, shapes, and textures created the look. The mod scene consisted of coffee houses, jazz music, cocktails, and a desire to look graceful with simplicity, fueled by America’s post-WWII economic boom and mass production. It’s in this glossy utopian world that Point Blank is set. The clothing, props, and buildings show little of the past nor any hint of the emerging hippy esthetic. When such breaches do occur, they are for a reason. Alcatraz, from which our hero emerges at the beginning of the movie, sits on the bay like a tombstone of past mobsters in a cemetery. A careful viewing of Point Blank will show the importance of the imagery to the underlying tone and message of the film. The creative world-building is just one of many elements that turned a fairly decent, hardboiled thriller into a cult classic thoroughly enjoyed by film critics and fans. Point Blank might be a time capsule to a specific look from the ‘60s, but the underlying story in this work of thrilling suspense gives it legs. And it is one of several films that provide a worthy legacy to Lee Marvin and the others involved in its production.
Tuesday, March 27, 2018
Cleopatra is the movie that nearly destroyed 20th Century-Fox. About everything that could go wrong during production went wrong. The script kept getting rewritten. Actors and actresses were replaced. Monumental salaries kept getting bigger even as production scheduling dragged on. Elizabeth Taylor and Richard Burton’s relationship developed from a mere movie relationship into an epic in its own right. Elizabeth Taylor became deathly ill and had to be hospitalized. A new director was brought in. Several factors led to a new shooting location, and with scenes incomplete, this meant the huge sets and props had to be completely and perfectly reconstructed there. The new director, Joseph Mankiewicz, tried to convince the studio that their story was huge, and they had more than enough material to produce two films, Caesar and Cleopatra and Anthony and Cleopatra. The studio, however, was well into financial crisis by then and wanted to take advantage of the public’s infatuation with Taylor and Burton’s romance. So they pushed for the story to remain one single film. As a result, the final editing was brutal and removed large sections that would have made for a truly compelling story. Taylor was not pleased and said that they gutted key scenes from the film and kept war scenes to placate the audience. Watching Cleopatra, you can feel how Mankiewicz was right: Cleopatra should have been two films. Cleopatra is still a wonderful spectacle, but as daring and ambitious as it was, it would be the last in a long series of movie epics. The likes of it would not be seen again until the advent of CGI would allow grand shots on a reasonable budget.
Tuesday, March 20, 2018
Woman in the Dunes is filled with allegories. They are layered over each other. Some are obvious and others construct the full meaning of the film. There are so many interesting possibilities that cinemaphiles spend hours discussing them. Woman in the Dunes has always been an art house film. For its very skillful use of sound, cinematography, and story, it received a nomination for Best Foreign Film from the Motion Picture Academy. However, an average viewer might find the film dull in places. Dry sand flowing like water might have deep meaning to the narration, but its constant appearance might be boring to an audience more accustomed to explosions and jump scares. There are moments of high tension to be had. But they cycle back into an ever-growing feeling of frustration and exhaustion that is a good portion of the story. While you watch Woman in the Dunes, you should prepare yourself for a full meal of hidden and obvious meanings behind situations, objects, how the objects are shown, and the sound. The sound is one of the best things about Woman in the Dunes: it creates a narrative onto itself. Viewers might be tempted to re-watch it just to capture the narrative of the sound and how it changes, just like our hero does throughout the movie.
Tuesday, March 13, 2018
Topper is filled with so many goodies; I hardly know where to start. All of the actors and actresses are familiar faces. Some of them are mid-career, others are just starting out, and others will go on to achieve fame outside of acting. The success of Topper set Cary Grant up as a leading man in screwball comedies. The actor who plays the elevator-operator-turned-bellboy would go on to play Dagwood Bumstead in a series of Blondie movies. The birdlike voice of Billie Burke, who plays Mrs. Clara Topper, is instantly recognized as belonging to Glenda the Good Witch from the Wizard of Oz. Alan Mowbray’s portrayal of Wilkins the Butler would land him dozens of similar roles to the point that his onscreen character and delivery would be quoted by Raymond Chandler. One of Hoagy Carmichael’s movie appearances, this one goes uncredited—but it’s hard to miss as he’s singing his Old Man Moon with the two leads leaning on his piano. And Roland Young presented Cosmo Topper’s dry delivery so elegantly that he received a nomination for Best Supporting Actor, which was quite impressive as that was unheard of at the time. Oh! And don’t get me started about the car. The car is practically a character itself. Do some research and you will find a whole history of car customization you’d never heard about. Topper is light-hearted and gay. Topper was well received because the actors and characters they played endeared themselves to audiences.
Tuesday, February 27, 2018
Hell is for Heroes is a unique war movie. It doesn’t play up war in the least. There is no significant objective mentioned. No general provides us with a clue of strategy. There’s just a squad of men hoping to go home and not face the terror of being on the line. That hope is dashed, along with the private plans the soldiers have made. The men are sent to the front. They don’t know why. They don’t really care. They just want to survive. Only a few of the men are fully up to the task of being a soldier. But Hell is for Heroes shows how most of the soldiers are out of their element. In case the cruel comedy of this is somehow lost on the audience, we are given Private Driscoll. Played by comedian Bob Newhart with his now well-known deadpan delivery, Pvt. Driscoll blunders onto the front with a jeep full of typewriters, a clerk plunged abruptly into the life-and-death struggle on the front line. All the men are trying to make the best decisions that their own experiences have given them. But with its unrelenting deadly nature, war is cruel, taking any decision and turning it into one that cost lives. Hell is for Heroes’ message is that war is men killing and dying. And not much else.
Monday, February 19, 2018
During World War II, a Finnish writer by the name of Mika Waltari explored an ancient Egyptian text known as the Story of Sihuhe. Waltari’s goal was to create a narrative so thoroughly researched that it would entertain not only a casual reader but also bring a smile to the lips of Egyptologists. The book “Sinuhe egyptiläinen” was published in 1945. The book became very popular and was printed in English in 1949 under a simpler title, “The Egyptian.” Its tale of the hero’s disillusionment and war-weariness impressed readers who had just endured a world war. 20th Century-Fox thought The Egyptian perfect for CinemaScope. Never to let a good thing go to waste, another studio, Paramount, would reuse The Egyptian’s wardrobe, props and sets two years later for The Ten Commandments. And, as was often the case in the studio era, some of the actors and extras appeared in both movies. Also, two well-known studio composers shared the workload to create the score for the soundtrack. The Egyptian fared well at the box office. And was nominated for an Academy Award for its cinematography. While it didn’t win an Oscar, Bella Darvi did receive a New Star of the Year - Actress award at the Golden Globes for her portrayal of Nefer, the seductive Babylonian courtesan. I always loved watching The Egyptian. I saw it regularly on television when I was growing up. And it was in our family’s collection of books, where I discovered a copy of the novel that inspired the movie. I was overjoyed to read a lavishly expanded version of the story where I envisioned Victor Mature, Peter Ustinov and others in their designated roles. When I discovered the musical score was available digitally, it didn’t take me long to find my wallet. It’s hard to explain why The Egyptian captivates me so much, why I’m such a fan. I’ve been rattling off trivia about the film, but not going into the story. I guess the same chord that struck readers in 40 countries through the novel and millions via the box office struck me, too.
Thursday, February 15, 2018
Citizens Band Radios were another craze that swept the country during the seventies. When technology reduced the size and cost of transistors, suddenly owning a citizens band radio became affordable. Truckers were the first to make use of mobile CBs for practical reasons. With gas shortages a serious problem, truckers were able to network and locate stations that had supplies. And it wasn’t long before average citizens started to take to the CB airwaves. Their popularity was so high that what little licensing was required was eliminated altogether as enforcement become impossible. C.W. McCall, aka Bill Fries, wrote the song “Convoy” to perfectly capture a slice of America, that of the American trucker dealing with the economic and fuel crises gripping the country. The use of CB jargon was a hook that set deep with the radio listener. While it’s common for books to be made into movies, songs doing the same thing are a bit more rare. When Convoy was released, the storyline of the movie didn’t quite match that of the song. Knowing when to adjust to a good thing, Bill Fries rewrote the lyrics to match the storyline of the movie and re-released the song. Trucker movies like Convoy, employing car chases, out-witting police, and heavy use of CB radios would remain a staple through the ‘70s, with homage paid to them in subsequent films. And later, CB radios would remain in basements, rec rooms, dens where they would eventually gather dust as the Internet and cell phones became the next big things.
My copy editor John Markuson would like you to know:
[Fries was inducted into the Iowa Rock and Roll Hall of Fame in 2009.]
Tuesday, February 6, 2018
Becket is one of those historical movies created more for entertaining audiences than for being accurate. In the movie, Henry’s mother is alive; in history, she’s dead. In the movie, he has three children; in reality, it was eight. In the movie, the wife says she will return to her father; in reality, he’s been dead for some years. In the movie, both women torment him; in reality, he relied on their counsel. And perhaps the most glaring inaccuracy is portraying Becket as a Saxon when he was, in reality, a Norman. But film writers were never ones to adhere to facts when a good rewrite would create drama to intrigue audiences, who probably forgot all their history lessons and now hear the name Becket only in plays and dramas. And audiences came to the theater because two of the best actors of the day are the leads and all the talented filmmaking professionals are doing their best to make Becket an award winner. Both Peter O’Toole and Richard Burton give tremendous performances. But it is the ever-talented, history-revising writers who would walk away with the statue.
Received an Academy Award out of eleven nominations.
Monday, January 29, 2018
To Have and Have Not was Lauren Bacall’s film debut and her talent was immediately recognizable. The chemistry between her and Humphrey Bogart was obvious. In the original script, Dolores Moran’s role was larger, with her and Bogart’s characters’ relationship having more depth. But everyone involved in the production immediately sensed the magic in Bogart and Bacall’s interplay. The script underwent revisions to take advantage of this. The novel was written by Ernest Hemingway. William Faulkner worked on the script, but a large part of the dialog was improvised by the actors themselves. Bogart was still riding high from the unexpected success of Casablanca. Audiences turned out to watch him continue to portray a tough character who plays low and cool, ruled by his own code. They were not disappointed; To Have and Have Not carried those same themes. But audiences were also rewarded with the performances of two actors falling in love on set. The studio would quickly parley this success into three additional movies featuring the entrancing duo, The Big Sleep, Dark Passage, and Key Largo. Bacall and Bogart did start an affair during the making of To Have and Have Not. Bogart, who was in an unhappy marriage, would divorce his wife and marry Bacall, who was twenty years his junior. They remained married until Bogart’s death from cancer in 1957. At his funeral, Bacall laid a whistle on Bogart’s coffin in homage to her famous quote from the movie, “You know how to whistle, don’t you? You just put your lips together and blow.”
Monday, January 8, 2018
I had a much easier time watching Gentleman’s Agreement when I was the same age as the boy in the movie. What I heard in the film were social instructions. They weren’t new. They were reaffirming what my parents taught me. But it was the first time I was seeing insidious examples of bigotry as well as obvious ones. The scenes I watched of Gregory Peck explaining the world and how his son should behave struck a strong chord in me. I remember thinking, “He explained that just right.” I found my recent viewing of Gentleman’s Agreement more difficult to watch. The viewpoint I’m associating with now is that of the adults, how the characters were reacting, their experience of recognizing their own actions, their casual privilege. And while I don’t recall seeing any obvious ethnic characters or extras, I can understand why: Gentleman’s Agreement focused on anti-Semitism to reveal the mindset behind bigotry. It’s just how I saw it as a kid, as an instruction manual to recognize and react with true, brave humanity. I found Gentleman’s Agreement difficult to watch now because you can easily replace Jew with Muslim to see the battlefield of bigotry is still here so many decades later. Exchange the word Jew with Muslim, Hispanic, Black or any other They instead of We. It’s terrifying and saddening, and it makes Gentleman’s Agreement as relevant today as in 1947.
Winner of three Academy Awards, including Best Picture.