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Year: 1946

Director: Curtis Bernhardt

Cast: Barbara Stanwyck, George Brent, Eve Arden

Odd that Stanwyck’s character in this 1946 weeper is named exactly the same as she was in Forty Guns. When I first read the synopsis of this film, I rolled my eyes. Soap opera city. Imagine my surprise when by the denouement of the picture, I was moved to tears. That’s how effective Babs is in conveying her pain @ being split between the love for her boys and personal happiness. I have friends who grew up in the North Shore area and their anecdotal stuff about the blue bloods and their snobbish behavior combined w/ gossip is plentiful. So the Chicago stuff for that decade is spot on. Jessica Drummond is in the untenable position of being a widow who is expected by her mother to honor a dead husband’s memory by not pursuing any other relationships. Brutal expectations and Stanwyck shows us that they are inhuman standards.

My Reputation is an excellent movie w/ one of my favorite performances from “Missy.”

Year: 1939
Director: Tay Garnett
Cast: Loretta Young, David Niven, Broderick Crawford, Billie Burke, Eve Arden, Hugh Herbert, C. Aubrey Smith, Virginia Field, Zasu Pitts, Raymond Walburn

Eternally Yours was one of my favorite movies when I was a kid, and it was one of the first classic movies that I really, really loved. It had been about 10 years since I’d last seen it, despite the fact that I’ve owned it on DVD for several years now (it came with The Greeks Had a Word for Them). So yesterday I decided to pop it into the DVD player. And then I proceeded to ruin my childhood memories.

Anita (Young) is getting ready to marry Don (Crawford) when she meets charming and committed magician Tony (Niven). The two fall in love and marry. Anita goes on the road with Tony’s act, even performing in his show with him. But his stunts become more and more dangerous to please his devoted crowd, and Anita can no longer take it.  She divorces him, and to get over the heartache, she marries Don. But of course Anita can’t escape Tony for long, and not long after her wedding they’re stuck at the same party together.

It’s not that Eternally Yours is a bad movie.  It’s not. It’s just not all that great, and certainly not as great as I remembered it being. Looking at it now with the eye of someone who’s been studying film for so long, I can easily see its many faults. Which are as follows…

The film has a wonderful supporting cast in C. Aubrey Smith, Eve Arden, Bille Burke, and Zasu Pitts, but they are all under-utilized. Arden, Smith, and Burke seem to disappear half-way through the film, which adds to the feeling that there are two very different types of films going on.

Yes, there is a huge tonal/content shift halfway through the movie once Anita and Tony are divorced that is jarring. The first half is actually very charming, and is easily the best part of the movie. Niven and Young have good chemistry, and the story of a daring magician who’s torn between his commitment to his fans and his commitment to his wife makes for a very interesting love story. Had this simple premise been pulled out a little more, it would have made for a very charming romance.

But then it shifts halfway through to become a remarriage comedy. Which is a big mistake, because the best remarriage comedies are the ones that build the premise of the remarriage from very early in the film. (There are exceptions to this of course, like Sturges’ The Lady Eve.) This remarriage comedy falls flat on its face because it’s given very little time to breathe or develop. This whole aspect of the film feels very rushed.

Overall, it’s not a bad movie, and perhaps if I hadn’t loved it so much when I was young I may have enjoyed it a little more this time around. But as it is, I feel like I just destroyed a very important part of my childhood film experience.

By Katie Richardson

Year: 1944

Director: Charles Vidor

Starring: Rita Hayworth, Gene Kelly, Phil Silvers, Lee Bowman, Leslie Brookes, Eve Arden, Otto Kruger

Rita Hayworth and Gene Kelly may be the most perfectly matched film couple of all time. Not the greatest, mind you, but definitely among the best matched. They were both impossibly good looking people, they both had charismatic acting chops, and both really could dance their pants off (though hardly anybody remembers that about Hayworth). They’re the best thing about Cover Girl. And that’s saying a lot. Because Cover Girl is a damn good movie.

Rusty (Hayworth) dances at her boyfriend Danny’s (Kelly) club, but she wants to get famous. So she goes to an open call for John Coudair’s (Kruger) magazine, where they’re looking for a model for the “Golden Wedding” issue. Rusty lands the gig and becomes famous overnight, much to the chagrin of Danny, who thinks she should achieve fame using her considerable singing and dancing talents.

It sounds like a simple enough story. And if that was all the movie was it would still be a really good musical romance. But the film weaves in flashback’s to Coudair’s past, where he fell in love with Rusty showgirl grandmother, who really loved the poor piano player from the club where she worked. So Cover Girl works beyond just the musical comedy level. Unlike so many films of this genre, it creates a layered, detail history to the characters and their stories that gives it a very full, meaningful feeling. You could take out the musical numbers (though they’re so good you really shouldn’t) and you’d still have a damn good movie.

And like I said, those musical number are all kinds of awesome. The fun songs combined with the skilled dancing of Kelly and Hayworth may not be as memorable as something out of an Astaire/Rogers picture, but they’re still a load of fun. “Make Way For Tomorrow”, “Poor John”, “A Sure Thing”, and, especially, “Long Ago and Far Away” are all winners. With musical numbers set in two different time periods, the song writers creat to distinct styles (and “Poor John” is actually a song written in 1906).

And, of course, there’s Hayworth and Kelly, who should have made a lot more films together. They’re chemistry is off the charts. It shows not only in their romantic dialog scenes together, but also their dances. By the time they’re singing “Long Ago and Far Away” (pretty much the most romantic song of all time) to each other, they’ve already cemented themselves as one of the great couples of cinema.