Sunday Viewing: East of Eden, 1955

Of the three films in which James Dean starred, 1955’s East of Eden was the only one to be released during his lifetime. He wasn’t even meant to star in the film in the first place. The role of “Cal” was originally offered to Montgomery Clift who, as just one of a series of poor career choices, rejected the offer.

The film is based on the novel of the same name by James Steinbeck, but only loosely—dealing more with the second part of the book than the first. The story, in essence, is an adaptation of the “Cain and Abel” story from the Bible and focuses on the relationships between the “good brother,” Aron, and the “wayward brother,” Cal, their overly religious father and their sinful mother.

Set in central California in 1917, during the First World War, it is the tale of the Trask family who must deal with a changing world, encroaching modernity and the dynamics of their modest farm and their dysfunctional family. Adam Trask (Raymond Massey) rules his sons with a tight grip and is constantly disappointed by Cal (Dean) who he often compares to his brother Aron (the largely forgettable Richard Davalos). Adam also shields his sons from the reality of their mother’s identity, Kate (Jo Van Fleet) who runs a brothel.

As Cal struggles to earn his father’s respect, he only manages to drive the man further away and he must deal with the truths of his life on his own, and later, with the help of his brother’s girlfriend, Abra (Julie Harris).

The film also stars Burl Ives and was written by Paul Osborn with uncredited help from John Steinbeck. Directed by Elia Kazan, the film opened to good reviews and remains in the public memory as a “classic.”

Sunday Viewing: East of Eden, 1955

Of the three films in which James Dean starred, 1955’s East of Eden was the only one to be released during his lifetime. He wasn’t even meant to star in the film in the first place. The role of “Cal” was originally offered to Montgomery Clift who, as just one of a series of poor career choices, rejected the offer.

The film is based on the novel of the same name by James Steinbeck, but only loosely—dealing more with the second part of the book than the first. The story, in essence, is an adaptation of the “Cain and Abel” story from the Bible and focuses on the relationships between the “good brother,” Aron, and the “wayward brother,” Cal, their overly religious father and their sinful mother.

Set in central California in 1917, during the First World War, it is the tale of the Trask family who must deal with a changing world, encroaching modernity and the dynamics of their modest farm and their dysfunctional family. Adam Trask (Raymond Massey) rules his sons with a tight grip and is constantly disappointed by Cal (Dean) who he often compares to his brother Aron (the largely forgettable Richard Davalos). Adam also shields his sons from the reality of their mother’s identity, Kate (Jo Van Fleet) who runs a brothel.

As Cal struggles to earn his father’s respect, he only manages to drive the man further away and he must deal with the truths of his life on his own, and later, with the help of his brother’s girlfriend, Abra (Julie Harris).

The film also stars Burl Ives and was written by Paul Osborn with uncredited help from John Steinbeck. Directed by Elia Kazan, the film opened to good reviews and remains in the public memory as a “classic.”

Film of the Week: Suddenly, Last Summer, 1959

Oh, Sebastian, what a lovely summer it's been. Just the two of us. Sebastian and Violet. Violet and Sebastian. Just the way it's always going to be. Oh, we are lucky, my darling, to have one another and need no one else ever.

--Katharine Hepburn as “Violet Venable”

In 1958, Southern playwright Tennessee Williams, debuted a double-bill of one-act plays at an off-Broadway theater. The two plays were Something Unspoken and Suddenly, Last Summer and were presented under the titleGarden District (a reference to the elite neighborhood of New Orleans).

Suddenly, Last Summer was a dark play with disturbing themes that concerned a wealthy Southern family. Violet Venable—a domineering widow—was still reeling from the death of her only son, Sebastian. Her niece, Catherine Holly, was the last person to see Sebastian alive when he died “suddenly, last summer.” In order to silence Catherine’s less-than-flattering recollections of Sebastian’s last days, Violet has ordered that the girl be lobotomized. She contracts a gentle doctor, John Cukrowicz, to perfom the surgery. Soon, Dr. Cukrowicz finds himself embroiled in this sick family drama and realizes that it isn’t Catherine who needs the lobotomy.

When Columbia Pictures bought the film rights to the play and began to develop their cinematic production, Tennessee Williams was against the casting of Elizabeth Taylor as the vulnerable Catherine Holly. He stated, "It stretched my credulity to believe such a 'hip' doll as our Liz wouldn't know at once in the film that she was 'being used for something evil.” Nevertheless, Taylor gives one of her best performances—an achievement which brought her a Golden Globe Award for the role and an Academy Award Nomination.

Taylor urged director Joseph Mankiewicz to cast her long-time friend Montgomery Clift as Cukrowicz. Clift, who had been struggling with an addiction to pain killers and alcohol, was deemed too difficult and erratic to be a good risk for the studio. However, Taylor got her way. Joining Clift and Taylor is Katharine Hepburn who gives Violet Venable the necessary bite and wit. Hepburn and Taylor were very protective of Clift who was often mistreated by the director. At the end of the production, Hepburn politely asked if they were finished. When told that they were, she walked up to Mankiewicz and spit in his face, saying, “That’s for Monty.”

The behind-the-scenes drama continued as composer Malcolm Arnold walked off the project after finding the film too upsetting. His work was finished by Buxton Orr. Furthermore, the studio met with resistance from the Catholic Legion of Decency who objected to the many references to Sebastian’s homosexuality. By their command, these references were largely removed or made as vague as possible. Furthermore, you’ll notice that we never see Sebastian’s face nor hear his voice in any flashbacks. This was also due to the Catholic Legion of Decency who ordered that the character not be recognizable as any particular person.

Though it’s a watered-down version of Williams’ original play, the film is gripping and emotional. Spectacularly acted, it’s a film that, while disturbing, is one that everyone interested in cinematic history should see.

Sunday Viewing: Stella Dallas, 1937

Based on the 1923 novel by Olive Higgins Prouty, the 1937 film version of Stella Dallas is considered the quintessential story of motherly sacrifice and is often aired on Mother’s Day.


Directed by King Vidor and produced by Samuel Goldwyn for Metro, the film stars Barbara Stanwyck in the title role with John Boles and Anne Shirley, earning a Best Actress Oscar nomination for Stanwyck.

The film, set initially after the First World War, follows the life of the daughter of a Massachusetts mill-worker. Stella has a taste for fine and fast living and ambitions to lead a better, if not more exciting, life. At the mill, Stella meets executive Stephen Dallas who has troubles of his own. His father, after losing the family fortune, has committed suicide and he takes comfort in the wild Stella despite the fact that he vows to marry his fiancée after regaining his fortune.

Realizing that his fiancée has moved on and married another person, Stephen marries Stella and they have a daughter, Laurel. Stella still has a hankering for her party life, but finds she has a surprisingly maternal side as well. Soon, she’s pushing her own social-climbing ways onto Laurel. As Stephen grows more disgusted by Stella’s behavior, he finds he has a job opportunity in New York. Stella and Stephen separate and Stella retains custody of their daughter.

A long illness and embarrassing social situations make Stella wonder if she is able to give her daughter the life she feels she deserves. Soon, Stella is forced to make a difficult decision for the good of her child.

A popular favorite, the film is filled with excellent performances and is the perfect accompaniment to your Mother’s Day celebration.

Sunday Viewing: Mr. Skeffington, 1944

Warner Brothers Pictures

Fanny Trellis is beautiful. She’s the twinkle in the eye of every wealthy man in early Twentieth Century New York. She’s the girl everyone wants to marry. Yet, Fanny has a secret. Her brother, Trippy, has squandered the Trellis family fortune. They’re left with an enormous house and a staff and no way of paying for anything. Luckily, Tripp has a good job with Job Skeffington, a Jewish financeer. Or does he? When Mr. Skeffington arrives at a dinner party at the Trellis’ lavish townhouse, Trippy’s nefarious behavior is exposed.

But, that’s not the only thing that happens that night. Job Skeffington finds himself enchanted by Fanny and secretly commissions her portrait to be painted for him. Determined to find out the identity of her admirer, Fanny is pleased to learn that it is, indeed, Mr. Skeffington who fancies her. They enter into a marriage which Job knows is really to protect Trippy. But, the plan backfires. Ever-frustrated by Fanny’s vanity and selfishness, Job seeks comfort elsewhere. And, so does Fanny. When Fanny becomes ill and her beauty is ruined, will she discover that Job was correct when he said that “a woman is beautiful only when she’s loved?”

Warner Brothers Pictures

Set against a stunning historical backdrop of turn-of-the-century New York, this film explores the topics of narcissism, war, prejudice and fidelity. The sets are triumphs of the Warner Brothers designers of the period and Orry Kelly’s magnificent costumes are breathtaking.

Directed by Vincent Sherman, Bette Davis gives a remarkable performance as the fascinating Fanny Skeffington despite much chaos behind the scenes. Her frequent co-star Claude Rains plays Job Skeffington with his typical sympathetic and soulful charm. The chemistry between Davis and Rains is evident and you can immediately tell that these two dynamic performers relished working together. Fanny’s transformation from beauty to withered hag speaks to Bette Davis’ fearlessness as an actor. She had no trepidation about looking less-than-glamorous. In fact, she rather enjoyed the make-up and the challenge of playing “ugly.” It was this drive for realism which set Davis apart from the “stars” of her time.

Warner Brothers Pictures

This film is as touching as it is sumptuous and should be seen if you’re a fan of Davis and Rains, a devotee of classic films or a lover of period drama. Warner Brothers has made this title available on DVD, and I highly recommend it. To whet your appetite, here’s the 1944 trailer for the film.

Sunday Viewing: The Locket, 1946

RKO of the 1940’s was known for its melodramas and moody Film Noir pictures.The Locket is the height of that interesting era of film history. Originally, Hume Cronyn had purchased Norma Barzman’s dark screenplay as a vehicle for his wife, Jessica Tandy. Later, for whatever reason, he sold the rights to RKO who hired Sheridan Gibney to substantially rewrite the script.

The film concerns a newly engaged young woman (played by Laraine Day) who has something of a troubled past. As a young girl, she was falsely accused of theft. Well, she didn’t take that too well. And, as she grew up, she actually became a kleptomaniac—and worse. She enters in an out of relationships with men in an attempt to seek revenge against those who had accused her all those years before. In her web she ensnares a macho artist (Robert Mitchum), and she marries her psychiatrist (Brian Aherne) and, then, sets her sites on the son of the woman who accused her of theft. In short, she’s a few sandwiches short of a picnic, and it’s quite delightful to watch.

The film is considered one of the finest examples of Film Noir. With stunningly sharp lighting and the unusual use of flashbacks within flashbacks, theis picture sets itself apart from others of the era and genre. For an unusual look at 1940’s madness, The Locket, is the perfect film to cuddle up with on a Sunday afternoon.

To have a look at a clip fromThe Locket, visit Turner Classic Movies Web site. For some reason, they’re making it impossible to embed the video.

Sunday Viewing: The Little Foxes, 1941

Take us the foxes, the little foxes, that spoil the vines: for our vines have tender grapes.
--Song of Solomon 2:15


Bette Davis—at the height of her career—had as much power in Hollywood as any man. She was considered, in fact, “the fifth Warner Brother.” The executives at Warner Brothers were probably quite happy to loan Bette—a constant thorn in their collective sides—to RKO in 1941 for the prestigious film production of Lilian Hellman’s The Little Foxes.

The Little Foxes was one of Lillian Hellman’s many triumphs on Broadway. Opening to much acclaim in 1939, the stage version of the show starred the great Tallulah Bankhead. Bankhead, however, was not considered “box office” enough for the film version, and, so, RKO recruited Miss Davis who accepted the part with glee.

RKO Pictures

Davis plays “Regina Giddens” in this historical drama set in the South in the early 1900’s. Regina likes to think of herself as the head of her family. She holds great dominion over her sympathetic teenage daughter, Alexandra (played beautifully by the wonderful Teresa Wright), her infirm husband (Herbert Marshall in a brilliant performance), and, to some extent her greedy brothers, Ben and Oscar Hubbard (played by Charles Dingle and Carl Benton Reid respectively). Of particular note is Patricia Collinge as Oscar’s wife Birdie, the last surviving member of an aristocratic Southern family. Collinge reprised the role she had played in the stage version. One of finest actresses of her day, you may remember her from Alfred Hitchcock’s Shadow of a Doubt in which she, again, was teamed with Teresa Wright. Dan Duryea plays Oscar’s smarmy son, Leo, with his usual oily flare. And Richard Carlson plays Alexandra’s beau.

The story centers around the Hubbard families lust for wealth and power. They conspire to form a deal with a wealthy Chicago businessman. However, they don’t have the required funds to enter into the deal. Thus, Regina’s brother’s attempt to steal the money from her husband, Horace. Regina, however, gets the upper hand. Or does she?

This film is a cinematic masterpiece directed by William Wyler (Jezebel, The Heiress, The Letter, among many other great films) who clashed with his former lover, Bette Davis constantly throughout filming. Their friction, however, produced one of Bette’s finest and most subtle performances.The Little Foxes is a must-see film. The clip below should whet your appetite.

Sunday Viewing: The Jewel Robbery, 1932

Warner Brothers Pictures

Director William Dieterle had the good sense to reunite popular onscreen couple William Powell and Kay Francis for his 1932 comedy, The Jewel Robbery. The film would mark the fifth of seven collaborations between the two stars. Powell initially rejected the film, preferring to stay at home with his new bride Carole Lombard. He also wasn’t keen on playing another “ladies man,” but the appeal of the script and the thought of working with Kay Francis again intrigued him. With his elegant appeal, William Powell was exactly the kind of man audiences wanted to see in the early 1930’s. Similarly Kay Francis with her exotic beauty and excellent fashion sense depicted the sort of aristocratic woman who could make the audience forget about their troubled lives.

William Powell
Warner Brothers Pictures

Powell plays, “The Robber” in this comic caper. The Robber, as he explains, doesn’t care for the American “Shoot-em-up” style of theft. He studied in Paris where one learned a far more elegant method of thievery. While robbing an upmarket jewelry store, The Robber encounters Baroness Teri von Horhenfels—a bored society woman who alleviates her ennui by taking on a series of lovers (seemingly with the knowledge and consent of her older husband). Teri, her husband, and current fling have gone to the shop to purchase her a diamond—something they all hope will put her in better spirits. Teri is intrigued by The Robber, especially after he subdues the guard with a “special cigarette” (an early and scandalous mention of marijuana).

What follows is a humorous and exciting look at a dishonest man who’s fighting his honest intentions and a dishonest woman who doesn’t really care too much about being honest. Joined in this escapade by Helen Vinson and Alan Mowbray, Powell and Francis deliver excellent performances.

Francis and Vinson
Warner Brothers Pictures

It’s worth watching the film for the visual aspect alone. With perfect 1930’s sets and costumes, you’ll really feel transported to another time. I’d highly recommend this very enjoyable picture.  Unfortunately, it's not available on DVD.  However, Turner Classic Movies does show the film from time-to-time, so keep your eyes open.

Sunday Viewing: Stella Dallas, 1937

Based on the 1923 novel by Olive Higgins Prouty, the 1937 film version of Stella Dallasis considered the quintessential story of motherly sacrifice and is often aired on Mother’s Day.


Directed by King Vidor and produced by Samuel Goldwyn for Metro, the film stars Barbara Stanwyck in the title role with John Boles and Anne Shirley, earning a Best Actress Oscar nomination for Stanwyck.

The film, set initially after the First World War, follows the life of the daughter of a Massachusetts mill-worker. Stella has a taste for fine and fast living and ambitions to lead a better, if not more exciting, life. At the mill, Stella meets executive Stephen Dallas who has troubles of his own. His father, after losing the family fortune, has committed suicide and he takes comfort in the wild Stella despite the fact that he vows to marry his fiancée after regaining his fortune.

Realizing that his fiancée has moved on and married another person, Stephen marries Stella and they have a daughter, Laurel. Stella still has a hankering for her party life, but finds she has a surprisingly maternal side as well. Soon, she’s pushing her own social-climbing ways onto Laurel. As Stephen grows more disgusted by Stella’s behavior, he finds he has a job opportunity in New York. Stella and Stephen separate and Stella retains custody of their daughter.

A long illness and embarrassing social situations make Stella wonder if she is able to give her daughter the life she feels she deserves. Soon, Stella is forced to make a difficult decision for the good of her child.

A popular favorite, the film is filled with excellent performances and is the perfect accompaniment to your Mother’s Day celebration.

Sunday Viewing: Cat on a Hot Tin Roof, 1958

“Mendacity!” That was most-likely what Tennessee Williams said of the 1958 film version of his successful 1955 Broadway play, Cat on a Hot Tin Roof. Williams did not care much for the film, finding that the toned-down sexuality of the picture strayed too much from his original concept. Still, the film is a triumph from a cinematic standpoint and features excellent performances from its principal cast which includes Elizabeth Taylor as “Maggie the Cat,” Paul Newman as “Brick,” Burl Ives as “Big Daddy,” Judith Anderson as “Big Mama” and Jack Carson as “Gooper.”

Much like the play, the film explores the interpersonal relationships of a wealthy Southern family as they weave in-and-out of discussions about truth, loyalty and fidelity. Newman is perfect as Brick—the aging, alcoholic, former football hero/favorite son and frigid husband. Taylor is the ideal, overwrought Maggie who wants nothing more than her husband’s love. Taylor wasn’t the first choice for “Maggie.” The role was originally offered to Grace Kelly who probably wouldn’t have been as deliciously neurotic in the part. Similarly, the role of “Brick” was first offered to Elvis Presley who turned down the part. That would have been quite a different film. Burl Ives reprises the role he made famous on stage and he’s joined by the always-excellent Judith Anderson as the melodramatic and misunderstood “Big Mama.”

The film is particularly interesting when one considers the back-stage drama. Taylor became a widow during the film’s production when her husband at the time, Mike Todd, was tragically killed in a plane crash. She took a brief break from the production, seeking solace in the company of her friend, Monty Clift. When she returned to the production, she was considerably thinner and more fragile, but nonetheless gave an excellent performance.

Cat on a Hot Tin Roof offers up just the right amount of tawdry, steamy Southern drama and is the perfect way to spend a chilly Sunday afternoon.

Sunday Viewing: Suddenly, Last Summer, 1959

Oh, Sebastian, what a lovely summer it's been. Just the two of us. Sebastian and Violet. Violet and Sebastian. Just the way it's always going to be. Oh, we are lucky, my darling, to have one another and need no one else ever.
--Katharine Hepburn as “Violet Venable”

In 1958, Southern playwright Tennessee Williams, debuted a double-bill of one-act plays at an off-Broadway theater. The two plays were Something Unspoken and Suddenly, Last Summer and were presented under the titleGarden District (a reference to the elite neighborhood of New Orleans).

Suddenly, Last Summer was a dark play with disturbing themes that concerned a wealthy Southern family. Violet Venable—a domineering widow—was still reeling from the death of her only son, Sebastian. Her niece, Catherine Holly, was the last person to see Sebastian alive when he died “suddenly, last summer.” In order to silence Catherine’s less-than-flattering recollections of Sebastian’s last days, Violet has ordered that the girl be lobotomized. She contracts a gentle doctor, John Cukrowicz, to perfom the surgery. Soon, Dr. Cukrowicz finds himself embroiled in this sick family drama and realizes that it isn’t Catherine who needs the lobotomy.

When Columbia Pictures bought the film rights to the play and began to develop their cinematic production, Tennessee Williams was against the casting of Elizabeth Taylor as the vulnerable Catherine Holly. He stated, "It stretched my credulity to believe such a 'hip' doll as our Liz wouldn't know at once in the film that she was 'being used for something evil.” Nevertheless, Taylor gives one of her best performances—an achievement which brought her a Golden Globe Award for the role and an Academy Award Nomination.

Taylor urged director Joseph Mankiewicz to cast her long-time friend Montgomery Clift as Cukrowicz. Clift, who had been struggling with an addiction to pain killers and alcohol, was deemed too difficult and erratic to be a good risk for the studio. However, Taylor got her way. Joining Clift and Taylor is Katharine Hepburn who gives Violet Venable the necessary bite and wit. Hepburn and Taylor were very protective of Clift who was often mistreated by the director. At the end of the production, Hepburn politely asked if they were finished. When told that they were, she walked up to Mankiewicz and spit in his face, saying, “That’s for Monty.”

The behind-the-scenes drama continued as composer Malcolm Arnold walked off the project after finding the film too upsetting. His work was finished by Buxton Orr. Furthermore, the studio met with resistance from the Catholic Legion of Decency who objected to the many references to Sebastian’s homosexuality. By their command, these references were largely removed or made as vague as possible. Furthermore, you’ll notice that we never see Sebastian’s face nor hear his voice in any flashbacks. This was also due to the Catholic Legion of Decency who ordered that the character not be recognizable as any particular person.

Though it’s a watered-down version of Williams’ original play, the film is gripping and emotional. Spectacularly acted, it’s a film that, while disturbing, is one that everyone interested in cinematic history should see.