Cynthia

Somehow I also wound up with a whole bunch of movies that starred the reliably bland actor George Murphy on my DVR, and it's not as if he was ever TCM's Star of the month. One of those movies is Cynthia, a light family drama trying to restore some sense of normalcy following World War II.

Cynthia is played by an adolescent Elizabeth Taylor, although we don't see her at first. Instead, we meet her parents, Larry Bishop (Goerge Murphy) and Louise (Mary Astor) when they were college students before they got married and Cynthia was born. Louise was a musician and Larry a med student in 1930 both hoping they'd be able to go to Vienna to study their respective fields, with Larry making money in the summer by working at the hardware store back in his home town of Napoleon, Ill., one of those small midwestern towns that consistently shows up in movies like this. But the two fall in love and get married, which in and of itself is not a big deal. However, Larry knocks up Louise, and the two need to support themselves somehow, which necessitates moving back to Napoleon.

Worse, Cynthia has been a sickly child, with the result being that she's been sheltered her whole life, and her parents feeing trapped in Napoleon. Indeed, stupid Larry, despite having three years of college education, hasn't even bothered to get any better job than still working at the hardware store, and the family have been living in the same rented house for the past 16 years or so.

Cynthia too is getting to the age where she sees all the nice experiences that the other kids her age have had the chance to do, like going to school dances or performing in the school play. This latter even though Cynthia seems to have some musical talent that she inherited from Mom and takes lessons from a local music professor Rosenkrants (S.Z. Sakall). Matters reach a head for the family when the guy who owns the house decides he needs to sell, which may necessitate the Bishops having to move out if they can't come up with the down payment.

And then one day Ricky Latham (Jimmy Lydon), who dropped out of school to join the navy and presumably fight World War II, returns to town in the hope of finishing up his high school, which is another plot point that makes no sense. The guy would have to be at least 20 now, much too old for Cynthia or high school in general. But he takes a shine to Cynthia, and she might get to go on her first date to the big high school prom. That is, if she's healthy enough to do so. She hasn't really been sick for a year now, but suddenly, with all this activity, she might be coming down with another flu....

Cynthia is one of those MGM movies that you can see fitting in with what Louis B. Mayer wanted to do: good family values in a wholesome package, with some added post-World War II escapism. If these are the worst problems a family has, things can't be too bad, much like the Andy Hardy series that was by this time winding down. Unfortunately, for me the whole thing strained credulity. Cynthia really couldn't be that sickly, and the people around the Bishops, especially Larry's sister (Spring Byington) and her doctor husband (Gene Lockhart), couldn't be that impolite. Everybody tries, but Cynthia is another of those movies that ultimately falls under the weight of a saccharine script.

Not the champ

Tomorrow's lineup in 31 Days of Oscar is movies set in Mexico. Among the movies being shown is the 1931 version of The Champ at 10:30 AM, which I blogged about back in 2010. There was a remake of The Champ in 1979, which will be airing at 3:45 AM on March 11 as part of a prime-time lineup (starting on the evening of March 10) of movies with people who have drinking problems. In between those two there was another version which isn't being shown because it didn't get any Oscar nominations. That movie is titled The Clown.

Red Skelton plays the titular clown, a man named Dodo Delwyn. He used to be big, but as you can guess he has a drinking problem and can no longer get good jobs as a result. He's reduced to a job on Coney Island as a clown making the guests getting off amusement park rides part of his act. He ticks off one such person to the point that man fights back, and Dodo's boss not only blames Dodo, but gives Dodo reason to believe he's accusing Dodo of having gone back to the drink. There goes your job.

Dodo, meanwhile, has a son who admires him in the form of Dink (Tim Considine) and basically takes care of Dodo every time Dodo goes on another drunk, which is about to happen soon now that Dodo is once again out of a job. Now, in a lot of movies this single dad with a son relationship would be down to Mom having died, thank you Production Code. That's also the lie Dodo has been telling Dink. But here, the reality is that Dodo's wife Paula (Jane Greer) couldn't handle her husband's alcoholism and more or less abandoned his fate, divorcing him and marrying another man and having a daughter by that man. How she didn't get custody of Dink is never well explained.

It doesn't take much to guess that Paula is about to meet Dodo again. That happens when Dink goes to one of Dodo's old agents from the talent agencies who gets Dodo a temporary job that Dodo considers do degrading that he doesn't want Dink to see the act. Among the people in the audience is Paula, who wants to see Dink again. She knows that she and her second husband can offer Dink so much more than Dodo can, and tell Dink they'd be more than happy to bring him into their new family, although for obvious reasons Dink is none too happy about this because he still loves his father and considers Dad his hero.

It's going to take a lot for for Dad to hit bottom, which even includes smacking poor Dink. But just as Dodo hits bottom, his old agent realizes there's a new technology out there: television! This would be a great chance to show Dodo to a new audience and possibly get Dodo a stable job if only Dodo can remain sober. The worst that could happen, one supposes, is that the show flops on its opening episode and gets treated as a one-off special rather than a series. But Dodo seizes the lifeline. If you've seen either version of The Champ, however, you know how this movie is going to end....

The most surprising thing about The Clown is the opportunity it offered Red Skelton to do straight drama, since he was mostly known for his physical comedy. Of course, as a clown, that also provides lots of chances to put that physical comedy into the movie in a way that integrates seamlessly into the plot. Skelton shows that he really did have the acting chops necessary to do at least melodrama; I don't know if anybody would have ever taken him seriously if MGM had put him in a straight drama like The Bad and the Beautiful the year before, or Executive Suite a year later. But in The Clown Skelton is by far the highlight in what feels like another of those movies MGM was churning out while trying to fund the Freed Unit musicals.

Piccadilly Jim (1936)

Another of the movies that I recorded off of TCM because it sounded interesting was the 1936 Robert Montgomery vehicle Piccadilly Jim. Having watched it, now I can do a review on it for you.

Montgomery plays the title character, James Crocker Jr. He's an American-born artist living in London and making a living as a cartoonist doing caricatures for the London newspapers. He's apparently able to make a pretty darn good living at it, too, since he's got a butler in Bayliss (Eric Blore), and is also able to support his father, James Sr. (Frank Morgan). Dad is an actor, or was an actor at some point in the past; he doesn't seem to have worked in quite some time and everybody calls him a ham.

However, Dad has met a nice American woman, Eugenia Willis (Billie Burke), a widow traveling with her sister Nesta Pett (Cora Witherspoon) and Nesta's husband Herbert (Grant Mitchell). Dad has fallen in love with Eugenia, but unsurprisingly Nesta has the good sense to wonder if the elder Crocker isn't the sort of smooth operator looking for a mark to marry and live off the wife's money. (Haven't the Petts heard of a pre-nup?) Dad tells them his son is a successful artist, so the Petts would like to meet him which will also serve as a way to judge whether Dad is in fact suitable for Eugenia.

Meanwhile, Jim Jr. goes out for a night on the town, which I'd guess would also serve as one of the ways he finds inspiration for the people he wants to caricature. But this time, while out, he meets a lovely young woman named Ann (Madge Evans). He falls in love with her, but she's not so quick to return the feelings. That's because there are several things he doesn't know about Ann, with the first of them bein that she is in fact engaged to another man, Lord Priory (Ralph Forbes). Jim Jr. keeps pursuing Ann, into the next day, with the result that he winds up tipsy at his meeting with the Petts, and they rightly reject the Crockers. This especially after finding out that young Jim is just a sketch artist.

The Petts go off to the Riviera, and this is the other thing we learn about Ann. She's actually the niece of Nesta and Eugenia, but Jim Jr. still doesn't know this. He, having been rebuffed by the Petts, decides to create a new comic strip lampooning the sort of rich Americans abroad that the Petts are, and this cartoon, From Rags to Riches, becomes a huge hit. Eventually, the Petts return from the Continent, and find that they're the butt of all jokes since everybody in London recognizes them as the source material for the comic strip. However, they -- and most importantly Ann -- are unaware of who the real artist behind the strip is.

Piccadilly Jim is based on a story by P.G. Wodehouse that was written 20 years before this movie adaptation. In fact, this isn't the first adaptation, as there was a silent version. There has since been, about 20 years ago, another adaptation of the material. The 1936 version of Piccadilly Jim works well, but it feels closer a lot like a programmer in tone. MGM had Robert Montgomery available, and had the rights to the story (they had planned to turn the material into a musical), and so they put two and two together.

Robert Montgomery is every bit the professional here, as is the rest of the cast. They all put in solid performances that make for a film that works, although at the end of the movie's running time it's not something that's spectacularly memorable. But when the studios were churning out as many movies as they were, "workmanlike" was part of the point. And even workmanlike work from the big studios made for a reasonably good movie.

The Part of Greer Garson is now being played by Claudette Colbert

Once Greer Garson came over the the US and started working at MGM, they teamed her with Walter Pidgeon in a series of movies like the recently-mentioned Mrs. Miniver that the audiences loved. A movie that feels like MGM had it planned for Garson, but which does not in fact star her, is The Secret Heart. I recorded it the last time it was on TCM, and recently watched it.

In an apartment in New York, a young man named Chase Addams (Robert Sterling) is returning home after a stint in the Navy, presumably having served in World War II since the movie was released in late 1946. He's returning to his girlfriend Kay (Patricia Medina) who is likely to become his fiancée. Kay informs Chase that his sister Penny (June Allyson) is also home, and that's a cue for Kay to reveal the first half of the back story. Penny is supposed to be at her boarding school, but she hasn't returned since Easter break. Chase is worried about her, and Kay informs him that Penny has gotten worse, playing the piano to think about her late father and stopping any time anyone else shows up. She doesn't even want to play with her own brother around.

At about the same time, Lee Addams (Claudette Colbert) walks in to the office of New York psychologist Dr. Rossiger (Lionel Barrymore). Lee has the same surname is Penny, but is in fact only Penny and Chase's stepmother. Penny has been seeing Dr. Rossiger, but Lee is worried about her. Meanwhile, Dr. Rossiger sees that some sort of family therapy might be in order so he asks Lee to reveal the other half of the back story.

Ten years earlier, Larry Addams was a widower with two younger children. He met Lee and the two fell in love, but Lee's aunt wasn't so sure the two should get married. After going to England to see her aunt, Lee decides she's going to marry Larry after all. On the ship back to New York, she meets Larry's friend Chris Matthews (Walter Pidgeon), and he falls in love with Lee not realizing that she is going to be married to Lee. They get married, but Penny doesn't seem to like her new step-mother all that much.

Larry, meanwhile, is an alcoholic who wanted to become a concert pianist but couldn't afford it, so he took up work as an investment banker and drinks to dull the pain. But he's also been embezzling money from his clients, and when that catches up with him, he decides to commit suicide by throwing himself off a cliff near their farmhouse in Rhode Island. Larry left his family with a lot of debt, and Lee sets about trying to pay off those debts, not telling Penny the truth about how the father she loved really died.

Back in the present, Dr. Rossiger suggests that if the family goes back to the farmhouse where Mr. Addams killed himself, perhaps Penny would finally be forced to confront the past and finally get over the trauma. Wouldn't you know it, but Chris, being into sailing, has a boat and country house near where the Addams' farmhouse is. Meeting up with Lee again and with her being a widow, it might be a good time to pursue her like in Imitation of Life. However, also like Imitation of Life, Penny finds herself falling in love with Chris. When the truth of whom Chris really loves comes out, that might just drive Penny over the edge....

The Secret Heart is another of those movies that MGM tried to make a Big Important Picture after the war, dealing with new themes in Freudian psychology, even though it's not quite a prestige picture. However, this is MGM, which means that once again we get all the glitz that MGM could bring to such a project even when glitz is not what the material needs.

The Secret Heart isn't a bad movie by any stretch of the imagination; it's just that it's one of those movies that consistently feels as though it's got something not quite right about it. As much as the stars try, than can't quite overcome the saccharine nature of what should be serious material. Everything from top to bottom is professionally made -- but it should have been made in some other way.