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February 3, 2015February 3, 2015 | Paul Wake Baker

To Have and Have Not

“You know how to whistle, don’t you, Steve? You just put your lips together and… blow.” One can only an imagine an audience in New York in 1944 sitting back with a gasp and then collectively going, “Whoa!” From her first moment on screen, Lauren Bacall lit up the cinema with her smoky voice and burning eyes, somehow keeping cool, almost mocking, while at the same time beckoning. Of course, it didn’t hurt that future husband Humphrey Bogart was the man she was looking at.

To Catch a Thief

This is Alfred Hitchcock’s most visually beautiful movie. Filmed on the French Riviera, the gorgeous hills, dotted with old mansions overlooking the Mediterranean Sea vie with the stark beauty of Grace Kelly and chiseled features of Cary Grant to provide enough eye candy to last a lifetime.

To Kill a Mockingbird

To Kill a Mockingbird remains one of the greatest films ever made and the years have not diminished its greatness in any way. It is unusual to see a nearly perfect adaptation of a modern classic novel (Pulitzer Prize, 1960), but the combination of Harper Lee’s story, Horton Foote’s adaptation, Robert Mulligan’s direction, Henry Bumstead’s art direction, Russell Harlan’s cinematography, and Elmer Bernstein’s wonderful music make this film uniquely touching, a deeply penetrating portrait of small town rural life in the 1930’s, in the deep South.

Torn Curtain

Alfred Hitchcock’s 1966 cold war thriller is unique among his films because it contains some of the best filmmaking since he moved to America and also some of the worst. Paul Newman stars as a physicist defecting to East Germany, with Julie Andrews as his stunned fiancé.

Trouble with the Curve

Released in 2012, Trouble with the Curve is a fun little baseball movie that looks at changes in the world of scouting. Directed by Robert Lorenz, the film stars Clint Eastwood as an aging scout for the Atlanta Braves nearing the end of his long, successful career and Amy Adams as his smart lawyer daughter who tries to help through the last round.

Katharine Hepburn by Barbara Holland

January 24, 2015 | Paul Wake Baker

This brief look into the life of one of our greatest actresses was written in association with the Biography television program and it has the feel of that breezy show as it reduces a great life into a few cogent points, concentrating instead on the mention of her films and stage appearances.

Hepburn was certainly an enigmatic personality.

Although her birth date remains in doubt to this day, it is reckoned that she was born in either May or November of 1907 in Hartford, Connecticut to Dr. Tom Hepburn and Katharine Houghton (of the Houghton-Mifflin publishing firm and Corning Glass Works). Her father was a very strong conservative figure, who encouraged his children to take risks, but it was almost impossible to gain his good graces. Her mother was rather liberal and was involved in the women’s rights movement in America from the earliest stages. Kate grew up torn in two directions.

Her family had a history of suicides and biographer Holland hints that it may have been due to heredity, although the rigid, emotionless aspects of her father certainly hints at rebellion against convention.

Her older brother Tommy committed suicide while on a trip to New York with Kate, but the whole family glossed over it, almost as if it didn’t happen. Kate’s family believed that you should never dwell on the past, but always look ahead to the future. Planning and working were the things that you got you through life and that partly accounts for her optimistic views, healthy lifestyle, and prodigious work right up until her death in 1996.

Much is made of her relationships, specifically with director John Ford and actor Spencer Tracy. Likening each of these men to father figures, the book ponders whether her lifelong obsession with pleasing her father didn’t spill over into her love life. Both men were married and yet each carried on a 30 year love affair with Kate. Tracy, it is stated, was the love of her life, but he would not divorce his wife because of his strict Catholic background. He comes off very badly in this biography, as a bully who ruined Katharine’s career by insisting that she be at his beck and call. When he went on drinking binges for days at a time, she would wait outside his door and tend to his needs. Apparently, he did not live with his wife, but spent many years living in a Los Angeles hotel before retiring to guest house on George Cukor’s estate.

Many people may not realize that Katharine Hepburn had an extensive state career and was a failure at stage acting for many years because she always appeared to be so manic. In middle and late years, she began to act Shakespeare, touring and playing a variety of roles, relaxing in her celebrity and doing very well. She was a big hit in the Broadway musical Coco, even though she couldn’t sing.

During her career, she won four Academy Awards for Best Actress, even though critics constantly complained that she only played herself. That is not unusual at all, even now, when most film actors don’t really act. Since the early days of silent film, audiences have flocked to the theater to see the personalities, not to see them disappear into their characters. Spencer Tracy did not even want to have any make-up applied at all. But even though these celebrity actors play themselves, they are still able to carve out excellent performances from the force of their character and Hepburn did that in a great many of her films.

She remained a health nut, swimming in icy Long Island Channel into her 80’s, cooking her own food, and staying true to herself.

Her films will certainly remain as classics long into the future.

To Have and Have Not

November 18, 2014 | Paul Wake Baker

“You know how to whistle, don’t you, Steve? You just put your lips together and… blow.”

One can only an imagine an audience in New York in 1944 sitting back with a gasp and then collectively going, “Whoa!” From her first moment on screen, Lauren Bacall lit up the cinema with her smoky voice and burning eyes, somehow keeping cool, almost mocking, while at the same time beckoning. Of course, it didn’t hurt that future husband Humphrey Bogart was the man she was looking at.

Although To Have and Have Not started out as an adaptation of Ernest Hemingway’s novel, it ended up as a movie made to capitalize on the huge success of Casablanca and Bogart’s sudden and overwhelming popularity. Much of the film echoes the former movie with great success. Instead of Morocco, the movie is set in and around the Caribbean island of Martinique, part of the French West Indies, Bogart is a skipper of his own boat, rather than a bar owner, and the French underground is once again recruiting him to their cause of fighting the Nazis. This time, however, he doesn’t go for the foxy wife of the French freedom fighter, but rather the lost little American nightclub singer.

Skipper Harry Morgan (Bogart) has been hanging out in Martinique taking sportsmen out into the ocean for deep sea fishing. Accompanied by his alcoholic assistant, Eddie (Walter Brennan), Morgan has hired his boat out for the last two weeks to a fellow named Johnson Johnson (Walter Sande), who owes him $825. When Johnson blows his chance of hooking a big marlin, he decides to call it quits and Morgan asks for his money. Johnson tells him that he will have to get it from the bank the next morning and they agree to meet at 10:30. Returning to his hotel, the manager, a man they call “Frenchy” (Marcel Dalio), begs Morgan to help the French underground with a clandestine operation, but he refuses because the danger is too great. As they talk, a sultry young American woman, Marie Browning (Bacall), steps up to his door and asks for a light. That’s where the real fun begins. Right from the beginning, Morgan gives her the nickname “Slim” and she comes back with “Steve” and that is what they call each other from then on and there is no doubt whatsoever that these two are going to get together.

A group of French patriots visit Morgan trying to convince him to help them, but he still isn’t having anything to do with them. Later that evening in the hotel restaurant, Slim sings along with piano playing songwriter Hoagy Carmichael and flirts with Johnson, eventually picking his pocket. Morgan catches her. Up in his room, they look through the wallet and he discovers that Johnson has a plane ticket for 6:30 the next morning and a fistful of travelers checks. Figuring that Johnson was trying to skip out on him, they confront the man, but a gunfight breaks out between the police and the underground characters and Johnson is killed before he can sign over the traveler’s checks. Strapped for money and with Frenchy demanding the hotel bill get paid, Morgan agrees to go to another island and pick up resistance leader Paul de Bursac (Walter Surovy). When he and Eddie get there, they discover that de Bursac has brought his wife, sultry Helene (Dolores Moran). As they head back to Martinique, they encounter a patrol boat. Morgan raises his rifle to shoot at the boat and de Bursac, not realizing he’s firing at the spotlight, tries to stop him. In the gunfire exchange, de Bursac gets hit in the shoulder. Hiding in the basement of the hotel, Morgan removes the bullet and helps him to recover, with Helene hovering over him. This makes Slim jealous and intensifies her passion for Morgan.

With everything coming to a head, Morgan decides it’s time to get out. But how?

The nicknames Slim and Steve are really cool. It turns out that director Howard Hawks and his wife, Nancy Keith, used to call each other by those nicknames. It was Nancy, in fact, who saw Bacall’s photo in Harper’s Bazaar and pointed out the 19 year old model to Hawks, who was looking for somebody new.

Originally, Howard Hughes owned the rights to Hemingway’s novel, but sold them to Hawks, who had always wanted to do a movie based on a Hemingway book. According to the documentary which accompanies the 2003 DVD, A Love Story: The Story of ‘To Have and Have Not, Hawks told Hemingway that he could make a movie of the famous writer’s worst novel, which Hawks believed was To Have and Have Not. Getting the green light from Warner Brothers, he hired well-known Hollywood screenwriter Jules Furthman to draft the screenplay. With objections from the Roosevelt administration that the book was politically sensitive regarding Cuba, they brought in William Faulkner, who moved the location to Martinique and made other wholesale changes that rendered the book almost superfluous as source material.

The chemistry between Bogart and Bacall isn’t the only thing going on in this film. Bacall and Hoagy Carmichael are great together. Hoagy performs his own composition, “Hong Kong Blues,” co-written with Stanley Adams, and he plays with the little house band on a song called “The Rhumba Jumps,” that was co-written with Johnny Mercer. Bacall sings one song in the movie, “How Little We Know,” another Carmichael and Mercer composition.

In spite of all of the similarities with Casablanca, this movie has a completely different feel to it. The former film was pinned on the past love of the Bogart and Bergman characters and it burned with the passion of lost love. To Have and Have Not is the antidote to that: it is love found and it carries all of the positive energy of that love.

This is not a great film, but it is an iconic film. And it is undoubtedly a fun movie, one that be watched over and over without one’s brain breaking apart with deep thought or worrisome agitation. The chemistry between Bogart and Bacall, in their first movie together, finding each other, is more than enough to sustain this film through the years.

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November 17, 2014January 16, 2015 | Paul Wake Baker

The Best Years of Our Lives

The stark reality of surviving life after war is best faced with the aid of friends and loved ones and that is story that is told in this 1946 film which remains one of the best films ever made.

The Big Sleep

This 1946 film adaptation of Raymond Chandler’s hard-boiled detective novel remains one of the best films ever made for a variety of reasons. Start with Chandler’s novel, written in a unique voice and style, that delved into the underworld of big city vice, using dangerous and edgy behavior that were normally hidden from the public eye: pornography, promiscuity, and homosexuality.

The Birds

I was thirteen years old in 1963 when I went to a movie theater to Alfred Hitchcock’s latest move, The Birds, and I can still remember the effect it had, the tension it engendered, the thrill of fright, and my jangled nerves when I left the theater and stepped out into the sunlight.

The Blind Side

The Blind Side, written and directed by John Lee Hancock, is a biographical drama that tells the story of how Michael Oher (Quinton Aaron), a rather large African-American, gets adopted into a white family, defeats his educational issues, and goes on to develop into a terrific left tackle on the football field.

The Breakfast Club

Yelling one minute, giggling the next, while cool music plays throughout. Welcome to The Breakfast Club, John Hughes’ 1985 comedy-drama about five teenagers confined to a Saturday detention in the Shermer High School library in Shermer, Illinois, a suburb of Chicago.

Bridget Jones’s Diary

Based ever so loosely on Jane Austen’s Pride and Prejudice, this 2001 British romantic comedy directed by Sharon Maguire is full of hits and misses. The hits are all punches thrown between the two men who seek Bridget’s attention and the misses are all those single women who wish they had a choice between Colin Firth and Hugh Grant.

Bright Star

Written and directed by Jane Campion and based on the John Keats biography by Andrew Motion, this 2009 film is one of the most beautiful movies I’ve ever seen and it captures one of the most touching romances in history. It takes its title from one of Keats’ most moving poems, “Bright star, would I were stedfast as thou art.”

Broken Arrow

This 1950 movie was one of the first to portray western Native Americans in a balanced manner and carries as its message racial equality and peaceful relations between Indians and Anglos. Based on the popular novel, Blood Brother, by Elliott Arnold, the film adaptation by Michael Blankfort dramatizes the historical relationship between Tom Jeffords (James Stewart) and Chiricahua Apache leader Cochise (Jeff Chandler).

The Big Sleep

November 8, 2014 | Paul Wake Baker

This 1946 film adaptation of Raymond Chandler’s hard-boiled detective novel remains one of the best films ever made for a variety of reasons.

Start with Chandler’s novel, written in a unique voice and style, that delved into the underworld of big city vice, using dangerous and edgy behavior that were normally hidden from the public eye: pornography, promiscuity, and homosexuality. Phillip Marlowe stood out as a character. He was mature, worldly, manly, direct in a way that even criminals found disarming. Finally, you have a plot that wastes no time on deliberation or description. It moves forward relentless, with a certainty that is not obvious until the reader finds himself breathless in wonder.

The film is directed by the brilliant Howard Hawks, who understood the story arc and knew he wanted to make a film that wasted no time. He hired the same writers who had fashioned his 1944 adaptation of Ernest Hemingway’s To Have and Have Not, the great novelist William Faulkner and science fiction/crime wizard Leigh Brackett (one of the first women to break through into either genre) and told them to waste no time. Unlike other screen adaptations, he wanted this one to leap directly from the page to the screen. Working separately on different parts of the book, they finished the first screenplay in eight days.

Private eye Phillip Marlowe (Humphrey Bogart) is called to the mansion of wealthy retired General Sternwood (Charles Waldron). With two wealthy, bored daughters who move in a racy crowd, the old man finds himself blackmailed with the gambling debts of his youngest girl, Carmen (Martha Vickers). Sternwood’s former detective, Sean Regan, an old acquaintance of Marlowe’s, has disappeared. Before leaving, Sternwood’s older daughter, Mrs. Vivian Rutledge (Lauren Bacall) asks him if he has been hired to find Sean Regan, who had been seriously interested in Carmen, but he won’t tell her anything, but the wisecracking and banter between them creates a sexual tension that is palpable.

Marlowe begins by investigating the man who holds the gambling debts, a rare bookstore owner named Geiger, but he discovers the man’s assistant, Agnes Lowzier (Sonia Darrin) knows nothing about rare books and she stonewalls him on her boss. Hiding out in a rival bookstore across the street, he spends a rainy afternoon with the sexy proprietress (Dorothy Malone) before following Geiger home. Waiting in the car, he hears gunshots, sees a car roaring away, and then finds Carmen inside, high as a kite, with Geiger’s body on the floor before her. He finds a camera hidden inside a statue, but the film is missing. Looking around, he finds Geiger’s notebook, filled with names and unreadable ceiphers. Taking the book, he returns Carmen to the Sternwoods and finds that Mrs. Rutledge has no answers.

An old friend, Police Detective Bernie Ohls (Regis Toomey) brings Marlowe along when they fish a car out of the ocean just off a local pier. It belongs to the Sternwoods and the driver turns out to be a former Sternwood chauffer who had also been in love with Carmen. It has been made to look like a suicide, but the driver had been killed before the car was driven off the pier.

Mrs. Rutledge appears at Marlowe’s office the next morning with scandalous photos of Carmen and a new blackmail demand from a small time gambler named Joe Brody (Louis Jean Heydt). She can get the money through her friend, gangster Eddie Mars (John Ridgely). Marlowe says he will wait for her call that night before the $5,000 in blackmail money will be paid. During the day, he tails Brody to his apartment. That night, Mrs. Rutledge puts him off, but on a hunch, he goes to Brody’s and finds not only Agnes, but Mrs. Rutledge as well. Although held at gunpoint, he puts together the sequence of events as he understands them. The chauffer had actually killed Geiger and taken the photos, but Brody stopped him and confiscated them to bribe the Sternwoods, which he had done before. Marlowe suspects that Brody killed the chauffer, but Brody maintains his innocence and that killing remains unsolved. Carmen shows up with a gun, demanding the photos. Marlowe easily disarms all of them, but before he can get more information from Brody the man is shot through the door.

It is a complicated and twisting plot, but it moves forward relentlessly. The smart, sharp dialogue crisply moves the story along and renders it secondary really to the underplot: the growing relationship between Marlowe and Mrs. Rutledge.

When Hawks directed To Have and Have Not, he knew he’d found the ideal screen couple in Bogart and Bacall, so he was determined to reunite them for this movie. By that time, their off-screen romance was big news in Hollywood and the pairing was natural. With a great script and an excellent cast, Hawks shot the film in 1944, but it was kept on the shelf for two more years, partly because Warner Bros. was working feverishly to release all of their wartime films before World War II was over and partly because there were problems with Bacall. After the huge hit with To Have and Have Not, she was considered a hot property, but her follow-up film, Confidential Agent, was a flop and she’d been widely panned in reviews. Her agent, Charles K. Feldman, wrote a letter to Jack L. Warner, asking that several scenes in The Big Sleep be re-shot and the film re-edited to take advantage of Bogart and Bacall’s screen chemistry. Warner agreed and the two actors were called in to film additional scenes, including the now famous scene in the restaurant that is full of sexual innuendo.

One thing that becomes apparent right from the beginning of this movie is that beautiful young women are used in abundance to help create a strong feeling of free sexuality. It begins when Marlowe arrives at the Sternwood residence and the gorgeous Carmen walks in wearing a really short skirt and throws herself into his arms. Then, you meet Mrs. Rutledge and Lauren Bacall shines as a young urbanite living life on the edge. It continues with the girl at Acme Books, played by Dorothy Malone, who unpins her hair and closes the store to spend an afternoon drinking rye whiskey with Marlowe. Then there is the female taxi driver that Marlowe rides with who gives him her card and tells him to call her at night when she’s not working.

In the pivotal scene between Bogart and Bacall that was re-shot, the two of them are talking about having a relationship in terms of horse racing. She wonders just how far he will go and he replies that it depends on her. Is she willing “to go all the way?” This tightly wrapped sensuality, contrasted against the violence, the mystery of not knowing exactly what is happening in a plot that moves forward darkly, relentlessly creates a movie that almost impossible to stop watching. It moves that way right to the end, when we finally sense that Marlowe and Mrs. Rutledge will be able to consummate their smoldering desires.

Shot in beautiful black and white, the film has been restored to allow modern viewers to see it as released in 1946. The DVD also includes a documentary on the two versions of the movie, showing scenes that were cut and added, so viewers can see how much the film was improved by the re-shoot.

It is every bit as strong and engaging today as when it was first released and that is one reason it will always be considered a classic, perhaps the very finest example of film noir and one of the best movies ever made.