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Tag Archives: Robert Young

Slightly Dangerous (1943)

220px-SlightlyDangerousPosterStarring Lana Turner and Robert Young, what actually makes Slightly Dangerous a fun film is the supporting cast, which is impressive: Walter Brennan, Dame May Whitty, Eugene Pallette, Ward Bond, Alan Mowbray, Millard Mitchell, Ray Collins. My only complaint is that most of these people only show up for a scene or two. Not that Lana Turner and Robert Young are bad…I just haven’t yet seen Lana Turner in a film where she carried it on her own. She needs supporting cast.

Peggy Evans (Lana Turner) works at a soda fountain and is having a quarter life crisis. She has arrived at work on time one thousand consecutive days (earning a gift of $2.50 of merchandise from the management) and is afraid that she’s going to waste the best part of her life behind a counter. Her job is so mindless, she says, she could do it blindfolded. Her friend doesn’t believe her, but Peggy proceeds to demonstrate by making a banana split with a towel tied over her eyes, until the new manager, Bob Stuart (Robert Young) catches her at it.

At this point, Peggy’s crisis is causing her to become a bit hysterical and she talks wildly about doing away with Peggy Evans. Stuart assumes she is talking about suicide, while she is merely talking about running away and starting a new life (under a new name). When she leaves a note and skips out of town, everyone is convinced that Stuart drove her to suicide.

Meanwhile, Peggy starts her new life by buying a new wardrobe and having her hair down. While still trying to decide on the perfect name for herself, she unfortunately gets knocked on the head by a falling bucket of paint in front of the office of a prominent newspaper. The owner, Durstin (Eugene Pallette), is afraid she might sue (it was his company’s bucket of paint) and when she exhibits fuzziness about her name (because she hasn’t come up with one yet and doesn’t want to give her real one) he believes she has amnesia and promises to take care of her while he puts her picture in the paper so her family can identify her. She can hardly believe her luck.

But while Stuart sees her picture in the paper and is determined to save his job and his sanity by locating her (he’s having trouble sleeping at night because of the guilt over her “death” and the owner plans to fire him because the employees refuse to work for Stuart anymore), Peggy has the idea of masquerading as a missing heiress. She picks the case of the missing Carol Burden, kidnapped as a child, who would be just about the right age for Peggy. She goes to work, with Durstin unwittingly helping because he senses a good story for his paper. But she doesn’t just have to convince Cornelius Burden (Walter Brennan) that she’s his daughter, she has to convince Baba, the missing child’s nurse (Dame May Whitty). And they’ve seen a lot of impostors. Meanwhile, Stuart is following her everywhere, trying to get a chance to speak to her.

3452The title of the film is actually rather appropriate. She is, indeed, slightly dangerous. Not willfully so, but she has a knack for getting Robert Young into all sorts of trouble and upending people’s lives. Because of him, she just can’t quite leave her life behind. She keeps hearing someone say “Peggy Evans” everywhere she goes. In some ways, her role is that of a soft femme fatale. She cons people, then actually comes to like them. It’s a problem (most femme fatales don’t have these qualms). She adopts all her victims as family – or they adopt her.

The last third does sag a little, mostly because the supporting cast is absent and it mostly follows the romance between her and Robert Young, which is amusing enough, but I kept wishing some of the other characters would come back. Peggy is certainly an emotional girl. She cries more than anyone I’ve seen, but one suspects that Baba will soon cure her of that.

Walter Brennan actually gets a fairly interesting role as the irascible softy who tragically lost his daughter seventeen years before. I’m trying to think if I’ve seen Brennan play such a wealthy character before. Dame May Whitty is always good, this time as the nurse who clearly is the one who rules the roost in the house. Ward Bond is the muscle who protects Mr. Burden. He never says much and usually just points to communicate anything.

My favorite scene in the film is at the concert hall, where Stuart is trying to speak to Peggy, now officially recognized as Carol Burden. She keeps hearing her name spoken, as if from nowhere and various mishaps occur, including Stuart almost falling over the side of the balcony. After the incident, he meets Alan Mowbray, a bored society man (he says he hates music, prefers acrobats) who is determined to stick with Stuart all evening to see what he will do or say next. He’s especially curious to know what it felt like to hang over the side of the balcony. I particularly wished we saw more of him.

Not a classic, but very cute. It’s fun mostly because of the cast.

Supposedly, the idea for this scene came from Buster Keaton.

Walter Brennan reacts to negative references to his face.

 
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Posted by on February 24, 2016 in Movies

 

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That Forsyte Woman (1949)

1971788276a3b54f7ddf938226e9a16fI’ve been going through a small Greer Garson movie phase and was intrigued by the cast of That Forsyte Woman, especially by the casting of Errol Flynn as a character without a scrap of a sense of humor. Based on the first third of John Galsworthy’s renown Forsyte Saga, which was published in 1922, the film was not well-received when it was released in 1949 and has since been overshadowed by two BBC mini-series that by all accounts are excellent and faithful adaptations.

The novel follows the fortunes of the wealthy Forsyte family, but the movie is focused specifically on Irene Forsyte (Greer Garson) and her relationship with three men – two of which are members of the Forsyte family. She is an impoverished lady who teaches piano and has caught the eye of Soames Forsyte (Errol Flynn). He courts her and repeatedly proposes, always to be refused. But Soames is not a man who gives up easily. His uncle teases him about how, when he sees something he likes, he has to posses it and will pay anything to do so. Finally after some machinations Irene consents to be his wife, somewhat against her better judgment.

But Soames proves to be an possessive husband. He designs her dresses, is convinced she doesn’t love him and accuses her of forgetting their anniversary even when she hasn’t. He feels that he can’t really get close to her, which is hardly surprising given his behavior. Irene seems like she’s trying, but she doesn’t love him.

She has, however, managed to make friends with a few members of his family, like Soames’ uncle Jolyon (Harry Danvenport) and niece, June (Janet Leigh). Irene has also met June’s father, the younger Jolyon Forsyte (Walter Pidgeon). He is the black sheep of the family, cast out when he ran off with his child’s nurse and not allowed to see his daughter ever since. He’s a painter, clearly in love with Irene and to see his daughter again.

Greer_Garson_in_That_Forsyte_Woman_2June, meanwhile, has fallen in love with a rebellious architect who mistrusts most everything the Forsyte’s stand for. But Philip Bosiney (Robert Young), despite becoming engaged to June, soon falls for Irene (she’s got practically the whole male cast chasing after her at this point). She’s hesitant to get involved and hurt June, but he reminds her of someone she once loved who was likewise rebellious and full of life.

This movie does not usually receive much praise, but I must confess that I was definitely not bored and even enjoyed it quite a bit…even if it is a super-serious melodrama. Perhaps it was the cast. Perhaps after I read the book or see the miniseries I will like it less. But the costumes are lovely, the people are lovely.

I think partially it was Errol Flynn, though. It was absolutely mesmerizing watching him in the role of Soames Forsyte, who never smiles, takes himself so seriously and carries himself always with upright dignity. I could hardly take my eyes off him. He’s controlling, repressed and, in his own way, absolutely besotted with Irene. He almost runs off with the picture, despite the good cast, and by the end you even feel sorry for him. It’s his eyes; the sorrow and anguish he feels at the end.

Greer Garson and Walter Pidgeon have their usual wonderful relationship that always feels right. Pidgeon is a bit more subdued in this film, a sadder man who has suffered a lot in life and wants to find a little peace and happiness and to see his daughter again.

Robert Young actually is the smarmy one, despite being the supposedly romantic figure Irene falls in love with. He’s engaged to one woman, but can’t help making love to another. Though their romance is somewhat presented as a doomed one, it’s not ultimately the heart of the film.

Errol Flynn, Walter Pidgeon, Greer Garson

Errol Flynn, Walter Pidgeon, Greer Garson

I read that Errol Flynn and Walter Pidgeon were actually intended to have each other’s roles, but were weary of being typecast and agreed to switch. Flynn wanted the dramatic role and Pidgeon wanted the one of the black sheep. I think the role swap was inspired, especially for Errol Flynn who also received most of the positive reviews.

The story is set in the 1880s and makes use several times of a London fog, when London fogs were quite serious events at their most dense and soupy. I was recently reading a book called London Fog: A History, which discuses Galsworthy’s use of London fog as a setting, as well as the use many authors make of fog, as well as painters – it’s the book that inspired me to add Galsworthy to my reading list and gave me added incentive to watch this film. It’s now on my “must read” list for 2016.

 
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Posted by on January 8, 2016 in Movies

 

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