The Weaker Sex (1948)

The Weaker Sex

I wish I didn’t feel so cut off.   Widowed Martha Dacre (Ursula Jeans) tries to keep house and home together for her two serving daughters Helen (Joan Hopkins) who’s involved with radio officer Nigel (Derek Bond) and Lolly (Lana Morris) who’s going out with sailor Roddy (John Stone);  and servicemen billeted on her in Portsmouth, a naval base during WW2. While son Benjie (Digby Wolfe) is away in the Navy she has chosen to stay at home as a housewife, but when she learns that his ship has been damaged during the D Day landings, she regrets not taking a more active role in the war and works in a canteen and as a fire watcher. The family story moves forward from D-Day to VE-Day, the 1945 general election and on to 1948. Martha eventually re-marries to her late husband’s colleague, naval officer Geoffrey (Cecil Parker) who was one of those billeted on her and has become a father-figure to her son and daughters…  Oh dear, who’d be a mother? This British homefront drama was released three years following the conclusion of hostilities so it has the benefit of victorious hindsight as well as expressing the postwar era when everyone was completely obsessed with the lack of food. Adapted from actress Esther McCracken’s 1944 stage play No Medals by Paul Soskin with additional scenes created by Val Valentine to bring it up to the year of shooting, it’s a witty drama filled with resigned Keep Calm and Carry On messages underscored by dissatisfaction at the dreariness of housework and the plight of women whose life is dictated by the unavailability of food which becomes a thoroughly good running joke:  The housewives’ battle cry – the fishmonger’s got fish! cackles housekeeper Mrs Gaye (Thora Hird). Intended as post-war propaganda, a kind of decent British take on Hollywood’s Mrs Miniver (minus the Nazi in the garden) with added politics, it’s smart, unfussy and fair, yet trenchant and involving.  Jeans is terrific as the middle class woman finding herself rather (class) envious of Harriet Lessing (Marian Spencer) living in a serviced flat and volunteering:  there’s humour to be had in a lovely payoff when Harriet gets her public comeuppance after the war as rationing motivates her to head the local Militant Housewives League and she gets caught up in an unholy scrimmage which fetches up on the front page of the papers. Parker is a great casting choice – the guy not ashamed of being seen decked out in his uniform doing the vacuuming who can say unabashed to Jeans, I never had a genuinely platonic friendship with a woman before. Of course we know where that leads. He digs in and gets creative when he’s sick of being starved of regular food – and milks a goat. I slept and dreamed that life was beauty, I woke and found that life is duty. There is a great sense of warmth in the family relationships and a scene of remarkable tension when Helen and Martha play a card game awaiting a phonecall to find out whether Nigel has survived a bombing.  Jeans tells herself when awaiting more bad news, I mustn’t back down. I must try to be of some use. Parker responds, This language of ours is so completely inadequate. They are expressing the weariness of a nation almost done in yet somehow dragging itself up to cope with the inevitability of ongoing loss. There are occasional dips into newsreel montages to bring a context to the experiences as the story commences in the run up to D Day, through VE Day, the 1945 General Election, Hiroshima and after, but the footage is smoothly integrated and doesn’t disrupt the narrative flow. Hugely successful in its day it’s a really rather spiffing reminder of how and why Britain came through the war, the importance of family and sadly that tragic deaths don’t just occur in wartime. Crisply shot by Erwin Hillier amid exquisite sets by Alex Vetchinsky and this raft of wonderful performances are very well directed by Roy [Ward] Baker. Shabby perhaps, but not yet shoddy

My Reputation (1946)

My Reputation

You have to start being yourself. Jessica Drummond (Barbara Stanwyck) is a newly widowed upper class mother to two boys Kim (Scotty Beckett) and Keith (Bobby Cooper) with a domineering mother (Lucile Watson). Her estate lawyer Frank Everett (Warner Anderson) dates her casually while her society friend George Van Orman (Jerome Cowan) decides she’d be the ideal mistress. Her friend Ginna (Eve Arden) whisks her away to Tahoe with her husband Cary (John Ridgely) where she meets Major Scott Landis (George Brent) when she’s lost skiing in the mountains. They become close very quickly part badly when he thinks she’s ready to be kissed but then he shows up in her hometown of Chicago where he’s temporarily stationed and she finally allows herself to think of another romantic relationship despite the gossips… The world allows considerable liberty to wives it has never allowed to widows. I notice, for instance, you’re no longer wearing black. One of Stanwyck’s greatest roles, she excels as the rather innocent widow who finally embarks on a relationship with a bluff man who won’t stand for any nonsense from the naysayers in her midst. And who better than Gorgeous George to save her from social suffocation?! Watson is great as the vicious old bat of a mother and Leona Maricle and Nancy Evans are good as the bitchy so-called friends. Arden is in good form as the real friend who does the necessary when Jess needs it. Expertly adapted by the estimable Catherine Turney from Claire Jaynes’ wartime novel Instruct My Sorrows, this plays to all of Warner Brothers’ strengths in female transformation stories – a woman who finds herself again despite a domineering mother, problem sons, pawsy males, social exile and doubt. A gloriously romantic drama with a wondrous score by Max Steiner. Directed by Curtis Bernhardt. I’ll never be lonely again

Sweet Home Alabama (2002)

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In my entire life I have never met anyone so manipulative, so deceitful. And I’m in politics!  New York fashion designer and socialite Melanie Carmichael (Reese Witherspoon) suddenly finds herself engaged to the city’s most eligible bachelor Andrew Hennings(Patrick Dempsey) whose mother just happens to be Mayor (Candice Bergen). But Melanie’s past holds many secrets, including Jake Perry (Josh Lucas), the redneck husband she married in high school, who refuses to divorce her seven years after being sent the papers. Determined to end their relationship once and for all, Melanie sneaks back home to Alabama to confront him, only to discover that you can take the girl out of the South, but you can’t take the South out of the girl…. I don’t care if he’s a Yankee. At least he’s sober! Douglas J. Eboch’s story was developed as a screenplay by C. Jay Cox and it’s a tour de force for Witherspoon whose astonishing charm keeps this Southern-fried screwball show on the road as she gets to pick between two smouldering romantic interests:  her good ol’ boy sort-of ex who deep down is as polished as the sand struck by lightning that makes those glass sculptures of his;  and the smooth city charmer who really loves her despite his overbearing mom warning him off since she sees him as the next JFK. The story is nicely buoyed by turning Deep South tropes on their head and having a lot of fun with Civil War re-enactments – Fred Ward has a ball as Mel’s enthusiastic dad and it’s nice to see Mary Kay Place getting a turn as her mother who wants more for her than the life she had. At the heart of this story is a smalltown girl made good who once blew up the local bank and now struggles with her identity and this grounds the fairytale-fish out of water narrative as it comes back to haunt her in the most amusing way. Reverting to type never seemed so entertaining. You will certainly know the songs. Directed by Andy Tennant.  How many times does your only daughter get married? Other than before …

 

Book Club (2018)

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 If women our age were meant to have sex God wouldn’t do what he does to our bodies. Four friends in Los Angeles, widowed Diane (Diane Keaton), hotel owner Vivian (Jane Fonda), divorced federal judge Sharon (Candice Bergen) and married chef Carol (Mary Steenburgen) have had a book club for thirty years and this month’s choice is Fifty Shades of Grey. It causes them all to re-evaluate their unhappy sex and romantic lives. Diane agrees to a date with a pilot (Andy Garcia) she meets on an aeroplane journey which offers a pleasing diversion from her two daughters (Alicia Silverstone and Katie Aselton) nagging her to move to their basement in Arizona (bizarre).  Vivian hooks up with Arthur (Don Johnson) the radio producer she didn’t marry forty years earlier.  Sharon goes on dates with men she meets online.  Carol hasn’t had sex with newly retired Bruce (Craig T. Nelson) in six months and their dance classes fizzle out. As the women read the next books in the trilogy their lives become more complicated … There are some frankly strange story issues here and I don’t just mean E.L. James’ source books: Diane’s daughters’ behaviour is literally unbelievable, even for a comedy (and the pregnant one doesn’t even give birth by the end, probably a good thing);  Sharon’s second date doesn’t actually materialise (with Wallace Shawn); and we never see any of them doing the deed (part of the thesis about ender relationships).   However there are pluses:  there are great innuendo-ridden exchanges, particularly in the first half, when sex really is on the table. Fonda makes a meal of them: I don’t sleep with people I like, you know that. I gave that up in the 90’s. As in life, when emotions get in the way the dialogue dips a lot which is ironic considering this is about book lovers, as it were (insert your own Fifty Shades joke here – and E.L. James and her husband even make a short appearance).   The production design (Rachel O’Toole) and cinematography (Andrew Dunn) enhance a film fuelled by female star power (the men are mostly useless) with some very nice shots of the Santa Monica Pier and the Painted Desert to liven up your ageist horizons.  Written by debut director Bill Holderman with Erin Simms who presumably wanted us all to experience some kind of late life fake orgasm.

Life of the Party (2018)

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Once a dighead, always a dighead. When her husband Dan (Matt Walsh) suddenly dumps her, longtime and dedicated housewife Deanna Miles (Melissa McCarthy) turns regret into reset by going back to college. Unfortunately, Deanna winds up at the same college as her less-than-thrilled daughter Maddie (Molly Gordon). Plunging headlong into the campus experience, the outspoken new student soon begins a journey of self-discovery while fully embracing all of the fun, freedom and frat boys that she can handle. She shocks and delights best friend Christine (Maya Rudolph) with updates on her conquest of Jack (Luke Benward) who’s less than half her age but the chickens come home to roost when Dan announces he’s to marry his realtor Marcie (Julie Bowen) and Deanna and her strange ensemble of girls decide it’s time to make their presence felt … Melissa McCarthy is so nice. And this is nice. It’s not nasty and vengeful and gross which is what you might expect from a woman going through a midlife crisis when her husband cheats on her – I mean even she and her co-writer and director (and husband) Ben Falcone surely saw Back to School, never mind Animal House. It’s illogical and silly and for a comic performer of McCarthy’s ability that’s a staggering fail. She was in class with her archaeology professor and they don’t have a single conversation outside the lecture hall. She’s loud and proud yet can’t speak in public and falls over sweating in class. She embarrasses her daughter but it’s… fine? They simultaneously do the walk of shame and she doesn’t comment on her daughter’s sexual activity? Neither mother nor daughter’s reactions ring remotely true. (If this were a properly Freudian piss take they’d have slept with the same guy).  She was cool back in the day but now she wears hair clips and sparkly letter sweaters? Nonsense. And all those girls are so odd. As though every phobia and weirdly concocted affectation of millennials was assembled into some seriously strange students.  And of course Deanna seeks to reassure them. So far so snowflake.  And Christine and her husband have what is frankly an unbelievable marriage. The worst crime? It’s nice! McCarthy was brilliant in Spy – one of the best sendups I’ve ever seen which knew her value and her capacity for sharp delivery and hilarious slapstick and put it into a screamingly funny genre workout. Now? She’s just a Mom. I don’t get it.

Piccadilly Incident (1946)

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Don’t touch me! A brutally effective wartime tearjerker with WREN Diana Fraser (Anna Neagle) meeting cute with Captain Alan Pearson (Michael Wilding) in an air raid and taking refuge in his Piccadilly flat. They fall madly in love and marry because she’s being deployed abroad in 72 hours and they encounter his father, a judge (AE Matthews) in a restaurant and celebrate their hasty wedding.  They share some very sensual scenes but her sojourn in Singapore lasts a lot longer than anticipated – when the city falls and the ship she’s on is wrecked she fetches up on a desert island and is gone three years before being rescued. She is reported missing presumed drowned. Upon her return she finds his flat has been bombed and goes to his country seat where she meets the American woman Alan married in her absence and they have a baby. She watches him performing – in one of several musical segues, one of which is a ballet sequence devised by future director Wendy Toye – and pretends she’s found someone else. They are both injured in a bombing and she makes a deathbed confession as he kisses her … This romance carried out amid bombs and blackouts is bookended with the legal fate of Alan’s illegitimate son making Florence Tranter’s wartime take on Enoch Arden (screenplay by actor/writer Nicholas Phipps) both more realistic and trapped in its time:  nonetheless the accidental pairing of director Herbert Wilcox’s wife Neagle with Wilding (it was supposed to be Rex Harrison) was hugely popular (number 2 at the 1946 UK box office after The Wicked Lady) and they were re-teamed a further five times to make more, beautiful music together. No wonder.  Sob. Watch out for an uncredited Roger Moore at a table.

Sideways (2004)

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Pinot’s a very thin-skinned grape, it doesn’t like light or humidity. Miles (Paul Giamatti) is a wine-loving high school English teacher and wannabe author whose best friend actor Jack (Thomas Haden Church) is getting married next Saturday:  road trip! To California wine country, where he can educate Jack in the mysteries of tasting. Two middle aged men on an emotional journey, one a depressive mourning his marriage, the other a past-it who can’t wait to get it up. Maya (Virginia Madsen) is the college professor’s wife waiting tables who has the best palate for wine of any woman Miles has ever met and Jack fancies her smartass friend and single mom Stephanie (Sandra Oh). There ensue some funny sexcapades (Jack), sad drunk dials (Miles), terror on the golf course and major education in oenology:  sometimes all it takes is the feel of a bunch of grapes in the hand to get the mojo going and a bottle of wine can bring anyone back to life. The marvellous Maya turns out to be the woman who coaxes Miles to his truest expression. Funny, louche, and humane with killer lines and tone-perfect performances from all concerned. Beautifully written, staged and shot, this is the comical male midlife response to Thelma and Louise, minus the violence and police. Mature, full-bodied and earthy, it simply gets better every year. From Rex Pickett’s unpublished novel, adapted by Jim Taylor and director Alexander Payne. Savour it.

I Saw the Light (2015)

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It starts with a marriage in a garage and within the first ten minutes I had switched this off twice. Elizabeth Olsen plays the talentless attention-seeking narcissistic divorced mother Audrey Sheppard, who latches onto Hank Williams (Tom Hiddleston) like a leech and whines and wheedles her way on his radio show alienating his band, his producers and his manager mother Lillie (Cherry Jones). Her vile off-key nasal voice literally drove me to distraction and the OFF button. It may be true to life but boy did it rile me. Sometimes verisimilitude is fine for dialect coaches but not the audience. This manages to boast a sterling performance by Hiddleston in a story which tells you nothing about how this genius’ mind worked. It has no interest in portraying how he got those demons, how his mother drove his father away, how she ran her son’s life, just the external consequences and incomprehensible relationships. A musical biopic with no interest in music? How a man who couldn’t understand notation came to write some of the century’s greatest songs? No context for those significant radio shows? The wider musical landscape? His dealings with his bandmates? The beating Williams took before his strange death in his own car after being treated by a quack for his chronic alcoholism en route to a concert? Nope. That’s all folks. Hiddleston, who sings all the songs himself, and very well, is wasted. What a shame. If you knew nothing about Williams before you will know even less after this. Stick with Your Cheatin’ Heart  (1964) with George Hamilton.  Or prepare to get really irritated indeed. Adapted from the biography by Colin Escott, George Merritt and William MacEwen by writer/director Marc Abraham.

The Awful Truth (1937)

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Leo McCarey was probably the best looking, classiest, coolest director in Hollywood in his time. When smoother-than-thou Cary Grant suffered a crisis of confidence shooting this comedy of remarriage and couldn’t switch roles with Ralph Bellamy he ended up imitating McCarey and inadvertently became the hero of the screwball genre and probably the greatest comic actor of all time – and that’s saying something. And this was the role that shaped his approach to most of his other performances. He and Irene Dunne are both playing around and agree to a divorce – but argue for custody of the fabulous Mr Smith the wire fox terrier played by Skippy aka Asta from The Thin Man series – and who wouldn’t? Bellamy is the hayseed oilman she takes up with, Molly Lamont is the wealthy playgirl Cary fools around with, but they can’t avoid their attraction to each other. This ends with a notorious tease and a black cat. Truly, Leo McCarey had the Lubitsch Touch – better even than Lubitsch himself. Art Deco screwball at its most sophisticated and witty. Adapted from Arthur Richman’s play by Vina Delmar with help from Sidney Buchman and McCarey himself. Sublime.

My Big Fat Greek Wedding 2 (2016)

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The Chicago Greeks are back in a gentle tale of a family that’s way too close and not even in an interesting Godfather-type fashion. They just work in the same family restaurant and live next door to each other along one street and now Oma (Lainie Kazan) and Opa (Michael Constantine) find out they never got legally married and their daughter Toula (Nia Vardalos) realises her own marriage to high school principal Chris-In-The-Morning (John Corbett) is under strain as she attempts to be everything to everyone. And their daughter Paris (Elena Kampouris) wants to go to college far away and there’s her parents’ wedding to arrange and …. zzz  …. Sorry I nodded off there. Very mild, inoffensive stuff, well performed by an entertaining cast, written once again by star Vardalos and directed by Kirk Jones. There are so many family members I lost track of who was who but I think they even dropped in a gay brother? cousin? somewhere towards the end. Covering all the diversity bases I guess in case the Greeks make a protest at the Academy Awards. Fine for a post-prandial snooze at this undemanding point of the holidays.