FSG Film Club

Welcome to the newest addition to my vintage sewing blog, the Feeling Sew Good Film Club! I wanted to continue my classic film reviews but I felt the format of my general reviews was rather limiting. The FSG Film Club has a stronger emphasis on analysis and comparison of films through themes and subject matter.

The first installation to this series will be an analysis of the "romantic drama" genre through the films Come Back Little Sheba (1952) and Autumn Leaves (1956). 

What is Love?

Romance films aren't exactly my forté. To be perfectly honest with you, I tend to shy away from them because my perception of romance in film has been tainted by too many bad Julia Roberts and Richard Gere movies. Romantic films these days tend to be more comedic in nature and often times are resolved with a happy ending. A few weeks ago I had a hankering for some classic cinema and I really wanted to watch a love story. It was still cold and dreary outside, I was cooped up, and I desired something soothing and dreamy to wash away my winter blues. What I ended up with was quite the contrary...

I started by perusing TCM's film catalog in their e-store, and I was surprised to see that there actually wasn't a romance genre available as a search filter. I thought, how odd! Weren't there love stories back then? I'm not sure why they don't have films categorized as romantic, perhaps they put them in with the screwball comedies and the dramas? But I feel they are deserving of their own category, provided love is the central theme of the film. So after scouring the internet I came up with two films that I had only watched partially in the past. In both cases I had only seen the ends of the films but I was enthralled by them. I knew I had to seem them in their entirety. 

Both of these films have been assigned to the "romantic drama" genre. I struggle with that decision, but after watching these movies I began to question how I define the romantic genre. I had to ask myself, what is love? What constitutes romance? Is it ooey gooey touchy feely stuff? Is it characters pouring their hearts out? Self sacrificing? Dreaming dreams? Loving against all odds? My god, what is romance?!

Perhaps romance is too abstract for a precise definition. Perhaps it's too subjective to assign it a meaning that we can all agree upon. If you watch these films, I guarantee that you'll be asking yourself these exact questions. Why? Because it's complicated. Back then the formula for the romantic genre wasn't so clear cut. It wasn't always a happy ending and the characters weren't always likeable. I recall a "romantic comedy" involving Joan Crawford as a character with a slutty fiancé who cheats on her at every opportunity but once she threatens to do the same it's suddenly "unfair". It certainly didn't feel romantic to me, it just left a bad taste in my mouth. So again, you can see how abstract this genre is; as long as love is the central theme, even unrequited bad love fits the label.

 

Romance in Come Back Little Sheba

This is a film I highly recommend you watch. If you've seen What's Eating Virginia Wolf, it's a lot like that only a thousand times better. I'm biased though. I hated Elizabeth Taylor's performance in that movie. It was a horrid grating thing that droned on for too long and was too vulgar and symbolic. Come Back Little Sheba - based on a play - tackles very similar subject matter, only there's far less in-your-face metaphorical shit. The characters in this film aren't super likable, they aren't meant to be, so arm yourself with that knowledge prior to watching the movie.

The film centers around a dysfunctional relationship shared between a married couple, Doc, a recovering alcoholic who works as a chiropractor, and Lola, a layabout "housewife" who neglects her marital duties. The couple invites a young art student, Marie, to rent a room from them, which puts added stress onto their already strained marriage. As the film progresses both Doc and Lola see reflections of themselves through Marie, as Marie attends school and hangs out with this dickbag named Turk. Where Lola reminisces about her glory days of being beautiful and in love, Doc is reminded of all the negative aspects of their youth together.

SPOILERS! If you wish to partake in the film club discussion, please stop here and watch a copy of the movie.

This is a really sad story and I'm sure most of us know people like Lola and Doc. When Lola and Doc were courting, Doc pressured naive Lola into having sex with him, she gets knocked up, they get hitched, he drops out of medical school, she's disowned by her father, the baby dies somehow, Doc blows his inheritance on booze, and Lola's only spark of happiness, the little dog Sheba, has run away. That is a lot of depressing crap. It's a reflection of the times when premarital sex was taboo. Their marriage is a marriage of inconvenience, not based on love but because Doc felt it was his duty to take care of Lola. And of course what would society think of an unwed mother? Heaven forbid...

The film culminates in a breakdown of the marriage between Doc and Lola. Marie's presence exacerbates a rift that had already existed in the relationship. Doc, who had successfully reached a full year of recovery from alcoholism, finally regresses into his addiction when he believes he witnesses Marie throwing her future away for sex. This is where the film strays from the contemporary romance formula; Doc is a violent man when he's inebriated and all that pent up resentment toward Lola is unleashed in murderous rage as he chases her around the house with a knife calling her a fat slut. It's only when the neighbors and the AA people come to her rescue that Doc is dragged away to some kind of mental hospital where he is committed for a few days.

Lola is left at home alone to reflect on the event. She attempts to reach out to her parents for support but after all these years (the couple appears to be in their 50's) Lola is still unwelcomed by her father. Afterwards, Lola speaks of a dream that's heavily laden in symbolism, it sparks a revelation and encourages her to change her ways. I couldn't find a transcript of the dream, but in general it speaks of the couple's history together and a need for Lola to pick up and move on with her life. She does this by cleaning up her act, getting up before noon, making Doc breakfast and redecorating the house. Her transition into her role as the perfect housewife is possibly a way for her to take care of Doc as opposed to simply co-habitating with him.

If you can look past the sexism of expecting all women to be subservient housewives... the "romance" in this story seems to lie in Doc and Lola's ability to overcome the past and live for the future together. During his stay at the hospital Doc calls out for his "pretty Lola", and upon his return he breaks down begging for forgiveness, to which Lola says she could "never leave him". There is an apparent need for one another, but is that considered love? Or is this simply co-dependency? They're both vulnerable in their own ways. Doc is susceptible to relapsing into his addiction, and poor Lola, nobody seems to enjoy her company for no other reason than that she's not a good enough housewife or she's too nosy. It's like they're so dysfunctional they couldn't possibly be with anybody else! I knew a couple like that, they were so scared of being alone that they ended up staying with each other... but is that really love?

I think the most awkward part about this film is that it hits on a personal level for me. I can't say with certainty that my paternal grandmother was pregnant before she was married. I don't pry but I would honestly not be surprised if that were true. The only thing I do know is that they were married in England, and then he went off to Canada, leaving her with my father in her belly. There were long periods where she heard nothing from him, no money or anything, then suddenly he tells her she's going to Canada. I can't remember if he came back to see her, or what. I do remember her saying when she arrived that she was completely alone and had to call up friends - who just by chance, happened to live in that region of Ontario. My nan would've otherwise been stranded, and lord does the thought of that piss me off. He literally plucked her out of England, with no regards to how she felt about it, and dropped her in a new and foreign place, pregnant, with little to no support system. He went off somewhere, we're all pretty sure to cheat on her. It's just awful to think about. You don't want to believe these things but I've heard it plenty of times now. They had a hard relationship. They were always fighting, lots of yelling, they did not seem to get along. They put up a front around the kids but it seldomly lasted. I think we all knew my grandfather struggled with alcoholism. I'm pretty sure it's what killed him in the end. Now, my nan lives alone and her mental health is slowly deteriorating. In a way she misses him but I can never be sure if that's love, ya know? I don't know if she loved him. It's not my place to ask. But as an outsider looking in, I don't think she loved him romantically. Maybe for a small time, but that was it. She just dealt with him. And this is why Come Back Little Sheba is a tough pill for me to swallow, not only because of the sexist stuff but because it's hard enough for me to imagine that my own nan was romantically in love with this person who treated her like shit and made her pay for everything, while he went off and blew his own money on booze. I know her story is only vaguely similar to this film, but there's enough there for me to think no, Doc and Lola aren't in love, they're just putting up with each other.

What are your thoughts on the relationship between Lola and Doc? Is this love or something else entirely? What do you think about the ending?

Next Time:

I will discuss the film Autumn Leaves (1956),  a movie starring Joan Crawford and Cliff Robertson which focusses on the blossoming love between a young soldier and mature typist.

Movie Review: The Cat and the Canary 1939

Title: The Cat and the Canary Year: 1939 Distributed by: Paramount Pictures Directed by: Elliot Nugent Starring: Bobe Hope, Paulette Goodard, Gale Sondergaard, et al. Costume Design by: Edith Head Genre:  Comedy, Horror

It's been awhile since I've reviewed a movie. It's not that I haven't seen any. I've watched plenty of movies over the last couple of months, and I've planned on writing reviews for them, I've just never gotten around to doing them. I either lose track of time or I have to prioritize more important things. I've really wanted to talk about at least one horror film before the winter ends, with good reason; winter is the most dreary and depressing time of year for me. I suffer from SAD (Seasonal Affective Disorder) which means I get drowsy, irritable and unhappy during the winter months. This year I've been very fortunate because we've had plenty of natural sunshine flowing through our windows and brightening up the house, but then I look down and see all that white fluff and it's depressing. What I like to do during these times is watch horror films. It seems odd, but I feel it's an appropriate winter pastime. It helps me to concentrate on something when I struggle with sad feelings and it's perfect for those dark, silent nights. I truly feel that winter enhances the viewing experience. There is definitely a parallel between the atmospheric tension of an old black and white horror film, and the anxiety that I feel about a never ending black and white winter. Funny, but true.

I happen to own a handful of films on DVD but I acquire the majority of what I watch through downloads. I've had The Cat and the Canary sitting on my computer since October! I originally intended to watch it around Halloween, but the holidays got so hectic that I kept putting it off and eventually forgot about it entirely. It wasn't until recently that I rediscovered it. I had just watched One Body Too Many; an apparent spoof based off The Cat and the Canary - I'm merely speculating here, but the former film does utilize the name of the deceased relative, "Cyrus", as well as the exact same portrait of him. At first I wasn't sure if OBTM was intended to be something of a remake. Rehashing storylines was commonplace back then as films would only show in theaters for so long, viewing times were limited, so it would make sense if OBTM was an attempt to cash in on The Cat and the Canary's success. But the more I think about it the more it seems OBTM is just paying homage to The Cat and the Canary. Either way, the timing is awfully ironic, I didn't plan to watch both films together, nor did I know of any connection between the two!

Speaking of remakes, The Cat and the Canary (1939) is a remake of The Cat and the Canary (1927), which is based off of the play of the same name!

The Plot

The film is set in the Louisiana bayous at the residence of Cyrus Norman, a millionaire who died ten years prior and whose will is now going into effect. Mr. Norman's mansion is situated in a remote location, his beneficiaries must travel via an alligator infested swamp just to get there (and there's no going back either, not until morning). The guests clearly feel uneasy at the prospect of staying in the mansion; it's old and creepy, and the caretaker, Miss Lu (Gale Sondergaard), is a bizarre woman who claims to be in tune with the other world. Intent on getting things over with, the guests assemble in the living area and are told the details of the will. The potential heirs are Aunt Susan (Elizabeth Pattesrson), Cicily (Nydia Westman), Fred (John Beal), Charles (Douglass Montgomery), Wally (Bob Hope) and Joyce (Paulette Goodard) - Norman's only surviving blood relative. Not surprisingly, Joyce is the sole beneficiary to Norman's will. It's indicated that should Joyce fall mad within thirty days (madness being an inherent problem in the Norman bloodline) then the inheritance shall be awarded to the next heir. This puts her at considerable risk of any wrong doing from the other potential heirs, who feel bitter sweetly about Joyce's inheritance. It's made all the more complicated by a disturbing letter given to Joyce by Miss Lu, that implies Joyce's good fortune will be short lived. Not to mention that there's also an escaped mad man loose in the bayou who looks like a human cat...

Everyone acts concerned for Joyce's well being, but it's not clear if they are being truthful or if they're after her fortune (and the hidden treasure, naturally). Of all the guests, Wally, Joyce's childhood friend and the film's comic relief, appears to be the most genuine of the men. This is kind of a given as much of the story takes place around the two of them. This is your archetypal haunted mansion kind of film; there's flashing lights, ghostly noises, hidden rooms and trapped doors, being watched, being stalked, murder, mayhem, mystery, so on and so forth. It's a good film and I don't want to give too much away, so go ahead and watch it.

How would you rate this film? ★★★★★ - I loved it!

What did you like about the movie? I like a lot about this movie. First off, the atmosphere was stellar. They did a really good job of set design, it all felt very immersive, like you felt as though you were actually there. When Joyce and Wally go outside, you can almost feel the mugginess of a swampy summer night. I loved the flickering lights and the sounds, I wouldn't say I felt scared, not in the way that we feel scared with horror films today. Instead, I would more describe the feeling of thrill when watching this film. For an older film that in itself is a hell of an accomplishment. To feel thrill at the thought of a spooky mansion, or when Joyce is being violently perused by something lurking in the dark, it's just great. Beyond the atmosphere I found the characters to be fairly interesting, too. Aside from the protagonist, I enjoyed Miss Lu. Gale Sondergaard did an immacualte job of playing a haunting and mystical care taker. I think she was around forty when the film came out, but she was just gorgeous. I found that refreshing. Ordinarily when we see these kinds of murder mystery/haunted house films, there's usually a crochety woman but she's terribly old so we sort of excuse her behavior. But when the woman is younger, and very pretty, it's much more alluring. You wonder why she's so mysterious and withdrawn, and you get the feeling she has a tremendous wisdom about the house and other worldly things.

The genre for this film is a horror comedy, and I think that was entirely successful. Bob Hope was a powerful comedic presence at the time and he really did an excellent job in this film. I felt Westman was good during her parts as well, but unfortunately you don't hear as much from her. Unlike other horror films that attempt to incorporate a comedic element, this film didn't let it get in the way of the thrill, it seemed like the timing was well planned. For example, Hope might dish out a handful of puns and then leave the room, then something suspenseful would take place, and he might joke afterward to take the edge off, but it never interrupted what would otherwise be a scary moment, it just flowed right.

What did you dislike? It's hard to say I dislike something about a movie that I awarded a five star rating. I rarely give a rating that high. I only did it because I felt that in comparison to other films of that time, this film stands out. I would put it with the Universal monster films, and let's be honest, some of those really weren't that great, but it is ranking it quite highly. Although there are a few things I would have liked to see improved, I don't think they hurt the film in any way. What I would have liked to see is more time with the other guests, including Miss Lu. It seemed like some of the characters was seriously underutilized.

There were limited interactions with the group as a whole, it was usually Joyce on her own and then one person would interact with her at a time. This made it so other characters didn't get as much screen time. I felt that if they were given more lines and more depth it could have created greater tension within the group and heightened the suspense. I found that half way through I really didn't consider Cicily or Aunt Susan as a threat and they were shown so infrequently that they might as well have not even existed. The same for Fred, Joyce's other suitor, who happens to be a crusty guy that seems too easily defeated. He competes for her affection against Charles but gives up way too easily. You just want them to break into a fight over her but it never happens. I wanted Aunt Susan to be more consumed by greed so that she could be a potential killer. I wanted more lines from Cicily because she's also comic relief and had a decent comedic chemistry with Wally. The film did have me guessing, but honestly only between like three people and there were a lot more characters in this movie than just that.

Who was your favorite character? Bob Hope's character, Wally. And that's only if I had to choose one, but he certainly stands out to me. I might be a bit biased though, as he reminds me of my fiancé. He has excellent timing with his lines and they really make me laugh, just in his delivery. He's kind of cocky and silly, but I also thought he was hot when he was wooing Joyce. I'm a sucker for being called "baby".

How did you feel about the costume designs? Edith Head was the costume designer for this film, and if you know me you're already aware that I adore her designs. The story takes place over the course of a single night, so there's not much in the way of wardrobe. Joyce has three cute dresses, she starts off with this adorable little gingham number, which I was eyeballing the entire time. The film ends with her in another simple dress, this time floral, but still cute. The real gem, is the dress she's wearing at the height of the film's suspense. I absolutely gush over it. It's a stunning white gown. I couldn't find many stills of it, but she's wearing it in the photo below. It has a kind of beaded/sequined knotted motif on the front yoke. It's gathered near the collar bone and has a plunging neckline. She also wears this adorable little brooch with it.

How many movies are there from this time where the woman in danger is wearing a beautiful white gown? I'm pretty sure White Zombie had it, I know I walked with a Zombie had it, and I know it makes me think of the Bride of Frankenstein. Keep that in mind if you ever plan on making a horror film: give the female lead a sexy, virginal white gown.

Movie Review: Ziegfeld Girl 1941

Title: Ziegfeld Girl Year: 1941 Produced by: MGM Directed by: Robert Z. Leonard Starring: Judy Garland, Hedy Lamarr, James Stewart and Lana Turner Costume Design by: Adrian Genre:  Romance, Drama