Adolphe Menjou

  • Morning Glory (1933)

    Morning Glory (1933)

    ByChristian Sauvé Movie Review

    (On Cable TV, January 2021) I like Katharine Hepburn a lot and the debutante roles she often played in the 1930s do have an obvious attraction, but I had a hard time warming up to her performance as a struggling Broadway actor in 1933’s Morning Glory. That’s all the more surprising considering that it was the film that got her a first (of four) Oscars, and is often identified as the film that launched her to superstardom. There’s some metafictional interest in seeing her as a young actress playing a young actress—and doing so in a way that would be impossible to mistake for any other actress. On-screen, she displays a presence quite unlike anyone else—tall, thin, gorgeous and Hepburnesque from beginning to end. But the character she’s playing definitely takes a while to become likable—hopelessly naïve, chatterboxing her way through early scenes, not discernibly talented until late in the film (and even then, only through other people’s reactions). Anyone aware of Hepburn’s true self—or her later roles—can feel free to be bewildered by this girlish character. Adding to the discomfort, the mixture of Hepburn’s distinctive delivery and very mannered 1930s acting style can often ring false, even for those used to both: it’s no surprise if Hepburn was ripe for imitation by comedians of the time, or if she often sounds like the aspiring actress she plays in the latter, better 1935 Broadway comedy Stage Door. There’s an embarrassing drunken scene midway through that can be tough to watch, and the film seems to end too soon at barely 74 minutes. Still, Hepburn does remain the best reason to watch Morning Glory: the film probably would have sunk without a trace if it had starred anyone else. Extra bonus points are awarded to the film for featuring Hepburn with Adolphe Menjou—by the time they’d star together again in 1948’s State of the Union, his friendly testimony to the anti-Communist witch-hunts would drive a big wedge between then.

  • Across the Wide Missouri (1951)

    Across the Wide Missouri (1951)

    ByChristian Sauvé Movie Review

    (On Cable TV, September 2020) One of the main reasons why I dislike westerns as a genre is often its treatment of Native American tribes as nothing more than savage enemies. It took a long time for Hollywood to come around to the idea that there was more to them than violent antagonists, and you can feel the shift beginning with Across the Wide Missouri, which tackles a Dances with Wolves kind of plot in 1950s Technicolor. Featuring none other than Clark Gable as a fur trapper who heads to Blackfoot territory with mercenary intention but is gradually seduced by their way of life, taking up a wife and raising a son. The film steadily shifts from a comedy to more serious drama as it goes on, creating some easy sympathy for its characters before moving on to more serious lessons. I’m not going to pretend that it’s a particularly progressive film by twenty-first century standards: in-narrative, the “romance” between our protagonist and his indigenous wife starts off as a kidnapping-for-ransom scheme, and the perspective resolutely remains that of a white man despite a Metis narration. Out-of-narrative, most characters are played by actors of inappropriate ethnicity, meaning Ricardo Montalban as a Blackfoot warrior and María Elena Marqués as a Native American princess. But it’s the thought that counts for a 1951 film, and Across the Wide Missouri does feel far more humanistic than other westerns. The stunning colour cinematography remains an asset, and I was pleased to see the film making some space for French-Canadian trappers, especially one played by Adolphe Menjou (some of his French is fluent, while some of it is borderline incomprehensible, including a rendition of “Alouette” that manages to mangle every single gendered article). I’ll further note that this is not a western film in the cowboy-and-gun sense as much as it’s one of wilderness and fur trappers—I don’t have to ask myself for long why the second sort is far more interesting to me as a French Canadian. In other words, I got quite a lot more enjoyment out of Across the Wide Missouri than I expected—it’s a surprising Western, and one that does much to reconcile me with at least a subset of the genre.

  • Gold Diggers of 1935 (1935)

    Gold Diggers of 1935 (1935)

    ByChristian Sauvé Movie Review

    (On Cable TV, September 2020) Despite clearly tying itself to Gold Diggers of 1933, the follow-up Gold Diggers of 1935 is a different beast in many ways. The plot is completely different, as could be expected—while a theme of good-natured “gold-diggers” (though they’re rather prefer being called “wealth seekers” or simply “aiming to marry high”) is carried through, the plot itself is different and doesn’t carry any of the characters. More importantly, this film came in right after the imposition of the prurient Hays Code dictating the material that could or could not be shown, and as a result the film feels considerably tamer than its prequel. Which doesn’t entirely invalidate it, of course: Once again, the light comedy material holds the picture long enough until the distinctive Busby Berkeley musical numbers have a chance to wow audiences. While “I’m Going Shopping with You” makes for an early funny song, the film moves in higher gear with “The Words Are in My Heart,” a number that echoes the neon violins of the previous film by undulating movie grand pianos as far as the eye can see. Still, the masterpiece of Gold Diggers of 1935 has to be “Lullaby of Broadway,” which is a self-contained number describing a day in the life of Broadway, with numerous tight stylized shots of people waking up, going to work and going to the shows afterward. It’s quite a good capper to a relatively average film, although those who are interested in 1930s movie musicals will eventually see this one even if for no other reason than to see Berkeley at work. Having such names as Dick Powell, Adolphe Menjou or Gloria Stuart doesn’t hurt, though. There would be two other instalments in the Gold Digger series, but Gold Diggers of 1935, along with the 1933 original, remains the best known of them.

  • The Front Page (1931)

    The Front Page (1931)

    ByChristian Sauvé Movie Review

    (On Cable TV, November 2019) One of the reasons why Hollywood keeps remaking films is that in the best-case scenario, you don’t just have a decent commercial product with built-in brand recognition—you get a new classic that completely replaces the original. In theory, this can happen more easily because the remake can take a look at the original and improve upon its weaknesses. This is certainly not a new thing—Hollywood has been in the remake game since the silent era, and there was a particularly high number of remakes in the 1930 as the studios “upgraded” their silent films to more popular talkies. But I’m blurring lines, here, because if the 1931 version of The Front Page is an adaptation from a Broadway play (one co-written by Ben Hecht, who would become one of Hollywood’s first famous screenwriters), it’s not a remake. On the other hand, it was remade three times, and the first of them—1940’s His Girl Friday—has become an all-time classic eclipsing the 1931 original. (Meanwhile, the 1974 remake of the same name featuring Jack Lemmon and Walter Matthau is a pleasant but not essential diversion, while 1988’s Switching Channel is all but forgotten today.)  Where I’m going with this epoch-spanning consideration of remakes is that considering the existence of His Girl Friday (the best take on the story) and the 1974 version (the most accessible one to modern audiences), only die-hard film historians or curious cinephiles have any reason to go back to the 1931 original. And yet: Had it never been remade, The Front Page would still be remembered as a funny screwball take on the tough-and-tumble world of print journalists at the turn of the 1930s, almost breathtaking in its Pre-Code cynicism. The technical qualities of the film are a bit rough, while Adolphe Menjou and Pat O’Brien are merely fine as the protagonists. It’s not a bad movie! But when put against His Girl Friday, it’s clear that director Lewis Milestone is not working in the same world-class league as Howard Hawks did in his remake, nor are the actors as crackling as they were in the remake. The film will forever work in the shadow of its successor—part of the proof being that the easier way to purchase the film today in its best quality is as an extra in the Criterion Edition of His Girl Friday. Sure, have a look if you’re already familiar with the other films … but see the other ones first if you haven’t.