Noir Dame Blog

Retro-inspired culture and media – audio drama, classic TV and film

My buddy on Twitter, the effervescent @filmclassics, pointed out the dearth of women in TCM’s marathon of movies this Memorial Day weekend. As a devoted war picture fan, I was disappointed to see that only The Best Years of Our Lives (a tremendously beautiful picture airing Saturday night) features prominent roles by women. This is quite similar to the Memorial Day features commonly shown by AMC in the past, before their recent reboot. Now, on the one hand, there are a lot of women who love, love classic movies and who have supported TCM throughout its illustrious career, and they may feel there’s no one that looks like them on the screen.

The more egregious slight, however, is that almost half a million women served in World War II alone, thousands more were nursing on the battlefield or nearby during Korea and Vietnam, and we have thousands of women who have returned from serving in Afghanistan and Iraq, alongside their brother soldiers. And to bowdlerize Sojourner Truth, ain’t they vets? Here are some excellent films that show women’s contribution to WWI and WWII, none of which, I’m sorry to say, aired on TCM this weekend or on this Memorial Day.

I do believe @filmclassics, who loves Clara Bow (and who doesn’t), would have been happy to see the amazing Wings, the silent from 1927, whose amazing air stunts, set in WWI’s Western Front, are still thrilling to watch. Plus, it has a very young Gary Cooper, and Buddy Rogers was never more handsome. Call it the “Band of Brothers” effect: a strong cast of male leads who happen to be gorgeous will have the gals lining up to watch the roughest war film, as well as the boys!

Two of the best war pictures about women’s contribution in WWII were set in the Pacific theatre, where over five thousand women served. During World War II, brave military nurses became national heroes: over 200 nurses died in the Army alone. Five nurses were captured on Guam after Pearl Harbor, repatriated after several months. Eighty Army and Navy nurses were able to escape when the Philippines fell to the Japanese. But an equal number became known as the “Angels of Bataan”; after working to save the lives of fighting men (and to stay alive themselves, under bombardment), more than eighty nurses, both Army and Navy, became POWs. They served as nurses throughout the war, operating a make-shift hospital even while being held prisoner, even while starving on bare-bones rations, each woman being offered less than 1000 calories a day. Fortunately, they do not appear to have been tortured, and all survived to see freedom once more.

So Proudly We Hail is an excellent war picture about these nurses, boasting three great performances. Claudette Colbert is the mature leader of her friends and colleagues; Paulette Godard plays her best friend, a love-em-and-leave-em type who shows an unexpected strength of character. And finally Veronica Lake gives one of the best, if not the best, performance of her career, as a depressed nurse who “isn’t there to make friends”, as we see here:

Cry Havoc is a solid picture that also talks of the Angels of Bataan: like MGM’s pre-wartime The Women, there is an embarrassment of riches in this marvelous, almost all female cast: Margaret Sullavan is terrific as a stolid, long-suffering leader; Ann Sothern is a naive, brassy nurse who constantly questions Sullavan’s authority; the always fabulous Joan Blondell provides comic relief, with excellent turns by Fay Bainter, Heather Angel, and Ella Raines. Sadly, no trailer appears available currently; TCM’s copy is down.

They Were Expendable,a fine, fine war picture by John Ford, features a key role for Donna Reed, as a nurse. It is implied she will be one of the Angels.

War Nurse is an early talkie which is a bit clunky, but boasts some excellent performances, namely from Anita Page and June Walker. A very, very young Robert Montgomery costars, as does tragic silent star Marie Prevost. There are some moments of true pathos in this 1930 film about World War I France. An interesting counterpart to the earlier silent classic The Big Parade.

Never Wave at a WAC,is silly fun from Rosalind Russell as a society dame turned soldier gal.

Keep Your Powder Dry, more fluff with Lana Turner. Eh… did I mention what a great film Cry Havoc was?

I Was a Male War Bride is a hilarious Howard Hawks piece, with the amazing duo of Ann Sheridan and Cary Grant starring as an American WAC and French officer respectively, who have fun bickering. It gives you sympathy as well for the experience of many wartime brides who emigrated to America, but mostly – you just laugh. This is a great date night movie!

AMC, who cuts up their films, is showing Courage Under Fire, which if you remember, stars Denzel Washington as an investigator exploring whether a woman soldier (Meg Ryan) deserves the first combat Medal of Honor given to a woman. Except, uh, considering what happens to her, and the truth we learn about Lou Diamond Phillips and Matt Damon’s characters …well, a war film it may be, and I personally would call it an intriguing one, was this meditation on loyalty and authority the best choice to honor the nation’s debt on Memorial Day? Interesting fact: the first woman to receive a Medal of Honor was a combat surgeon, Dr. Mary E. Walker… who received it in 1865, having saved lives during the Civil War. It was rescinded some years later, rumors are, because she was politically incorrect – a suffragette. It was reinstated completely by President Jimmy Carter in 1977.

I also think it would have been nice for TCM to show one more homefront picture to honor the families of our armed forces. These families serve, too, and their homefront efforts free up soldiers, sailors and marines to do their jobs. Some of them receive the dreaded knock on the door, the visitor no one wants; for them, as well as for the buddies and fellows-at-arms of the fallen, we too can show some support on Memorial Day. It would have been the height of class for TCM to show us The Fighting Sullivans, about the family that gave all – and I do mean all – of their sons during WWII. And another homefront film like Since You Went Away, The White Cliffs of Dover, or even Tender Comrade, which is interesting for its postwar controversy (Ginger Rogers’ mother felt that a group of women pooling their resources together was socialistic; writer Dalton Trumbo and director Edward Dmytryk of course, would later be in the Hollywood Ten), and according to this blog, the film is more of a fascinating political relic than a solid story.

Some beautiful stills from Since You Went Away here:

The trailer for The Fighting Sullivans:

The White Cliffs of Dover, which spans both World War I and the start of World War II.

As a precursor to the Memorial Day weekend, they could have also shown a foreign film the night before like The Cranes Are Flying or the equally beautiful The Grand Illusion, the “one film worth saving”, according to Orson Welles. The relatively recent Memphis Belle fictional film, after all, chose at its end to honor all the veterans of every nation, and it couldn’t hurt to show the broader canvas of the French and Russian experiences during World War I and World War II respectively. Indeed, why not show the British-set, American-made drama Mrs. Miniver, a film that got the United States ready to fight in WWII Europe, which dramatically shows the rescue at Dunkirk?

The Cranes Are Flying, gorgeously shot by cinematographer Sergey Urusevsky:

La Grande Illusion, Jean Renoir’s masterpiece (look closely, Casablanca fans!):

Mrs. Miniver:

Here’s hoping TCM adds a film or two to remember our fighting women, and the bravery of folks on the homefront, next Memorial Day.

Anita Page, a popular star whose performances bridged the silent era and early talkies, passed away on Saturday. She is best known today for appearing in Our Dancing Daughters, as a prototype “Mean Girl” competing with pious dancer Joan Crawford; and for her turn in Hollywood’s first real musical, The Broadway Melody.

The Washington Post has written a nice obituary – one that can be appreciated even by non-silent fans. Page was not only very pretty, but had a vulnerability that made her so interesting to watch.

The Post describes War Nurse as one of her lesser films, but it’s a precode worth catching when it next airs on TCM. Page is quite affecting in a role that offers a real change of pacefrom her parts in Our Dancing Daughters and its two “sorta-sequels”. She plays a naive young girl who volunteers in WWI France and joins a motley crew of young and middle-aged matrons.

So far, TCM (Turner Classic Movies) isn’t playing one of Page’s films until November, and then one of her later pieces from 1962 – The Runaway. Hopefully they’ll change the schedule to feature The Broadway Melody and Our Dancing Daughters.

Meanwhile, be sure to check out the two part interview regarding Page, with Allan Ellenberger, for the Alternative Film Guide.

Another talent, writer Tad Mosel, has also passed on.

In addition to his Pulitzer Prize-winning adaptation of All the Way Home, from James Agee’s book A Death in the Family, Mosel had written for Playhouse 90, Studio One, and other live television shows; like Page, who survived almost all her comrades in silent film, Mosel had been one of the few surviving writers from TV’s Golden Age.

He explains how wide open early television was for writers, compared to the stage and screen, in his thirteen part interview for the Academy of TV Arts and Science’s Archive of American Television.

Intrigued by the resurgent interest in “pre-code” Hollywood films? If you’ve got access to the TCM cable channel, tonight’s your night. TCM is premiering the new documentary “Thou Shalt Not Sin,” which offers provocative clips from classic Hollywood’s raciest films:

So-called “pre-Code” movies remain among the most vital films America has ever produced. But why were these films so much more sexually free and socially critical than what came before or after? Who created the Code, and what did it forbid? And why did it finally become a Hollywood commandment? The answer is a fascinating mix of scandal, big business and social history – a unique collision of events that resulted in one of the most dynamic – and delicious – periods in Hollywood history.

The documentary airs at 9:30 PM Eastern tonight, and is repeated again at 2:30 AM. The documentary bookends three juicy pre-codes starring Ann Dvorak, Bette Davis, pre-code stalwart Barbara Stanwyck, Joan Blondell, and Ruth Chatterton: Night Nurse, Three on a Match, and Female,.

If you’re unconvinced about these early 1930s films, try Night Nurse or Three on a Match first. In the first, Stanwyck and Blondell are by turns tough and tender, as two women who stumble upon a child abuse case. Night Nurse manages to exude sleaziness, heart, and a cheerful strain of dark humor.

Blondell, one of the hardest working actresses at Warner Brothers, also appears in the second film, a tale of three friends and their divergent paths in life. Blondell is solid as always; Bette Davis takes an early (and peroxided) back seat — it’s Ann Dvorak who’s haunting, as a society wife turned junkie. As with her supporting role in Scarface, when this flick ends, you’ll wish Dvorak had done more in pictures.

Female is also a first, showing Chatterton as the hard-charging, bed-hopping CEO of an auto manufacturer – unafraid to toss her lovers into the far-flung Canadian office, when she’s finished with them.

With such meaty films like this, it’s hard to believe that seventy years later, Hollywood actresses would be searching for good roles!