Let’s Smile with Doris! Romance on the High Seas


Doris Day. THIS Icon. I’m a fan. She’s not my number one favourite actress, but she certainly is my favourite singer (along with Madonna). Doris makes me happy. She herself said “I like joy; I want to be joyous; I want to have fun on the set; I want to wear beautiful clothes and look pretty. I want to smile and I want to make people laugh. And that’s all I want. I like it. I like being happy. I want to make others happy.” So, as I’ve said it many times, when you have the blues, Doris Day is the best cure.


You can listen to her songs or watch one of her films. One of the most feel good and entertaining one is Romance on the High Seas directed by Michael Curtiz in 1948 (believe me, that’s very different from Casablanca or Mildred Pierce, which proves the director capability of direction many genres). Romance on the High Seas was Doris Day’s first film (she had previously appeared in Lady Be Good in 1941, but wasn’t credited). What a fun way for her to start!

A lot happens in Romance on the High Seas, but, “briefly”, it goes like this: Elvira Kent  (Janis Paige) and Michael Kent (Don DeFore) are married. However, she thinks he cheated on her and visa versa, and that’s the case until the day they got married. Michael previously had to cancel two of their wedding anniversary voyages, pretending this was due to “business”. He also has to cancel the third one. Elvira, who thinks it’s only an excuse to see his mistress has a plan: she’ll make him think that she’ll make the trip alone, but she won’t. She’ll stay in New-York to spy on him. How will she do that? In a travel agency, she met Georgia Garrett (Doris Day), a young a sparkling singer who dreams of travelling the world, but can’t as she isn’t very rich. On the same evening, she goes to the cabaret where Georgia sings with her uncle Lazlo Lazlo (S.Z. Sakall) and asks her if she’d like to make the trip to South America, but under her name. Georgia accepts without hesitations.


Later, Michael tells to Elvira that he will go with her to South America once he’ll be done with his business. Of course, that wasn’t planned and Elvira insist that she wants to live right now and make the trip alone. Michael is suspicious and decides to enrol a detective to follow her during the trip to discover if she cheats on him or not. Peter Virgil (Jack Carson) is the chosen one. Of course, Peter will make  acquaintance with Georgia Garret (thinking she’s Mrs. Kent) and things will get more and more complicated when he’ll fall in love with her and when her friend, the composer Oscar Farrar (Oscar Levant), will appear on the boat in South America as he also thinks all this is very suspicious.


What a rocambolesque story this is! Yes, a lot happens and, believe me, from the beginning until the end, you can’t get bored. Romance on the High Seas first quality is its colours. It’s a very colourful film, narratively and visually. All the film’s composition (the actors, the music, the sets, etc.) makes it complex in the good way. It’s a real carnival. The cinematography was conducted by Elwood Bredell who knew perfectly well how to use the glory of Technicolor. So, once more, how can you be depressed after having been exposed to such a variety of colours!


The entertainment in this film is not only due to its story, but also to its musical numbers. This film makes us discover Doris Day’s beautiful voice and some great songs. It’s Magic became a hit and was nominated for a Best Song Oscar. The film itself was nominated for Best Score. Doris Day sings It’s Magic twice in the film and each performance is unforgettable. I’ll go with the first version, as a bunch of emotions is transmitted to us. That’s when we realize Peter has really fallen in love with her. This moment is one of my favourite in the film. It makes your heart beat and we’re so fond of Peter’s sensibility and tenderness to Georgia’s beautiful voice. Just the way he looks at her makes this a pure instant of magic (like the song). I always applaud very fast with screams of joy during that scene (it’s SO CUTE, you know). I have an old soul, but I guess I must have a romantic one too!

The first song sung by Doris in the film is “I’m in Love”. We’ll take a look at it too as it’s such a fun moment. I think it perfectly reveals the character’s joie de vivre. Her dynamism is simply contagious!

I think she’s in love…

I’ll wrap up on Doris’ song with this last one : “It’s You or No One”. I chose it because it’s the firs time in the film she reveals to Peter her singing talent, and also because I love the little boy band that accompanies her. Their vocals are so lovely.

Doris sings most of the songs, but we have the chance to hear Jack Carson singing. He’s not really a singer, but this musical number is presented in an humorous way so it becomes a very appreciated moment in the film.

I’ve talked a lot about the songs in Romance on the High Seas (it’s a musical after all!), but I also have to explore the cast in depth.

This is the film that made me discover Jack Carson. I had previously seen him in some other ones, but never really noticed him before I watched Romances on the High Seas. I can officially say that he is one of my favourite character actors. What I like the most about him is his great chemistry with Doris Day and also his facial expressions. Those are just so unforgettable and make me laugh out loud every time. One of the best examples is [spoiler] when he’s on the plane going back to New-York but realize he has arrived to Rio instead. A very surprised look! [end of spoiler]


Doris Day too has some great facial expressions in this film. My favourite one is when she sees Oscar arriving on the boat in South America. Of course, she runs away. As I previously mentioned it, that was Doris Day’s first film. She was able to prove us that she wasn’t only a great singer, but that she had a great acting potential. She certainly has a contagious smile as Georgia Garrett and a great sense of comedy. As it was her first role, it was hard to say at the time if she could excel in other genres, but we later got the proof she could thanks to films like The Man Who Knew Too Much. About her performance in her first film, the magazine Variety said “A charming and talented newcomer… Miss Day is a winner, any way you look at her!” So, she was on the right track!


Romances on the High Seas also made me discover S.Z. Sakall, probably the most hilarious performer in this film. As uncle Lazlo Lazlo, he never seems to be there or say things at the right moment, which makes his character even funnier even more endearing. His mimics, his voices, his lines makes a very well composed character out of him. There’s a moment in the film where I always burst into laughter and it involves S.Z Sakall. It’s very simple: [spoiler] Michael is in Rio, looking for his wife, but he’s not sure the reception gave him the right room number: first time he gets here, Georgia is in the room, second time, it’s Oscar. He finally meets his wife on the third time. But he thinks she has cheated on him, so he opens the wardrobe and Oscar comes out of it first, and then Uncle Lazlo! Surprise! “Uncle Lazlo, what are you doing in the wardrobe??!” [end of spoiler]. Really, I love this moment.


Oscar Levant’s presence in the film is very interesting and adds a lot to its musical side. As we know, he  wasn’t only an actor, but also a pianist and a composer. Doris got the voice, he got the instrument. As much as Jack Carson and Doris have a great acting chemistry, Oscar and Doris have a great musical one.


Janis Paige and Don DeFore are interesting choices for the role of Mr and Mrs Kent. They do the job well, but their performances are not as much thrilling as the ones I’ve previously mentioned. We also have to notice the presence of Eric Blore as the ship doctor (who is sicker that his patient). A very smile part, but how can we forget him? That accent!

Annex - Paige, Janis_01don-defore-3-sizedEric Blore

Of course, who says comedy says funny lines. The film is truffled by them from the beginning to the end. I talked about some of my favourite moments, now let’s take a look at some of my favourite quotes:

1- Michael Kent: Are you a good detective?

Peter Virgil: Naturally, why?

Michael Kent: Where did you do your traning?

Peter Virgil: In the army. Intelligence G2.

Michael Kent: Well how are you at the job?

Peter Virgil: We won the war didn’t we?

2- Georgia Garrett : Oscar! How did you get on this boat?

Oscar: I lied about my age.

3- Rio Hotel Clerk: What if there IS blood shed in 314? We’re going to do the whole third floor over anyhow.

4- Peter Virgil : There’s something I just gotta do, I cant help myself.

Georgia Garrett [thinking he’s going to kiss her]: Well if you cant help yourself, you can’t help yourself.

Peter Virgil: I gotta find the cable-gram.

5- Georgia Garrett [trying to impersonate Elvira Kent]: À votre santé!



The more I see this film, the more I love it. I know some people are not too fond of musicals (especially people from MY generation), but I think this one is a good idea for everybody. You’re entertained from the beginning until the end and there aren’t too many songs. Romance on the High Seas is simply a great boost. After watching it, I’m so joyful and want to sing and dance like Doris, even if it’s midnight and everybody is sleeping in the house except me. It’s a film that makes you want to do a cruise as well and live an exciting adventure!



Joan and Fritz


Fritz Lang was probably one of the most gifted movie directors the world ever had; first in Germany with masterpieces such as Metropolis and M, and then in the USA with Fury, The Woman in the Window, Clash by Night, etc. Lang left Europa and Nazism in 1934 to continue a brilliant career in the USA. Aside from his fine work as a director, we remember Fritz Lang for his four collaborations with Joan Bennett, who, thanks to him, became a queen of Films Noir.

The talented blogger Theresa Brown (Cinemaven’s Essays From the Couch) is hosting, today and tomorrow, The Classic Symbiotic Collaborations blogathon where the participants have to talk about a movie director and a movie stars who were known for working together (more than once, of course). So, I had to go with Joan Bennett and Fritz Lang. The reason why I picked those two is simple: I wanted to see more Joan Bennett’s films and more Fritz Lang’s films. Just that. Honestly, I don’t regret my choice, not even a little!


In an interviewed with Lang conducted by Peter Bogdanovich (Fritz Lang in America), the German director lets us know how wonderful it was to work with Joan Bennett. And, according to him, she obviously felt the same about working with him. They were friends, perhaps lovers and certainly great collaborators. Fritz Lang was known for his love of women, but unlike many men of this period, he considered them to be equals and hated to see them treated as an inferior sex. (Fritz Lang, a feminism symbol??). Before working on Lang’s film, Joan Bennett had already proved us her talent in films such as Little Women, and even was one of the four final choices for the role of Scarlet O’Hara in Gone With the Wind, along with Vivien Leigh, Jean Arthur and Paulette Goddard. Her screen test impressed David O. Selznick, but apparently not as much as Vivien Leigh’s one.

Happily, Joan had other occasions to prove her talent and Fritz Lang has to be praised for that. To his friend, he gives the wonderful chance to prove how a versatile actress she could be.

They first worked together for the film Man Hunt (1941) (also starring Walter Pidgeon and George Sanders), an exciting thriller where Walter Pidgeon as Alan Thorndyke has to escape Nazis after having been wrongly suspected of an assassination attempt on Adolf Hitler. Back in London, he still his followed by some Gestapo’s agents. He meets Jerry Stroke (Bennett) a young woman who will help him.


Peter Bogdanovich notices how touching was Joan Bennett’s character in this film. He’s right. We can’t help being very fond of her when we watch this film as much as we would like to enter in the television and console her when she’s crying. For her first collaboration with Lang, Joan Bennett was able to prove us that she could play a sensible and endearing woman. Her character can certainly be one of our favourites. In the film, Joan is supposed to be a prostitute, but obviously because of the Code Hay’s severity, this needed no to be guessed by the audience. So, a sewing machine was placed in Jerry’s room to let us believe that she was a simple seamstress. Something completely ridiculous according to Lang.


For her second collaboration with Lang, Joan played the role of Alice Reed, a character far different from Man Hunt‘s one, but always extremely interesting. The Woman in the Window, directed in 1944, was her first co-acting collaboration with Edward G. Robinson under the direction of Fritz Lang.

The film tells the story of Richard Wanley (Robinson), a psychology professor who is fascinated by a woman’s portrait exposed in a window next to the library where he often meet his friends and colleagues. One evening, as he is observing the portrait, a  smiling woman appears. She is the portrait’s model. Her name is Alice Reed. She invites him to her place for a drink. At the middle of their conversation, an apparently very jealous man runs into the room and tries to kill Richard. To help her new friend, Alice gives him a pair of scissors that were lying on the floor and he kills the crazy man with it. Instead of calling the police and explaining that all this was legitimate defence, Richard decides to hide the corpse. Alice is worried enough.


For The Woman in the Window, Fritz Lang presents us a rather ambiguous character portrayed by Bennett. We can’t really know what to think of her. Is she a true Film Noir’ femme fatal who will lead the man to his loss? She can’t really denounce him to the police as she is a partner in crime, but she can always “leave him alone with his problem”… The complexity of this character makes the film even more thrilling that it already is.


Joan Bennett’s third collaboration with Fritz Lang is perhaps my favourite one. Released in 1945, Scarlet Street was probably the best way to prove Joan’s acting versality. Here, Fritz Lang made of her one of the best femme fatale examples of Film Noir history. Joan once was the sweet Jerry Stroke, she’s now the manipulative Kitty March.

Scarlet Street is a remake of the french film La Chienne (1931), directed by Jean Renoir. According to IMDB, that was Fritz Lang’s personal favourite film of his own. I honestly think it’s one of his most accomplished ones. Of course, Metropolis is visually impressive, but as one of my teachers made us notice, it’s not one of his more interesting narratively. There’s much more to analyse in Scarlet Street, especially concerning Joan Bennett’s character.


Scarlet Street tells the story of Christopher “Chris” Cross (Edward G. Robinson), a cashier, who, on a night, rescue a poor lady (Bennett) who is assaulted by a man who, we’ll later know is Johnny (Dan Duryea) her boyfriend. Chris and the lady, named Kitty March, (get acquainted. In his free time, Chris paints. Kitty believes he is a professional painter and that he wins a lot of money out of it. Chris, who doesn’t want to disappoint the lady he has fallen in love with doesn’t deny it. March decides to set up his painter’s workshop in Kitty’s apartment. Johnny, obsessed with money, sells the painting under Kitty’s name. Kitty, who obviously has no tender feeling for Chris, becomes a accomplice of the case and, when Chris will discover her true nature, the result will be disastrous.


Joan embodies a perfectly mean woman in this film. She seduces and manipulates for money. According to me, this is one of Joan’s best performances. She is convincing and was perfectly casted for the role. The cruelty of her characters is simply amazing. Except Joan’s brilliant acting in this film, we can’t not mention her radiant beauty and the magnificent gowns she wears. Those were designed by Travis Banton who also dressed her for Man Hunt and Secret Beyond the Door.

This leads us to Joan’s last collaboration with her friend Fritz Lang. Released in 1948, Secret Beyond the Door is the most psychologically complex films among the four. When we watch it, we can’t help noticing the similarities with Hitchcock’s Rebecca and Bluebeard. Before I started working on this blogathon, this was the only Bennett-Lang’s films I had seen. I re-watched it with my mother and she loved it.

In Secret Beyond the Door, Joan Bennett plays the role of Celia. She is engaged to an old friend. During a vacation, in Mexico, she meets a handsome and mysterious man, Mark Lamphere (Michael Redgrave), and falls in love with him. They finally marry, but she then realizes she barely knows him. They move to his big manor where he leaves with his sister, Caroline (Anne Revere); his son, David (Mark Dennis); his secretary, Miss Robey (Barbara O’Neil) and some domestics. Celia is, of course, surprised to discover Mark has a son from a previous marriage (her last wife died) and begins to understand how strange (not in the right way) and distant her new husband his. Mark as a quite peculiar hobby: he collects rooms. During a party, he makes a guided tour of the rooms for the guesses. This turns out to be very creepy when we discovered that a murder was committed in each one of them. However, one of the rooms is locked and Mark refuses to show it to the guesses. That’s mysterious. What’s hidden behind this door? Of course, Celia has all intentions to discover it, to her own risks.


Secret Beyond the Door was the beginning of something for Michael Redgrave as it was his first American film, but, sadly, the end of something for Joan and Fritz as it was their last collaboration together. Unfortunately, we can’t say this was a beautiful ending. People obviously didn’t “get” the film and it was a complete flop at the box office. According to IMDB, tension between Lang and Bennett was obvious during the shooting of the film and Bennett said of the film that it was a  “an unqualified disaster”.

An happy moment on the set

Of course, today we have to watch this a certain distance. I don’t think it’s indeed Fritz Lang’s or Joan Bennett’s best film, but it remains very relevant and quite worth watching one. Here, Joan Bennett’s plays a victim. What’s really interesting about her character is that we  hear her thoughts, so we’re able to understand her feelings and intentions. She is not a mystery to us. Michael Redgrave as Mark Lamphere is. Joan remains convincing and still is able to prove us that she could play many types of characters.

Joan Bennettt as Celia Lamphere in SECRET BEYOND THE DOOR  (1948, Fritz Lang).

But, if we forget the disaster caused by this film, I can positively say that, among the four films we’ve discussed today, Secret Beyond the Door is the most stunning visually. Here are some images to prove it:

Fritz Lang and Joan Bennett never worked together again after making Secret Beyond the Door. At the end of Fritz’s days, Joan said “Tell Fritz how much I still love him”. The message was given and Joan was told that he was moved by it. Fritz Lang died in 1976 at the age of 85.

Out of all directors Joan worked for, Fritz Lang certainly was the one who knew perfectly how to make her a star of the silver screen, and discovered the best in her. I can positively say that Fritz Lang is now one of my favourite movie directors and that Joan Bennett is one of my favourite actresses. It was a real pleasure for me to discover their work, thanks to this blogathon, and want to thank Theresa for having this great idea!

Classic Symbiotic Collaborations


Announcement: The Golden Boy Blogathon!


One of the best cinematic discoveries I made through this blog is a wonderful actor (with the most irresistible smile ever) named William Holden. Last year, I did a marathon and watched a ton of his film. With a total of 22 films viewed, I can officially say that he is the actor from whom I have seen the most of his work.

I can’t believe that, few years ago, I didn’t care for him! He now has the silver medal and belong to the second place in my top actors rating.

Because this handsome man was such a great and appreciated actor, and because I absolutely adore him, I couldn’t resist creating a blogathon in his honour. “Another Blogathon Virginie?” Yes, another one! Because they are so fun to host and that’s some of the best way to celebrate our love of films and movie stars. I hope you’ll be many to participate! 🙂

The event will take place from April 15 to April 17 (on Bill’s 98th birthday), 2016. Of course, if you want to participate, there are some friendly rules to respect:

1- Choose your subject. It can be anything related to William Holden. If you decided to review a film, I’d ask you “no duplicates please”. If you choose a subject that seems too similar to another one, I might ask you to change it. William Holden is a man of great diversity! 😉 (And yes, you can write two entries).

2- You can submit your subject by commenting on this post or via Twitter (@Ginnie_SP) or you can send me a mail at virginie.pronovost@gmail.com, or you can always visit my Facebook page The Wonderful World of Cinema. For your submission, give me your subject, the name of your blog and the URL.

2- Once your choice is confirmed, promote the blogathon! I’ve created some banners that you can use on your blog to promote the event. Ask your friends to join, share it on Facebook, Twitter, etc.! Even if you can’t participate, you can help us promoting it! (And I’d be very grateful). If you use twitter, you can use this hashtag: #goldenboyblogathon

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3- On the blogathon’s days, you won’t have a day allowed. As long as you publish your post on April 15, 16 or 17, 2016, that would be fine for me.

4- On April 15, I will upload a new post where you would submit your entries. You can also send them to me on twitter, email, etc.

5- Of course, have fun! And don’t hesitate to ask questions! 🙂

Here are the blog’s names with their subject:

The Wonderful World of CinemaWilliam Holden Tribute

Ramblings of a CinephileSunset Boulevard

Defiant Success William Holden’s Oscar Nominations

A Shroud of ThoughtsNetwork

In the Good Old Days of Classic Hollywood – Love is a Many Splendored Thing

Simoa Writes – The Bridge on the River Kwai

Moon in GeminiI Love Lucy

The Flapper Dame Sabrina

The Cinematic Frontier The Wild Bunch

Pop Culture PunditPicnic

Back to Golden Days Stalag 17

Cinema Cities Born Yesterday

Wolffian Classics Movies DigestGolden Boy

Pop Culture ReverieTexas

Old Hollywood FilmsThe Bridges at Toko-Ri

Critica RetroForever Female

Flickin’ OutWilliam Holden’s Final Years

Crimson Kimono Holden in the Orient

Serendipitous Anachronism Damien: Omen II 

LA ExplorerUnion Station

Thoughts All SortsThe Revengers

Movie ClassicsOur Town

Silver ScenesDear Ruth 

The Girl with the White Parasol The Counterfeit Traitor

Cinema CrossroadsThe Moon is Blue

Flickers in Time The Proud and the Profane

Meredy.com Classic Movies/TV/Celebrities Apartment for Peggy

DavidAConrad.comThe Key

CineMaven’s Essays from the CouchMeet the Stewarts


Let’s make William Holden proud of us! 😀


The “Remembering Barbara Stanwyck Blogathon”: Red Salute


My friend Crystal from In the Good Old Days of Classic Hollywood is a big fan of Barbara Stanwyck. So, that’s not without reason that she decided to host a blogathon in her honour. She is also a favourite of mine and the more I see her, the more I appreciate her. So, of course, it’s an honour for me to participate to this event. The movie I’ve chosen to review is not Stanwyck’s most well-known on, but it certainly is one of the nicest. Ladies and gentlemen, I present you Red Salute!

Red Salute is a comedy directed in 1935 by Sidney Lanfield. The cast is composed of Barbara Stanwyck, Robert Young, Hardie Albright, Purnell Pratt, Cliff Edwards, Ruth Donnelly and Nella Walker. If this film is a comedy, we can also call it a road movie.

Before I’ll give you my feedback about this film, you might like to know what it’s all about.

Young Drue Van Allen (Barbara Stanwyck) is engaged to Arner (Hardie Albright), something her father, General Van Allen (Purnell Pratt) doesn’t approve as he is a communist. One day, Drue is sent by force to Mexico with her aunt Betty (Nella Walker). Her father wants her to forget Arner. Once here, she is determined to leave Mexico and go back to Washington where she belongs. She then runs away. In a bar, she meets Jeff (Robert Young), a rowdy soldier. He is in trouble because he has been involved in a fight. The barman seems to suspect him of something, so he runs away once more by stealing a car. Drue follows him and jumps in the car against his will. This might be a good occasion for her to return to Washington. Drue makes realize to Jeff that he’s in deep trouble has he stole a government car and desert the army. And these won’t be the last ones. The two will travel together, Drue determined to join Washington and Jeff determined to escape the police. However, they don’t really get along with each others.


It’s not without reason that this film is named Red Salute. One of its main subjects is Communism (remember, the colour red is a symbol of Communism). As I was informed on Wikipedia, it’s also known as one of the first anti-communist films. Remember, they were considered “enemies” back then in the USA. In its trivia section, The Internet Movie Database gives us some information about the reception of the film:

“When this film premiered at the Rivoli Theater in New York in 1935, the leftist, anti-war National Students League stood outside leading a boycott. Inside the theater, there were fist fights between students and angry anti-communists, resulting in the arrest of 18 people.” (IMDB)

Aside from its ideological point of view, Red Salute remains a very pleasant film to watch. I must say, it’s one of my favourite Barbara Stanwyck’s role. She’s young, pretty and has both a great sense of comedy and drama. Because there are some “sad” parts in the film. When she starred in Red Salute, Barbara Stanwyck was about 28. She had already proved her great acting skills in such movies as Lady of Leisure (1930) or Baby Face (1933). The reason why Barbara Stanwyck is one of my favourite actresses is because she’s so natural on screen. She doesn’t act, she’s just being. And despite that, she succeeds to transmit us the wanted emotions. I also admire her strength. I haven’t seen all her films, but she often plays a woman who has her own convictions and who is determined to have what she wants and not be governed by men. One of the best examples in this film is when Robert Young (Jeff) orders her to boil eggs and she categorically refuses because she doesn’t like to have orders given without a “can you please?”. She’s a real symbol of feminism. Go Babs!

Barbara Stanwyck also has an excellent timing. She always says the right thing at the right moment and that accentuates the “awesomest” of her character. I just adore when she calls Jeff “uncle Sam” as a joke. (That makes me think, the film’s original title was Her uncle Sam. It was also know as Runaway Daughter or Her Enlisted Man) We immediately become fond of her character and of Barbara herself from the beginning until the end of the film.


With Robert Young, she makes a very interesting pairing. They know how to be enemies, but eventually to appreciate each others. Because, if we could find a moral to this film, it would be “You can’t really judge a person until you really get to know her.”

This film could also be named Red Salute because Jeff’s nickname to Drue is “Red” This was probably due to Barbara Stanwyck dyed red hair (which is hard to see in the film, as it is in black and white).

Of course, the film includes a bunch of other interesting actors such as Robert Young in the male leading role. In this film, he is quite amusing (not always on his purpose). He often has 1 million’s facial expressions, just like the one when he see a “beautiful beer” in the bar.


Purnell Pratt is perfect as General Van Allen. He had to play a serious father, a real chief and he is quite convincing.


I don’t think there’s much interesting stuff to say about Hardie Albright, so we’ll directly move to the funniest duo of the film: Rooney (Cliff Edwards) and Mrs Rooney (Ruth Donnelly). She is a very severe wife who always tells her husband what to do and never gives him a rest. He regrets immensely to have wed her. Drue and Jeff meet them because they have slept in their barn. The following morning, the Rooney are about to leave with their caravan. The police arrives and ask them if they have seen a young woman and a soldier. They haven’t. Just after the police had left, Drue and Jeff make their entrance. Mrs. Rooney tries to call the police back, but she’s too far away. Rooney then sees an occasion to go away and help the two young fellows. They escape with the caravan, leaving Mrs. Rooney behind. Cliff Edwards couldn’t be better chosen to play this man who discovered the thrilling of “bachelor”‘s life. He’s such a nice and appreciated man. As for Ruth Donnelly, the contrast between her character and Edwards’ one is what makes this duo scatty and ridiculously funny.

Cliff Edwards was also a singer. We most remember him as Jiminy Criket’s voice in Pinocchio (1940). In the film, we hear him sing “I Wonder Who’s Kissing Her Now”. It’s obvious that he his referring to Drue. This song was released in 1909.

What makes this film very pleasant (despite his not-so-good reception and web rating) is the bunch of funny quotes. Here is my favourite line:

1- Drue (about Arner): He dreams about big things…

Jeff: Yeah, I dream about big things too. Last night it was an elephant.

As for the screenplay itself, it’s enough pertinent. In a road movie, you don’t only assist to a physical travel, but also a mental one. The character has to evolve, learn something and that’s what will happen to Drue and Jeff.

19003 - Red Salute

I don’t think there’s much to say about the technical aspects of this films. Nothing very impressive on this side. Red Salute remains fun to watch for its actor and its story.

If you wish to do so, you’ll be happy to know that it’s available on YouTube! The quality is not so good, but it’s better than nothing.

A big thanks to Crystal for having this great blogathon idea. On January 20, 1990, Barbara Stanwyck left us forever at the age of 82, but she will never be forgotten and remains one of the most celebrated stars of the Golden Era.


Here is a link to the other entries:

The “Remembering Barbara Stanwyck Blogathon”

See you!