My Favourite Golden Holden Moments

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As I told you during last year’s edition of the Golden Boy Blogathon, William Holden is an actor I snub for a much too long time, and he finally became my 2nd favourite actor (behind James Stewart). In the text tribute I wrote in his honour, I explained how he became one of my most favourite actors, why I love him, etc. Today, in honour of what would have been his 99th birthday, I wanted to do something similar, but different of course. I didn’t really feel like doing a movie review or focus on only one of William Holden’s performances. So, I thought it would be fun to present you my favourite William Holden movie moments! I once thought of doing this with my favourite movie moments in general, but this was too difficult. So, why not focus on a more precise subject? Why not William Holden? These are all movies moments that make me love and admire our Golden Boy more and more. Moments that make me recognize, not only his talent but that also make me be fond of him and realize how he can be so appreciated. Moments that makes him one of a kind. In other words, these will be various. It could be funny, sad, serious moment, it doesn’t really matter.
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I’ll present these in chronological order (according to the movie) and will try as much as possible to give an explanation to why each of these moments is a favourite.
By the way, I prefer calling them “moments” instead of “scenes” because these can last only a few seconds.
Ok, here we go!
Golden Boy ( Rouben Mamoulian, 1939)
His first entrance: When our Golden Boy first put the foot on the imaginary side of the movie industry. Well, not exactly has he had minor roles in two other films before but was uncredited. Anyway, that was the first time we were seeing him in a way to remember. The William Holden of Golden Boy was young, only 21, with an innocent look on his face and curly hair. What I absolutely love about this entrance is that it is a very spontaneous one. He interrupts Barbara Stanwyck and Adolf Menjou, who are about to kiss each other, by entering in the room in quite an energetic way. A remarkable entrance indeed!
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When he plays the violin: I love these moments (because there are more than one) because he expresses a beautiful vulnerability that we often find in some of his early roles. There’s a lot of sensibility in him and we can feel the emotions through his closed eyes.
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Every time he says “papa”:  Well, I just think that’s sweet. It makes a change from the usual “daddy”, “dad”, “father”, etc. I call my dad papa! (Well, I’m francophone so it’s normal). It’s also a good way to show the Italian blood of his character. Oh, and that’s one thing I like about Joe Bonaparte, because I have Italian blood too!
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When they sing “Funiculi Funicula” : Ok, that’s not only a “William Holden moment” as it involves all his family in the film, plus Barbara Stanwyck, but it’s one that I couldn’t overlook because it’s so much fun! Despite Golden Boy being a drama, it contains its moments of joy like this one where Lorna Moon (Barbara Stanwyck) is invited in Joe’s Italian family for supper. After eating, they decide to play music and joyfully sing “Funiculi Funicula”. You really wish you were here with them because they seem to have a really great time!
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Our Town (Sam Wood, 1940)
When he cries… : In this scene, George (William Holden)’s father tells him that his mother had to chop wood because he forgot to. Full of remorse, he starts to cry quietly. Poor Bill! 😥 This is both a sad and beautiful scene as it shows the vulnerability of his character and proves us that men can cry too! And they have the right to!
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The Remarkable Andrew (Stuart Heisler, 1942)
When he does his morning exercise at the beginning of the film: this scene makes me laugh so much. He’s just so adorable and funny, especially when he jumps around the room like a frog. Hahaha! He also does some weird sounds with his mouth, which makes the thing even more hilarious than it already is.
Just look at the beginning of this clip for this scene!
When Andrew Jackson asks him for a drink and he offers him some grape juice:
Ok, I didn’t remember this scene much, because I haven’t seen the film for a long time, but I read about it in my old William Holden Marathon article. Well, it goes without saying that this is completely adorable. William Holden was so young then!
You’ll find the moment in this clip from 3: 20 to 4: 08
Dear Ruth (William D. Russell, 1947)
Every time he kisses Joan Caulfield spontaneously :  This film certainly is the funniest of Holden’s films (in my opinion). He is so in love with Ruth (Caulfield) that his best way to express it is by kissing her all the times, everywhere. This gives us some hilarious moments and we certainly wished we could exchange places with Caulfield. 😉
I, unfortunately, couldn’t find a clip or a picture from these precise kissing moments, so here is a photo of them together.
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Father is a Bachelor (Abby Berlin and Norma Foster, 1950)
When he sings : Unfortunately, his voice was doubled (which is kind of odd, since I’ve been told that he had a fine singing voice), but, despite that, it remains something delightful. We don’t often see a “musical” Holden so that certainly is our chance. The singing moments are joyful ones and make this film the perfect family movie!
When he smiles to the old maid he is supposed to marry (not a very enthusiatic smile) : Toward the end of the film, he is supposed to marry one of the Cassin sisters in order to keep the poor Chalotte children under his guardianship. To determine which lady will marry him, they play a game of cricket. When Adealine wins, the smiles that Johnny (Holden) gives her is so forced and mixed with disgust that it automatically makes you burst into laughs. And it’s meant to as this film is a comedy! Believe it or not, Bill’s smiles are not always charming ones. 😉
When he makes a dress for May : By accident, Johnny burns little May’s dress. To fix his mess, he decides to confection one himself. He pretends he can, but that’s obviously untrue! The creating process, as well as the results, are pretty catastrophic and amusing. Poor May! Luckily, Johnny eventually manages to obtain a real pretty dress.
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Sunset Blvd (Billy Wilder, 1950)
When he kisses Nancy Olson on the nose: What I like about the scenes between Holden and Olson in this film is that, just like this one proves it, they are so sweet and simple. A kiss on the nose! Can you think of something lovelier?
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When he and Nancy are being theatrical “life!… can be beautiful”: In this false theatrical moment, Betty (Olson) and Joe (Holden) seem to be playing a scene from one of Joe’s films (but we are not 100 % sure). The theatricality is so intentionally exaggerated that it makes us feel the fun that these two can have together. I obviously think that Nancy Olson was one of the actresses with whom Bill had the best on-screen chemistry.
When he interrupts Max who is playing organ: Joe is angry in this scene as his luggage have been moved to his guest room (and he has NO intention to stay). He goes downstairs to ask Max (Erich von Stroheim) who did. This one is playing organ very loudly (what a pleasant way to be awake (!)). What I like about this scene is when he tells him  “Hey you! Max, whatever your name is.” This pretty much sums up his anger and the esteem he has for Max (!)… Also, Max doesn’t stop playing which makes us understand the delightful arrogance of his character!
Union Station (Rudolph Maté, 1950)
His final smile:  I don’t remember so much from this film (remember it was a good one), but this smile he does at the end is one I didn’t forget. It’s such a sweet and contagious one! The typical Golden Boy smile, you know!
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Stalag 17 (Billy Wilder, 1953)
When he discovers the guilty man and says “Ach so!” : This reminds me of my German classes as my teacher was saying that all the time. In this scene, he kinds of imitate Sgt. Johann Schulz (Sig Ruman) who is always saying that as well. We feel he is quite amused and satisfied as he will no longer be the accused one.
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When he cooks an egg: Just because this egg is cooked with so much style!
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Sabrina (Billy Wilder, 1953)

When he tries to guess who this beautiful lady is (Sabrina):  When Sabrina (Audrey Hepburn) comes back from Paris, she is waiting at the train station for her father who is supposed to pick her. David (William Holden) who is driving by suddenly stops because this beautiful lady certainly grabs his attention. He doesn’t know that she is Sabrina, the daughter of his family’s chauffeur, who has secretly always been in love with him. He offers her a lift and tries to guess who she is. We and Sabrina are obviously quite amused by the situation and things become even more priceless when he finally discovers her real identity. To think that he ignored her all these years!
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When he dances with Sabrina: That’s a beautiful moment full of tenderness and, one more time, we wish we could exchange places with Holden’s female co-star.
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When he sits down on a glass: To prevent his brother to go dance with Sabrina (and spoil his engagement to Elizabeth Tyson), Linus (Humphrey Bogart) invites him to sit on a chair where he has put a glass. Poor David! The glass obviously breaks when he sits down on it and he is in for a long convalescence. We feel sorry for David, but we certainly can’t avoid a few laughs!
When he falls on his butt but after sitting on the glasses:  During his convalescence, David is once again hurt by falling on his already damaged butt. Another hilarious moment that proves that Holden had a perfect comedic timing.
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THAT SMILE when Audrey Hepburn arrives at the ball: Once again, that’s a typical Golden Holden smile and it’s perfectly adorable. But who wouldn’t smile at the sight of Audrey Hepburn?
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The Bridges at Toko-Ri (Mark Robson, 1954)
When Grace Kelly waves at him and he waves back from the boat (the smiles): A quick but sweet romantic moment that perfectly expresses the love that these two have for each other.
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The Country Girl (George Seaton, 1954)
When he kisses Grace Kelly passionately:  On my! There’s full of passion indeed, but also tension in this scene. They are quarreling and he suddenly kisses her. Well, we’re not sure at first if it’s a way to express his love for her or if it’s just a way to make her shut up, but, no matter what, it remains an unforgettable moment that leaves you speechless.
Paris When it Sizzles (Richard Quine, 1964)
When he becomes a vampire: I don’t remember much from this film, but this scene is one that nobody forgets. The theatrical acting is so exaggerated (in an intentional way) and the make-up is so cartoonish. It makes this moment an unforgettable one. And a purple vampire! :O (strange)
You’ll find this moment in this trailer!
The Wild Bunch (Sam Peckinpah, 1969)
When he says “If they move, kill ’em!”: Wow! That’s a good way to chill our blood. This line is said without any pity and it immediately gives us the mood of the film. It also makes us realise that we are now far from the sweet Joe Bonaparte of Golden Boy.
Look at 2:10 to 2: 14 of this clip for this short line!
Every time he says let’s go: Robert Ryan says it too. It’s kind of something that unconsciously connects them. “Let’s go” is not something that seems quite extraordinary to say, but as it is said all the time in this film, it kind of became an iconic line(s). They even made a T-shirt out of it! 😉
Here is an example:
When he waves at Robert Ryan with his hat just before the bridge explodes: We (the spectators) know exactly what is going to happen so we can’t help anticipating this moment. This waving is full of arrogance which, one more time, perfectly shows us the nature of Pike Bishop (Holden).
Breezy (Clint Eastwood, 1973)
The most beautiful lines of the film:  When the two lovers find each other back at the end of the film, he tells her: “Hello, my love”, to what Breezy (Kay Lenz) answers “Hello, my life.” This is just one of the most beautiful moments from the film and it agreeably makes you sigh.
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The Towering Inferno (John Guillermin, 1974)
When he welcomes Paul Newman and they shake hands: Hum, nothing so extraordinary about that, but I guess I just like the idea of Holden and Newman shaking hands. Plus, this one is effectuate with an admirable determination. We like that.
When he feels guilty: It takes long before Jim Duncan (Holden) realises the extent of the catastrophe, but, when he does, he obviously feels guilty about it. He does that little move with his chin (a typical Holden gesture) and we almost have the feeling he is trying not to cry. Anyway, he looks very sad and that just breaks my heart. 😥
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When he punches Richard Chamberlain in the stomach : I know, violence is bad, but here I can’t help approving of this moment, because Roger Simmons (Chamberlain) certainly is one of the most annoying movie characters of all times.
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These are, of course, not all the William Holden’s movies I’ve seen, there are 14 more… And I probably have many other favourite moments that I’m not thinking of right now. You are more than welcomed to share yours with me and that might be a good way to refresh my memory!
To read the other wonderful entries for this blogathon, please click here.
Happy heavenly birthday dear Golden Boy! ❤
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Irish Film Studies: The Quiet Man

This semester, I’m attending a course on Irish cinema. Each week, we are expected to write a blog-like journal about the film we watched in class and/or our class discussion about the film. I’ve decided to include those entries to my blog, so it would be more agreeable to read than a Word document. This was my journal entry on The Quiet Man (week 4).

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Just like Odd Man Out, John Ford’s The Quiet Man was one of those films I wanted to see for a long time. It didn’t become my favourite John Ford’s film (that would The Man Who Shot Liberty Valance), but it remains a great one and a relevant one for an Irish Film Studies class. The film was presented to us as a western, but despite our class discussions on its western iconography, I’m still not completely convinced it’s one. Yes, it takes place in the country, there are horses, John Wayne, etc., but I didn’t quite feel that western touch that we can perfectly see in typical westerns like The Wild Bunch or The Searchers. Of course, this is just my personal opinion.

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The film, however, was a way for us to make a travel to Ireland and observes those majestic green landscapes that are nicely reflected in Maureen O’Hara’s eyes. The cinematography of this film is simply majestic and the film won an Oscar for it. It seems to give us an accurate portrayal of the Irish countryside and Irish peasants. Despite being an American production, we can perfectly feel the Irish spirit in this film, and this one is not only embodied by the colourful landscapes and the characters, but by the movie team as well. First, director John Ford was born in a family of Irish immigrated, so he knew how to represent his native country on screen. John Wayne was known as a very American icon, but also had Irish blood and couldn’t be better cast as the American citizen who is back to his Irish hometown. Maureen O’Hara was an Irish actress, and, as for Barry Fitzgerald, he might be the most Irish person of the lot, and this is particularly felt in his voice. Interestingly enough, The Quiet Man is also one of the few Hollywood films where the Gaelic language is spoken, which is obviously a typical characteristic of Irish traditional culture.

The Quiet Man is a great representation of John Ford’s filmography: the type of location, the values that are presented, and Maureen O’Hara and John Wayne who were often cast together in John Ford’s films.

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Another John Ford’s film that takes place, not in Ireland, but not very far is How Green Was My Valley. The Oscar-winning picture takes place in the South Wales Valleys. We can feel a similar spirit to the one presented in The Quiet Man, a spirit of community and traditionalism. Although the film was shot in black and white and it is hard to say how green the valley is, the cinematography impresses in its own way just like it is the case for The Quiet Man.

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Words: 452

Photos sources

Everett, ” The Quiet Man, John Waye, 1952.” Film Art America, n.d, https://fineartamerica.com/featured/1-the-quiet-man-john-wayne-1952-everett.html.

“#ManCrushMonday St. Patrick’s Day Special: John Wayne in “The Quiet Man” (1952).” Popcorn and Red Wine, n.d, http://popcorn-and-red-wine.blogspot.ca/2016/03/mancrushmonday-st-patricks-day-special.html.

“Maureen O’Hara Most Notable Quotes Showcase the Actress’ Unending Wisdom.” Bustle, Oct. 24, 2015, https://www.bustle.com/articles/119212-maureen-oharas-most-notable-quotes-showcase-the-actress-unending-wisdom.

“The Quiet Man (1952).” AMC Film Site, n.d, http://www.filmsite.org/quie.html.

“The Quiet Man- Battling for Respect.” Screen Fish, Oct. 27, 2016, http://screenfish.net/the-quiet-man-battling-for-respect-tbt/.

” 1941, How Green Was My Valley.” The Red List, n.d, http://theredlist.com/wiki-2-20-777-786-view-1940-1950-profile-1941-bhow-green-was-my-valley-b.html.

The Vincente Minnelli Blogathon: The Pleasures of Father of the Bride (1950)

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This weekend, my friend Michaela, blogger at Love Letters to Old Hollywood, is hosting her very first blogathon: The Vincente Minelli Blogathon! Minelli was well-known for his musicals such as Meet Me in St. Louis, An American in Paris or Gigi. I must admit, I really haven’t seen many of his movies, but my favourite is, without a doubt, Father of the Bride. Unlike the one I’ve previously mentioned, this one isn’t a Technicolor musical, but a simple black and white comedy.
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This 1950s’ film stars Spencer Tracy, Elizabeth Taylor, Joan Bennett, Don Taylor, Billie Burke, Leo G. Carroll Moroni Olsen and even Russ Tamblyn in a small role. The story is very simple: Kay Banks (Taylor), the daughter of Ellie (Bennett) and Stanley (Tracy) Banks, wants to get married to Buckley Dunstan ( Don Taylor). However, her father can’t get the idea of “losing” a daughter and is not sure Buckley is the right man for her. But that is in vain, as a 250 persons wedding finally begins to be organized by him and his wife. The film is mostly about the wedding’s preparations and the wedding itself.
Father of the Bride is an easy-watching movie. It’s a perfect film to view with your family to simply share a good laugh and an agreeable moment. No stress here, and no boring moments. On its release, it was a commercial success. The film was also nominated for a Best Picture Award at the 1951’s Oscars. A remake has been made in 1991 with Steve Martin and Diane Keaton (and also a sequel), but I believe it’s not as good as the original one.
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On my side, the main reason why I first decided to watch this film was because of Joan Bennett, and actress that I found most interesting and that I was beginning to discover. But of course, the idea that she was co-starring with Spencer Tracy and my twin Elizabeth Taylor was most appealing too! This was a very interesting Joan Bennett’s role for me to see as I was mostly used to her darker characters in Fritz Langs’ films or as the coquette Amy March in Little Women. But Joan Bennett proves that she can also be excellent as a simple family mother. She hasn’t lost her beauty and is radiant as always. There’s a lot of tenderness and warmth in her acting. This one remains simple, without any extravagances, but can still touch us. It was just the perfect dose for the type of character she had to play. Without any surprises, Spence Tracy first wanted Katharine Hepburn to play his wife, but as they were known as a too “romantic” couple, it seems they wouldn’t have been suitable as an ordinary married couple. (IMDB) I love Kate and Spencer duos, but I must admit it’s nice to see Spencer paired with other ladies! However, I don’t really agree with the reasons why Kate wasn’t cast in the role and I’m sure she would have done a fine job, just like Joan.
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Liz Taylor couldn’t have been a better choice as Joan Bennett’s daughter. Physically, they share a certain resemblance. Both have those black hair and this delicate figure that makes them look like mysterious and fragile beauties. Interestingly, both actresses played the role of Amy March in cinematography adaptations of Little Women.(IMDB) For her role, Liz gave the right dose of innocence to a girl that is said to be very young to be married. At the time the film was made, Liz was only around 18, but she seems a bit older, and in a good way. She’s not just a teenage girl, but also a real lady full of elegance. Her acting game as Kay contains softness, but also with a living energy. Despite her young age and the fact that she’s a bit treated like a child by her fictional father, I think it’s interesting to mention that, in 1950, 6 weeks before the film’s premiere, Elizabeth got married for real and for the first time, to “Nicky” Conrad Hilton Jr.
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Spencer Tracy plays the lead in this film and he’s just…perfect! Not only his acting, but also his narration. His voice tone is exactly right for the atmosphere of the film. I think the narrative moment I like the most is when he talks about Kay’s many boyfriends. Just cracks me up, especially when he starts with “Was it the one with the teeth?”
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Spencer was one of those actors that didn’t have to do much to gain our sympathy. Some of his facial expressions, and that’s the case for any movie he’s in, simply worth a million. He also has a very paternal figure, which suits perfectly his role in Father of the Bride. What I enjoyed the most about his character in the film, is the fact that he’s always trying to be subtle, but he’s not. Think of this moment while he is looking to  Buckley coming to their home, hidden behind the curtains. Simply hilarious! Even if Joan Bennett was not Katharine Hepburn, Spencer Tracy makes a beautiful couple with her. As “normal middle-class parents” they were convincing enough. As for the role of the father, the fact that Stanley can’t get the idea of “losing” his girl was perfectly embodied by Spencer Tracy. He really makes us believe the attachment he has for his fictional daughter and shows a beautiful chemistry with Elizabeth Taylor. Spencer Tracy received an Oscar nomination for his performance.
When I re-watched the film for the blogathon, I didn’t remember who played Kay’s fiancé, but when I saw Don Taylor’s, his face curiously rang a bell. From the film, of course, but I was sure I had seen him somewhere else. He plays William Holden’s friend in Stalag 17, so that’s probably the film I was probably thinking about (because I don’t think I’ve seen any other), but somehow he looks like another actor. I can’t say who! Anyway, if you have any ideas, please tell me. In an important supporting role, he does an appreciable job. He’s humble and doesn’t take too much place, which was perfect for his character. He might not be the most memorable one of the lot, but he shines in his own way.
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This is the main quartet, but some other actors deserve honourable mentions such as Billie Burke, who plays  Buckley’s mother. I had forgotten she was in the film, but when I saw her, I knew she would be a great support as she always is. Moroni Olsen who plays his husband is the perfect sympathetic fellow and encourages a smile on our face. Leo G. Carroll is often associated with Hitchcock’s, so it is nice to see him in a different kind of film! He gives the perfect touch of snobbism to his character.
With Father of the Bride, we have the proof that a movie doesn’t have to be based on something complicated to be good. Hey, it’s basically the story of a girl who prepares her wedding. Just a bit like 12 Angry Men, which is the story of 12 jurors who debates on the innocence of a boy condemn to death for murder. That goes without saying that the story contains surprises and an interesting development that makes it unique in its own genre. It is NOT just about wedding preparations, but also about family relationships. The fact that the whole thing is seen from the father’s point of view makes it very interesting too and different. It probably would have been something completely different if it would have been seen from Kay’s point of view for example. Of from  Buckley’s point of view. Just imagine!
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As a comedy, the film contains many moments of hilarity, but those are always added with beautiful tact so the film won’t lose its initial class. Father of the Bride is a refine comedy, which suits perfectly well to Liz Taylor, Joan Bennett, and Spencer Tracy. Could we say it’s a screwball comedy? This genre was mostly at its golden age in the 30’s and the early 40’s, but as it uses the theme of the wedding (an important theme in screwballs), we could say that it is a post-screwball comedy. It can also be the case because of its bright well-thought lines. The script, written by Frances Goodrich and Albert Hackett, based on  Edward Streeter’s novel of the same time, was nominated for an Oscar.

1- Ben Banks: Can’t be June. I’ve got my final. Why not May?

Ellie Banks: May’s too early.

Tommy Banks: July’s out. I’m going to camp.

Kay Banks: This isn’t a kids party. It’s my wedding and my friends.

2- Stanley T. Banks: No one paid any attention to the orchestra. Ellie could have saved that 85 bucks!

3- Stanley T. Banks: I would like to say a few words about weddings. I’ve just been through one. Not my own. My daughter’s. Someday in the far future I may be able to remember it with tender indulgence, but not now. I always used to think that marriages were a simple affair. Boy meets girl. Fall in love. They get married. Have babies. Eventually the babies grow up and meet other babies. They fall in love. Get married. Have babies. And so on and on and on. Looked at that way, it’s not only simple, it’s downright monotonous. But I was wrong. I figured without the wedding.
Apart from the good lines, the film is sprinkled with memorable moments. One of my favourite is when Stanley has prepared a ton of martini’s for the party, but everybody is ordering something else. Poor Mr. Banks! The meeting between Kay and  Buckley’s parents is pretty delightful too, just like the wedding itself.These are just a few examples, so you’ll have to see the film to discover more of them!
However, one that cannot be missed is when we first see Kay in her wedding dress. A simply magical moment for our eyes. The wedding gown was designed by Edith Head, so it could be nothing, but beautiful. I also love the dress Joan Bennett is wearing at the wedding. When Spencer Tracy sees his two favourite ladies at the top of their elegance he certainly is as much flabbergasted as we are!
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Father of the Bride is a movie that can easily be described as “simply delightful”. There are no uneccessary extravagances in it so it remains much pleasant to watch. I spent an agreeable time writing about it and I want to thanks Michaela from Love Letters to Old Hollywood for giving me the opportunity to do so!
Don’t forget to take a look at the other entries 🙂
Tata!
Ps: It’s funny because while I was finishing writing this my sister told me that there was an old movie on television. I went to take a look at it was Vincente Minnelli’s Meet Me it St. Louis! Fun coincidence. 🙂
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What a Character Blogathon: How Arthur Kennedy Changed my Cinematic Life

Actor Arthur Kennedy

When Paula, Kellee and Aurora announced that they’ll be back for a fifth edition of their famous What a Character! Blogathon, I said to myself that this was something I shouldn’t skip and that I had to choose the right subject. I was supposed to write an entry, last year, about Jessie Royce Landis, but due to a lack of time, I had to skip it. I was a bit angry at myself because I had everything prepared, but well, those things happen. But I didn’t want to make this mistake again this year. I didn’t want to pick something too obvious like Claude Rains or Thelma Ritter (don’t get me wrong, I love those two). I first thought of Jack Carson. I love Jack and I was obviously thrilled at the idea of writing something about him and see more of his films. But then I said to myself “wait, Virginie, you have to look for the other possibilities. Jack Carson isn’t the only great character actor.” Then I thought of a few others, including George Kennedy and George Kennedy made me think of ARTHUR Kennedy. I remembered enjoying Arthur Kennedy’s few performances I had seen and even putting him in the 47th place or so of my top 100 favourite actors (now he would very probably be higher). I decided that he would be my character actor for the blogathon and, believe me, I couldn’t have made a better choice. I simply grew up loving him while I was preparing this blogathon, and now I’m totally fascinated by him. For example, last Wednesday, I was working and I was so impatient to finish so I could get home and watch Arthur Kennedy’s movies! I was (and still am) thinking about him ALL the time when I was preparing this blogathon. If he has such a presence on screen, no wonder why he also has a great one in my mind too! It’s been a long time since I’ve been so motivated about the writing of an article. Feels good!

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I feel there’s so much I want to say about him. I should start by giving you my general appreciation of this actor and then will focus more particularly on the films I decided to watch for the blogathon, which are: City for Conquest, Elmer Gantry, Champion, High Sierra, Bright Victory, The Man From Laramie, The Desperate Hours, A Summer Place, The Window and Murder She Said... I like that because it reminds me of the good old times when I was doing those movie stars marathons. 🙂

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Well, Arthur Kennedy, dear Arthur Kennedy. Was he Jack Nicholson’s father? Could have been, but that’s something we’ll very probably never know. But, on my side, I like to think he was. It might be just a fantasy, but I like the idea that those two amazing stars could be relatives. And I have to say, Arthur does make me think of Jack! They both have this  unique smile. Similar eyes too, but I’ll say that Arthur’s one are gentler, softer. Their voice is similar too, without being exactly the same. Ok, this might just be me, but I think Arthur Kennedy’s voice sounds like a mix of Jack Nicholson, William Holden, and Joseph Cotten’s voice. I know, it’s quite a mix, but it’s just an impression I have if I pay enough attention to this detail. It’s, in fact, a voice that can be at the time very kind and comforting, but also more “rough” when it is necessary. Always agreeable to hear. We don’t associate Arthur Kennedy to crazy characters like we often do with Jack Nicholson, but I could imagine him in some of Jack Nicholson’s role and vice versa, without any problem.

I’ve compared a lot Arthur Kennedy and Jack Nicholson’s physical traits. And that leads me to answer a question: YES, yes I think Kennedy was handsome. He didn’t have a typical handsome face like Gary Cooper or Gregory Peck, but there was something about him. He was handsome in his own way and what glorified him was his impressive charisma, his self-confidence. Charisma is always a winner for me. And he had a unique face. Arthur Kennedy was Arthur Kennedy, he couldn’t have been anybody else and nobody could have been him.

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But of course, I don’t like him only because of his physical appearance (!), but also because of his acting skills. Before I started working on this blogathon, the Arthur Kennedy’s films I had seen were Lawrence of Arabia, Elmer Gantry, The Desperate Hours and City for Conquest. I somehow thought that he was one of these very underrated actors who never received any Oscar nomination or so. Yes, yes, like all character actors he is condemned to be underrated, condemn not to be remembered as an iconic actor and that’s the sad truth, but about the Oscars I was wrong. Arthur didn’t receive any, but he was nominated for no less than 5 of them! I think that’s something to be proud of. These were for Champion (Best Supporting Actor), Bright Victory (Best Actor), Trial (Best Supporting Actor), Peyton Place (Best Supporting Actor) and Some Came Running (Best Supporting Actor). Ok, I personally would have nominated him for all his roles, but we can’t have everything! Notice that, except for Some Came Running, all those films were directed by Mark Robson. Arthur Kennedy often played under the direction of Mark Robson and I believe this one was able to bring the best in him. So, hurray for Mark Robson!

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Arthur Kennedy is always a good support in the films in stars in. To be honest, some (many) of them wouldn’t be the same without his presence. He is a wise actor and that wisdom is shown in his subtlety, the fact that he never overacts or “explodes” when it isn’t necessary. He’s a thoughtful and reflected actor. While I was watching his movies for the blogathon, I’ve noticed that, while he knows what he’s doing, he is, at the same time, constantly looking for a way to improve himself and make a scene be as worthy as possible. He is in constable harmony with the movie atmosphere or with the other actors’ acting skills. Arthur Kennedy is an actor who observes.

This great character actor is good at playing characters that are a bit hard to size. There’s often an aura of mystery around them. Men that we don’t exactly know how they are inside. Not meaning that they are bad, but just a bit secret. This also creates an aura of mystery around the actor himself. And that’s why I would love to read the book Arthur Kennedy, Man of Characters: A Stage and Cinema Biography. It seems to be an excellent one! Somehow, I could often associate myself with Mr. Kennedy. I think that “ambiguity” was a major factor. I’m a bit like that myself, creating a sort of wall so people won’t know too much about me, what I think and feel.

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Arthur Kennedy apparently did some great stage work too. He started as an actor on Broadway in 1937. Too bad we aren’t able to see some of his stage work anymore… :/ I do wish time machines would exist!

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On stage with James Dean!

The impressive versatility of Mr. Kennedy as an actor was shown through a range of memorable films. It’s his performances in those films and the movie characters he portrayed that I am now going to explore in 10 of his films. Warning: I won’t be providing any plot summary for the simple reason that I don’t want this post being longer that it already is. I shall strictly focus on Mr. Kennedy’s performances and characters. Of course, I will prevent some plot elements if necessary.

Film 1 : City for Conquest (Anatole Litvak, 1940)

Role: Eddie Kenny

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Nothing better than starting all this with Arthur Kennedy’s first on-screen role. In this film, he plays a musician and music composer, and James Cagney’s brother, who portrays a boxer. The two actors are in perfect harmony and support each other with their respective talents. The film provides some very touching scenes between him and Cagney, especially in the parts where Cagney is at the hospital after having been badly injured during a boxing match. Even if this was Arthur Kennedy’s first role and not the leading one, he certainly steals some scenes. He was young and full of life. Even James Cagney seemed impressed by him! And if I’m not mistaken, it’s James Cagney who discovered him for the role. As a music composer, he is passionate and passionating. In this concert scene, when he leads the orchestra, he is shown in an impressive glory and dynamism. Anatole Litvak did a great job at giving him scenes that would emphasize is talent and make us noticing him. Finally, we observe that the character he’s portraying is one that is often calm, but can explode. This is not only felt in his music and the way he plays piano, but also in the boxing match scene when is brother is being completely destroyed. The desperate Arthur Kennedy certainly breaks our hearts.

Film 2: Elmer Gantry (Richard Brooks, 1960)

Role: Jim Lefferts

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I think this is one of my very favourite Arthur Kennedy’s roles and performances. In this world full of “passionate” Christians, he plays a reporter and perhaps the most normal character of the gang. What I like about Jim Lefferts is the fact that he represents the non-Christian spectators like me. Due to that, and other elements, Elmer Gantry is a film many can appreciate. I’m not religious at all, and religion is the central theme of the film. It remains a favourite and I believe Arthur Kennedy has a lot to do with it (of course I’m also a big fan of Burt Lancaster and Jean Simmons). Jim Lefferts is a character that is hard to size. He is sort of a double- faced one, which makes him quite interesting. Arthur Kennedy is a great support to Jean Simmons and Burt Lancaster. He sort of adds a touch of wisdom in the film, in this crazy world! But what I appreciate the most about his performance is the fact that, while I was watching the film, me and him sometimes had the same facial expressions at the same time. That connection felt great! Due to that, he’s the character I understand the best in Elmer Gantry. Arthur Kennedy also plays a reporter in the masterpiece Lawrence of Arabia. Once again, his “normality” creates an interesting contrast with Lawrence of Arabia himself, a greatly interesting man on many levels.

Film 3: Champion (Mark Robson, 1949)

Role: Connie Kelly

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For his performance in Champion, Arthur Kennedy received his first Oscar nomination. Here, he, once again, plays a brother, and, once again, he is a boxer’s brother (Kirk Douglas’s one this time)! It’s with this film that I noticed how Arthur Kennedy was excellent at playing men with a certain concern, who often worry about what is happening around them. In Champion, Arthur Kennedy is again the most “down to Earth” character, unlike his brother whose fame isn’t doing any good. When he tries to reason him, it doesn’t seem to really work and we wish we could be here to help! Arthur Kennedy has a great chemistry with all the actors in this film, but what particularly struck me were his scenes with Ruth Roman. Those are simply beautiful. If we are good watchers, we can see, from the beginning of the film, that Connie is in love with Emma (Ruth Roman). I personally think he is the one who deserved her the most. The film also contains some memorable scenes between him and Kirk Douglas, especially the final one: just before Midge Kelly (Kirk Douglas)’s 2nd boxing match against Johnny Dunne, the two men are having an argument which ends in a fight. Arthur Kennedy puts an impressive range of emotion in this scene as the desperate men who doesn’t know what to do anymore to reason his brother. Once again, he “explodes” at the perfect moment. Finally, Champion is a film that can be praised for his impressive black and white cinematography. Due to that, Kennedy is as much filmed in a glorious way as Douglas is. One of my favourite shots is when he walks in the dark corridors that lead to the ring. The only light is focused on him and we can see the despair in his face and that he knows that [spoiler] all this won’t end with a happy ending… [end of spoiler]

Film 4: High Sierra (Raoul Walsh, 1941)

Role: Red Hattery

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Arthur Kennedy’s role in High Sierra was a smaller one. As a matter of fact, it was his second on-screen role. But small or not, just because it’s Arthur Kennedy we appreciate any of his roles. I like the fact that one of the first things we see from him in this film noir is a smiling Arthur Kennedy. The film was, of course, much more Humphrey Bogart and Ida Lupino’s one. Arthur Kennedy simply plays one of those typical criminal “assistants” that are too often overshadowed. And I think that’s too bad and it would have been interesting to see more of him in the film. His acting shows potential and it would have been great if his character would have been more well-developed.

Film 5: Bright Victory (Mark Robson, 1951)

Role: Larry Nevins

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Finally a leading role for Mr. Kennedy! An another Oscar nomination too. 🙂 We must admit that the competition was high at the 1952’s Oscar for the Best actor category: Humphrey Bogart for The African Queen (the winner), Marlon Brando for A Streetcar Named Desire, Montgomery Clift for A Place in the Sun, Fredric March for Death of a Salesman (ok, that’s the one I haven’t seen, but I bet he deserved the nomination!) and, of course, Arthur Kennedy in Bright Victory. Unfortunately, there can only be one winner, but, in my heart, they all are! 😉 When I started watching the film, Arthur Kennedy made me smile immediately. Not that he is doing anything that could voluntary make us smile, he’s just driving a car, but simply the fact that he’s here and that I  was beginning to know him more and more. You know, just as if he was a friend. 🙂 In Bright Victory, he plays a man who becomes blind after being injured in the war. The moment when he receives the bullet and closes his eyes to express the pain is just perfect. Because he plays a blind man, Arthur Kennedy had to express a lot his emotions with his mouth, his voice, his gestures, and he did it right. I’ve noticed how he uses a lot his hands to show the tension his character is feeling, and this, especially after the heartbreaking scene when he learns that he won’t ever be able to see again. The scene where he tries to see his reflection in a mirror after having learned the bad news shows an emotional Arthur Kennedy, but, this time, emotional for what is happening to him and not what is happening to his relatives like in City for Conquest or Champion. Arthur Kennedy often shows an impressive energy and dynamism in this film, but can be calmer too. For example, when the lieutenant wants him to inform his family about his blindness, he looks at him like a little boy who has done something wrong. Poor Arthur! That telephone scene with his mother certainly is heartbreaking. Another great example would be this scene when he dances with Judy (Peggy Dow). There’s a lot of softness in him and it’s nice to see a romantic Arthur Kennedy! The evening ends with a kiss (and that was the first time I was seeing Kennedy is a kissing scene. Very worthy. *sight*….). You know that I love when Arthur Kennedy smiles, so, of course, that scene when he discovered that he has a sort of “natural radar” that allows him to “feel” the obstacles that are on his way is one of my favourite. He seems so happy and we know that his life will be alright after all. To continue with the touching scenes, I like the fact that Arthur Kennedy is very good with the girls in this film. That scene when he discovers Judy is crying is forever touching and almost made me cry. Or the fact that there’s always a lot of tenderness when he hugs Chris (Julie Adams), or when [spoiler] he hugs Judy in the final scene at the train station: the emotion! Simply beautiful! [end of spoiler] Arthur Kennedy was very thoughtful in this role. He somehow manages to make us feel his emotions and the emotion of his partners, with whom he always has an excellent chemistry. He is an actor who listens, who pays attention to his environment. If the feeling of anxiety is well expressed by Arthur Kennedy is this film, it’s also the case for the feelings of hope and happiness. The only thing I would have appreciated more from this film, and that’s not Arthur Kennedy’s fault, would have been to see more close-ups of his face. There’s one scene that does justice to that: when he’s on the balcony and opens and closes a light. There’s something sad in this scene, that is not only shown by his solemn face, but also by the light itself, as we know that, open or closed, it doesn’t make much difference for Larry Nevins’s eyes…

Film 6: The Man From Laramie (Anthony Mann, 1955)

Role: Vic Hansbro 

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The viewing of this film was a special one for me as Arthur Kennedy was starring on the sides of James Stewart, my favourite actor. It also was the first (and only one so far) western starring Kennedy that I was seeing. And the man is great in every type of role. Kennedy makes his first appearance in the film when he arrives to stop James Stewart’s aggressors. He warns Jimmy to not cause trouble in the town, and when Jimmy doesn’t “respect that” he has a fight with him. :O But strangely, unlike Jimmy he is quite calm after the fight. Arthur Kennedy still is a very “attentive” actor in this film. He has so much presence, even when he isn’t saying or doing anything. While he remains a very “relax” character (at a certain point) his unique love scene with Cathy O’Donnell (as Barbara Waggoman) is more aggressive and shows a more savage passion than the scenes with Peggy Dow in Bright Victory for example. Kennedy often proves is great acting abilities at many moments of the film. When he has a confrontation with Alec Waggoman (Donal Crips), toward the beginning of the film, he is angry, bitter and convincing. He NEVER overacts, but that doesn’t mean he has a lack of dynamism and good theatricality. He’s always very natural when he’s angry. When Dave is making a fire to attract the Indian’s attention, his “he’s completely crazy” face is just perfect. Kennedy shows a certain authority and remains [spoiler] and ambiguous villain. [end of spoiler] We just don’t see him coming. In the final confrontation with James Stewart, is desperate “What did I do to you!” makes us realize that he’s not the worst villain there is, mostly a misunderstood man. He then becomes the victim. He is “controlled” by James Stewart and we are not used to see Arthur Kennedy, the one who always stands up, the one who is so independent, receiving orders. That scene has one of my favourite Arthur Kennedy’s moment: his ” what the hell did we just do” face after he and James Stewart pushed the wagon full of rifles down the cliff simply cracks me up with laughs!

Film 7: The Desperate Hours (William Wyler, 1955)

Role: Deputy Sheriff Jesse Bard

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Just like City for Conquest and Elmer Gantry, this was not my first viewing of The Desperate Hours. But I was impatient to see it again to pay a better attention to Kennedy’s performance. In this film directed by my third favourite movie director, William Wyler, Arthur Kennedy plays a deputy sheriff and he’s just perfect at it. He is greatly involved in his role and shows an impressive concentration. Depending on the situation, he knows perfectly how to choose the right facial expressions. Kennedy was a natural. If he loses his patient, it’s always in the appropriated circumstances, but he knows how stays reasonable. Kennedy stands tall in every scene of the film and always owns the screen. When I came at the point of watching this film, I was recognizing Arthur Kennedy’s voice more and more, and that’s something I always like. As a “detective”, he couldn’t have been better. With his long grey coat, his hat, his cigarette he is highly convincing. Jesse Bard is a man who knows what he’s doing. Never he will put the victims in danger, despite the very delicate situation. He makes the right decisions and saves the family in a wise way. Finally, the final shots of Arthur Kennedy in The Desperate Hours shows some great close-ups of his profile, which allows us to see his very “typed” face.

If you wish to read more about The Desperate Hours, I invite you to read this article I’ve written for the Great Villains Blogathon: Glenn Griffin: The Desperate Hours’ Villain.

Film 8: A Summer Place (Delmer Daves, 1959)

Role: Bart Hunter

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In this melodrama, Arthur Kennedy plays an alcoholic family father. What I like about this film is the fact that he is one of the first actors we see. He is here at the very beginning. Yes! Bart Hunter is a man with a certain sense of humour. That unique smile of his and those cheekbones are obviously always welcomed. 😉 Bart Hunter is a very daring man. But he’s quite patient and constantly trying to calm the atmosphere (for example, when Molly and Johnny are missing). But he can also lose his temper. For example, in this confrontation with his wife (played by Dorothy MacGuire): this scene is very interesting as it shows a different face of Bart Hunter. He becomes a broken man from a broken family. There’s a long part in the film where we don’t see Kennedy, but his “comeback” is a powerful one. Molly and Johnny find him, drunk, and announce him their engagement. It’s impressive how he’s staying very calm and patient while he’s expressing his disapproval. In this scene, Bart has a moment of physical weakness and the feeling of pain is very well acted by Arthur Kennedy. A Summer Place was a great opportunity for Arthur Kennedy to show his versatility as an actor in a very complex and, I believe, very misunderstood role. At some points, he really made me think of Jack Nicholson, but I can’t really explain why! Finally, one thing I love about Arthur Kennedy in this film is this moment when he says something in French. Of course, as this is my first language, it’s always something I appreciate. When Helen Jorgenson (Constance Ford) says that the bedroom is “très, très jolie” he replies ” Votre approbation touch mon coeur madame.” That was too charming and this accent was too sweet, I had to play the scene a second time. The funny thing is that Mrs. Jorgenson doesn’t understand what he’s saying so Molly (Sandra Dee) has to do the translation. It’s always nice to have a sort of connection with our favourite actors! 😉

Film 9: The Window (Ted Tetzlaff, 1949)

Role: Mr. Ed Woodry

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The Window was a very interesting film about a boy who witnesses a murder, but that nobody believes due to his reputation of always telling stories. Here, Arthur Kennedy once again plays a family father. He was young and handsome in 1949 and had a lot of style. Mr. Woodry is a very patient man who first listens to his son’s stories with a certain amusement. But after he tells him about the murder, he tries to reason him and convince him that what he saw probably was just his imagination or that he is telling another story. We feel he becomes irritated by his son at some point, but he remains always very patient. Ok, I must admit there’s a moment in this film that really frighten me for a moment: after his son has run away from the house by his bedroom’s window to go tell the police about the story, Arthur Kennedy tells him “There’s something I will have to do, even if I don’t like it” or something like that, and he takes what looks like a wooden stick in a drawer. When I was watching that I was thinking “NO! No, he’s going to beat his son with this wooden stick. Please, Arthur Kennedy, don’t break my heart!” And the most frightening thing about it was the fact that he was staying very calm, just like a psychopath, you know. You can’t imagine my relief when I realized that this wooden stick was just the handle of a hammer and that he was only  going to use it to close the bedroom’s window. Ouf! Don’t worry, Ed Woodry is a good father!

Film 10: Murder She Said… (George Pollock, 1962)

Role: Dr. Paul Quimper 

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We finally come to our last film. In this adaptation of Agatha Christie’s novel starring Margaret Rutherford as the notorious Miss Marple, Arthur Kennedy plays a family doctor. He is a gentleman, quite agreeable. I’ve noticed that Arthur Kennedy’s voice in this film seems a bit more low-pitched than in the previous ones. But that might just be an impression! Anyway, it’s just a small detail. Dr. Quimper has a secret romance with Emma: we like that!  The way he pronounces the name “Emma” is soft and beautiful. We, however, notice a certain tension in him when [spoiler] Miss Marple discovers that he is the murderer. But he handles this in a brilliant way, without any unnecessary rage. [end of spoiler]. Murder She Said… certainly is a fun film and it was a great way to end my little marathon. However, as Arthur Kenned is the second actor credited, I would have expected to see more scenes with him. That’s the only thing that disappointed me a bit about the film.

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My viewing of Arthur Kennedy’s films certainly won’t stop here. I know I still have a lot to see, including his other Oscar performances. But this marathon made him an absolute favourite of mine, and as I’ve said in the beginning of this article, I couldn’t have chosen a better subject for the What a Character! Blogathon! I would have liked to talk also about his performance in Lawrence of Arabia, but I didn’t have time to re-watch this very long film in time for the blogathon. However, Monday I’m going to see the film on the big screen! 😀 Jealous? 😉

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The wisdom of Arthur Kennedy impressed me much and the very thoughtful and calm character he plays in those 10 films sort of made me a better person. Arthur Kennedy has a great influence on me, because, since I’m watching his film for the blogathon, it seems that I am more patient myself. I’ve learned a lot from Arthur Kennedy and I’m forever grateful.

I hope that with this quite long article (!) I was convincing enough on why Arthur Kennedy is such a great character actor and deserves more recognition.

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A big thanks to Once Upon a Screen, Paula’s Cinema Club and Outspoken and Freckled for hosting this amazing blogathon. It honestly felt good to be back after this absence due to final essays (that are fortunately over now).

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Don’t forget to take a look at the other entries, a good way to discover a bunch of other amazing and underrated character actors!

What a Character! Blogathon Day 1

See you! 🙂

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The Strong and Quiet Amy Kane: Grace Kelly in High Noon

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High Noon. Ah! This film that I first knew as its French title: Le train sifflera trois fois.
For those who are reading my blog of a long time, you probably know that High Noon is one of the films that made me discover classics, but also the film that made me discover Grace Kelly (and, as a matter of fact, Gary Cooper too). It’s also my favourite western. Why? We’ll come back to that later.
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Today, I’m hosting the 2nd Wonderful Grace Kelly Blogathon. For my contribution, I’ve decided to write about High Noon, because, well, it was about time!
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High Noon was directed by Fred Zinnemann (From Here to EternityOklahoma!A Man of all Seasons) and produced by Stanley Kramer. Carl Foreman wrote the script and Dimitri Tiomkin wrote the music. The film stars Gary Cooper, Grace Kelly, Lloyd Bridges, Katy Jurado, Thomas Mitchell, Lon Chaney Jr, Otto Kruger, Lee Van Cleef (his first role, a silent one), Ian MacDonald, Sheb Wooley and Robert J. Wilke.
Released in 1952 and winner of four Oscars (including Best Actor for Gary Cooper), and three nominations (Best Film, Best Director, Best Screenplay), High Noon remains one of those timeless classics. For its brilliant composition, it’s one of the “old movies” that can be appreciated by many generations.
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On the set
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High Noon is a very “simple” western. No Indian chases here and no big countries. All the action takes place in a little town of New Mexico, Hadleyville. Will Kane (Gary Cooper), the town marshall, just get married to Amy Fowler (Grace Kelly), a young Quaker girl. A newly wed man, Kane is about to give us his profession and be replaced by a new marshal. But as soon as the wedding ceremony is over, the railway station man comes in a hurry to inform them that the notoriously terrible Frank Miller (Ian MacDonald) is arriving by the noon train. His brother Ben Miller (Sheb Wooley) and his acolytes Jack Colby (Lee Van Cleef) and Jim Pierce (Robert J. Wilke) are waiting for him at the station. Kane had once arrested Miller for murder and this one was to be executed, but things changed and he wasn’t. People suspect that he is back to take revenge on Kane. So, they hurry him to live with Amy. On his way, Kane feels responsible for the protection of the town and decides to go back. Things don’t go too well for him as, Amy, a pacifist, tells him she’ll leave by the noon train if he doesn’t leave the town with her. Plus, Kane looks for people to help him confront Frank Miller, but nobody seems to have the courage to take such a risk.

 

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High Noon is my favourite Western because it’s more than just an ordinary Western. The performances are ace and the visual dimension, is yet, simple, but also very impressive.
But let’s start with Grace Kelly, who is our main subject today. High Noon was Grace’s second film and her first important role. Even if it still was not a leading role, it was more important than the one she had in 14 Hours (Henry Hathaway, 19510. Anyway. Grace Kelly’s role in High Noon has always been one of my favourites of hers. As a matter of fact, it might be my favourite one. The main reason why is that Grace is so humble in this film. We know she had mostly played high society ladies, beautiful, clever, perfect. Too perfect. I love her in Rear Window and To Catch a Thief of course, but I find it difficult to identify with these classy characters. But Amy is more an ordinary girl. She has great values, she is simple (in a good way) and courageous too. She also has such a kind face and inspires confidence. Amy Kane was the innocent and sweet Grace Kelly, the pre-Hitchcockian cool blond. Grace also was only 21 when she starred in that film, my age, so it’s another reason for me to feel close to her!
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For a second film, Grace Kelly gives quite a convincing performance. She is maybe not as much at ease as in Rear Window or maybe not as much poignant as in The Country Girl, but she still impresses us. I always remember this wedding scene at the beginning. Grace seems so angelic with her beautiful big eyes. Just the ultimate definition of the word adorable. Even if she first plays the calm girl, she manages to surprise us when she confronts Will Kane in his decision of staying at Hadleyville to face Frank Miller and his gang. I love this moment when she says to Gary Cooper (Kane) “Don’t try to be a hero! You don’t have to be a hero! Not for me!” There’s so much emotion in her voice, so much power. We almost believe she will convince Will to stay, but she, unfortunately, doesn’t.
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It might not be obvious at first, but Grace also portrays a woman who is strong and independent. Some people might think that she abandons her husband by deciding to leave on the noon train. Maybe, but it also shows us that she makes decisions for herself. Then, [spoiler] at the end, when she finally decides to leave the train and go find her husband in the fight, she becomes the second heroine and proves us her great love for her new husband and her courage to do something she will normally not do: kill. [end of spoiler].
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This scene between Grace and Katy Jurado, who plays Helen Ramírez, Kane and Miller’s ex-girlfriend, is a delight. Because it shows us a strong opposition between the woman of character (Helen) and the woman of values (Amy). Due to Helen and Will pasts, we are afraid the two ladies might not stand each other, but, on the contrary, we realize they kind of complete each other. We may also say that it’s thanks to Helen if Amy finally decides to help her husband. She makes her understand that she has to fight for her man if she loves him. For her clever performance as Helen Ramírez, Katy Jurado won a Golden Globe Award.
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Grace was not happy with her performance and said about it that she was too wooden, but Fred Zinnemann found positivism in this and claimed that Grace’s lack of experience as an actress combined to, yes, he had to admit, the fact that she was a bit wooden only made her character more adorable and more touching. It was perhaps the perfect type of acting for someone like Amy Kane.
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I have a great collection of Grace Kelly’s pictures and some of my favourite are these shots that were taken on the set of the film:
It has often been said that Gary Cooper was too old for Grace Kelly. Yes, it’s true. She was 21 and he was around 50. There’s a big age difference, but, due to the fact that I love Gary Cooper, I don’t mind much. As a matter of fact, I think Grace and him look good together. They’re a beautiful chemistry between them (one of my favourite moments is, at the end, [spoiler] when they hug each other after Miller’s death [end of spoiler]. There’s so much tenderness, so much beauty in this moment. Younger actors such as Gregory Peck, Marlon Brando, Montgomery Clift and Charlton Heston were also listed for the role, but, to be honest, I couldn’t imagine someone else than Gary Cooper as Will Kane. The film simply BELONG to him. It’s, in my opinion, his best performance, and there’s no surprise he won his second Oscar for it. His acting game is full of subtlety and full of honesty. Kane AND Gary Cooper are simply heroes in this film. For once, I have to say, no supporting actors surpass the main one.
The rest of the cast is marvellous too, but I’d like to focus on other aspects of the film now.
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Something I’ve always loved about High Noon is how the music and the image share the film space so well. To me, this film is like a big choreography. I couldn’t imagine High Noon without “Do Not Forsake Me, Oh My Darlin'” or without Dimitri Tiomkins’s glorious, suspenseful and memorable score. It’s a must to the film and it reflects so well its atmosphere.
My favourite moment, precisely due to the image and the music, might be the opening. I mean, when I was watching the film yesterday, I just started it over three times because I just love it. We star hearing Tex Ritter singing “Do Not Forsake me” and the first actor we see is Lee Van Cleef. He advances toward the camera with style and his unique look. Even if he has a small part in the film, this moment glorifies him for sure. Then, Sheb Wooley and Robert J. Wilke arrive and add even more magnificence to this scene.
Dimitri Tiomkin’s score certainly is in all its glory during all the film, especially in this scene which is another of my favourites:
It’s no wonder why High Noon won the Oscar for best editing. This one plays with the multiple possibilities and creates a great dynamism in a film that, first, remains quite simple. The camera shots are perfectly chosen to convince our eyes and make this film unforgettable.
High Noon was filmed in a way to give power to everybody. Everybody seems to count in this film, even if their role is a minor one (remember what I previously said about Lee Van Cleef). Some of my favourite shots are the one when Grace and Kane leave in their carriage. They are filmed in a low angle shot and they look so noble. I love it.
I’m also quite a fan of most shots that include Lee Van Cleef. I mean, he has the most amazing close ups:
Grace Kelly also has her moment of prestige with well-chosen close-ups, which apparently made Katy Jurado a bit jealous.
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The film also presents some amazing aerial shots, such as this one that accentuates the fact that Kane is now all alone. Look at the beginning of this clip:
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High Noon is not a traditional western as it was much more based on good morals than “bang bang” and “cowboy vs Indians”. I have to say, I’ve never really liked it when Indians are the bad ones in Western, because, first it’s racist and, second, it’s not representative of the reality. But that’s another story! High Noon manages to escape with grace from these prejudices. The film is also known to be a symbolic opposition against the blacklisting and  McCarthyism there was at the time. John Wayne saw it as the most un-American thing he has never seen. Fred Zinnemann said of High Noon that it was “a story about a man’s conflict of conscience.”
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High Noon‘s screenwriter Carl Foreman was blacklisted during the Maccartysme area. Sadly enough, screenwriters seemed to have been the scapegoats of the Maccartysme…
His script remains memorable for the glorification of the individual, glorified with the words, and the values he shares so well with us.
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Carl Foreman
As I often like to do it, here are some of my favourite quotes of the film:
1- Helen (to Harvey) : You’re a good-looking boy: you’ve big, broad shoulders. But he’s a man. And it takes more than big, broad shoulders to make a man.

2-  Helen: What kind of woman are you? How can you leave him like this? Does the sound of guns frighten you that much?Amy: I’ve heard guns. My father and my brother were killed by guns. They were on the right side but that didn’t help them any when the shooting started. My brother was nineteen. I watched him die. That’s when I became a Quaker. I don’t care who’s right or who’s wrong. There’s got to be some better way for people to live. Will knows how I feel about it.

3- Helen: Kane will be a dead man in half an hour and nobody’s gonna do anything about it. And when he dies, this town dies too. I can feel it. I am all alone in the world. I have to make a living. So I’m going someplace else. That’s all.

4- Amy: Don’t try to be a hero! You don’t have to be a hero, not for me!

5- Will [on staying in the town, facing Frank Miller]: I’ve got to, that’s the whole thing.

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High Noon is a movie full of good values and it presents us a good life lesson at the end. Simply, that people are sometimes weak and don’t deserve what is done for them. It’s pretty clear when [Spoiler] Will and Amy leaves the town without saying a word to anybody. Will just saved them from Miller, alone. Nobody wanted to help him. He throws his marshal star on the ground and leaves a hero, but a bitter hero. [end of spoiler]
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High Noon was often described as  “a western for people who don’t like westerns”. (IMDB) I think it’s true. For all the reasons I’ve previously said. This film is one of a kind and almost belongs to a separate category. It is also known to be a “Noir Western”.
It’s a film that will always have a special place in my heart, and writing about it was nothing but a good experience.
Other fellow bloggers have honoured Grace Kelly and her films with their contributions to the 2nd Wonderful Grace Kelly Blogathon. I invite you to take a look at them here.
Before I leave you, all I can say is happy heavenly birthday dear Grace Kelly!
She left us too soon, but her memory will always be honoured.
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