Showpeople (15): Bogarde and pals

I have done some 'Showpeople' posts on Dirk Bogarde previously, with the likes of pals Kay Kendall and Rex Harrison, meeting Rock Hudson - did the closeted British and American heart-throbs compare notes? - and with co-stars like Jean Simmons, Anouk Aimee (whom he knew since she was a teenager), Monica Vitti, Julie Christie, Lilli Palmer - did he and Lilli discuss the Rex and Kay story?, Lilli being the previous Mrs Harrison. (Left, another shot from that DARLING premiere with Christie and Vitti. Glamour!)

Below with Kay and Kenneth More in DOCTOR IN THE HOUSE, and with Muriel Pavlow, another Rank Organisation stalwart and co-star, and with Capucine. Dirk and Kay were also guests at Kenneth More's "This Is Your Life" tv show in 1959.









I suggest that Lauren Bacall and Dirk really are the people who knew everybody - and SHE visited HIM the day before he died in 1999, and I love the photo of her with Kay, Vivien Leigh and Coward back in 1959, and with Kay at the theatre that year! [Showpeople label]. He worked of course with all the English talent of the time including those newcomers Courtenay, Fox, Miles ("dainty Miles" as he referred to her at one of his NFT discussions), Christie, Stamp, York - Michael and Susannah, etc. Then of course he knew all the European ladies: the young Bardot in DOCTOR AT SEA, Thulin, Seyrig, Aimee, Vitti, Mangano, and became great friends with Charlotte Rampling and Jane Birkin, he was also pals with Simone Signoret and Yvonne Mitchell though did not work with them, and of course his later co-stars like Lee Remick and Glenda Jackson. [It is a shame that Romy Schneider did not get to play the Austrian princess in Losey's ACCIDENT in '67, as originally planned - she would have brought so much more to the role and made her a real tease, rather than Sassard's blankness]. Then of course there are the Garland, Capucine and Ava Gardner stories, as per his books ... here is a further selection then:

Awards time in 1965 with Lee Marvin, Julie C and Patricia Neal - later of course he and Glenda Jackson did THE PATRICIA NEAL STORY for television; and that silent scene with Delphine Seyrig in ACCIDENT and with Anouk in JUSTINE, and Bjorn from DEATH IN VENICE!

Movies I love: Johnny Guitar / North to Alaska

A western double bill!







JOHNNY GUITAR was the very first film I saw, aged 8 - what a vivid introduction to cinema, I was mesmerised by the woman in white about to be hanged, and that other woman in black shooting down the lamps and setting the place on fire. Then of course later when I knew which film it was repeated viewings made it more delirious and desirable than ever. I just simply love it. Nice now to have good dvd showing that odd Republic Technicolor, with an introduction by Marty Scorsese, no less (as good as his one for EL CID).





Then there are those tales of the feud between Joan and Mercedes on set, it is all though oddly poetic as directed by Nick Ray. Joan is perfect as Vienna "sitting at her piano in her own home" waiting for the railroad to come so she can sell out. McCambridge is Emma Small the vicious town boss who is oddly drawn to the Dancing Kid, or perhaps it is Vienna she is drawn to and cannot act on it? The men - even Ward Bond - are just stooges here, as Emma and Vienna dominate. Events move at a pace as the two women face up to the climax. Sterling Hayden is sterling again as the quiet Johnny - his scenes with Vienna as they try to recapture their lost love are just so perfect. Then the lynch mob arrive ... For a child of 8 it was a marvellous experience and led to my being taken to other westerns that year: THE COMMAND, DRUM BEAT, SITTING BULL and other movies like A STAR IS BORN. Looking at it again now the architecture is fascinating: Vienna's large casino, the waterfall hiding the way to the mountain cabin - and what a perfect cabin it is... one almost wants to live there.



Moving on to 1960, that perennial comedy western NORTH TO ALASKA is thankfully a tv staple - one simply never tires of it. Henry Hathaway directs and 20th Century Fox producton values ensure it looks good - that early sequence with the tree loggers at their picnic is not really necessary at all but all part of the lazy rambling structure of the film. Wayne here, after those iconic roles in THE QUIET MAN, THE SEARCHERS and RIO BRAVO the previous year (and those perfect 50s programmers like THE SEA CHASE and LEGEND OF THE LOST), is having fun as is Stewart Granger - good to see them together, Fabian is the younger brother (he was cute then after HOUND DOG MAN in '59) and there is the running joke of him continually being manhandled by exasperated Wayne, especially when Capucine arrives as the replacement girlfriend. Cap is delightful here and holds her own well with Wayne and joins in the knockabout.







That muddly climax at the end has them all fighting in the mud - with Ernie Kovacs as the shady operator and lots of fun all round. It shows frontier life then almost as well as in McCABE & MRS MILLER! So, a fun film with people I like! Wayne and Granger are as adroit as ever at this late stage of their careers but they were not winding down yet - while Capucine and Fabian show comedy skills and provide the eye candy. What's not to like?

Edit: It won't let me reply to the Comment, so here is what I wanted to add:



Indeed - Johnny Guitar is so vivid it plays almost like a cartoon - very accessible for a child seeing his first movie!

Capucine is indeed a very independent woman in Alaska, holding her own with the men, even if she is playing a haughty "saloon girl" but she is not a pathetic one like Lee Remick was in the '59 western "These Thousand Hills".

Showpeople (5): Looking in on colleagues ....

I loved this photo [top] of Marlon Brando dropping in James Dean and Julie Harris on the EAST OF EDEN set - note Jimmy's attention-seeking little-boy-lost look as everyone focuses on Brando. I treasue a note the great Julie Harris sent me to wish me a happy new year for 1978 when she was doing THE BELLE OF AMHERST in London (I hadn't felt well on the night but went anyway and she was so amazing I had to write and tell her...)
A very glamorous Tony Perkins looks in on Wayne and Sophia on LEGEND OF THE LOST - he and Loren were doing DESIRE UNDER THE ELMS next. [Tony's pal Tab would get his turn with the statuesque Italian the following year in THAT KIND OF WOMAN].
Below: Audrey visits Ponti and Loren in Switzerland - and Capucine drops in on beau William Holden with Audrey in PARIS WHEN IT SIZZLES - it fizzled.

People We Like: Capucine

Capucine [1928-1990] was one of the stars of the early '60s whose career didn't last that long but it was fascinating seeing her in those comedies and dramas where her fashion sense (she had been a model) made her one of those people like Kay Kendall or her friend Audrey Hepburn who wear clothes marvellously. Capucine's patrician looks and flair for haughty comedy was ideal for those two with Peter Sellers: THE PINK PANTHER in '63 and the delirious WHAT'S NEW PUSSYCAT in 1965.

She was a protege of agent Charles Feldman and got her big break in SONG WITHOUT END with Dirk Bogarde in 1960. She and Bogarde were good friends [they were rumoued to be engaged, which was good publicity for both of them], and he writes about her in two of his books "Snakes and Ladders" and "Cleared For Takeoff". She holds her own well opposite John Wayne and Stewart Granger in the fun western NORTH TO ALASKA and her scenes with Fabian are amusing. WALK ON THE WILD SIDE in '62 is one of the great bad movies - Laurence Harvey did not get on with her here, but Stanwyck is great as the brothel owner wanting Capucine for herself, with young Jane Fonda and Anne Baxter also involved in this Edward Dmytryk farrago, great credits and Elmer Bernstein score.

Capucine was also involved with William Holden and they did two movies together: the interesting THE LION by Jack Cardiff in 1962 set in Africa where she is the wife of hunter Trevor Howard who asks former husband Holden to visit as their daughter is growing up wild and getting too attached to the lion of the title. Cardiff's memoir "Magic Hour" goes into the problems they had keeping Pamela Franklin safe when around the lion. Capucine was very effective as the Eurasian facing the death penalty in THE SEVENTH DAWN in '64 where Holden gets involved with the ridiculously young Susannah York. She was also featured as one of Rex Harrison's three lovers lured to his deathbed in Mankiewicz's under-regarded THE HONEYPOT in 1966, other roles were in FRAULEIN DOKTOR, she was amusing with Alberto Sordi in an episode of LE FATE, and in FELLINI SATYRICON, and had a small part in the Bronson-Delon-Mifune actioner RED SUN in 1971. She was then mostly in European movies which did not surface elsewhere - one I saw recently and liked was NEST OF VIPERS in '77, an overheated melodrama with a surprisingly good Senta Berger and Ornella Muti.

She had retreated to an apartment in Lausanne and did television, including a MURDER SHE WROTE in '85. She suffered from manic-depression and it seems she jumped from her 7th floor window, after feeding her pets. A sad end to a fascinating presence, but it will always be a pleasure to see her fending off Peter Sellers in re-runs of THE PINK PANTHER or WHATS NEW PUSSYCAT.

'60s [1]

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The start of the ‘60s was that great era of intelligent dramas, mainly in black and white (see my post on 1962), so I am just highlighting some here. [Others like ALL FALL DOWN, THE CHAPMAN REPORT, THE APARTMENT, STRANGERS WHEN WE MEET, THE CHILDREN'S HOUR and I WAS HAPPY HERE have been reviewed already here, as well as late 60s capers like DUFFY, OTLEY, SEBASTIAN, DAY THE FISH CAME OUT etc]. By the mid-‘60s Hollywood ‘product’ seemed more and more dumbed down as the studios grappled with the new morality of the Swinging decade before the new cinema of the late '60s. Some producers like Joe E Levine certainly turned out their share of schlock, which makes for fascinating viewing now. We will get on to those next ….

CONE OF SILENCE. This 1960 British airline thriller was just one of the many airline dramas of the time (others being THE CROWDED SKY, JET STORM, SOS PACIFIC). This is mainly courtroom based as an inquiry investigates the cause of pilot Bernard Lee’s crash. It’s a compelling drama about aircraft design flaws. The cast here though is the thing: Michael Craig at his most attractive teamed with that interesting dancer Elizabeth Seal, Peter Cushing and George Sanders in fine form in the courtroom, plus reliables like Marne Maitland, Charles Tingwell, Andre Morrell, Gordon Jackson, Noel Willman and Delphi Lawrence.

THE GREENGAGE SUMMER – this 1961 film from a Rumer Godden novel ("Loss of Innocence") is rarely seen now, but is an engaging drama by Ronald Neame, with Kenneth More and Danielle Darrieux as the adults, and a trio of youngsters left on their own at Darrieux’s hotel in France while their mother is ill. Teenager Susannah York becomes involved with the mysterious More who is involved with Darrieux who also seems to be involved with her (female) hotel partner. Young Jane Asher is terrific as York’s younger sister, and its intriguingly resolved. York is engaging here in her first role after her debut in TUNES OF GLORY.

GOODBYE AGAIN. A perfect early ‘60s film set in Paris by Anatole Litvak (who certainly got the best out of his actresses like Davis, De Havilland, Kerr etc). Ingrid Bergman stars here as Paula, the ‘40ish stylish woman who feels her lover Yves Montand takes her for granted and see other women on the side, which indeed he does. Enter young Anthony Perkins who falls for Bergman and their bittersweet romance ensues. There are nice scenes of Bergman and Perkins driving around Paris, Jessie Royce Landis is fun as Perkins’s mother. It is of course another Francoise Sagan story, from her AIMEZ VOUS BRAHMS? Bergman finally sends Perkins away with the risible line that she is too old, but marriage to Montand does not resolve her fears, as he still plays around. It certainly highlights the plight of the older woman, though Ingrid here is far from old!

FIVE MILES TO MIDNIGHT – another Litvak film set in Paris with Anthony Perkins! This 1962 thriller, scripted by Peter Viertel, was interesting to see recently, as I had never seen it before, despite it starring Sophia Loren! Any film that begins with Sophia dancing the twist in a Paris nightclub can’t be all bad … this one isn’t that good but holds the interest. Sophia is the centre of the film here playing an ordinary woman working in Paris but getting tired of petulant, demanding, jealous husband Perkins (his second teaming with Loren). She thinks he is killed in a plane crash, but he is the only survivor and secretly comes back with a plan to get the insurance money and forces her to play along, then of course things go wrong ……it’s a pleasant time-waster with that new look Loren for the ‘60s. Perkins had a good run in Europe in the early '60s, there was also Dassin's PHAEDRA with Mercouri, Welles' THE TRIAL with Moreau and Schneider among others. Carol Reed's THE RUNNING MAN the next year, '63, was another airline survivor insurance scam with Laurence Harvey, Lee Remick and Alan Bates. That plot also unravelled...

ADORABLE JULIA. I finally caught up with this 1962 Lilli Palmer film a while ago. A French-German production set in London theatreland of the early 60s, it is of course an earlier version of that Annette Bening film BEING JULIA from the Maugham story. Lilli though is much more suited to the material, as the ageless, eternally glamorous sophisticated actress deftly dealing with lover Jean Sorel and husband Charles Boyer. Sorel is good here as the demanding lover who has his own agenda (aiming to get his not very talented girlfriend into Lilli’s play) and its nicely played out. Top marks to Lilli.

WIVES AND LOVERS – This long unseen 1963 comedy is a lot of fun now, particularly with that cast. Its nice to see Janet Leigh in a leading role after PSYCHO and MANCHURIAN CANDIDATE and she seems to be having a lot of fun here, as the wife of newly successful writer Van Johnson as they move to Connecticut, with Shelley Winters and Ray Walston as neighbours. Martha Hyer is Lucinda the glamorous agent who causes trouble. It should have been in colour though but it does seem a more adult variation on the Rock and Doris comedies. Shelley is not chewing the scenery for once, but Johnson is a dull one-note uncharismatic lead. It’s a Hal Wallis production competently directed by John Rich. Great theme tune of course.

A HOUSE IS NOT A HOME. Another great theme tune (sung by Brook Benton) here in this enjoyable farrago from 1964, also in black and white and starring Shelley Winters as famous madam Polly Adler. It’s a great role for Shelley but the movie is hiliariously awful – it must be set in the ‘20s or ‘30s but Edith Head dresses them all in early ‘60s ensembles. Shelley starts as the innocent soon involved in providing girls for parties for county hall bigwigs and assorted gangsters (Cesar Romero is Lucky Luciano) – Robert Taylor (looking bored throughout) is her mentor and the girls include Edy Williams and Raquel Welch (a silent role, glimpsed next to Robert Taylor in a bar scene). The girls just loll around in negligees or evening dresses – only two of them come to grief showing the downside of prostitution, as Shelley happily takes to being a madam, the men though are all creeps. It’s a typical studio piece of dross from the ’64-’65 era by producer Joe Levine [wait till I get around to the two HARLOW films, SYLVIA, THE OSCAR etc!]. Russell Rouse directs, Kaye Ballard and Broderick Crawford also feature. It at least gave us that classic Burt Bacharach-Hal David song that outlasted the film (like "The Shadow of Your Smile" is superior to the risible THE SANDPIPER, probably the Burtons' worst movie, though Minnelli gives it the required gloss).

Two European comedies, both with Monica Vitti and Jean Sorel: Vitti's delicious deadpan sense of comedy surfaced in two Italian compendium titles which were popular in the 60s, each containing 4 segments with 4 different stars, and directed by Bolognini, Risi, Rossi and Comencini. LE BAMBOLE (THE DOLLS), now on dvd, was a popular hit in 1965, featuring Gina Lollobrigida, Elke Sommer, Virna Lisi and Monica whose sequence is a hilarious tale of a working class woman trying to get rid of her slob of a husband. Gina is terrific too as the hotel owner’s wife trying to seduce the nephew (Sorel) of visiting cardinal Akim Tamiroff. This was a sensation at the time.

LE FATE (THE QUEENS or SEX QUARTET) in 1966 features Monica in a gaudy dress picking up various men in sports cars and driving them mad with her incessant chatter which is very funny and she looks adorable. Capucine (with Alberto Sordi), Claudia Cardinale and Raquel Welch (with Jean Sorel) also feature in this one.

Next: WHY MUST I DIE?, SOS PACIFIC, THE VICTORS, WALK ON THE WILD SIDE, THE CARPETBAGGERS, SYLVIA, HARLOW (both of them), A GIRL NAMED TAMIKO, A RAGE TO LIVE, THE AMOROUS ADVENTURES OF MOLL FLANDERS, LOVE HAS MANY FACES, THE OSCAR, NO WAY TO TREAT A LADY, the unbelievably awful THE SINGING NUN, A QUIET PLACE IN THE COUNTRY and THE LOVE MACHINE.