How to Marry a Millionaire

This film creates much debate within the cinema community. Filmed in 1953, the movie finds three models as they search for a husband. Now, the very idea that your identity as a woman is made by your husband seems outlandish. But, in 1953, that was the belief of many women across America. I also think it is important to remember that in much of the world today this concept is as strong today as 56 years ago. So How to Marry a Millionaire provides a look at pre-feminist America.

Along with providing a look at the USA of the 1950s, this movie has some wonderful observations on sexual politics and gender issues. Because the stated goal of all 3 leading characters is to marry a millionaire, we are treated to many instances of men and women on the prowl for companionship. The screenplay's author Nunnally Johnson does an intriguing job of showing the similarities and differences of men and women in relationships. I am quite fond of Johnson's work throughout his career. He penned some terrific scripts and adaptations from early on with 'The Grapes of Wrath' through the end of his career with 'The Dirty Dozen'. Most of his scripts provide some insights into people and their relationships.


But more important than the deep-sounding issues of pre-feminism, sexual politics and gender roles, How to Marry a Millionaire is a fun movie. There are plenty of laughs to keep you entertained. And we get to gaze upon Lauren Bacall, Marilyn Monroe and Betty Grable for 88 minutes. That alone makes it worth a watch. The plot is simple. Our three leading ladies rent an upscale apartment from which they hope to catch a wealthy husband. Since they seem to find "gas pump jockeys and soda jerks" in their current lives, 'Schatze Page', played well by Lauren Bacall, organizes a plot to move in high society circles. They go through the ups and downs of such a plot until they each find the love they have been searching for. Of course, things never go exactly as planned, but that is all part of the fun.

One detail that I love. This movie is filled with inside jokes. For example, in one moment Lauren Bacall's character 'Schatze' says "I love older men. Take that guy in the 'African Queen'". That guy is Humphrey Bogart and she was married to him. Or, Betty Grable's character 'Loco' hears a Harry James song on the radio. She talks about how much she loves Harry James. When this was filmed, she was married to Harry James. Those kind of inside jokes just add to the fun of How to Marry a Millionaire.

This is a simple film with great actresses spouting nice writing for our entertainment. Not bad for 88 minutes.

Filmed in 1953, directed by Jean Negulsco, written by Nunnally Johnson, starring Betty Grable, Lauren Bacall, Marilyn Monroe, Rory Calhoun, William Powell, Cameron Mitchell and David Wayne. For a more detailed look at John Ford and Nunnally Johnson's masterpiece 'The Grapes of Wrath', read my earlier blog.

The Apartment

Jack Lemmon plays C.C. Baxter. Baxter works at desk number 891 on floor number 19 for one of the largest insurance firms in the world. His desk sits in the middle of a giant room full of desks. Each is home to another worker just like him. C.C. Baxter often stays late, working without overtime pay, to get things done. He is a responsible, well-liked, anonymous cog in a giant insurance machine. Yet, C.C. Baxter is getting positive reviews and references for promotion from executives throughout the company. Many of the senior executives know C.C. Baxter and he is in contact with execs all over the firm.


Fred MacMurray portrays Mr. Sheldrake. He is the president of this monstrous insurance company. He wants to know why so many executives, from different divisions, are giving Baxter glowing reviews. Why are these execs pushing for Baxter's promotion? Earlier in the firm's history a similar story played out. In that case, the junior nobody was running a book-making operation and taking bets from all the other employees. What is the story with Baxter?

Shirley Maclaine plays Fran Kubelik. She is an elevator operator for the firm. Everyday dozens of employees ride her elevator to and from their offices. She is cute, personable and most witty. She avoids all the advances from every executive as they try different ploys to get her to go on a date. The fact that most of them are married doesn't seem to slow down her would-be suitors. But, so far, she seems to have avoided all entanglements.


Baxter has chosen an interesting path to success. He lends out his apartment to executives at the firm. They use his place to rendezvous with their mistress. This makes him very popular. In exchange, they give Baxter glowing performance reviews and recommendations for promotion. He is soon on the fast track to the top floor. Since he lives alone and has little company the situation seems to be perfect. But he develops a fondness for Miss Kubelik. He is now torn between pursuing the lovely and witty elevator operator and advancing his career. When the head of the company, Mr. Sheldrake, wants to use his apartment the choice becomes even more difficult.

Billy Wilder directed and co-wrote The Apartment. He was coming off the giant success of 'Some Like it Hot' (my review) and was on top in Hollywood. He teamed with his co-writer I.A.L. Diamond for this sarcastic yet warm comedy. Casting Jack Lemmon was his best decision. Lemmon can toss-out one-liners with the best. He has impeccable timing and uses subtle voice and volume changes to deliver lines at their sarcastic best. In this movie, he is a character with which the audience can relate. We want him to succeed, to find happiness and love, to move beyond his lonely existence. Shirley MacLaine is fantastic. A truly wonderful, understated performance. She portrays the woman with a tough exterior covering for her disappointment with life to perfection. Also, Fred MacMurray plays the philandering husband with a zest that is spot-on. He is a cheating wretch, but he is also charming. You can see why women would be interested even while they know it is not going to go well.


Wilder's direction, along with his script, is wonderful, as always. Wilder won 6 Oscars in his life with 3 of them coming from this film. The Apartment won Best Picture while Wilder won Best Director and for Best Screenplay. His name is littered throughout my website. He also directed 'Double Indemnity', 'Some Like it Hot', 'Witness for the Prosecution' and 'Stalag 17'. I can safely say that if you are considering watching a movie that is directed and/or written by Billy Wilder you should get it. You won't be disappointed!

Jack Lemmon as C.C. Baxter faces a tough choice in The Apartment. He must choose between his career and love. You, however, face a simple decision. Should I watch this move today or tomorrow?

Filmed in 1960, directed by Billy Wilder, written by Wilder and I.A.L. Diamond, starring Jack Lemmon, Shirley MacLaine and Fred MacMurray.

What's Up, Doc?

When they are well made, I enjoy screwball comedies. And this one is well made. Like all screwball comedies, the plot of this movie is wild and crazy. Ryan O'Neal plays a scatterbrained scientist who thinks that early humans pounded on different kinds of rocks to make music. Madelaine Khan, in her film debut, portrays his overbearing fiancee. They have just arrived in San Francisco to attend a dinner at which he may receive a large grant to continue his studies.

Most importantly, he is carry his rock samples in a red and black suitcase. Along the way we meet a thief with stolen, top secret documents. Those papers are in a matching suitcase. We also are introduced to a very wealthy socialite whose expensive jewelry is kept in another matching suitcase. Finally, we meet Barbra Streisand's character who, coincidentally, has a matching suitcase with her personal belongings. She has bounced from university to university searching for her place in the world. As I am sure you have surmised, the cases get mixed-up, the government is chasing the spy, criminals are chasing the jewels, the scientist needs his rocks and Barbra wants Ryan O'Neal.

The plot is zany and so is the film. There are enough one-liners to film two or three modern comedies. The script, written by Buck Henry, just keeps them coming. Add to that a wild chase sequence throughout the streets of San Francisco and there is much fun to be had by all. Director Peter Bogdanovich pushed to make this movie. He provided the outline to Buck Henry and wanted to model this film on the classic 'Bringing Up Baby'. Although the gender roles are reversed, you can feel the similarities. Bogdanovich does the Howard Hawks, Cary Grant and Katherine Hepburn classic proud. Both of these are fantastic screwball comedies!

It is the pairing of Ryan O'Neal and Barbra Streisand that make What's Up, Doc? so terrific. O'Neal plays the semi-deadpan role to perfection while Streisand provides the comic energy. Since she has not done any movies for years, I forget how talented a comic actress Streisand is. The supporting cast is terrific. You can sense from the beginning of her career how enjoyable Madelaine Khan will be on screen. Add to them Kenneth Mars, Austin Pendleton, Mabel Albertson (in her last film) and many more fantastic character actors to assemble a first-rate cast.

From beginning to end this film is funny. I have seen it 5 or 6 times and each time I enjoy the zany antics and hilarious dialogue. I hope you will as well.

Filmed in 1972, Directed by Peter Bogdanovich, written by Buck Henry, starring Barbra Steisand, Ryan O'Neal, Kenneth Mars, Madelaine Khan and Austin Pendleton.

The Thin Man

Never before nor since have two people consumed so much alcohol so successfully. William Powell and Myrna Loy team-up as the mystery solving sleuths Nick and Nora Charles. This film is based upon a novel by Dashiell Hammett. He is also the creator of the hardboiled detective Sam Spade (best portrayed by Humphrey Bogart). But in The Thin Man his crime fighters are a wealthy socialite and her former detective husband. The only things that Nick and Nora like more than solving murders are drinking and witty banter. And there is plenty of both here.

Powell and Loy are so fabulous together that most other screen couples pale in comparison. Critics loved their on-screen chemistry. Audiences so enjoyed them together, along with their dog 'Asta', that the studio made 5 more movies in this series. The thin man in the title is the victim of a murder. Nick, who has "retired" after marrying Nora, is roped into helping solve the murder. He eventually does. But the murder plot, while interesting and clever, is just the vehicle for us to enjoy this pair. Both Powell and Loy give the performances of their careers. They are fine actors with a full and rich body of work, but I don't think they could ever escape the pressure of such successful teamwork. Their timing is exquisite, their chemistry divine and their delivery perfection. Sometimes I watch The Thin Man just to enjoy their work.


Veteran Director W.S. Van Dyke wisely lets Powell and Loy go for it. He seemingly allows two master actors who work magnificently together to run free. But unlike much of today's "improv" comedy, The Thin Man is crisp and quick. No pauses to stare into the camera nor slow deliveries here. Script writers Albert Hackett and Francis Goodrich gave them so many great lines for us to enjoy that you may miss some of them the first time through. When you enjoy this movie be sure to wait a few weeks and then try it again. I guarantee that you will then realize how much fun you missed the first time. So pull up a chair and pour yourself a stiff martini. You may not need it, but you sure are going to want one!

Filmed in 1934, directed by W.S. Van Dyke, written by Albert Hackett and Francis Goodrich, starring William Powell, Myrna Loy, Maureen O'Sullivan, Nat Pendelton and Cesar Romero.

Move Over Darling

I know, I know. What's this? you say. A sappy Doris Day movie? Has Steve the movie guy gone soft? No, I still love 'Apocalypse Now' and think that Kirk Douglas as 'Spartacus' kicks butt. However, there is a place in my heart for silly romantic comedies. This one is a remake of the classic Cary Grant and Irene Dunne film 'My Favorite Wife'. The original is fun, but this is one instance where I find a remake more satisfying than the original.

Doris Day stars as a woman who has been stranded on a deserted island for five years. Her husband, played by the great James Garner (earlier blogs for 'The Americanization of Emily' and 'Murphy's Romance'), has her declared legally dead. Doris Day is rescued and returns home on the day of his wedding. This leads to a complex storyline as each of the parties attempts to get their own way. Polly Bergen is fantastic as Garner's new bride while Chuck Connors portrays 'Adam'. Adam was the only other person on the island with Doris Day for those five lonely years. How did Doris Day and Chuck Connors spend 5 years on an island alone? What did they do all day? And can Garner extricate himself from his new bride to return to his first love? As we know all along, Garner and Day still love each other and belong together, but obstacles abound.


As I have admitted previously, I have a "man-crush" on James Garner. He is able to carry a movie no matter the plot or script. Great smile, charisma to spare and an ability to draw in the viewers. He makes any movie worth seeing. However, in Move Over Darling there is more than just Garner. Day plays her usual chaste self with aplomb. The supporting cast here is strong. Along with Bergen and Connors, the always wonderful Thelma Ritter plays Garner's Mom while Don Knotts is corralled into being a stand-in for 'Adam' that Doris Day hires to help with Garner's jealousy.

This remake was originally intended to star Dean Martin and Marilyn Monroe. I believe that Ms. Monroe is under appreciated for her comic talents, but the casting of Day and Garner makes this movie fun fun fun. Next time you're in the mood for a flashback to the "chaste" 60s pick up this film! I guess, at least sometimes, I am just an old softy.

Filmed in 1963, directed by Michael Gordon, written by Hal Kanter and Jack Sher, starring James Garner, Doris Day, Thelma Ritter, Chuck Connors and Don Knotts.

It Happened One Night

This is the romantic comedy by which all others are measured. Winner of all 5 major Academy Awards. A huge hit at the box office. Turned its leading actors from performers to "Movie Stars". Number 35 on the AFI list of all-time films. There is even a long-standing story about clothing sales being dramatically affected by this film. For certain It Happened One Night is sweet, charming, funny and entertaining.

Clark Gable plays a veteran reporter that has quit/lost his job. Claudette Colbert portrays an heiress on the run from her father in an effort to return to her newlywed husband. Her super-rich father has hired everyone and everything in an effort to find her. Gable, sensing a front-page story, escorts her through the gauntlet of pursuers to get her back to hubby. Of course, along the way each discovers they prefer the company of the other. But will these lovers overcome their preconceived notions and admit to their attraction? And can they surpass the obstacles along the way?

The plot is a simple, tried and true Hollywood storyline. Keep the two stars from getting together until the final reel. But it became a standard because of this film. It Happened One Night was one of the biggest box-office films of its time. But the obstacles to making this now timeless classic were daunting. Clark Gable, at first, refused to make this film. He felt it was a little film from a little studio. He was a contract actor at MGM, one of the biggest studios in Hollywood. To punish him for other issues, they forced Gable to work for Columbia and make this movie. He was not happy. Claudette Colbert was also not interested in this film. Director Frank Capra had to double her usual salary and promise her she could finish in a few weeks just to get her to show up. After finishing she told her friends that she had "just finished the worst movie of my career". I would bet, that after the wild popularity of this movie, they later felt much different.


The two actors are terrific. Both Gable and Colbert are charming and funny, but they are also individuals. Now, these parts are almost cliches, but in the hands of masters they are real. Director Capra, one of America's greatest, develops each character enough that they feel authentic. The Robert Riskin screenplay gives each actor enough strength and humor for the viewer to be deeply committed to what happens. Too often this kind of romantic/screwball comedy moves to ridiculous. Not here. From the bus ride, to the characters along the road, to the "walls of Jericho" this film strikes a chord with the audience.

One more detail. Friz Freleng was the main creator of Bugs Bunny. As you may know, I love Bugs Bunny. Bugs is the perfect thumb-your-nose at authority character that I wish I was. All fun and no respect is my motto. Freleng, in his autobiography, said that he modeled Bugs Bunny after Clark Gable in this movie. He specifically mentions how Gable eats carrots and speaks quickly in It Happened One Night as one of his inspirations. He also mentions how the personality of the character 'Shapely' is a prime inspiration as well. Any film that is a basis for Bugs Bunny is all-right by me!


Don't let what has become an overused plot deter you. This film is warm and funny. Enjoy it!

Filmed in 1934, directed by Frank Capra, written by Robert Riskin, starring Clark Gable, Claudette Colbert, Walter Connolly and Roscoe Karns. In reference to the clothing sales, the story is that when Clark Gable takes off his shirt and is not wearing any undershirt men throughout America decided to not wear undershirts as well. I have never seen any actual data to back this up, but the story has been retold thousands of times.

Arsenic and Old Lace

This is a screwball comedy for the ages. Hilarious to this day. Laser quick dialogue, over-the-top performances, wonderful direction and the absolutely impeccable timing of the great Cary Grant. What more could one ask for in a movie?

This film is based upon a very successful Broadway show. The producers of Arsenic and Old Lace perfected a movie making equation that is still being copied today. They hired one of America's top directors, Frank Capra. They added the perfect comedic skills of superstar Cary Grant. Joining them were red-hot script adapting brothers Julius J. and Philip G. Epstein. Then the two women who perfected the Brewster sister's characters on Broadway, Josephine Hull and Jean Adair, join the cast. Add fantastic character actors like Peter Lorre, Jack Carson and John Alexander. Put all these things together and the result is a classic dark comedy. I challenge anyone to watch this film and not have a good time. It is impossible!


The plot follows Mortimer Brewster, portrayed by Cary Grant, as he returns to see his aunts. He is there to inform them he is getting married. Since he is a celebrity who has sworn to "never marry" the press is hot on his tail. Upon arriving at his aunt's home he finds that they have been murdering men to whom they rent their spare room. The women feel they are "ending the loneliness of these poor old men". He is stalling the bride while attempting to learn more about these murders. Soon the police are involved, the crazy family members are running about, the brother who has escaped from jail arrives and the sisters are planning a new murder. The perfect script for a comedy!

As I have been working on this blog I have viewed some films for the first time in years. One thing has become very clear. Cary Grant is a comedic genius. I wrote about his timing in an earlier blog 'His Girl Friday'. And seeing Arsenic and Old Lace again just confirms my belief. Other film funny men receive more credit today, but his timing, use of facial expression and body movements and choice of scripts has caused me to search out all of his films.


Director Frank Capra is one of America's greatest. His films include this one, along with 'It Happened One Night', 'You can't Take it with You', 'Mr. Smith goes to Washington', 'Mr. Deeds goes to Town', and Christmas classic 'It's a Wonderful Life'. If you have the opportunity to see any of these films - Take It! They are fantastic.

I don't know how to explain why the story of two senior citizens who murder men who rent a room is funny, but it is. Enjoy Arsenic and Old Lace.

Filmed in 1941, but released in 1944, directed by Frank Capra, written by Julius J. Epstein and Philip G. Epstein, starring Cary Grant, Priscilla Lane, Raymond Massey, Josephine Hull and Jean Adair.

Murphy's Romance

Murphy's Romance is a wonderful romantic comedy. Sally Field plays Emma Moriarty, a woman that moves, with her adolescent son, to a small town in Arizona. She is looking for a fresh start on life. She rents a horse ranch and attempts to rebuild her life and herself in this most rustic setting. James Garner plays Murphy Jones, the town pharmacist and philosopher. He has a prosperous business and is settled in this small community. While there are many bumps along the way, Emma and Murphy belong together. Can they each overcome their baggage and be together?

This film is charming and sweet without being syrupy. It is written for adults. People who have experienced some of life's successes and failures. Who have loved and, perhaps, lost. The script, written by Harriet Frank and Irving Ravetch, is intelligent and entertaining. I deeply appreciate writers that respect the viewer and who write for film goers who are able to follow a plot.


Director Martin Ritt does a fine job supporting two great actors. Under his direction 13 different actors received Academy Award nominations. Ritt allows the story to unfold and for us to get to know, and like, Emma and Murphy. James Garner received his first Oscar nomination for Murphy's Romance. It is well deserved. Garner does a terrific job. He is attractive and personable, while still seeming reserved. Sally Field's acting is also superb. Her ability to be both a weak and strong woman in the same film is not easy.

This is a terrific date movie. It has strong leads and an interesting story line. Murphy's Romance should bring a sense of romance to any viewer.

Filmed in 1985, directed by Martin Ritt, written by Harriet Frank, Jr. and Irving Ravetch, starring James Garner, Sally Field, Corey Haim and Brian Kerwin.

I wrote about my appreciation for James Garner in an earlier blog about 'The Americanization of Emily'. You can read that entry here.

The Goodbye Girl

Marsha Mason has been dumped by yet another man. She and her daughter are left on their own in a tight, two-bedroom New York apartment. Unbeknown to her, her ex has sublet the apartment to someone else. She becomes quite surprised, and panicked, when the new renter attempts to remove them from their home. Richard Dreyfuss, in his academy award-winning role, portrays that new renter. The film follows the story of the struggling actor, Dreyfuss, and the back in the business dancer, Mason, as they attempt to rebuild their lives and careers while sharing this apartment.

This is one of the great romantic comedies. Unlike most of the genre, these characters are real and substantial. Neil Simon writes dialogue of which most other playwrights can only dream. Quick one-liners are intermixed with well-developed people and stories. As I watch The Goodbye Girl I find myself beginning to side with either Paula (Mason) or Elliott (Dreyfuss). But soon I will be working my way to the other side. And back again. Quinn Cummings plays the 10 year old daughter Lucy. It is nice to see a child that doesn't scream at her parents and steal a car. She is just a kid in a difficult situation.

Director Herbert Ross allows the script to tell the story. Done with a minimal amount of editing, no special effects and few sets. Just good acting and great writing. The scene in which Elliott (Dreyfuss) performs a flaming, gay version of Richard III is worth the price of admission on its own.

We, and Hollywood, need more movies like The Goodbye Girl. This movie is warm, tender and quite funny. Terrific.

One side note. 1977 was quite a year for Richard Dreyfuss. Not only did he win the Best Actor Oscar for The Goodbye Girl, he had a bigger box office hit with 'Close Encounters of the Third Kind'.

Filmed in 1977, directed by Herbert Ross, written by Neil Simon, starring Richard Dreyfuss, Marsha Mason and Quinn Cummings.

A Little Romance

This is one of the greatest date movies ever made. A Little Romance is the story of first love as it should be told. Set in Paris and Venice, Diane Lane (in her debut film) plays a bright, precocious girl who falls for a Parisian boy (Thelonious Bernard in his only film). When her mom explodes over their romance an experienced conman (Laurence Olivier) takes them on a roadtrip of love and romance.

A Little Romance is an engaging film from director George Roy Hill. It is sweet without being sugary, tender without being ridiculous and a wonderful story of first love and coming of age without being cliched or obvious. Director Hill gets the most from the young actors and Laurence Olivier plays a role without being over the top. The performances are touching and the story grabs at your heart.

Georges Delerue won a well-deserved academy award for the score. The music is an important part of the film. It amplifies mood and storytelling while being subtle and poignant. The scenery around Europe is a visual treat. Is there a tandem of more romantic places than Paris and Venice?

Sally Kellerman does a very nice job as the mom and Broderick Crawford's cameo, as himself, is a blast. But it is the two young lovers that grab your attention as you root for their success!

Filmed in 1979, Directed by George Roy Hill, Written by George Roy Hill, Allan Burns and Claude Klotz, Starring Diane Lane, Thelonious Bernard, Laurence Olivier, Arthur Hill and Sally Kellerman.