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Tag Archives: Charles Ruggles

It Happened on Fifth Avenue (April 19, 1947)

Roy Del Ruth’s It Happened on Fifth Avenue has a small but loyal following. Some people will even tell you that it’s better than It’s a Wonderful Life (1946). They are wrong. It’s a Wonderful Life is the far superior film. But It Happened on Fifth Avenue is still a great picture; warm, human, funny, and perfect for the holiday season.

In a plot inspired by the severe housing shortage that followed World War II, Don DeFore plays an ex-serviceman named Jim Bullock (not to be confused with Jim J. Bullock) who’s thrown out of his rented room under protest. (He’s carried out handcuffed to his bed, wearing only his underwear and his hat.) Dejected, Bullock stews while sitting all alone on a bench in Central Park. He’s approached by Aloysius T. McKeever (Victor Moore), who — with his tuxedo, top hat, and little dog — looks like a gonzo version of Rich Uncle Pennybags (a.k.a. “Mr. Monopoly”). McKeever and his little dog live in one of the stateliest mansions on Fifth Avenue, but they enter through the back, because it’s boarded up while its real owner, multimillionaire Michael J. “Mike” O’Connor, winters in West Virginia.

McKeever lives lightly off O’Connor’s wealth. The only thing he steals is food from the pantry, and he acts as a responsible caretaker. The only downside is that he has to turn off all the lights and make himself scarce every night when security guards sweep the mansion, but it’s a small price to pay.

Bullock settles into McKeever’s way of life quickly, and respects McKeever’s rules, but Bullock can’t help inviting old friends who need housing to join him in the mansion. Eventually, the O’Connors themselves wind up living with McKeever and his big group of friends. The first is the O’Connors’ daughter, Trudy (Gale Storm), who hides the fact that she’s an O’Connor because she likes McKeever’s way of life. Then her father (Charles Ruggles) and her mother (Ann Harding) reluctantly get into the act after their daughter begs them to pass themselves off as destitute people in need of housing.

The O’Connors have been estranged for some time, but their bizarre new living arrangement helps them fall in love with each other again. When Mike O’Connor comes home after a long, hard day of shoveling snow for dimes, he can’t resist the smell of his wife’s slumgullion wafting from the kitchen. It takes him back to better days.

It Happened on Fifth Avenue is a cute movie. Its message is the same as the message of It’s a Wonderful Life, that no man is poor who has friends, and it also ends with a Christmas miracle. It does it in a more contrived and comedic way than It’s a Wonderful Life, but it’s still a sweet, funny, and very enjoyable movie.

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Ramrod (Feb. 21, 1947)

Ramrod
Ramrod (1947)
Directed by André De Toth
United Artists

They called it God’s country … until the Devil put a woman there! screams the poster for André de Toth’s Ramrod.

That darned Scratch. Goin’ and puttin’ women where they oughtn’t to be.

The woman in Ramrod is Connie Dickason, whose slight frame and small stature belie her will of iron. She’s played by Veronica Lake (de Toth’s wife from 1944 to 1952).

Connie’s fiancé, Walt Shipley (Ian MacDonald), plans to bring sheep through public grazing land, which hasn’t endeared him to local cattleman Frank Ivey (Preston Foster), who has Connie’s father, Ben Dickason (Charles Ruggles), in his pocket.

Alcoholic cowhand Dave Nash (Joel McCrea) has worked for Shipley for the past three weeks. At the request of Connie, with whom he has a history, he backs up Shipley when Ivey and his men attempt to stop Shipley from leaving on the night stage. (If Shipley gets out of town, he’ll come back with sheep.)

Sheriff Jim Crew (Donald Crisp) cautions Dave to stay out of it. When Dave says to the sheriff, “I work for Walt,” the sheriff responds, “For three weeks? What do you owe that fool, your life?”

All of this takes place in the first 10 minutes of the film. De Toth drops the viewer into the action in media res. Without a scorecard, it’s hard to keep track of who’s who during the first reel. (And it doesn’t help that Shipley and Ivey look nearly identical.)

Veronica Lake

But things become more clear as the plot rolls forward. Shipley decides that he doesn’t love Connie enough to die for her, so he heads out of town, leaving her his ranch. Connie’s father expects that she’ll do his bidding after Shipley departs, but she throws down the gauntlet with a fiery speech: “From now on I’m going to make a life of my own. And being a woman, I won’t have to use guns. This isn’t just a fight between father and daughter. You’ve pushed Frank Ivey at me ever since I can remember. For years I’ve watched him run things his way. The town, the valley, you, and now me! No one’s ever had the nerve to stand up to him. Well I have!”

Connie hires Dave to be foreman of her ranch, the Circle 66. He in turn hires an old friend of his, a handsome, charming loose cannon named Bill Schell (Don DeFore). Dave is determined that everything the Circle 66 does to fight Ivey be above board, but Connie and Bill have their own ideas. Connie may have made the decent and honest Dave “ramrod” of her outfit, but it’s the violent Bill Schell who is the true instrument of her will.

Joel McCrea

Joel McCrea has the pleasantly handsome, soft-featured face of the dad next door, but he’s tall enough and projects enough quiet menace to be convincing as the ramrod of the Circle 66 ranch. Don DeFore, who usually played pleasant, jovial men, is excellent playing against type as a cold-blooded gunman.

Ramrod is a great western. It’s based on a novel by Luke Short, and de Toth does an excellent job of capturing Short’s hard-boiled western prose and talent for characterization. The tone of the picture is closer to the film noirs of the period than it is to the westerns.

In Ramrod, de Toth creates a grim, violent world in which the righteous are just as likely to die as the wicked. Fistfights in this film don’t end with a bunch of broken furniture, they end with blood. A group of Ivey’s men beat an unarmed cowhand to death in front of Connie. When Bill Schell slaps a man in the face to enrage him, he tells Bill that he won’t be “rawhided” into drawing, so Bill burns his hand with a cigar. When Ivey shoots a man, he steps forward and finishes him off with another shot. Ramrod ends with a shootout, of course, but it doesn’t end with a quick draw or any fancy trick shooting. It ends with a shotgun blast to the gut.

True to the noir tone of the film, there’s a “good girl” to counterbalance Connie, named Rose (Arleen Whelan). The intertwined relationships of Dave, Bill, Connie, and Rose are well-played, and evolve naturally over the course of the film. Character drives the plot of Ramrod forward as much as bullets and fists.

Ramrod premiered on Friday, February 21, 1947, in Salt Lake City, at both the Utah and Capitol theaters. The world premiere event was part of Utah’s centennial celebration as a U.S. Territory. Ramrod went into wide release on May 2, 1947.