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Tag Archives: Clark Gable

Homecoming (April 29, 1948)

Homecoming
Homecoming (1948)
Directed by Mervyn LeRoy
Metro-Goldwyn-Mayer

If Mervyn LeRoy’s slick M-G-M romance Homecoming is to be believed, the entire European theater of operations in World War II was an elaborate backdrop for a passionate and illicit romance between Clark Gable and Lana Turner.

Gable plays a doctor named Ulysses Johnson. His friends call him “Lee,” but the beautiful nurse he befriends during the war calls him “Useless.” (That beautiful nurse is Lieutenant Jane McCall, nicknamed “Snapshot.” She’s played by Lana Turner, who was really good at playing beautiful women.)

Dr. Johnson is a noninterventionist who enlists to fight mostly because it’s “the thing to do.” Six year earlier this wasn’t our war, he says, and he doesn’t see how it’s any more our war now.

Lt. McCall tries to convince Dr. Johnson otherwise, which leads him to quip, “When women talk world politics it makes me laugh.”

McCall responds tartly, “Do the women of the bombed cities of Europe make you laugh, Major?”

Turner and Gable

Unsurprisingly, this sharp verbal exchange leads to more sharp verbal exchanges, most of them with a strong undercurrent of flirtatiousness.

Dr. Johnson has a wife back home, Penny (Anne Baxter), and McCall has a son to think about, but the more they try to keep things professional, the more the tension builds.

It should come as no surprise that Homecoming is more concerned with Dr. Johnson’s budding affair with Snapshot than it is with his moral and patriotic development. For instance, during the battle of Bastogne, the biggest trouble they face is having to abandon their jeep after it’s stuck in the mud. They have no difficulty locating an abandoned farmhouse in which to sexily and achingly hole up for the night. Try watching this movie immediately after watching the harrowing Band of Brothers episode “Bastogne” (Oct. 7, 2001). It will be really difficult to take Homecoming seriously.

Actually, Homecoming may be really difficult to take seriously even if you’ve never seen Band of Brothers and are totally unfamiliar with the history of World War II. But if all you’re looking for is a wartime romance starring a couple of members of Hollywood royalty, it fits the bill.

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The Hucksters (Aug. 27, 1947)

It’s hard to watch Jack Conway’s The Hucksters today and not compare it with Mad Men.

While Mad Men is a TV series that began in 2007 and takes place in the early ’60s and The Hucksters takes place during the time it was filmed (the post-war ’40s), they share a number of similarities, and not just because they’re both about advertising agencies.

Both feature at their center a dashing leading man with rugged good looks as an advertising genius who must navigate the tricky waters of love, sex, and difficult clients. Jon Hamm was in his mid-30s when Mad Men began, while Clark Gable was in his mid-40s in 1947, but both of their characters are veterans of the most recent war and inveterate seducers of women.

The Hucksters is based on Frederic Wakeman’s 1946 novel of the same name, which spent a year at the top of the best-seller lists. Wakeman’s novel was based on a four-part exposé in The Saturday Evening Post, “The Star Spangled Octopus,” about talent and promotional agency MCA.

The novel’s racy subject matter was largely responsible for its success. Life magazine called it “Last year’s best-selling travesty on bigtime advertising.”

Metro-Goldwyn-Mayer paid nearly $200,000 for the rights to Wakeman’s novel in a pre-publication deal. Most of the salacious details, however, never made it into the final shooting script. (Clark Gable’s take on the first draft of the script was, “It’s filthy and it isn’t entertainment.”) For instance, in the novel, Gable’s character, Victor Albee Norman, has an affair with a married woman, but she was changed into a war widow for the film.

Consequently, The Hucksters never quite achieves the satirical bite of Mad Men, but there are number of bits that are funny, particularly if you’re familiar with radio advertising circa 1947.

There are plenty of reasons to see The Hucksters. It was the American film debut of Deborah Kerr, who plays Gable’s widowed love interest, Kay Dorrance, and it also features the beautiful Ava Gardner as a torch singer named Jean Ogilvie. Adolphe Menjou is wonderful as Mr. Kimberly, the head of the advertising agency, and Keenan Wynn is appropriately irritating as a third-rate radio comedian named Buddy Hare.

The most memorable actor in the film, however, is Sydney Greenstreet, who plays Evan Llewellyn Evans, the grotesque and demanding head of Beautee Soap. After Gable’s character, Victor Norman, rejects the more scandalous layout favored by Evans, Evans sits down at the head of the boardroom table, tilts his head back, hawks, and spits on the table. “Mr. Norman, you’ve just seen me do a disgusting thing,” he says. “But you’ll always remember what I just did. You see, Mr. Norman, if nobody remembers your brand, you aren’t gonna sell any soap.”

The Hucksters could have used more moments like that. It’s nearly two hours long, and Gable’s romance with Kerr takes up much of the running time. It’s perfectly well-handled and shot, but it’s a storyline one could see in any number of pictures, while the advertising angle of the story is unique, and the film could have gotten more mileage out of it.

The Hucksters earned a respectable $4.4 million during its domestic release, but was a complete flop overseas, since in those days no one outside the United States was in any way familiar with American advertising or commercial broadcasting.