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Tag Archives: Frank Albertson

It’s a Wonderful Life (Dec. 20, 1946)

I can’t count the number of times I’ve seen Frank Capra’s It’s a Wonderful Life, and I’m not alone. When I was a kid, not a Christmas went by that it wasn’t shown on television multiple times. For many families, it’s required holiday viewing.

Like a lot of people, I didn’t see the film in its entirety until I’d already seen bits and pieces over the years and seen it satirized and referred to in countless TV shows and movies.

My first memory of seeing part of it was on my grandmother’s 13″ black & white TV. The film was almost over, and I had no idea what it was about. George Bailey (James Stewart) is experiencing what life would have been like if he’d never been born. He’s disheveled and looks terrified. Police officer Bert (Ward Bond) and cab driver Ernie (Frank Faylen) watch as he explores the abandoned, ramshackle version of his own home. The scene is full of darkness and shadows. It has the look of a film noir, and I found it scary.

If you’ve never seen It’s a Wonderful Life, you might think it’s the exact opposite — sappy and sentimental — but that’s not the case. It’s a film full of dark moments, with a sense of desperation that’s always threatening to bubble to the surface. The most famous part of the film — George seeing what life would have been like in Bedford Falls, NY, if he’d never been born — occupies a relatively small amount of the total running time. Most of the film tells the story of an ordinary man who ended up living a very different life than he dreamed he would.

When he was young, George dreamed of going to college, traveling the world, and becoming a titan of industry. His life is an emotional game of tug. He puts off college, stays in Bedford Falls, and even gives away the money he and his wife Mary (Donna Reed) put aside for their honeymoon in order to save the family business, Bailey Building & Loan. George always does the right thing because he’s a decent person, but he’s a real person, too. Each little depredation eats away at him. He loves his wife and four children, but when the evil old Mr. Potter (Lionel Barrymore) spirits away $8,000 from his absent-minded Uncle Billy (Thomas Mitchell), George loses hope. It looks as if the family business might not only be ruined, but George might also be headed to prison.

George asks Potter for a loan, and Potter points out that while he needs $8,000, he carries a life insurance policy worth $15,000, which means he’s worth more dead than alive. The desperate George takes this cruel assessment to heart. He heads home, yells at his children, trashes part of the house, and goes out to get good and drunk. After getting punched in the face in the bar, he crashes his car, stumbles to a bridge, and contemplates killing himself. It’s at this point that a frumpy angel named Clarence (Henry Travers), who has “the I.Q. of a rabbit and the faith of a child,” arrives to show him just how much he really is worth.

It’s a Wonderful Life works as well as it does because it earns every one of its emotional moments. Take, for instance, one of the pivotal moments of George Bailey’s boyhood. George (played by the wonderful Bobbie Anderson, later to be known professionally as Robert J. Anderson) has an after-school job in the local pharmacy, and stops old Mr. Gower (H.B. Warner) from making a fatal mistake. The audience knows that Gower has slipped up not only because he’s drunk, but because he’s distraught following the death of his son. When George returns, having failed to deliver the poisonous “medicine,” Gower beats him savagely. When Gower finally realizes the fatal mistake George has stopped him from making, he breaks down and embraces the boy in an outpouring of emotion.

I really meant to re-watch It’s a Wonderful Life and write a review of it before Christmas. But one thing led to another and I got behind in my movie-watching schedule. I’m glad I didn’t get around to seeing it until now, though. It reminded me just what a great film it is. So many “holiday films” are unwatchable after December 25, but It’s a Wonderful Life was just as engaging and emotionally satisfying in mid-January as it is any other time of the year.

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They Made Me a Killer (May 3, 1946)

Incompetent director William C. Thomas’s They Made Me a Killer is based on a screenplay by competent writer Daniel Mainwaring, who was working under the name “Geoffrey Homes.” Mainwaring was a prolific screenwriter whose most famous contribution to film noir is his script for Out of the Past (1947), which was based on his novel Build My Gallows High (both were written under his Homes pseudonym).

The script for They Made Me a Killer isn’t the problem. In the hands of a talented director and a better cast of actors, it could have been a crisp little thriller. There’s a decent amount of complexity in its familiar tale of an innocent man on the run, and the dialogue is snappy. Unfortunately it’s all handled so poorly that the protagonist’s flexible ethics end up seeming more like sloppy storytelling than anything else, and all the clever lines are delivered in too ham-handed a fashion to make much of an impact.

Produced by William H. Pine, They Made Me a Killer was released by Pine-Thomas Productions, the B unit of Paramount Pictures. It’s normal for low-budget productions to cut corners, but this picture has some of the most egregious examples of cost-cutting I’ve ever seen. Thomas employs rear projection frequently, and not just for scenes shot in cars, which is when the technique was most commonly used. There are numerous shots in They Made Me a Killer of people standing on a street corner in which everything behind them is clearly rear projected. In one scene, two actors stand in front of a rear-projected house, then one of them turns to walk toward it. The scene immediately cuts to a shot of her ringing the doorbell, standing in front of a door that doesn’t look as though it matches the house we saw in the establishing shot. There are certainly less noticeable and more artful ways to keep a picture under budget.

When They Made Me a Killer begins, Tom Durling (Robert Lowery) is leaving Chicago. His brother was killed there, and he has no desire to stay. He’s leaving his job as an auto mechanic, and heading for San Francisco. Once in California, he stops at an intersection. San Francisco is 248 miles away, and Santa Marta, “The Pearl of the Valley,” is just five miles away. He heads for Santa Marta, hoping to sell his souped-up jalopy, which he has modified to achieve speeds of up to 120 miles per hour.

He’s approached by a potential buyer named Betty Ford (Lola Lane), who tells Durling that she wants her boyfriend to buy the car for her for her birthday. Agreeing to meet her boyfriend the next day to close the deal, he ends up parked outside the Santa Marta Trust and Savings Bank the next morning with Betty exhorting him not to move, even to drive around the block to avoid a parking ticket, while Jack Conley (Edmund MacDonald) and Frank Conley (James Bush) are inside, making a very large withdrawal.

When he had initially shown her what his blocky hot rod could do, Durling had told Betty, “All I wanna do in this town is leave it.” He’ll get his wish, but he’ll get it the hard way.

He’s not the only one. Caught in the crossfire is a hapless little punk named Steve Reynolds (Byron Barr), a bank clerk at the Santa Marta Trust and Savings Bank who’s hanging around the getaway car because he has the hots for Betty.

Betty and the Conley brothers make off with $100,000, but Durling drives them into a ditch. He’s knocked unconscious, the robbers flee, and he’s left to take the rap.

He hangs his hopes for freedom on young Steve Reynolds, who lies in the hospital dying from a bullet wound. Steve’s sister June (Barbara Britton) comes to visit him in the hospital. She and Durling are immediately attracted to each other, and she reluctantly becomes his ally as they race to prove his innocence, and Steve’s.

All of this probably sounds better on paper than it plays out on screen. The acting is bargain basement and the direction is maladroit, turning what could have been an entertaining one-hour programmer into a forgettable snoozer.