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Tag Archives: Henry Stephenson

Night and Day (Aug. 3, 1946)

If you’re looking for a biopic about Cole Porter that tells the real story of his life, Michael Curtiz’s Night and Day is not for you. If, however, you’re merely looking for a sumptuous Technicolor musical extravaganza starring Cary Grant with great songs throughout, then it fits the bill.

The film was made with Porter’s supervision and full approval, so failures early in his career are blamed on everything but mediocre songwriting and production, and questions about his sexuality are never addressed.

The more recent Porter biopic, De-Lovely (2004), which starred Kevin Kline, implied that he was bisexual, but plenty of other sources claim he was gay, which makes more sense. His 35-year marriage to Linda Thomas was successful, if sexless, but all that means is that the two shared a genuine friendship and enjoyed each other’s company. Also, the seamier details of Porter’s parties during his time in Paris in 1917 and 1918 — “much gay and bisexual activity, Italian nobility, cross-dressing, international musicians, and a large surplus of recreational drugs” — wouldn’t have been appropriate material for a Hollywood production in the ’40s, even if Porter had been completely open about them.

Porter was an undeniably great songwriter — and one of the few Tin Pan Alley composers to write both music and lyrics — but even here the movie sanitizes things, since Porter’s lyrics were notoriously risqué. For instance, when the song “Let’s Do It” is played, you’ll heard about how “educated fleas” do it, but nothing about how roosters do it “with a doodle and a cock.” And musically, Ray Heindorf’s orchestrations tend toward the saccharine. By the end of the picture I felt as if I’d heard the same piece played over and over again.

Some of the whitewashing in Night and Day is purely ridiculous, though. Why was Porter’s first Broadway production, See America First, which was written with his Yale classmate Monty Woolley, a flop? Not because it was a critical disaster, according to this movie, but because the opening night crowd was drawn out into the streets by late-edition newspapers carrying word of the Lusitania sinking. Never mind that in real life, the New York American called the play a “high-class college show played partly by professionals.” In the world of Night and Day its failure was wholly due to a disaster outside of Woolley and Porter’s control. (Incidentally, Woolley plays himself in Night and Day, but perhaps owing to his age, his character is recast as one of Porter’s Yale professors instead of his contemporary.)

While there is no intimation that Porter may have ever produced mediocre work, there are gay undertones in the picture, if you care to look for them. Alexis Smith as Porter’s wife Linda spends a lot of the film looking dissatisfied and neglected. And the dramatic arc hits its climax at the 90-minute mark when Cole and Linda are pulled apart by the pressures of success. “You’ve put me in a small corner of your life, and every once in awhile you turn around and smile at me,” she tearfully tells him. In the film, their marital difficulties are resolved, but in an unconvincing, wordless final scene.

While the drama of Night and Day may be dishonest, the music is not, and it’s a great-looking movie.

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Tarzan and the Amazons (April 29, 1945)

TarzanAmazonsOn August 8, 1944, The Hollywood Reporter announced that director Kurt Neumann was looking for 48 athletic, six-feet tall women to portray Amazons in the next Tarzan movie.

He found ’em. Tarzan and the Amazons is the ninth film that stars Johnny Weissmuller as Tarzan. While it’s far from the best of the series, the Amazons really are something else. If you like sexy, tough women who can kick a little ass, this is the movie for you. Sure, there are a few butterfaces in the bunch, but mostly it’s like watching dozens of stunt doubles for Wonder Woman stand around looking sultry before they break into action. And I don’t think the group’s collective resemblance to Wonder Woman is accidental.

Wonder Woman made her debut in All Star Comics in December 1941, and by 1942 was a well-established character. Wonder Woman may have been what most Americans thought of in 1945 when they thought of an “Amazon,” since the metal tiaras, metal wrist- and armbands, gladiator sandals, and above-the-knee skirts look as if they owe more to DC Comics than they do to classical Hellenic representations of Amazon warriors. (Although the warrior women in Tarzan and the Amazons are more partial to leopard print than Wonder Woman ever was.)

Apparently producer Sol Lesser’s previous Tarzan film, Tarzan’s Desert Mystery (1943), had been unpopular with both critics and audiences, so he brought back the character of Jane, who had been absent from the last few Tarzan movies. The dark-haired, petite Maureen O’Sullivan, who had played Jane opposite Weissmuller in his first six Tarzan films, did not return for the role. Instead, Jane was played by Brenda Joyce, a sexy blonde and former model who looks nothing like O’Sullivan. (It’s explained in this film that Jane was performing nursing work in England during World War II.) Joyce would go on to play Jane in four more Tarzan movies, three with Weissmuller and one with Lex Barker. Also, the dependable Johnny Sheffield makes his sixth appearance as “Boy.” I think the introduction of Boy in the fourth Weissmuller Tarzan film, Tarzan Finds a Son (1939) marked a downturn in the series, but his scenes with Tarzan’s chimp companion Cheeta are pretty cute. He also can handle a bow and arrow, and when he dives into the water, it looks as if he’s been taking a few lessons from Weissmuller, who was an Olympic swimming champion.

The plot of Tarzan and the Amazons kicks into gear when an Amazon hunter named Athena (played by Shirley O’Hara) is attacked by a panther. Tarzan saves her, but in the course of the attack one of her golden bracelets falls off. Cheeta finds it and gives it to Jane as a gift. A group of explorers see the bracelet and convince Boy to lead them to the secret world of the Amazons. A child raised by Tarzan really should know better, but I suppose there wouldn’t be a movie here if Boy didn’t do something dopey. Tarzan gets to show off his sage side, however, when Boy asks him why he refuses to lead the scientists and explorers to the Amazons’ land himself. “Not good for man to look straight into sun,” Tarzan says. “What’s the sun got to do with it?” Boy asks, to which Tarzan responds, “Sun like gold. Too much sun make people blind.” So perhaps Boy’s actions are not so much dopey as they are an attempt to defy his adoptive father and his raised-by-apes-but-strangely-Confucian wisdom.

The inevitable violent clash between cultures is done well, even though the RKO Tarzan pictures never had the budgets of the earlier and more prestigious MGM productions. Also, if you watch carefully, you’ll see the same few Amazons firing arrows in shot after shot, since apparently only a few of the towering “glamazons” cast by the producers could convincingly handle a bow and arrows.

Weissmuller wasn’t the first actor to play Tarzan, but he was by far the most successful and may still be the most well-known. By 1945, however, he was no longer the trim, leonine lord of the jungle seen in Tarzan the Ape Man (1932) and Tarzan and His Mate (1934). If you’ve never seen Weissmuller in action, those two are the ones to see. Aside from the fact that they’re great, albeit dated, adventure pictures, watched in succession the two films offer the pleasure of seeing O’Sullivan’s Jane transform from a prim, fully clothed Englishwoman into a scantily clad lover of the jungle god, living with him in the treetops, swinging from vines, and swimming in the nude. In fact, Tarzan and His Mate would be the last film in which O’Sullivan appeared in such states of undress. By the third Weissmuller film, Tarzan Escapes! (1936), O’Sullivan’s skimpy two-piece costume became a more concealing one-piece outfit, and she even started wearing shoes. By the fourth film in the series, the two adopted a son and lived together in a jungle tree house as a family unit, which satisfied bourgeois sensibilities, but wasn’t nearly as sexy or exciting as when it was just the two of them, fighting wild animals and bad guys in between outdoor lovemaking sessions.