'Wedding Present' is a gift for Cary Grant fans

Wedding Present (1936)
Starring: Cary Grant, Joan Bennett, William Demarest, Edward Brophy, Gene Lockhart, Conrad Nagel, and Purnell Pratt
Director: Richard Wallace
Rating: Six of Ten Stars

Charlie and Rusty (Grant and Bennett) are big-city journalists who are colleagues and lovers who spend as much time tracking down leads and working on stories as they do pulling pranks and staging elaborate practical jokes. When Charlie is promoted to editor, and he suddenly has to be serious about managing writers and assignments, his relationship with Rusty falls apart. It isn't until she's about to marry a stuffy author of self-help books (Nagel) that Charlie quits his new job, reverts to his previous self, and tries to win her back with the help of a notorious gangster (Demarest).

"Wedding Present" is a fast-moving, witty comedy. It's a little too fast-moving in some ways, as the first half of the film feels more like you're watching a series of loosely connected sketches rather than a movie. It put me in mind of some comedy television series, such as "Faulty Towers" or "'Allo, 'Allo" where most episodes unfolded with a series of almost free-standing sketches that were only united by a circumstance which framed them. 

As the film continues, the story begins to coalesce firmly around the rocky romance of Charlie and Rusty. At about the halfway-mark, the film ends up firmly in romantic comedy territory. It's almost like we're watching a sequel to the first half, as this part is comes complete with its own beginning, middle, and end. Some of the "skits" from the first half turn out to be crucial to the story here, but if we'd walked in late, we wouldn't have missed anything, because characters remind us of what went on and why they're doing what they're doing. 

This is not a great movie, but it's not a terrible one. Its odd structure is a bit distracting, but it's not a fatal flaw. In some ways, what I view as a flaw might make it more enjoyable for some viewers, especially those who are big Cary Grant fans.

"Wedding Present" is one of the first films where Grant was unquestionably the star. While Joan Bennett certainly holds an important role in the story, has lots of screen-time--most of it in scenes with Grant--it is Grant who carries the movie. His is the character the audience is primarily invested in, and the story that's ultimately told is that of Charlie's road to life-long happiness (if not maturity). It's also the film where, I feel, that he clearly has come into his own as a comedic screen actor. Thanks partially to the episodic nature of this film's first half, we get to see Grant perform in different comedic styles, playing off different actors and situations... and even being the straight man in a scene or two. 

Cary Grant is so much fun to watch in this film--especially in scenes shared with Joan Bennett (who gives as good as she gets, every single time) and William Demarest (who does a great job at walking the line between seeming funny and dangerous) that I almost gave it Seven Stars. The totality of the odd structure, though, made me decide to give it the highest possible Six Star rating. This is a highly entertaining, but flawed, film that contributes to making the "Cary Grant: Screen Legend Collection" well worth the purchase price. (I've watched three of the five films in the set so far, and each was almost worth the price by itself.)

Oh--a fun way to watch this film is to consider it a prequel to "His Girl Friday". It's very easy to imagine the lead characters from this film being those portrayed by Grant and Rosalind Russell in that one. Maybe you should get both and have a double-feature watch party with friends!

'This is the Night' is fluffy nonsense

This is the Night (1932)
Starring: Roland Young, Charles Ruggles, Thelma Todd, Lila Damita, Cary Grant, and Irving Bacon
Director: Frank Tuttle
Rating: Six of Ten Stars

To cover up the affair between his friend Gerald (Young) and the wife (Todd) of an Olympic athlete (Grant), , and to allow them to continue to carry on, Bunny (Ruggles) arranges for an actress (Damita) to pose as Gerald's wife.

"This is the Night" is an amusing film that, to the modern lover of old movies, is remarkable primarily because it's the great Cary Grant's very first screen appearance. He is part of a cast made entirely of great performers, and his charm and screen presence leaps off the screen, even as he shares scenes with actors who also have strong presences as well as a lot more experience in the film medium, like Thelma Todd and Charles Ruggles.

Interestingly, Grant's charisma is actually an element that works against this film rather than for it. Grant's character, Stephen, is presented in dialogue that he is supposed to be menacing. Not only does his status as an Olympic Games-level javelin thrower worry Gerald, but Thelma Todd's character, Claire, implies that Stephen is a jealous fiend who beats her. None of this rings true, because even at his most suspicious and jealous and angry over being played for a fool while his wife carries on her extra-marital affair (or attempts to), Stephen comes across at most sardonic. Later in his career, Grant ably brought menace to his charm--in "Notorious" and "Charade" to mention two examples)--but at this point, his acting skills weren't developed to that point.

The lack of menace that Grant brings to Stephen's character undermined the central premise of the film for me: That Claire would be interested in Gerald over Stephen. Both men appear to be wealthy and urbane, but Stephen is far more handsome than Gerald, not to mention a world-class athlete and smart enough to be fluent in at least three different languages. I may not know what a woman wants in man, but seriously? What woman would choose Roland Young over Cary Grant, even if everything else but looks was equal?

While I can imagine that Claire would step out (or stay in) with Gerald when Stephen is away on one of his many trips, I can't imagine that she'd bother to attempt to carry on her affair with Gerald once they've almost been caught. Her jealousy over Gerald's fake wife therefore seems even more unbelievable to me; Stephen is clearly the keeper--even if he has an annoying habit of singing at random times--depending on how serious his mean/violent streak is.

Ultimately, though, this hardly matters, because everything about this film is good-natured, with the characters strolling in and out of rooms while constantly quipping and engaging in light slapstick humor. (There's a running gag with Gerald's manservant inadvertently causing Clair to be near-naked in pubic--although, alas-alack, we viewers never get to see Todd in her unmentionables in this one, despite the fact she was regularly parading around in them in the short comedies she was making for the Hal Roach Studio around this time.) Making the audience laugh seem to be the main motivating factor in how this film is constructed, and by the time it's over, all of its events add up to little more than lighthearted nonsense... and since I had the feeling there were no aspirations beyond that, I felt perfectly fine with that.

While "This is the Night" is certainly worth watching for Cary Grant fans, it is equally worthwhile for anyone who just enjoys fine comedic performances. Charles Ruggles and Thelma Todd are in particular fine form here--Todd is the closest thing this film has to a villain, and she's fantastic; Ruggles is alternatively the funniest clown in the picture, or the most sympathetic character, and he is perfect in every scene.

As for the top-billed stars of the film, Roland Young and Lila Damita, they were consistently outshone by the supporting cast. In Young's case, it was because everyone else had better lines and better jokes (in addition to the fact that it was unbelievable that Todd would be pursuing his character over Grant's), but with Damita, it was an issue of screen presence. She wasn't a bad actress, and she was certainly pretty, but she just didn't have the ability to command the screen the way even neophyte Cary Grant did. (This actually seems to be a common observation I make about these 1930s romantic comedies; the characters around whom the story supposedly revolves are often the least interesting ones, performed by the blandest of actors and actresses. The latter isn't the case here, but the former certainly is.)

"This is the Night" is fast-paced and very funny. It kept me entertained from beginning to end, and it would have gotten a Seven of Ten Star-rating if not for two very distracting things. First, most outdoor night scenes are tinted blue, possibly to show that romance was afoot, but to me it was just annoying. Second, there's a scene where Young locks Damita in her bedroom... and then a few minutes later demands that she unlock the door, or he's going to break it down. He had just locked the door, the key should still be in the lock since he didn't appear to take it--and despite my granting that this film is just a bunch of fluffy nonsense that's an error so glaring that it was the final factor that pushed it from a Seven to a Six.

Nonetheless, fans of Thelma Todd, Charles Ruggles, and Cary Grant will find the time spent watching "This is the Night" to be time well spent.

Watch Singapore Sue Sing to the Sailors

Singapore Sue (1932)
Starrnig: Anna Chang, Joe Wong, and Cary Grant
Director: Casey Robinson
Rating: Five of Ten Stars

Four sailors looking for fun visit a cabaret in Singapore encounter a singer with a surprising background.

"Singapore Sue" is a ten-minute short film with three so-so songs by once-popular but now-forgotten performers, some weak banter, and not much else. It is, however, still of some interest to film-buffs.

First, "Singapore Sue" features Cary Grant in one of his earliest film appearances. It's not a terribly impressive role, and, frankly, the character might be downright annoying if played by someone other than Cary Grant, but it's fascinating to see him this early in his career, playing a part unlike any other I'd seen him in.noteworthy role, and This ten-minute short has three songs, and banter between Grant and Anna Chang (as the title character), and not much else. It is, however, remarkable for the fact that all Asian characters--even the two major parts--are played by Asians rather than White people in make-up.

 Second, the film is somewhat unusual, because the major Chinese characters are portrayed by actual Asians instead of White actors in heavy make-up. This is probably explained by the fact Anna Chang and Joe Wong were popular vaudeville performers, and the film was made as a vehicle to showcase their talents, or to draw their fans to the movie theaters. Wong (who was born in the Philippines, and who's real name was Jose Ocampo Cobarrubias) went onto to have a sideline in acting that stretched through the late 1980s, but Chang does not appear to have had much of a screen career.

Take a few minutes out of your day to see a different Cary Grant than you may be used to, and enjoy the musical stylings of a pair of forgotten performers, right here, on this post, via the embedded video below!

'Big Brown Eyes' is worth looking into

Big Brown Eyes (1936)
Starring: Cary Grant, Joan Bennett, Walter Pidgeon, and Lloyd Nolan
Director: Raoul Walsh
Rating: Seven of Ten Stars

A police detective (Grant) and his manicurist girlfriend turned-firebrand-newspaper-reporter (Bennett) alternatively bicker and work together to catch a mysterious jewel thief and to find out who fired the shot that accidentially killed a baby in the park.

The script for "Big Brown Eyes" was based on two different short stories, and the stitches show, because there are a number of story elements that don't quite fit together. The most obvious being the clever and refined jewel thief who happens to also be the insurance investigator who is assigned to catch himself (Walter Pidgeon, who takes an excellent turn as the bad guy in this picture) working with a pair of dimwitted henchmen that he doesn't really need. However, the excellent performances given by each and every castmember more than make up for the shortcomings of the script.

From beginning to end, this is a fun movie. The irrational jealousy of Joan Bennett's character toward Cary Grant's when it's obvious he's meeting with a woman as part of his investigation is a little irritating, but, like the above mentioned glitch with the script, it's a flaw that can be forgiven because everything else about her performance and her character is so good. Grant, meanwhile, plays a character that is a little different from what we're used to seeing him as, but he does a flawless job. The two of them make a nice on-screen couple, which is another reason it's easy to forgive the foolish jealousy of Bennett's character.

A personal reason for why I enjoyed this film, which is totally divorced from anything that actually appears in in it, or was intended by the filmmakers, is that in my imagination, the story here serves as a nice "prequel" to the Torchy Blane series--with the characters here being younger, more impulsive versions of the couple featured in those movies.

"Big Brown Eyes" is one of the film included in the five-movie set Screen Legends Collection: Cary Grant. This may be one of the lesser known films that either Joan Bennett or Cary Grant made, but if you're a fan of either actor, it's worth seeking out... and it alone is almost worth the price of the Screen Legends Collection.

'Wings in the Dark' deserves to be spotlighted

Wings in the Dark (1935)
Starring: Myrna Loy, Cary Grant, Hobart Cavanaugh, Roscoe Kearns, and Dean Jagger
Director: James Flood
Rating: Eight of Ten Stars

Ken Gordon, a pilot and avionics innovator (Grant) is on the verge of perfecting improved autopilot and guidance systems that will allow pilots to fly and land planes in even the worst visibility conditions when he is blinded in an accident. Stunt pilot Sheila Mason (Loy) and Gordon's assistant and mechanic Mac (Cavanaugh) help him carry on his work, with Mason secretly providing the funding he needs and Mac facilitating the ruse. When the extremely proud Gordon realizes what they've been doing, will his anger kill both his long friendship with Mac, as well as the growing love he and Mason share?

"Wings in the Dark" is a fast-paced film that has a talented cast performing in a story that delivers a perfect mix of romance, humor, and suspense. While the subject matter lends itself to over to excessive sappiness and melodrama, this film mostly stays clear of those morasses, only briefly straying into the melodramatic... but with Myrna Loy doing the over-emoting, it's hard to dislike it.

Meanwhile, there's nothing to dislike about the on-screen pairing of Cary Grant and Loy. While the script sets up the eventual romance between the two characters, it's the onscreen charisma between the actors playing them that really sells it. Grant and Loy play so well off each other that it's it feels perfectly believable that they'd both, in turn, take extreme risks to save one another during the film's tense climax, because from very early in the film, they feel like the perfect couple.

"Wings in the Dark" was the first of three times Grant and Loy were paired on screen, and it is the least well known of them; Grant's star was still climbing and Loy was completing her transition from her vamp-ish roles to playing "the perfect wife". Both stars, however, give excellent performances, and they are buoyed by a fine supporting cast, with Hobart Cavanaugh (as Gordon's taciturn right-hand man), and Roscoe Kearns (as Mason's headline hungry agent and publicist) being particularly effective and fun in their parts. As for Kearn's character of Nick Williams, he is the source of most of the bad things that happen to the main characters, directly and indirectly, but he is played with such charm that you'll think as warmly of him as you do of all the other characters in the film as it unfolds. All-in-all, this is a film that deserves more attention that it's gotten over the years.

"Wings in the Dark" is one of five, relatively obscure films from early in Cary Grant career included in the Screen Legends Collection: Cary Grant. It's the first one of them that I've watched, and if the others in the set are even half as good, it was a bargain.

A rarely thought-of Halloween classic

October is here, and ghosts and goblins and creepy crawlies will soon be showing up all over the place. I'll be celebrating the Month of Monsters with reviews of some of the very best Creature Features to ever grace the silver screen all this month at Terror Titans--click here to check them out--and with a special series of Halloween-themed images on Picture Perfect Wednesdays, here.

However, I'm kicking it all off with one of the best yet often-overlooked Halloween-themed pictures I'm aware of.

Arsenic and Old Lace (1944)
Starring: Cary Grant, Jane Adair, Josephine Hull, Peter Lorre, Raymond Massey, Pricilla Lane, and John Alexander
Director: Frank Capra
Rating: Nine of Ten Stars

It's October 31, and on the very day celebrity theatre critic Mortimor Brewster (Grant) is to secretly marry his fiance (Lane), everything that can go wrong does go wrong. He discovers his spinster aunts (Adair and Hull) are serial killers who have been murdering lonely old men out of what they consider kindness, and that his uncle (Alexander), who believes he is Teddy Roosevelt, has been burying the bodies of in the Panama Canal he is burying in the basement. To make matters even worse, Mortimor's homicidal brother (Massey) shows up, along his unscrupulous plastic surgeon (Lorre) partner-in-crime.


"Arsenic and Old Lace" is one of the best comedies ever made. It's a dark screwball comedy that's driven by its sharp, witty dialogue and characters so loveable you forgive them for being insane serial killers.

Technically, the film is also a masterpiece of direction and staging. The multi-layered routines that take place at several points in the film are gut-busting hilarious, with the one where Grant is describing a bad play he once reviewed to Lorre, while the action of the plot he is relating unfolds behind him. It's even more spectacular the way the film hits the ground running and never stops to catch its breath until the final, snicker-worthy scene. It also doesn't let the audience catch their breath, but keeps viewers giggling and laughing as the film's pace grows more and more frenetic.

Everyone in the cast is perfect, with the interplay between Grant and the two murderous little old ladies--with Grant becoming increasingly agitated and panicky, and Adair & Hull growing increasingly confused because they see nothing wrong in what they do--being particularly hilarious. In fact, Grant's comic timing was probably never more perfect than in this film, and that even includes the one I rank as my favorite comedy starring him, "Bringing Up Baby".

Special mention also needs to go to Lorre, who mumbles his way through his part with hilarious, drunken obliviousness; and to Massey, who manages to be funny and menacing at the same time, in his Boris Karloff-spoofing role.

With its October 31 setting, its dark subject matter, its intelligent script, its perfect staging, and top-notch performances by some great actors, "Arsenic and Old Lace" is great Halloween viewing no matter what sort of movies you're into. (I don't think it makes for good party viewing/background noise, as it's a film that deserves and requires your attention, but it's a definate must-see.)

Sub's secret mission is 'Destination Tokyo'

Today, it's exactly 65 years ago that the Japanese surrendered to the Allies, bringing an end to World War II. This post is my way of marking that anniversary.

Destination Tokyo (1943)
Starring: Cary Grant, John Garfield, John Ridgely, Alan Hale, Robert Hutton, William Prince, Tom Tully, and Warner Anderson
Director: Delmer Daves
Rating: Nine of Ten Stars

A veteran submarine crew have all their skills and loyalty to their captain and country tested when they are sent on a covert mission to scout the defenses surrounding Tokyo in preparation for an air strike on the Japanese capitol during World War II.

"Destination Tokyo" is an expertly paced war story that features great performances from all cast members while providing an (admittedly idealized) look into life aboard a submarine in WWII. Viewers are walked through the entire command structure and almost every position on the ship, starting first with sailor on his first tour-of-duty as our stand-in character, and later through a reserve officer who comes aboard to help with the boat's covert mission. Exchanges between officers and crew further bring to light unique aspects of Navy life, and the battle scenes stress the unique dangers and advantages to sailing under instead of upon the sea. Using a mixture of decently done miniature special effects and real battle- and harbor-footage provided by the War Department, the film draws viewers into this suspenseful wartime tale of danger and heroism.

Sadly, this is the kind of movie they just don't make anymore. It's a suspenseful adventure tale as well as a story that highlights the real and substantive differences between the American outlook and the outlook of the oppresive and evil governments that we go to war against. A key moment in the film comes shortly after a grizzled old veteran sailor is stabbed to death by a downed Japanese pilot the submarine diverted to rescue; they didn't have to try to save the pilot, yet they did... and they were repaid with their mercy by savagery. Just like the U.S. military is rewarded for fighting humanely and decently today. A bit of dialogue spoken by Grant after the death of the sailor further highlights the fact that America doesn't indoctrinate its children into a culture of death and savage murder, like our enemies. We likewise don't target civilans nor force them into being meat-shields for soldiers, as do our enemies... we, just like we did in WWII hope instead to destroy governments that encourage such behavior. As Grant says in the film, "There's lots of Mikes dying right now. And a lot more Mikes will die. Until we wipe out a system that puts daggers in the hands of five-year-old children."


Today's Hollywood filmmakers are too busy trying to paint the U.S. military as the bad guys while trying their best to paint those who "put daggers in the hands of five-year-old children" as heroic freedom fighters. The various fascist Muslim terrorist movements around the world, the government of Iran, the government of North Korea... they're no different than Imperial Japan during World War II, and the men and women serving in the United States military are no different than the those who served 65 years ago. All that has changed is the creative community, who, for some inexplicable reason, feel sympathy toward those who would happily murder them all (and have murdered some of them, like Mustapha Akkad).

"Destination Tokyo" is also a far better crafted movie than the vast majority of what is being made today, especially those that contain propaganda elements like this one. Films like "Lions for Lambs" and even the somewhat more evenhanded "The Kingdom" grind to a halt when characters start their earnest soap-boxing. Today's writers and directors, are either so deficient in talent, or so desperate to shove their twisted and wrong-headed messages down the throats of viewers that they don't understand that such messages are best received when they grow naturally out of the film's events, so characters can deliver the message points in what seems like natural conversation.

I supposed we can count ourselves lucky that those who try their hands at war movies today don't have the talent and skill of those working during the 1940s. Otherwise, their lies wouldn't be so transparent and the truths of classics like "Destination: Tokyo" wouldn't shine so brightly.

'Notorious' is a great spy thrillerthat includes feeble romantic elements

Notorious (1947)
Starring: Cary Grant, Ingrid Bergman, and Claude Raines
Director: Alfred Hitchcock
Rating: Eight of Ten Stars

After tough American Intelligence agent Devlin (Grant) forces Alicia Huberman (Bergman), a young woman whose father was a notorious Nazi sympathizer to use the fact one of her father's former associates, Alexander Sebastian (Rains), loves her deeply to infiltrate a suspected group of post-WW2 Nazis in South America. Unfortunately for himself and the mission, Devlin finds himself falling in love with her.


"Notorious" is part romantic melodrama and part spy-thriller. The romance part I never did buy--the love between Grant and Bergman's characters seems forced--but the thriller side works beautifully.

Hitchcock uses camera angles, lightings, and even extreme close-up shots to heighten tension masterfully. (Alicia's confrontations with Alexander's posessive, shrewish, and master-Nazi mother are most masterfully done, as well as the climactic scene, and the final shot in particular.)

With the exception of the weakly done romance between Devlin and Alciia, the characters are all excellently drawn and brilliantly portrayed by the actors. One can actually feel Alexander's heart breaking when he discovers the truth about Alicia.

"Notorious" is another Hitchcock masterpiece. It has some flaws, but those are outweighed the overwhelming number of good parts.

'His Girl Friday' is a true comedy classic

His Girl Friday (1940)
Starring: Rosalind Russell, Cary Grant and Ralph Bellamy
Director: Howard Hawkes
Rating: Eight of Ten Stars

While attempting to score an interview with a man slated for execution the next morning, an unscrupulous newspaper editor (Grant) juggles politics, yellow journalism, and a desperate attempt to prevent his ex-wife and former top reporter (Russell) from marrying an insurance salesman (Bellamy) and quitting the newspaper business.


"His Girl Friday" is a comedy on speed, cocaine, crystal meth, and just about any other upper you can think of. It's crammed wall-to-wall with jokes, gags, and lampooning of crooked politicians and ruthless journalists, and you'll have to watch the movie twice to catch them all, because your laughter will drown out a fifth of them on the first time through.

This is one of the fastest paced movies ever made--it never pauses once it gets going, but speeds along at a mile a minute, with characters always doing two or more things at the same time and several actors usually talking over each other at once. It's a chaotic film--perhaps even a little chaotic for its own good at times--but every joke is funny and every actor featured gives a great, high energy performance. (Russell and Grant are particularly noteworthy. Russell manages to play a character who is as tough as her male counterparts yet is still feminine and sexy, while Grant plays a man who is a complete bastard, but he still keeps the character likable and charming.)

"His Girl Friday" is a true comedy classic that remains relevant nearly seventy years after its first release, because, if anything, politicians and reporters have gotten even more slimy and callous than they were in 1940.

'Bringing Up Baby' is chaotic ride worth taking

Bringing Up Baby (1938)
Starring: Cary Grant, Katharine Hepburn, Charles Ruggles, May Robson, Fritz Feld, George Irving and Walter Catlett
Director: Howard Hawks
Rating: Eight of Ten Stars

When paeleontologist David Huxley (Grant) goes to schmooze a lawyer representing a wealthy widow who is considering making a donation of $1 million to the museum he works at, he instead finds himself drawn into the chaotic life of socialite Susan Vance (Hepburn). Before he knows it, he's hunting leopards in Connecticutt.


I think I saw this movie for the first time when I was 10 or 12. It was was funniest thing I'd ever seen, and I've been touting this film as one of my favorites for the past three decades.

I recently watched it again, and I found myself not amused so much as annoyed by Katharine Hepburn's obnxiously dippy character and the way Cary Grant's Dr. Huxley was incapable of avoiding her, not just because he was a gentleman but because he was milquetoast in the extreme.

"Bringing Up Baby" is still a hilarious movie, even if it didn't quite live up to my memories of it. Cary Grant puts on a great show--even with my being annoyed at his character. It's also interesting to notice that while Hepburn interacts with the leopard (panther?) co-star, Grant never gets closer to the cat than a couple of feet. I wonder what the story is behind that? Was Cary Grant too big a star to run the risk of him getting mauled?