The Naked Edge (1961)

When Gary Cooper comes to mind, one doesn't generally think "thriller" or "suspense." Similarly, when we think of sitting down in front of an edge-of-your-seat mystery, Coop is not who automatically comes to mind as playing the lead.  Well, 1961's The Naked Edge changes our preconceived notions, as Coop is the star, and the film is definitely a thriller.  Also starring Deborah Kerr and featuring Eric Portman and Michael Wilding in minor roles, this Michael Anderson film is based on Max Ehrlich's novel First Train to Babylon.  Filmed on location in London, it's a title I had been trying to track down for quite some time, and I finally found it on YouTube last week...just in time for a celebration of Coop's May 7th birthday.  Truly, this is Gary Cooper as you've never seen him before!!

Having witnessed the murder of his boss, Jason Roote, sales manager George Radcliffe (Coop) is a key prosecution witness at the trial of fellow Roote Air Freight Corporation employee, Donald Heath.  It is revealed through Radcliffe's testimony that a large sum of money, from the collection of the COD payments, was expected the evening of the murder, and that in addition to himself and Mr. Roote being present, Heath had volunteered to work overtime and was in the building as well.  Shortly after Mr. Roote departed George's office for his own, he was stabbed to death, and alerted to the crime by the victim's cry, George reached the hallway in time to see a man running from the building.  Following the retreating figure, George ended up in the building's boiler room, where he discovered Donald Heath.  Although the satchel of money was never found, the case is fairly open-and-shut, and the jury soon renders a guilty verdict, causing Heath to lose his composure and shout that he is innocent, that Radcliffe is, in fact, the murderer.

Several years pass, during which George Radcliffe and his business associate, Morris Brooke (Michael Wilding), become prosperous through a successful venture.  It is then that the contents of a mailbag stolen five years earlier are forwarded to those for whom they had originally been intended.  One of the pieces of mail, which George's wife, Martha (Deborah Kerr), opens is a letter from a Jeremy Clay, claiming that he knows Radcliffe was the man who really killed Jason Roote.

Although Martha insists that she doesn't believe the words of the letter, she is, nevertheless, very troubled by them.  Recalling an angry altercation George (whom she calls Cliff) had with a man after the trial, and reflecting on the prosperity which he fell into around that time, Martha begins to get suspicious of her husband.  She's not at all sure that he didn't kill Mr. Roote, and it doesn't help that Cliff's behavior is becoming erratic.  As Cliff sees it, Martha is acting like a wife who has just begun to suspect a mistress, only her suspicions are worse.

Terrified that her husband is a murderer, Martha begins her own investigation, and the more she digs, the more she is convinced of his guilt.  She knows she'll have to turn him in, yet she is also aware that Cliff would never allow her to do that...that he would do whatever it takes to keep her silent.  She begins to fear for her own life.

Did George Radcliffe kill Jason Roote?  Did he frame an innocent man and then send him to prison with his testimony?  Will Martha discover what really happened?  Will she go to the police with her suspicions, even if it means turning in her own husband?  These are the questions which will play out in the balance of the film.  By the end of the film, you will know who killed Jason Roote...and, in the same spirit as in Witness for the Prosecution, you will be asked to not reveal the secret to those who have not yet seen it.  (I'm not one for spoilers anyhow, but with the movie's producers requesting discretion, I would certainly not reveal how everything turns out.)



This film is fascinating, and it has some very Hitchcock-esque qualities to it, particularly the scenes on the London streets and the scene in which Martha is listening to a Philharmonic concert on TV, while a man prepares to silence her in the bathroom upstairs.  The musical score is terrific and adds greatly to the suspense.  Deborah Kerr is perfect as the "I don't want to believe it, but I just can't help it," terrified wife.  I thought she played the part with absolute believability.  Gary Cooper, on the other hand, seemed uncomfortable in his role.  Oh, he wasn't horrible, but he just seemed stiff and wooden.  Of course, his character was meant to be mysterious, so that could be it.  Or perhaps he was uncomfortable portraying a man who may have committed a murder and is about to commit another.  Even more likely, the early stages of his final battle with cancer were upon him here, and he was undoubtedly feeling the effects of them.  Whatever it was, my beloved Coop just seemed a bit out of his element here in The Naked Edge.

Despite Coop being a bit off, though, I really loved this film and found every minute of it be exciting.  I was quite on the edge of my seat through the entire thing and, in fact, had considered it to be a 5-star film. I realize, however, that my effusiveness is somewhat because of my love for Coop, my excitement at discovering a "new to me" film of his, and the suspense of not knowing how it would turn out.  In truth, I don't think repeat viewings (when you know how everything will turn out) will have quite the same effect on me; thus, I think future viewings will see me going with 4 stars, so that is how I am rating it now.  Regardless---4 or 5 stars---it's an exciting, interesting, suspenseful, "Gary Cooper as you've never seen him before" film, well worth seeing and which I highly recommend.

There is a real bittersweetness to catching this film, though, because it is Coop's final film. The knowledge that my beloved guy's long and distinguished career had reached its end and that his beautiful, charismatic presence would never again grace the silver screen, is quite sorrowful.  Adding to the sorrow is my awareness that it wasn't just Coop's career which was ending...it was his very life.  Not long after completion of this film, he would succumb to cancer and depart this world at the too-young age of 60.  In fact, The Naked Edge wasn't released in the U.S. until after his death.  (His hometown of Helena, Montana, was the first U.S. city to screen it---June 28, 1961---two days before its New York screening.)

The film is not out on DVD, nor is it on the TCM schedule in the near future.  However, it is available on VHS, plus it's available in its entirety on YouTube (HERE).  Do try to catch it if you can.

Happy viewing!!

The Prisoner of Zenda (1952)

The Prisoner of Zenda---so far---is in no danger of losing its status as my favorite Stewart Granger film.  Although many blog readers thought Scaramouche---which I caught for the first time last week and will be reviewing later this month---would usurp that #1 position, it didn't. Oh, I liked the film tremendously, and I thought Mr. Granger was more handsome in that film than in any other I have seen (and I think he's always gorgeous---at least when he is clean-shaven); however, The Prisoner of Zenda is so dear to me that it was able to withstand the competition and remain my favorite Stewart Granger film.  Loving that film as I do, I thought re-working and expanding on its previous post was a definite must for Mr. Granger's centennial celebration here at They Don't Make 'Em Like They Used To.

Based on Anthony Hope's 1894 adventure story, The Prisoner of Zenda has seen several film adaptions through the years.  Perhaps the best known of them is the Ronald Colman/Douglas Fairbanks, Jr. one from 1937; this lavish Technicolor 1952 version---which stars Stewart Granger and Deborah Kerr and features Louis Calhern, Jane Greer, and James Mason in support---is, according to Robert Osborne, nearly the exact likeness of the 1937 film.  In fact, the same script was used, as was the same Alfred Newman score.  The only differences, according to Osborne, were a new cast and the addition of technicolor.  Many people prefer the '37 film; I, however, have not yet seen that one, so I cannot compare the two and am basing my rating solely on how this particular film affected me.

The film begins just before the coronation of Rudolph V, king of the fictional country of Ruritania.  Just happening to be on his way through the country at the time is a distant cousin of the king, an Englishman who also bears the name of Rudolph.  Except for the fact that the Englishman has a mustache and is graying at the temples, he is the exact image of the king. (Stewart Granger plays this dual role.)  The Englishman is invited to dine with the king on the eve of the coronation.  In his usual fashion, the king drinks to excess; later, however, he collapses...having been poisoned through his wine.

King Rudolph's allies know that the king's half-brother Michael, who wants the crown for himself, is likely the one behind the poisoning; they also know that if the coronation does not go on as scheduled, Michael will be crowned instead.  Since Rudolph the Englishman looks virtually identical to the king, it is suggested that he impersonate the king for the coronation ceremony, after which time, the effects of the poisoning will have worn off, and Rudolph can take his throne and the Englishman may continue on his journey, with no one ever knowing that it was not the real king who was actually crowned. Convinced that the plan will work, Rudolph the Englishman takes the king's ring and the plan is set in motion, with the real king being hidden away in the wine cellar.

Is Rudolph the Englishman successful at convincing everyone that he is the real king?  And what about when he meets the Princess Flavia (Deborah Kerr), the woman promised to the king?  Do Michael and his cohorts sit back quietly and allow their plans for Michael to usurp the throne to be thwarted?  These are the questions which play out in this exciting little film. The dashing (and beautiful voiced) James Mason portrays one of Michael's partners in crime, and there is a terrific fencing scene between him and Stewart Granger.




According to Stewart Granger's autobiography, Sparks Fly Upward, it was his idea for the remake.  While he and Jean (Simmons) were dining with Mr. and Mrs. Ronald Colman, Mr. and Mrs. David Niven, and Deborah Kerr and husband one evening, Mr. Colman ("Ronnie," as Granger refers to him) asked if they would like to see one of his old films, and since Mr. Niven had also appeared in The Prisoner of Zenda, that is the film the guests were shown.  Enthralled with the film, Granger announced that he was going to suggest to Dore Schary (Metro) that he buy the rights and do a remake, which, of course, he did and Mr. Schary did. Though Granger had no illusion that "he could ever compete with Ronnie Colman as an actor, at least (he said), he could fight better"...or so he thought.  At one point in the filming of the sabre fight, he forgot to "parry to the left" and was caught in the mouth by the sword.  Though not a serious injury, it spilled forth quite a bit of blood and required a few stitches; however, the next day, Granger was able to get back to filming, and in only twenty-eight days, this extravagant Technicolor version of The Prisoner of Zenda was completed.  "Bloody hard work but great fun," according to Granger.  Sensational, captivating, and charming, according to me! I absolutely love this film!

Out on DVD as part of the Literary Classics Collection, The Prisoner of Zenda should be quite easy to track down.  Additionally, it is on TCM's schedule for Monday, June 24th, at 2:00 p.m. (ET).  Definitely, try to see it...it's an exciting, entertaining, 5-star gem of a film.

Happy viewing!!

NOTE:  All quoted material derived from Sparks Fly Upward, by Stewart Granger, G. P. Putnam's Sons, 1981.

An Epic at Boise's Egyptian Theatre

Boise Classic Movies (HERE) is continuing on with its once-a-month classic film screening at downtown Boise's historic Egyptian Theatre.  I haven't taken in a film there since February, when I went to An Affair to Remember.  The March, April, and May showings weren't anything I was interested in (and I didn't consider a couple of them to really be "classic" films, in that they were far too modern to be considered that for me).  The scheduled showing for June is Back to the Future, which, again, is far too modern for my taste; thus, I won't be having a big screen experience next month either...but things are looking positive for a July evening at the beautiful historic Egyptian.

Each month, five chosen films are put to a vote (one vote per person), and the film receiving the most votes is the one which will be screened...IF they sell at least 200 tickets.  So, really, this is just round one; however, to my knowledge, there has rarely (if ever) been a problem selling the required number of tickets. The ballot has just been unveiled for July's showing...all 5 are epics, 4 of them are ones I would actually go to see, and 3 are David Lean films.   Ah, to choose between them...

Lawrence of Arabia---I have never seen this, but my friend DKoren of Sidewalk Crossings has raved about it in a recent blog post.  Only a few short weeks ago, she caught it on the big screen in her own city, and she loved every minute of it.  I know she would urge me to see this one if at all possible.

Bridge on the River Kwai---This is not necessarily a favorite movie, but I do enjoy it (4 stars)...the big advantage to this one is the opportunity to catch Bill Holden on the big screen.  My daughter thinks I'll vote for this one simply because of my beloved Bill.  Not sure yet...but she may end up being right.

Doctor Zhivago---Another of the films which has not yet crossed my path, but which has often been recommended as a must-see.  I hear that the music in this film is spectacular.

Gone with the Wind---My favorite film of the 1930's and among my top 7 movies of all-time. Seeing this on the big screen would be an awesome experience...but I just watched this with my daughter's sweet, precious (and very beloved to me!), Civil War era-loving friend, Meghan, when she was visiting back in October.  Much as I love GWTW---and much as I'd love to see Gable "up close and personal" on the big screen---I'm not leaning to voting for this, simply because I recently saw it. That said, if it wins the vote and is the film shown in July, I will be in attendance.

The Godfather, Part II---I've never seen this and really don't have any desire to, so voting for this is not even under consideration...and should it win and be July's showing, I probably will not be having a big screen classic film experience that month.

So, there you have it...I'm between 3 David Lean films.  I have a few weeks before voting closes, so there's still time to make up my mind.  Tell me, which of these films would you choose?

Sparks Fly Upward---One Terrific Read

I just finished Stewart Granger's autobiography, Sparks Fly Upward, and I absolutely loved it! What an entertaining read it is...easily 5 stars. (And that is quite saying something, because the biographies/autobiographies of my beloved guys, Montgomery Clift, James Cagney, and John Garfield, are all 4-star books to me.)

Mr. Granger writes about his childhood years, living in a home with his mother, father, sister, and his mother's boyfriend (whom he had thought for years was his uncle); his friendship with well-known Brits Michael Wilding, Vivien Leigh, and "Larry" Olivier; behind the scenes stories from both his British and American film careers; the struggle he and his first wife endured to become parents; his 10-year marriage to the "ravishing young beauty" Jean Simmons, whom he said "could outsparkle anyone"; his and Jean's battles with Howard Hughes and his own murderous thoughts toward Hughes; his desire for good roles and his struggles with the studio to obtain them; roles he might have had, but didn't (From Here to Eternity and 1954's A Star is Born being two of them); telling off Hedda Hopper; his years as a rancher; and a host of other things.

Like a kiss-and-tell teenage boy, Mr. Granger writes of his many love affairs.  From the loss of his virginity at the hands of a French prostitute, to his acquisition of an STD while cheating on his first wife, to a near-episode with Hedy Lamarr, to a backseat limousine fling with Deborah Kerr, he recounts some of his more memorable sexual escapades.  (It must be noted that Deborah Kerr has said no such affair ever took place.  It is definitely a case of "he said, she said.")

With an absolute comic flair, Mr. Granger recreates the stories of his life, and I found myself positively howling on several occasions...such as when, at a Polynesian restaurant, chopsticks in hand, his dinner companion completely startled him by reaching under the table and groping at him, causing him to nearly choke on the shrimp in his mouth; or when older, established actor, Henry Kendall, mistakenly assumed that the naive, young Granger would be interested in having a same-sex encounter with him; or the roundabout way with which he credits himself for launching Anne Bancroft to a successful career; or his "it's not as easy as I thought it was" introduction to cattle breeding; or his determination to remain faithful to Jean while on location with Ava Gardner during the filming of Bhowani Junction.  All those episodes---and many more---are brought vividly and humorously to life in Mr. Granger's wonderful memoir.

Although published in 1981, the book abruptly ends in the early 1960's, shortly after the filming of North to Alaska. There is no mention of Granger's third marriage (which would also end in divorce) or of the daughter born from that marriage.  I found that strange.  He ended his story with these words, "I remembered Mrs. Perryman's (a fortune teller) prediction. "You'll cross the sea again and continue your success and later I see another marriage."  I wondered what she'd look like..."

He could easily have transitioned from that sentence into who she was and what she looked like, but for whatever reason, he opted to end the story in 1960.  I, for one, was completely enthralled and would have loved to have kept on reading and learned more.

I rate this book 5 stars---informative, fun, and very entertaining.  While there are a few inaccuracies and confusing statements (such as saying he missed out on making a Hitchcock film with Gary Cooper---not sure what he's talking about, as Coop never made a Hitchcock film; referring to his next-door neighbor Gene Tierney's husband as Igor Cassini, rather than Oleg; referring to Deborah Kerr's husband as Tony Bartlett instead of Tony Bartley; citing his appearance on the cover of Life magazine as June, 1952, rather than May 26, 1952), in all, Sparks Fly Upward is a totally terrific read.  Mr. Granger definitely had a flair for writing, and that is very evident here.  The book reads like an exciting novel, which is what sets it above the other biographies/autobiographies.  Not a list of dry, boring dates and facts, Sparks Fly Upward is alive with humor, adventure, and passion. While I checked the book out from my public library, it is one I definitely will be purchasing and adding to my own collection.

Occasional language and sexual situations give this book a PG rating.

Mad About Music (1938)

In memory of Deanna Durbin, who passed away recently at the age of 91, I thought I would review 1938's Mad About Music, which I watched about a month ago.  The third feature film for Miss Durbin, who was 16 years old at this point in time, Mad About Music also stars Herbert Marshall and features William Frawley, Arthur Treacher, and Gail Patrick in small, supporting roles.

Sent off to a Swiss boarding school because her teenage presence is a detriment to the glamour-girl image her actress mother's agent wants for her, Gloria Harkinson (Deanna Durbin) has invented a make-believe life for herself.  Although her Navy flier father died when she was a baby, she has never revealed that to her friends and, instead, has bragged that he is an important explorer.  Through weekly letters presumably from her dad, Gloria charms her schoolmates with tales of his African adventures.  One girl, however, doesn't believe a word Gloria says and is determined to prove she's lying.

Having made the claim that her father would be stopping at the school for a 1-hour visit, Gloria suddenly finds herself in completely over her head.  With all the students and even the headmistress congregating at the train station to welcome Mr. Harkinson, Gloria realizes the need to produce a father.

Composer Richard Todd (Herbert Marshall), who has traveled to Switzerland for a bit of R & R, alights the train at the school's stop, and Gloria immediately pounces on him, hugging him and welcoming him to town.  She convinces him to pose as her father, and though he is at first reluctant, he may just end up embracing the role.  How it all plays out is the balance of the film.



Nominated for four Academy Awards, Mad About Music is a sweet, enjoyable, very charming film.  Herbert Marshall is his dashing, wonderful self, and Deanna is pure delight.  She sings several songs, including "I Love to Whistle" and "Ave Maria." This is a very solid, entertaining, 3-star viewing experience.

Out on DVD, this film should be fairly easy to track down.  I think it's a film all Deanna Durbin fans will want to see.

Happy viewing!!

Happy Birthday, Gary Cooper!!

Happy 112th birthday to one of my most beloved guys---the great Gary Cooper.  (May 7, 1901 - May 13, 1961)

I celebration of this beloved man's birthday, I'll be breaking today from the films of Stewart Granger and, instead, watching one of Coop's.  Not sure what one yet; I have a couple of "new to me" Coop films on my computer, so I'm pretty sure it will be one of those.  Or maybe it will be one of my all-time faves, like Ten North Frederick or Mr. Deeds Goes to Town.  Whatever film it is, I'm sure I'll be smiling all the way through it, as I remember my beloved guy on his birthday.

"Our dead are never dead to us, until we have forgotten them."  (George Elliot)

We have not forgotten you, dear Gary...and we never will!

Happy 100th Birthday, Stewart Granger!!

Happy 100th birthday to one of the up-and-comers on my favorite actor list...Mr. Stewart Granger (May 6, 1913 - August 16, 1993).

Born James Lablache Stewart in London, this handsome Englishman began his show business career as a film extra, before taking to the British stage, alongside such greats as Robert Donat, Laurence Olivier, and Vivien Leigh.  Theatre work eventually led to film work, with success coming first in Britain, then in America.

In the very early days of Stewart's film career, it was determined that a name change was in order.  With a popular young American actor also having the name of James Stewart, confusion would undoubtedly result.  Thus, James Lablache Stewart dropped the James, moved Stewart to his first name, and took on the surname Granger---the maiden name of one of his grandmothers.  Although officially Stewart Granger and no longer in danger of being confused with the American James Stewart, his family and friends would always call him "Jimmy."

Since I've only gotten to know Stewart Granger in the last two years, there are many of his films I have yet to see.  So, while my list of favorites may change as I catch more of his films, at the present time, my all-time favorite Stewart Granger film is The Prisoner of Zenda.  Also starring Deborah Kerr and James Mason, this completely charming film features a terrific swashbuckling scene.  (Reviewed HERE)

Rounding out my list of five favorite Stewart Granger films are:

2.  Moonfleet  (with George Sanders, Joan Greenwood, and John Whiteley---reviewed HERE)

3.  King Solomon's Mines  (with Deborah Kerr, it took me 2 viewings to appreciate this film)

4.  Salome  (with Rita Hayworth---reviewed HERE)

5.  All the Brothers Were Valiant  (with Robert Taylor and Ann Blyth---reviewed HERE)

With Scaramouche and Beau Brummell on my list of soon-to-watch Granger films, this list could find itself changing very shortly.

So, here's to you, Mr. Stewart Granger, on your centennial birthday!  You were a wonderful, very entertaining actor, and you will always be one of my faves.  I'm glad you left so many great films by which we can remember you, for in the words of George Eliot, "Our dead are never dead to us, until we have forgotten them."