Classic Films in Focus: SON OF FURY (1942)

Tyrone Power and Gene Tierney give Son of Fury (1942) plenty of sex appeal to go along with its adventurous story of 18th-century greed and revenge, and the sight of those two in extended scenes of Polynesian undress justifies the movie’s existence all by itself. Luckily, Son of Fury has plenty of other attractions for classic movie fans, including a fantastic cast of supporting players and excellent direction from John Cromwell. While not exactly a swashbuckler, this film adaptation of the novel by Edison Marshall offers one memorable thrill after another, with Power fighting, swimming, dancing, and romancing his way from the streets of Bristol and London to the shores of the South Pacific.

Power plays Benjamin Blake, whose supposed illegitimacy keeps him from inheriting his dead father’s estate. Ben’s uncle, Sir Arthur (George Sanders), treats him like a servant and hopes to prevent him from ever establishing a claim to the family wealth, but Ben has supporters in his aunt (Kay Johnson) and his beautiful cousin, Isabel (Frances Farmer), with whom Ben falls in love. After an altercation with Sir Arthur, Ben goes on the run, eventually finding riches and romance on a tropical island, where Eve (Gene Tierney) becomes his lover. Ben, however, feels compelled to return to England, confront his uncle, and claim Isabel as his bride, even though London holds many dangers for him as a wanted man.

Power gives a great performance as the hot-headed Benjamin Blake, who nurses his simmering resentment against his uncle for years. “Flesh and blood can stand no more,” he declares after Sir Arthur punishes him for courting Isabel with a vicious whipping, although he suffers violence at other hands, as well. The intensity of the character suits the star perfectly, and he looks equally good in the English period costumes and the Polynesian loincloth. The island costume puts quite a bit of Power’s physique on display, especially when he goes diving for pearls, and his matinee idol look is matched by Tierney as the native beauty who playfully joins him in the water. Her ignorance of English and Western customs might be laid on a little thick, but Tierney is so stunning that it hardly matters what language her character speaks. We’re on her side the moment we first see her, hoping that Ben will forget all about England and the sophisticated but spoiled Isabel.

The supporting cast elevates the whole production to an almost delirious height, with Sanders especially notable as the smoothly heartless Sir Arthur. He and Power have a series of riveting fight scenes that bookend Ben’s Polynesian adventures, and Sanders of course has the cultured manner and physical presence to pull off the role. John Carradine gives one of his characteristically brilliant performances as Caleb, the sailor who befriends Ben and takes him along to the remote Pacific island, while Harry Davenport is genuinely moving as Ben’s beloved grandfather. Dudley Digges steals his scenes as Bartholomew Pratt, the London man of the world whom Ben employs against his uncle; Digges has an ideal face for an 18th-century character, and his first scene is a highlight of the film. Even Roddy McDowall makes a brief but critical appearance as young Ben, setting the stage for Power’s adult interpretation of the character. Tierney and Frances Farmer supply the picture’s female beauty, but Kay Johnson, who was married to John Cromwell at the time, is wonderful as Ben’s aunt Helena, and Elsa Lanchester takes over the movie for her one long scene as a sympathetic barmaid who helps Ben evade the law.

The only thing that might have improved Son of Fury is color, which would have brought the Pacific Island scenes a lusher look, but as a whole the movie works beautifully. See more of Power’s tremendous energy in The Mark of Zorro (1940), Blood and Sand (1941), and The Black Swan (1942). Gene Tierney also stars with Power in The Razor’s Edge (1946), but she is best remembered today for Heaven Can Wait (1943), Laura (1944), and Leave Her to Heaven (1945). George Sanders won an Oscar for Best Supporting Actor for All About Eve (1950), while John Carradine gained lasting fame for roles in Captains Courageous (1937), Stagecoach (1939), and The Grapes of Wrath (1940). For other films directed by John Cromwell, try Of Human Bondage (1934), The Prisoner of Zenda (1937), and The Enchanted Cottage (1945).

Classic Films in Focus: THE GHOST AND MRS. MUIR (1947)

Long before Ghost (1990) moved audiences with its tale of supernatural romance, The Ghost and Mrs. Muir (1947) depicted the bittersweet love affair of a living woman and a spectral man. Director Joseph L. Mankiewicz crafts a story short on special effects but bursting with sentimental ambience, including a tender score by Bernard Herrmann and Oscar-nominated cinematography from Charles Lang. Rex Harrison and Gene Tierney give memorable performances as the title characters, while the solid collection of supporting players includes George Sanders, Edna Best, and a very young Natalie Wood.

Tierney stars as young widow Lucy Muir, who defies her husband’s manipulative family by relocating to a remote coastal town with her daughter (Natalie Wood) and housekeeper (Edna Best) in tow. In Gull Cottage Lucy discovers the ghost of the previous owner, a salty sea captain named Daniel Gregg (Rex Harrison). The two clash at first but eventually develop a deep bond; Gregg, however, cannot give the lonely widow the real companionship of a living man, and the arrival of a persuasive suitor (George Sanders) threatens to take Lucy away to a new life.

In the liminal space between land and sea, the living and the dead can meet and speak, but the film focuses on the romantic possibilities of this threshold rather than the frightening. Gull Cottage reveals itself to be not so much haunted as enchanted, since Daniel Gregg is the most solid looking specter in the history of ghost stories. Rex Harrison conveys his character’s ghostliness through his attitude as a man beyond life, resigned and sad but still capable of deep human feeling. He comes very close to Tierney’s yearning widow but never touches her; the audience experiences this separation as an almost unbearable romantic tension, which we realize torments the characters, as well. This reawakening of passion in Lucy’s heart has dangerous consequences, however, since it leaves her vulnerable to the more corporeal, if morally suspect, charms of George Sanders as the children’s book author, Miles Fairley.

Poignant performances sell the story far better than special effects. At the height of her career, Gene Tierney combines sentimental beauty with substance as Lucy, a heroine who must summon every ounce of her strength to break away from what others want for her in order to live her life on her own terms. Her abominable in-laws, played with relish by Isobel Elsom and Victoria Horne, give Lucy a chance to show her resolve early on, so that we believe in her as a woman unlikely to be deterred by a disagreeable ghost. Rex Harrison is perfectly cast as the gruff captain; known for his philandering and charismatic persona, Harrison has the roguish quality of a roving captain in spades but also reveals a touching sensibility. Natalie Wood gets very little screen time as Lucy’s daughter, Anna, but she’s convincing as a girl who might prefer tales of action and adventure to the treacly stories of “Uncle Neddy.” More significant is the contribution of Edna Best as the loyal housekeeper, Martha, whose solicitous care suggests some frailty about Lucy that is never really discussed. The friendship between Martha and Lucy transcends their professional relationship and helps to ground the picture in some real human warmth, which assures us that Lucy’s life is never as lonely as we might fear, even after Anna grows up and moves away.

Take the time to appreciate Anna Lee in a small but pivotal role as Mrs. Fairley; the hard-working character actress was a regular in John Ford’s ensembles. For more of Gene Tierney, see Heaven Can Wait (1943), Laura (1944), and Leave Her to Heaven (1945). Rex Harrison is best remembered for his roles in My Fair Lady (1964) and Doctor Dolittle (1967), but his other films from the 1940s include Night Train to Munich (1940), Blithe Spirit (1945), and Unfaithfully Yours (1948). George Sanders won a Best Supporting Actor Oscar for All About Eve (1950); he also makes notable appearances in Rebecca (1940), The Picture of Dorian Gray (1945), and Ivanhoe (1952). See more of Edna Best in The Man Who Knew Too Much (1934), and catch young Natalie Wood in Miracle on 34th Street (1947). Joseph L. Mankiewicz won Oscars for A Letter to Three Wives (1949) and All About Eve (1950), but he also directed Gene Tierney in the 1946 Gothic thriller, Dragonwyck.

Classic Films in Focus: THE MIRROR CRACK'D (1980)

Director Guy Hamilton's 1980 film, The Mirror Crack'd, is not the greatest screen adaptation of an Agatha Christie mystery; there are plenty of more likely contenders for that title, including Witness for the Prosecution (1957), Murder on the Orient Express (1974), and Death on the Nile (1978). That said, it is a solid enough picture, perhaps a bit slow, but worth the time for Christie fans, particularly those who favor the village investigations of Miss Marple, here played by the very capable Angela Lansbury. The best audience for The Mirror Crack'd, however, is undoubtedly the experienced classic movie fan, who will appreciate this picture's dense web of classic Hollywood references, allusions, and inside jokes.

As Miss Marple, Lansbury enjoys a ringside seat at a murder investigation that begins when a group of Hollywood players settles in the neighborhood to make a lavish costume drama. At a party hosted by the American celebrities, one of the locals, Heather Babcock (Maureen Bennett), is fatally poisoned, and the evidence suggests that the intended victim was actually troubled star, Marina Rudd (Elizabeth Taylor). Plenty of suspects surround the actress, including her husband, Jason (Rock Hudson), her assistant, Ella (Geraldine Chaplin), and her hated rival, Lola (Kim Novak). Scotland Yard sends Miss Marple's nephew, Inspector Craddock (Edward Fox), to solve the case, and he naturally relies upon his observant aunt for assistance in discovering the identity of the murderer.

As a sleuth, Lansbury is best known as Jessica Fletcher, the heroine of the television series, Murder, She Wrote, but she makes a perfectly good Miss Marple, although in 1980 she was really too young for the role at only 55. There's less than a decade between Lansbury and her costar, Elizabeth Taylor, but Taylor looks decidedly middle-aged, while Lansbury's makeup and costume are designed to pass her off as a little old lady. The two actresses had first appeared together as sisters in National Velvet back in 1944, so The Mirror Crack'd represents a kind of reunion for its two stars. They are joined by an elite ensemble of classic Hollywood A-listers, with Rock Hudson, Tony Curtis, Charlie Chaplin's daughter, Geraldine Chaplin, and Kim Novak all playing substantial parts. Of the lot, Kim Novak has the most fun; she makes off with the entire film in her role as brassy, bitchy Lola Brewster, a wicked parody of the rotten Hollywood diva.

Christie's plot derives from a well-known Hollywood tragedy involving classic star Gene Tierney, which I won't summarize here because knowing what happened makes it all too easy to see how the mystery will end. Wait until after the movie to look it up if you aren't familiar with the real-life events. Other allusions in the film include the middle initial of Tony Curtis' producer character, a reference to David O. Selznick, as well as spoken lines from the characters that pay tribute to the other films of the stars playing the roles. Elizabeth Taylor, for example, gets to mock Kim Novak for looking like Lassie, with whom Taylor had starred in Lassie Come Home (1943), while Rock Hudson's frequent costar Doris Day is mentioned in another joke.

The Mirror Crack'd takes its title from Alfred, Lord Tennyson's famous poem, The Lady of Shalott; Christie named the original novel The Mirror Crack'd from Side to Side and used the poem as a recurring motif. Most of the film's stars are easy enough to find in other pictures, especially Elizabeth Taylor. Blink and you'll miss an uncredited appearance by a very young Pierce Brosnan. For more Miss Marple, see the films starring Margaret Rutherford from the 1960s, starting with Murder She Said (1961). You can see Angela Lansbury in her most important early roles in Gaslight (1944) and The Picture of Dorian Gray (1945). Director Guy Hamilton is best known for his work with the James Bond franchise; he directed Goldfinger (1964), Diamonds Are Forever (1971), Live and Let Die (1973), and The Man with the Golden Gun (1974).

An earlier version of this review originally appeared on Examiner.com. The author retains all rights to this content.

Classic Films in Focus: DRAGONWYCK (1946)

Although it’s not as well known today as Gothic thrillers like Rebecca (1940) and Gaslight (1944), Dragonwyck (1946) sprang from the tremendous vogue for romantic thrillers that those movies helped to establish during the 1940s. The picture was adapted from a 1944 novel by Anya Seton, and the late date of the source material helps us understand the story’s obvious affinities with du Maurier and her own muse, Charlotte Brontë. One of the first films directed by Joseph L. Mankiewicz, Dragonwyck boasts all the flourishes of the classic female Gothic, but its chief attractions are the exquisite Gene Tierney as the imperiled heroine and Vincent Price as her broodingly Byronic spouse.

Tierney stars as Miranda Wells, who thinks her dreams have come true when a distant relative summons her to serve as a companion to his young daughter (Connie Marshall). It soon becomes apparent, though, that the imperious Nicholas Van Ryn (Vincent Price) has other designs on his beautiful cousin, especially after his wife (Vivienne Osborne) mysteriously dies. Despite the romantic overtures of a handsome local doctor (Glenn Langan), Miranda falls under Nicholas’ dangerous spell, and soon her own life is threatened as Nicholas becomes increasingly deranged.

Both Fox players, Tierney and Price had already appeared together in films like Hudson’s Bay (1941), Laura (1944), and Leave Her to Heaven (1945), but Price has a much larger role in Dragonwyck and therefore gets more opportunity to exercise his tremendous screen presence. His Van Ryn is more restrained than the horror characters he would eventually play, but already the outlines of the later Corman characters are clear. Price was handsome enough for a leading man, as Dragonwyck proves, but his particular talent for a cruel twist of the mouth made him far more entertaining as an antagonist. He has an undeniable sexual appeal that makes Miranda’s attraction to him credible, even though the lines of his face and the sarcastic light in his eyes inform the audience of his character’s true nature. Tierney has a complex heroine to play, for Miranda has to remain sympathetic in spite of the flaws that lead her to her fate. Her beauty encourages us to forgive her, and Tierney is at her most lovely in her gorgeous period gowns. The two stars find capable support in the secondary cast, with Glen Langan as the opposite of Price in nearly every way, Walter Huston fiercely righteous as Miranda’s God-fearing father, and Anne Revere kindly as Miranda's loving mother. Spring Byington provides a delightfully creepy performance as the housekeeper, Magda, who ominously warns Miranda of the mansion’s dark past.

Like most of the Gothic thrillers of the era, Dragonwyck has its roots in Jane Eyre, which had gotten its own big Hollywood treatment in the 1943 picture starring Orson Welles and Joan Fontaine. Miranda differs from Jane because she has the benefit of concerned, practical parents who worry over her dreamy notions, but still we have the unhappy first wife, the brooding anti-hero, and the lonely child populating the shadowy, history-haunted halls of the ancestral estate. Dragonwyck breaks away from the narrative arc of the earlier work in its second half, but its deviations still draw upon the conventions of the traditional Gothic, particularly in its use of the vengeful, wandering ghost and its evocation of the old story of Bluebeard and his wives. Those who are interested in the Gothic tradition will find its parallels and variations fascinating, although the film occasionally errs, especially when it drops characters like Magda and the little girl, Katrine, without explanation about halfway through the story.

Look for beloved character actors Harry Morgan as tenant farmer Klaas Bleecker and Jessica Tandy as Miranda’s Irish maid, Peggy O’Malley. For more from Joseph L. Mankiewicz, try The Ghost and Mrs. Muir (1947), All About Eve (1950), and People Will Talk (1951). See Vincent Price in iconic horror roles in House of Wax (1953), House on Haunted Hill (1959), and Corman films like The Raven (1963) and The Tomb of Ligeia (1964). In addition to her previously mentioned roles, catch Gene Tierney in the wonderful Ernst Lubitsch classic, Heaven Can Wait (1943).

An earlier version of this review originally appeared on Examiner.com. The author retains all rights to this content.