Capital Classics for the Fourth of July

Summer has arrived, and the Fourth of July is just around the corner. It's too hot to be outside, so why not celebrate with some classic movies set in our nation's capital? If you haven't been feeling especially optimistic about our country's politicians lately, these films might provide some relief from the debacle of modern politics, although it's important to remember that the Hays Code helped to tint those rose-colored spectacles an even softer shade. Nonetheless, here are some classic movies that memorably depict the ideals of the American experiment if not its reality.

 

MR SMITH GOES TO WASHINGTON (1939) - Frank Capra's tale of a young Senator's political education is quintessential Capra "corn" with James Stewart and Claude Rains delivering outstanding performances, especially Stewart in the famous filibuster scene. Although some in the US took offense at the depiction of Washington insiders, the film was banned in other countries precisely because of its pro-democracy stance. Capra, Stewart, Rains, and costar Harry Carey all picked up Oscar nominations for their work, and the movie earned six additional nominations, but it only won the Academy Award for Lewis R. Foster's writing for Best Original Story. The stellar cast also includes Jean Arthur, Guy Kibbee, Thomas Mitchell, Beulah Bondi, and H.B. Warner.

THE MORE THE MERRIER (1943) - This wartime romantic comedy uses a housing shortage in Washington, D.C., to bring together an unlikely trio played by Jean Arthur, Joel McCrea, and Charles Coburn. George Stevens directs the stars through some hilarious situations, with sizzling fireworks going off between Arthur and McCrea, but Coburn proves the scene-stealer of the lot in a performance that earned him an Oscar for Best Supporting Actor. The picture garnered five additional nominations, including nods for Stevens and Arthur. It's an absolute delight from start to finish, and fans of modern rom coms will find a lot to love in this underrated classic.

 

BORN YESTERDAY (1950) - George Cukor directs the brilliant Judy Holliday in her Oscar-winning performance as Billie Dawn, a former chorus girl whose domineering and crooked boyfriend (Broderick Crawford) wants her to become more respectably well-educated now that his business has him hobnobbing with Washington politicians. William Holden plays the political writer hired to tutor Billie, and the two inevitably fall in love while touring the sights of the nation's capital. Billie's personal and political awakenings drive the picture, which was adapted from the 1946 Broadway play by Garson Kanin (in which Holliday also originated the role). 

These three classics make a great triple feature for your Fourth of July holiday, but if you prefer patriotic goodwill outside the Beltway, you can always celebrate with the beloved James Cagney musical, YANKEE DOODLE DANDY (1942). If you prefer something darker, dive into JAWS (1975) for red blood, a Great White, and deep blue ocean with a climax that takes place over the Fourth of July weekend.

You'll find full-length reviews of Mr. Smith Goes to Washington, Born Yesterday, Yankee Doodle Dandy, and hundreds of other classic movies in my two books, BEYOND CASABLANCA and BEYOND CASABLANCA II, both of which are available as ebooks on Amazon. Hundreds more are posted here on my blog. Just use the labels to search for your favorite actors, directors, and genres!

Classic Films in Focus: THE MORE THE MERRIER (1943)

Directed by George Stevens, The More the Merrier tackles serious wartime issues with a lively sense of humor, something contemporary audiences must have appreciated a great deal as they struggled with housing shortages, romantic complications, and the many other mundane problems of folks supporting the war effort from home. The Academy obviously approved of the picture, too; it picked up six Oscar nominations, including nods for Best Picture and Best Director, although it was supporting actor Charles Coburn who actually took home a gold statue for his work on the film. Modern audiences will find that the screwy humor of The More the Merrier appeals just as much today, thanks to the combined talents of Stevens, Coburn, Jean Arthur, and Joel McCrea, with the last two demonstrating marvelous comedic chemistry as reluctant roommates who strive to suppress the spark of desire.

Arthur plays Washington, D.C., resident Connie Milligan, who decides to help with the housing shortage by renting out part of her apartment. Despite her stated preference for a female tenant, she ends up with the elderly and devious Benjamin Dingle (Charles Coburn), who promptly decides to play matchmaker by renting half of his half to the first good-looking young fellow who turns up. When Connie finds out that Joe Carter (Joel McCrea) is also living in her apartment, she tries to evict both men, but Dingle never stops working to bring the couple together, even though Connie is engaged to an older bureaucrat named Charles Pendergast (Richard Gaines).

The story plays out as a screwball comedy, with lots of sight gags and physical humor that depend on the congested spaces of wartime Washington. In Connie's apartment, three adult strangers inhabit uncomfortably close quarters, especially when the bathroom is involved, but everywhere we see the humorous misery of people having to live, work, and play like sardines in a can. There's also a fair bit of gender reversal humor, since able-bodied young men are a rarity in the middle of the war, and the crowds of working women seem to enjoy being the predators instead of the prey. When Connie and Joe find themselves together at a club, Connie gets plenty of competition for Joe's attention; in fact, the other women are so wolfish that they make big, strong Joel McCrea look like a terrified lamb. There's a cartoonish quality to a lot of the jokes, especially the gag at the end, which only works because of our view of the apartment through its windows, but they're still quite funny. The comedy also flirts with the constraints of the Hays Code; it's not as daring as The Miracle of Morgan's Creek (1944), but it gleefully invites us to consider the scandalous possibilities inherent in its setup.

The performances of the three principal actors strike a wonderful balance between silliness and sympathy, making us root for their characters even as we laugh at them. Jean Arthur is very much in her element in this kind of role; she's feisty and feminine at the same time, capable of being ravishingly beautiful but also willing to appear onscreen in a housecoat and gobs of gooey face cream. Her character relishes schedules and order but isn't particularly eager to marry her boring boyfriend, played by Richard Gaines in a truly awful toupee. The two men who upend her life bring much-needed chaos and change, even if takes Connie a long to time to admit her attraction to Joe. McCrea plays Joe as both cynical and boyish; he talks a fast game but barks like a seal in the shower and plays train with Dingle as they chug around the apartment. Fans of the handsome actor will also appreciate how much of the movie he spends shirtless, which offers a nice balance to the frequent display of Arthur's shapely form. Bringing the romantic leads together is Charles Coburn's mischievous Dingle, whose motto for everything is "Damn the torpedoes, full speed ahead!" Although there's definitely something a little unnerving about the way he forces himself into Connie's company, Dingle means well, and his elaborate schemes toward the end of the picture demonstrate how far he's willing to go to bring Connie and Joe together. Coburn, always a reliable character actor and a brilliant comedian, is at his best in this role, which displays his charm, humor, and ability to enhance the effect of a funny leading lady.

Although The More the Merrier brought Jean Arthur her only Oscar nomination, she made many memorable films, including Capra classics like Mr. Deeds Goes to Town (1936), You Can't Take It with You (1938), and Mr. Smith Goes to Washington (1939). For more comedy with Joel McCrea, see Preston Sturges' Sullivan's Travels (1941) and The Palm Beach Story (1942). Sturges also directed Charles Coburn in The Lady Eve (1941), which provided the actor with one of his most notable roles. George Stevens won Best Director Oscars for more serious fare in A Place in the Sun (1951) and Giant (1956), but for more of his romantic comedies try Swing Time (1936), Woman of the Year (1942), and The Talk of the Town (1942), which also stars Jean Arthur.

Classic Films in Focus: I REMEMBER MAMA (1948)

Nominated for five Academy Awards, I Remember Mama (1948) is one of those movies that requires a handful of hankies to watch, especially for those who have fond memories of their own mothers. George Stevens’ nostalgic melodrama has all the right ingredients for a classic tearjerker, including a sweet, sincere performance from Irene Dunne as the idealized matriarch, whose dedication to her family knows no bounds. Barbara Bel Geddes also makes a lasting impression in her second screen role as the narrator of the tale, but the cast is full of talented character actors who each bring something special to the picture and enhance its appeal. While it might prove too sentimental for some modern viewers, those who enjoy heartwarming family stories will find much to love in I Remember Mama, which wisely balances laughter and tears in its depiction of the Hanson family’s experiences.

Barbara Bel Geddes stars as Katrin, the daughter of Norwegian immigrants living in San Francisco in the first decade of the twentieth century. Along with her brother and two sisters, Katrin grows up under the devoted protection of her father, Lars (Philip Dorn), and mother, Marta (Irene Dunne), who make many sacrifices for the benefit of their children. As Katrin enters adulthood and becomes a writer, she recounts the many ups and downs of the family’s life together, but she focuses most on the selfless love and support of her mother.

Both Dunne and Bel Geddes earned Oscar nominations for their performances, but the picture really belongs to Dunne, who manages to make Mama an angel without making her dull. Equally adept at comedy and sentiment, Dunne gives Mama enough good humor and strength to see her through almost any crisis, even little Dagmar’s emergency surgery. Some mothers might sit at home and cry, but Mama disguises herself as a cleaning lady in order to sneak into the ward and keep her promise to her daughter. Scenes that might otherwise play as maudlin, like the euthanization of an injured pet cat, are lightened by Dunne’s handling of the moment. The audience believes in Mama because of Dunne’s performance of her; the role would bring Dunne the last of five Best Actress nominations, and it’s a shame she never won. Bel Geddes, fresh-faced and girlish, looks far younger than her actual age as the adolescent Katrin; her youthful appearance and soft voice lend credibility to her role as a teenager still trying to find her place in the world. Katrin spends much of her time on the sidelines, watching and taking note of her mother’s actions, but Bel Geddes shines in the few key scenes where she takes center stage.

The two lead actresses get ample support from the rest of the cast, which features some memorable players who bring both depth and humor to their roles. Oskar Homolka is quite the scene-stealer as Uncle Chris, the overbearing patriarch whose loud personality masks his loving, generous spirit. Ellen Corby plays timid Aunt Trina with such a yearning for happiness that she alone of Marta’s three sisters commands our sympathy. Both Homolka and Corby picked up Oscar nominations for their performances, pitting Corby and Bel Geddes against each other for Best Supporting Actress (they lost to Claire Trevor in Key Largo). Trina’s mild-mannered suitor is played by Edgar Bergen, appearing without his wooden sidekick, Charlie McCarthy; as Mr. Thorkelson, he functions mostly as a comical figure but has a tender scene with Trina near the very end of the picture. Dedicated classic movie fans will also appreciate the contributions of Rudy Vallee, Florence Bates, Cedric Hardwicke, and Barbara O’Neil in brief but effective appearances.

The original story of I Remember Mama came from Mama’s Bank Account, a novel by Kathryn Forbes, which was adapted into a stage play by John Van Druten. A television series and Broadway musical followed, proving the story’s enduring appeal to audiences. For more of Irene Dunne, see The Awful Truth (1937), Love Affair (1939), and My Favorite Wife (1940). Barbara Bel Geddes is best remembered today as Ellie Ewing on the television series, Dallas, but you’ll also find her in Blood on the Moon (1948), Panic in the Streets (1950), and Vertigo (1958). See Oskar Homolka in Sabotage (1936), The Invisible Woman (1940), and Ball of Fire (1941). Like Barbara Bel Geddes, Ellen Corby had her most memorable role on television, as Grandma Walton on The Waltons, and she also has a small part in Vertigo; look for more of her in Caged (1950), Angels in the Outfield (1951), and Shane (1953).

Classic Films in Focus: KENTUCKY KERNELS (1934)

Wheeler and Woolsey are not as familiar today as some of classic comedy’s other leading teams, but they have plenty to offer to fans of The Marx Brothers, Abbott and Costello, and Laurel and Hardy in terms of loaded lines, nutty plots, and goofy sight gags. Kentucky Kernels (1934) comes from the second half of their career, with George Stevens working as their director, and it makes a perfectly serviceable introduction to the duo’s comedic style, even if it suffers from the dated images of the South that one might expect from a picture with such a title. Along with supporting performances from Mary Carlisle, Noah Beery, and Margaret Dumont, Kentucky Kernels offers additional appeal in the adorably destructive form of child star Spanky McFarland, best remembered today for his recurring role in the Our Gang series of shorts.

Our story opens with Jerry Bronson (Paul Page) trying to commit suicide but being saved by down and out magicians Elmer (Robert Woolsey) and Willie (Bert Wheeler). They convince Bronson to adopt an orphan to cheer himself up, but Elmer and Willie quickly find themselves in charge of the tyke when Bronson elopes. After lawyers pronounce the newly adopted Spanky Milford (Spanky McFarland) heir to a vast Kentucky estate, Elmer and Willie escort him to his inheritance, unaware that the property lies in the middle of an ongoing feud between the Milfords and the Wakefields.

There’s a fair bit of set up before our boys arrive in Kentucky, but that’s where the action really gets going. Much of the “local color” depends on regional and racial stereotypes, some of which are more problematic than others. Wheeler and Woolsey strut around in long coats putting on some ridiculously affected Southern airs, as if their only idea of the South has come directly from equally stereotypical motion pictures, but Noah Beery’s Colonel Wakefield does nothing to dispel the image of the old Southern patriarch. Mary Carlisle, as the Colonel’s daughter, Gloria, makes a pretty love interest for Wheeler’s tender-hearted Willie, although her accent is seriously overdone. Lucille La Verne, a Nashville native, does greater justice to Southern womanhood as Aunt Hannah, who turns out to be one of the most compelling characters in the whole movie. The thorniest element of the picture is certainly Willie Best as the egregiously racist character, Buckshot; Best is credited for the role as “Sleep ‘n’ Eat,” a name he used for several of his earlier films. As successful as Best might have been with the Stepin Fetchit style in the 1930s, it’s almost impossible for viewers to laugh at it today.

Despite these problems, there’s still plenty of funny stuff going on in Kentucky Kernels. The opening gag, with Willie and Elmer arguing like a married couple, is ripe with subversive humor. Willie’s later turn in drag comes as no surprise after that introduction, although he ironically also plays the Romeo to Gloria’s drawling Juliet. Spanky’s penchant for breaking anything made of glass provides an ongoing opportunity for comic mischief, and Elmer’s magic tricks set up several good jokes, as well. The song number that dominates the middle act might go on too long for some viewers’ tastes, but you have to appreciate the increasing absurdity of the auditors, especially when Woolsey sings the romantic ditty to the long-eared object of his affection. There’s also an amusing sequence with a drunk horse and a strangely bifurcated carriage, and the finale boasts a wild siege at the Milford estate with Spanky creatively indulging his destructive appetite to his heart’s content.

Be sure to appreciate Marx Brothers regular Margaret Dumont in a small role as the head of the orphanage. For more from Wheeler and Woolsey, try Caught Plastered (1931), Diplomaniacs (1933), and Hips, Hips, Hooray! (1934). Spanky McFarland takes the title role in General Spanky (1936), while Mary Carlisle also appears in Dance, Girl, Dance (1940). You’ll find Noah Beery, the brother of Wallace, in The Mark of Zorro (1920), She Done Him Wrong (1933), and Wheeler and Woolsey’s Cockeyed Cavaliers (1934). Lucille La Verne appeared in numerous silent films, including Orphans of the Storm (1921), but if you close your eyes you might also recognize her as the voice of the evil Queen in Snow White and the Seven Dwarfs (1937). See more of George Steven's directorial work from the 1930s in Annie Oakley (1935), Swing Time (1936), and Gunga Din (1939).

You'll find Kentucky Kernels available for streaming on Warner Archive Instant. Other Wheeler and Woolsey films currently on the Warner site include Diplomaniacs (1933) and On Again - Off Again (1937).

Classic Films in Focus: WOMAN OF THE YEAR (1942)

Directed by George Stevens, Woman of the Year (1942) offers us the first fateful pairing of that iconic Hollywood duo, Katharine Hepburn and Spencer Tracy. They would make nine films together, ultimately becoming one of the most famous couples in movie history, both for their onscreen performances and their enduring offscreen affair. This first outing together sets the tone for later Tracy and Hepburn pictures, and it's a thoroughly entertaining example of their unique romantic chemistry; the undertones of the heroine's inevitable comeuppance, however, might well prove troubling for modern women who struggle to balance their own professional and personal aspirations. Although its notions of gender identity reflect the limited views of its era, Woman of the Year is still a must-see film for Hepburn and Tracy fans.

Tracy plays sports writer Sam Craig, who spars with and then falls for celebrated political columnist Tess Harding (Katharine Hepburn). Their marriage, however, is soon on the rocks because Tess remains more interested in pursuing her career and building her professional reputation. Sam feels neglected and frustrated, and his relationship with Tess is further tested when she unexpectedly brings home an orphaned Greek refugee. When Tess is named Woman of the Year, the tension between the couple reaches its peak, and Tess must figure out whether her ambition is worth the sacrifice of her chance for domestic happiness.

The stars fall into the character types that eventually defined their films together: Tracy is the man's man, affable, solid, and ultimately the winner of every romantic contest, while Hepburn is a brilliant New Woman, smarter and classier than her partner and yet destined to be reshaped according to his will. The film works hard to prove to the audience that this arrangement is right, with Fay Bainter giving a particularly nuanced performance as Tess' successful but lonely aunt, a warning to show what Tess' own fate will be if she can't hang on to Sam. Certainly there is some merit in the idea that people need to work at their relationships if they want to keep them alive, but it doesn't seem at all necessary in the movie for Sam to make any comparable sacrifices. Because Tess has been more successful and has worked harder, she also has to give up more, and that will strike most modern viewers as rather unfair. Her ultimate humiliation comes with the final kitchen scene, where she is depicted as so ridiculously incompetent that she can't even work a toaster.

The problems with the movie's sexual politics don't make it any less interesting to watch; they are, after all, common in its time period, and at least Tracy's character offers some hope for balance when, at the very end, he asks, "Why can't you be Tess Harding Craig?" If anything, it ought to make us grateful for more flexible arrangements today, when Sam Craig might well become a house husband, and Tess Harding might more easily pursue her work with some telecommuting and a good cell phone plan. In retrospect, the most troubling part of the movie is the fate of Chris, the little Greek refugee who gets returned to the orphanage by Sam when he realizes that Tess isn't interested in real parental obligations. Sam and Tess might be able to negotiate their relationship by the end, but poor Chris represents their greatest failure, one that they don't seem to recognize for the tragedy it is.

Take time to appreciate the supporting roles played by Fay Bainter, William Bendix, and Dan Tobin. Hepburn earned a Best Actress nomination for her role as Tess, and the film won the Oscar for Best Original Screenplay. For more of Hepburn and Tracy, see Adam's Rib (1949), Desk Set (1957), and Guess Who's Coming to Dinner (1967). I'm also fond of the less familiar Without Love (1945), a film that explores the romantic possibilities to two people coming to share a passion for their work together. Two time Oscar winner George Stevens also directed A Place in the Sun (1951), Shane (1953), and Giant (1956). For different takes on Hepburn, see Bringing Up Baby (1938), The Philadelphia Story (1940), and The African Queen (1951). Don't miss Tracy's brilliant dramatic performances in Fury (1936), Captains Courageous (1937), and Bad Day at Black Rock (1955).

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