Category Archives: Alan Mowbray

1946 Films, Alan Mowbray, Cathy Downs, Henry Fonda, Jane Darwell, John Ford, John Ireland, Linda Darnell, Victor Mature, Western

My Darling Clementine-1946

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My Darling Clementine-1946

Director John Ford

Starring Henry Fonda, Victor Mature

Scott’s Review #1,017

Reviewed April 30, 2020

Grade: A-

Esteemed director John Ford, mostly known for crafting the very best in the Western genre for four decades, creates a timeless story that is character-driven and unpredictable.

My Darling Clementine (1946) provides a superb atmosphere amid a depressing ambiance led by Henry Fonda, the appealing leading man of the day. The iconic American Western folk ballad, “Oh My Darling, Clementine,” appears during the opening and closing credits to bookend the classic.

In 1882, events began when a group of men herded cattle through the Old West en route to California. The Earp brothers (Wyatt, Morgan, Virgil, and James) encountered the sinister Clanton family, who salivated over the profit the animals could supply them.

After being rebuffed for a sale, the Clantons kill young James and steal the cattle. Wyatt (Fonda) vows revenge and settles in at Tombstone, Arizona, where he befriends the dangerous Doc Holliday (Victor Mature), Clementine Carter (Cathy Downs), the ravishing Chihuahua (Linda Darnell), and Mac, the local bartender.

The film is based on real-life Western figures and events. Wyatt Earp was a lawman and gambler, while Doc Holliday was a gambler, gunslinger, and dentist. Both men participate in the famous and bloody gunfight at the OK Corral, the thirty-second shootout between law enforcement officers and outlaws, regarded as the most well-known battle in the American Wild West.

This makes the film both historical and fun for viewers anticipating some truth. The rest is a created story.

During My Darling Clementine, one can delve into other avenues of enjoyment besides the action on screen. The rich surroundings are glorious and plentiful.

Much of the action takes place outdoors, which is a treat. The spacious and wide-open exteriors are a marvel to watch. The exquisite clouds and sprawling lands are evident, as is the black-and-white cinematography, which adds a measure that color film would have ruined.

Unlike other Westerns, there is surprisingly little racism to be found. Commonly, American Indians are classified as the enemy and subsequently mistreated. Other than one quick scene where an unnamed Indian is booted out of town, a racist moment can be found.

Quite a few Mexican characters appear, most prominently Chihuahua, the apple of every man’s eye. To see Mexican culture represented and celebrated with dancing and country colors is a nice addition.

The pacing is also superior, with little lag or drag time. The short running time of one hour and thirty-six minutes is beneficial, as events get dirty quickly. The saloon scenes, which are simply a must in this genre, are excellent, with their combustible energy.

So much transpires within each scene as the patrons eat, drink, dance, sing, and fight. Interesting characters like the bartender and Granville Thorndyke, a stage actor who performs Shakespeare, make the film very fleshed out from a character perspective.

A minor demerit that must be aimed at the film is the awkward decision to write a perplexing ending that sours the wrap-up. When the big shootout concludes, Wyatt decides to depart Tombstone, bidding adieu to a confused Clementine at the schoolhouse, wistfully promising that he will look her up if he returns.

This is weak and unsatisfying, considering she moved to the West from the East to be with Doc, who dies. Why would she decide to stay, and why would he leave, considering the pair were drawn to each other as the film escalated? I was expecting a “happily ever after” moment.

My Darling Clementine (1946) is an elite treasure in a genre that is commonly one-note and riddled with stereotypes and inadequate treatment of those who are not white, masculine men. Sure, the whiskey flows heavily as the guns are cocked and loaded at a moment’s notice.

But, with arguably two main heroes (Wyatt and Doc), well-crafted supporting characters, and a stoic final fight, this film has it all, providing depth and freshness to an often-stale cinematic genre.

1941 Films, Alan Mowbray, Alexander Korda, Drama, Gladys Cooper, Laurence Olivier, Romantic Drama, Vivien Leigh

That Hamilton Woman-1941

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That Hamilton Woman-1941

Director Alexander Korda

Starring Laurence Olivier, Vivien Leigh 

Scott’s Review #779

Reviewed June 27, 2018

Grade: B+

That Hamilton Woman (1941) is an obscure, black, and white gem that stars legendary actors and real-life couple Vivien Leigh and Laurence Olivier.

Providing a story of an old-fashioned style romance, war battles, and dazzling cinematography, the film succeeds as a classic film that should be better remembered than it is.

The overall theme here is a tragic love story with a sad ending.

One of the best aspects of That Hamilton Woman is witnessing the super-couple team of Leigh and Olivier act opposite one another. The actor’s talents are reason enough, but it makes a fascinating viewing experience.

The curiosity of the pairing of big stars in their heyday is a delight and highly appealing, and both actors do not disappoint. One wonders whether they were acting or otherwise enjoying the experience.

Lady Hamilton begins with a jarring scene in which the title character, Emma Lady Hamilton (Vivien Leigh), is thrown into debtor’s prison after stealing booze in France.

The rest of the story is told via flashbacks as she regales her fellow prisoners with how she ended up in her current state. Her former life starkly contrasts Emma’s appearance as a young woman with hope, promise, and riches.

It is hard to imagine how her life turned out so severely, which gives the film quality of intense intrigue.

The film then has a “riches to rags” element as the story is reversed. Full of energy, British Emma moves with her mother to the Kingdom of Naples, where she marries the affluent (and much older) Sir William Hamilton (Alan Mowbray), presumably for his money.

When handsome Admiral Horatio Nelson (Olivier) appears on the scene, the pair fall madly in love. They face tremendous hurdles, however, as the war rages on and each is unfaithful to their respective spouses.

Since the film was made scarcely two years after the epic romance Gone with the Wind (1939), one cannot help but compare Leigh’s portrayal of Emma to Scarlett O’Hara.

Emma comes across as a British version of the southern lass, especially as she is clad in gorgeous gowns or romancing men.

However, as the film develops, she becomes a much more sympathetic character and certainly less of a vixen. Still, there are plenty of similarities for viewers to draw from.

The role of Lady Frances Nelson (Gladys Cooper) is completely one-note, so the rooting value is never doubted. The film intends for the audience to be in the corner of Emma and Horatio, and that said, Cooper does a fantastic job of making her character completely unlikeable. Her icy, vengeful spirit perfectly complements the sympathetic lead characters. The fact that Horatio and Emma are adulterers, especially for the year the film was made, is not fully explored.

To be critical, the video quality is not the greatest, presumably because the film is old. If the film had been in color, the gorgeous Italian landscapes and Leigh’s lovely costumes would have appeared even more lavish and picturesque.

However, due to the film’s age, not much can be done about it unless it is decided to repackage the disc or make it a Blu-ray offering.

Still, the film frequently features southern Italy’s luminous mountains and lush oceans, which is a real treat.

Purely a showcase for newlyweds Olivier and Leigh to dish their real-life romance for mainstream audiences, That Hamilton Woman (1941) must have been a big deal at the release.

While suffering from lackluster film quality, the story is quite hearty, featuring romantic scenes, loud, bombastic battle scenes, and a bit of British and Italian history.

Sadly, this film is largely forgotten, but it is a good watch for fans of the legendary stars.

Oscar Nominations: 1 win-Best Sound Recording (won), Best Art Direction-Interior Decoration, Black-and-White, Best Cinematography, Black-and-White, Best Special Effects

1956 Films, Alan Mowbray, Alfred Hitchcock, Bernard Miles, Best Film of the Year, Brenda de Banzie, Carolyn Jones, Doris Day, James Stewart, Noel Willman, Scott's Top 100 Films, Thriller

The Man Who Knew Too Much-1956

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The Man Who Knew Too Much-1956

Director Alfred Hitchcock

Starring James Stewart, Doris Day

Top 100 Films #38

Scott’s Review #176

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Reviewed September 26, 2014

Grade: A

The Man Who Knew Too Much is a classic 1956 Alfred Hitchcock film starring James Stewart and Doris Day. The two share tremendous chemistry.

They play a successful married couple: Ben and Jo McKenna, a Doctor and a well-known singer, who travel on a lovely trip to Morocco with their young son Hank.

They are a traditional American family that the viewer trusts and believes in on vacation abroad.

Suddenly, they are approached by a Frenchman named Louis Bernard, who seems a bit too curious about Ben and his work.

Jo is immediately suspicious of the mysterious man.

This begins a series of events involving mistaken identity, an assassination attempt on England’s Prime Minister, and a trip to London to locate Hank, who criminals have kidnapped.

As with other Hitchcock films—think North by Northwest (1959)—the motivational plot is unclear and, one might argue, unnecessary. Why are the characters attempting to assassinate a political figure? Is there money to gain? Is there power to be obtained?

These questions are never answered- the film is not about that, but rather about Ben and Jo’s predicaments. The villains- primarily an innocent-seeming English couple and a sneering, rat-like assassin, are one-dimensional characters. The motivations are not revealed.

A remake of a 1934 version with the same title but far superior, the film is a suspense/ political thriller.

Some interesting comparisons to other Hitchcock films released around the same time that I continue to notice with each passing viewing-

North by Northwest– the ordinary man falling into international intrigue and Vertigo– Jo is dressed in almost identical fashion to Madeleine/Judy- a classic, sophisticated grey suit with a pulled-up bun hairstyle; the musical scores are incredibly similar- identical in instances; Vertigo’s bell tower is reminiscent of Ambrose Chappel in The Man Who Knew Too Much. Stewart’s Ben climbs up the bell tower in The Man Who Knew Too Much, whereas in Vertigo is terrified of heights, let alone climbing.

These are fascinating tidbits to note for any Hitchcock fan.

Doris Day’s performance, which is her most fabulous, impressed me. Known for lightweight romantic comedy and fluff roles, she turns into a wonderfully emotional and dramatic character and is quite effective in her own right.

The six-minute climactic final sequence, set at a musical concert at the Royal Albert Hall, is among the best in film history and uses no dialogue. This technique is jaw-dropping, as one realizes how much transpires within the six minutes, solely based on physical activity and facial expressions. The entire plot of the film reaches a searing crescendo—quite literally.

Day is strong in this sequence.

In his fourth turn in a Hitchcock film, James Stewart is charismatic, playing the everyman tangled in a web of deceit and espionage.  He takes charge but identifies with the audience- he can be your friend or neighbor, and we trust his character- he is a successful doctor.

The now-legendary song from the film “Que Sera, Sera (Whatever Will Be, Will Be)” is an integral part of the finale and remains with the audience in a happy yet terrifying way long after the curtain closes on the film.

The Man Who Knew Too Much (1956) is exciting, suspenseful, engaging, and fun- just what a Hitchcock film should be.

Oscar Nominations: 1 win-Best Song-” Que Sera, Sera (Whatever Will Be, Will Be)” (won)

1956 Films, Alan Mowbray, Deborah Kerr, Musical, Rita Moreno, Walter Lang, Yul Brynner

The King and I-1956

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The King and I-1956

Director Walter Lang

Starring Yul Brynner, Deborah Kerr

Scott’s Review #26

671936

Reviewed June 17, 2014

Grade: B

The King and I (1956) is another of the many Rodgers and Hammerstein musicals that dominated the 1950s and 1960s film era.

Having seen the stage version, the film contained two gigantic stars of the period (Yul Brynner and Deborah Kerr), Brynner having made this role his legacy.

The story is similar to The Sound of Music, as the teacher takes on the children of the King, but it is not quite as gripping, and the chemistry among the leads is not entirely there.

The Bangkok palace set, and the costumes are stylish and fantastic in design.

As a whole, the songs are not as memorable as some other similar musicals, but that is compared to magnificence.

Much of the cast is not Asian, a characteristic of the stage version that is often overlooked and accepted. This is not a criticism, merely a notice.

It’s a lovely musical, but not as enjoyable as others, but still worth watching.

Oscar Nominations: 5 wins-Best Motion Picture, Best Director-Walter Lang, Best Actor-Yul Brynner (won), Best Actress-Deborah Kerr, Best Scoring of a Musical Picture (won), Best Sound Recording (won), Best Art Direction-Color (won), Best Cinematography, Color, Best Costume Design, Color (won)