Watchingwell 

                                                                              

                                                             Curated classic films

If you need a break from reality…..

        Although, I see the value of the arts, especially in tough times, I sometimes think it can seem a little frivolous to be talking about classic films when Planet Earth is spinning out of control.  That said, the way I deal with it all is to bury myself under the metaphorical blanket of what I call comfort movies.  Present reality can only be absorbed in limited doses.  Then I feel the need to take a break with films that offer more than mere escape, films that wrap me in a quilt of familiar things, of stylish people who inhabit a world of order and reason, where damage is limited and repaired, and I can detox for a brief time.  

       It may seem strange, but I find a lot of comfort in mysteries, and a mystery series in particular, has very comforting characteristics.  In a series, we know what to expect, and right always prevails. The Thin Man (1934) is the first of six films featuring detective, Nick Charles, and his wife, Nora. This series is one of the best because of the chemistry between stars, William Powell and Myrna Loy, and their lighthearted banter that contrasts with the murders in which they find themselves embroiled. It makes murder seem less violent, somehow. It is adapted from the Dashiell Hammett novel and co-stars Maureen O'Sullivan. Although all six are fun, the first three titles are the freshest in terms of style and wit, coming out in the thirties, while the fourth through sixth were less carefree, reflecting the changing life of the couple and the different mood of the forties.

 After the Thin Man (1936), the second in the series, is cleverly titled to appeal to the audience that liked the first, by inferring that  'The Thin Man' was the William Powell character, even though in the first film (and in the novel), it was the corpse.  It co-stars newcomer, James Stewart, in an early role, and takes place in San Francisco.

Nick and Nora travel back to New York for the follow-up, Another Thin Man (1939), where Nick does not want to get involved in another mystery, but does, because he can't refuse to help a family friend.  In this one, they have a baby, as well as Asta, the dog, in a recurring role for Skippy.

           William Powell also lent his stylish manner to two other favorite comfort mysteries.  The Ex-Mrs. Bradford (1936) with Jean Arthur is a neat little mystery that drops into Powell's life along with his ex-wife.  I don't pay much attention to the actual plot, which has a typical pay-off scene with all the suspects gathered, because it's so comforting to watch the sets and Jean Arthur's costumes, and the way the two stars work together.

The other film, Star of Midnight (1935) has a mystery that's even harder to follow, but it's very stylish, especially Powell's apartment -- look for the scene in his bathroom.  His co-star is Ginger Rogers, who plays the daughter of a friend, who had decided that she will marry him one day.  Fun banter, not as fun as with Myrna Loy, but a good time.

          Another series that I find amusing and stress-free is the five Saint mysteries starring George Sanders and the Falcon films, four with George Sanders and ten with his brother, Tom Conway.  George plays the Saint and the Falcon with essentially the same suave and witty sophistication, with a bit of a cad thrown in.  And he puts it all together with that superior, upper-class voice.  Brother, Tom, took over the Falcon role when George was anxious to leave to do more demanding roles.  Tom looks and sounds very much like his brother -- who can forget the voice of the collie in One Hundred and One Dalmatians (1961)? 

-- and he went on to make the Falcon series even more successful.

Check out The Saint Takes Over (1940) with Wendy Barrie as the love interest 

and The Saint in Palm Springs (1941), also with Ms. Barrie.

The Falcon and the Co-eds (1943), 

 

The Falcon in Hollywood (1944), 

The Falcon in San Francisco (1945),

and The Falcon's Adventure (1946) give a pretty good flavor of this series.

    

        A fun murder mystery (I know -- a contradiction) from 1938 starring Barbara Stanwyck and Henry Fonda, The Mad Miss Manton, has Barb playing one of group of rich girlfriends playing amateur sleuths to solve a murder mystery and getting in reporter Fonda's way.  Amateur sleuths comfort me -- a remembrance of my Nancy Drew days. Not as memorable as their pairing in The Lady Eve (1941), but it is easy to watch.

       A whole series with a female sleuth that is quite entertaining was adapted from the novels by Stuart Palmer.  The character, Hildegarde Withers, is an unmarried schoolteacher of a certain age who uses her superior intelligence to help police inspector, Oscar Piper, solve mysteries.  My favorites are the first three starring Edna Mae Oliver as Hildegarde:  The Penguin Pool Murder (1932) which takes place in the New York Aquarium,

Murder at the Blackboard (1934), which occurs in Ms. Withers' school,

and  Murder on a Honeymoon (1935), where Hildegarde is called to Catalina Island to help James Gleason, who stars as Oscar Piper.

These might see a little primitive, but Hildegarde is entertaining with her sharp tongue and insulting remarks, usually directed at Inspector Piper.  Gleason continues in the role when Helen Broderick takes over the role of Hildegarde in Murder on the Bridal Path (1936),

and when Zasu Pitts play Hildegarde in the last two of the series, The Plot Thickens (1936),

 and Forty Naughty Girls (1937).

So turn off the news. Spend an hour or two with some old mysteries. Be comforted.