Sunday Viewing: The Petrified Forest, 1936

Before Jezebel and before Gone with the Wind, Leslie Howard and Bette Davis were young actors signed by Warner Brothers who were struggling to get the kinds of parts that they knew would best showcase their talents. Both Davis and Howard had starred in Robert Sherwood’s Broadway hit, The Petrified Forest about a group of people from vastly different backgrounds who are held captive in an Arizona diner by a ruthless gangster, Duke Mantee.

When Warner Brothers purchased the rights to the popular play, they immediately signed Davis to play the poet/waitress, Gabrielle and Howard as the dreaming philosopher, Alan Squire, who falls in love with Gabrielle. For the pivotal role of Duke, Warners wanted to cast Edward G. Robinson, a studio favorite and top-box-office performer. Davis and Howard were against the decision, stating that their former stage co-star Humphrey Bogart should play the role that he made famous on Broadway. Warner Brothers wasn’t keen on the idea. Who was this Bogart anyway? He had no record of film experience and he wasn’t terribly appealing.

Leslie Howard insisted that Bogart play Duke. He even threatened to walk off of the picture if Bogart wasn’t hired. Despite his reservations, Jack Warner relented and cast Bogart. Wasn’t he surprised when Bogart proved him wrong. This film introduced the world to Bogart and caused audiences to flock the theatres to see his understated performance which he based on real-life thug John Dillinger.

Bogart never forgot the fact that Leslie Howard was responsible for launching his film career. Later, Bogart and Lauren Bacall named their daughter Leslie in honor of Howard who had been killed in a plane crash during World War II.

The film is sublimely underplayed. Even Bette Davis gives a subtle performance which caused a reviewer from The New York Times to note, “Davis demonstrates that she does not have to be hysterical to give a grand portrayal."

While the film’s theatrical roots are still evident (the picture is somewhat set-bound, rarely venturing from the diner set), it is much more successful than most films adapted from stage plays. The claustrophobic nature of the filming works with the plot and is a fascinating container for some of the most electrifying performances of early 1930’s cinema.

Sunday Viewing: The King’s Speech, 2010

Screenwriter Davis Seidler long had a fascination with King George VI. As a child, Seidler had also worked to overcome a stammer and was inspired by the story of the reluctant King whose speech impediment caused him considerable distress. While researching the life of King George VI, Seidler discovered that His Majesty’s stammer was greatly improved after working with a speech therapist, Lionel Logue.

The Queen Mother, wife of the late King George VI, would not give her permission for the details of her husband’s association with Logue to be revealed until after her death. Upon her death in 2002, Seidler wanted to begin on the project again, but health problems prevented him from doing so. Finally, in 2009, he began the screenplay that would become The King’s Speech. Initially, he used creative license to recreate the interactions between Logue and King George VI. However, nine weeks before shooting, Logue’s diaries were found and actual exchanges were introduced into the script.

Directed by Tom Hooper, The King’s Speech stars Colin Firth as King George VI (he received an Academy Award and a Golden Globe for his portrayal), Helena Bonham Carter as the future Queen Mother, Geoffrey Rush as Logue, Claire Bloom as Mary of Teck (the mother of George VI and Edward VIII) along with Sir Derek Jacobi and Guy Pearce. Filmed in and around London in a variety of locations meant to double for Westminster Abbey and Buckingham Palace, the film was lauded for its visual historical accuracy.

The picture concerns not only King George VI’s struggle with his speech impediment, but also his conflicting feelings about the abdication of his brother, the brief King Edward VIII. Firth and Bonham Carter portray the Duke and Duchess of York as an intimate couple who are strong in their commitment to one another and to their country and who are caring parents of their two children, Princess Elizabeth (the present Queen) and Princess Margaret Rose.

Though the picture takes some dramatic license with facts, it is mostly quite accurate. Any inaccuracies can be overlooked in favor of the brilliant performances and stunning visuals. This is one film that deserved the attention which was lavished upon it and is a must-see for any anglophile, history buff or lover of excellent cinema.

Sunday Viewing: Stella Dallas, 1937

Based on the 1923 novel by Olive Higgins Prouty, the 1937 film version of Stella Dallas is considered the quintessential story of motherly sacrifice and is often aired on Mother’s Day.


Directed by King Vidor and produced by Samuel Goldwyn for Metro, the film stars Barbara Stanwyck in the title role with John Boles and Anne Shirley, earning a Best Actress Oscar nomination for Stanwyck.

The film, set initially after the First World War, follows the life of the daughter of a Massachusetts mill-worker. Stella has a taste for fine and fast living and ambitions to lead a better, if not more exciting, life. At the mill, Stella meets executive Stephen Dallas who has troubles of his own. His father, after losing the family fortune, has committed suicide and he takes comfort in the wild Stella despite the fact that he vows to marry his fiancée after regaining his fortune.

Realizing that his fiancée has moved on and married another person, Stephen marries Stella and they have a daughter, Laurel. Stella still has a hankering for her party life, but finds she has a surprisingly maternal side as well. Soon, she’s pushing her own social-climbing ways onto Laurel. As Stephen grows more disgusted by Stella’s behavior, he finds he has a job opportunity in New York. Stella and Stephen separate and Stella retains custody of their daughter.

A long illness and embarrassing social situations make Stella wonder if she is able to give her daughter the life she feels she deserves. Soon, Stella is forced to make a difficult decision for the good of her child.

A popular favorite, the film is filled with excellent performances and is the perfect accompaniment to your Mother’s Day celebration.