070. The Pleasure Seekers

070. (26 Feb) The Pleasure Seekers (1965, Jean Negulesco) 66



One of the last of its kind, The Pleasure Seekers places three lovely single girls in Madrid and follows their misadventures. It's pretty trashy stuff.

In her first two scenes, Ann-Margret frolics in her panties and later runs around in a towel. As is typical, she's a ball of pure energy. No one has really mastered the art of playing the sex kitten as she did; it's hard to imagine someone channeling their charisma as effectively as she does here. She shows all of her sexual prowess in a number "Something to Think About" where she's so aggressive and seductive she makes her beau uncomfortable. Ann-Margret plays it in a shocking way, showing she'll do whatever it takes to get laid. She's exasperated at the idea that she might not get to sleep with André Lawrence.

The dashing Spanish men are almost as irresistible as she is and they almost get to use some delightful innuendo. Jean Negulesco seems aware that he's directing nonsense, so he plays it as cheap and campy while adding sincerity where needed. It's hard not to swoon a little whenever a new romance blossoms. The comedy is all genuinely funny, like a bit where one of the Spaniards proposes just so he can get one of the girls in bed. He's terrified when she accepts and refuses to sleep with him as a compability test. "We'll just have to see if we're compatible in other ways," she says. "There are no other ways!" he replies.

Gene Tierney shows up to chew the scenery as a scorned wife in the final reel. She's the icing on this cake of crazy.

The nomination for Best Adaptation Score is fine. Ann-Margret's absolutely out of control in the title number, milking it for all it's worth. The bouncy score does a good deal of work making the film sultry or rousing.

The Razor's Edge (1946)

Each time I see “The Razor’s Edge” I think its one of the most watchable moves ever made, a strong example of Hollywood craftsmanship and narrative filmmaking of the highest order.

The story of a man desperate to find inner peace and do good deeds for himself and others was a massive blockbuster when Twentieth Century Fox released “The Razor’s Edge” in 1946. It became the studio’s biggest hit up to that time, earning $5 million at the box office; very impressive when the average ticket price at the time was 34 cents.

Running time is 146 minutes and it flies by like a gazelle. I’ve seen half hour sitcoms that seem to run longer than “The Razor’s Edge.” It’s the type of epic story where we’re not waiting for the next special effects sequence, large scale action set piece, or natural disaster to occur. Instead, we’re presented with a vast array of fascinating characters and we watch how they react to the assorted situations and crises they become faced with. We witness how they rise to the occasion, or sink to the black pool of despair.

It’s a timeless story and one that holds surprising resonance even today. Yes, I’m familiar with the quite good 1984 remake starring Bill Murray and Theresa Russell, but that stayed a period piece. “The Razor’s Edge” could easily be updated with little effort. Substitute the Gulf War for World War I, the recent financial crisis for the Great Depression and you have half the story right there. Alcohol and drug abuse have always been with us, and contemporary audiences seemed to have no problem with Julia Roberts seeking spiritual satisfaction in India in “Eat, Pray Love” (2010).

Based on a hugely successful 1944 novel by W. Somerset Maugham, “The Razor’s Edge” opens with a beautiful credit sequence showing waves crashing on shore accompanied by Alfred Newman’s gloriously inspiring music. The waves seem to be symbolic of our protagonist Larry Darrell (Tyrone Power), a restless soul who returns to Chicago after seeing action in World War I. Greatly affected by the war, he’s not content to settle down to a never ending series of parties and social events with his fiancée, North Shore socialite Isabel Bradley (Gene Tierney). While Isabel relishes the high society life, Larry yearns for something deeper and more satisfying in life than material excess.

Leaving Isabel, Larry travels the world as a common man, eventually finding peace and spiritual satisfaction at a monastery in India. He leaves the monastery to do good for others.

Isabel and her husband Gray (John Payne) have seen their fortunes wiped out in the crash. They are forced to live in Paris with her uncle Elliott Templeton (Clifton Webb), a terrifically snobby yet appealing character who has something caustic to say about everyone but helps out his adored niece at the drop of a hat.

Isabel’s very likeable cousin Sophie (Anne Baxter) has turned to alcohol, drugs and prostitution after the deaths of her husband and young daughter in car accident.

Herbert Marshall plays the author W. Somerset Maugham. Like the book, Maugham appears throughout as our guide as he runs into these characters throughout the course of their lives, celebrating their triumphs and sympathizing during their tragedies. These characters experience both over the course of the movie.

There are several reasons that account for the film’s popularity. It was the first film for Fox’s biggest star, Tyrone Power, in almost three years. Power enlisted in the Marines in WWII and served with distinction in the Pacific Theater, flying in supplies to the troops. He was decorated on several occasions.

Like Clark Gable and James Stewart, Power returned to Hollywood a changed man. A little heavier in face and with eyes a little less bright, Power yearned to act in vehicles more substantial than the comedies and adventure movies he was making pre-war. Fox boss Darryl F. Zanuck waited until the right role came along for Power’s comeback vehicle. Zanuck likely looked at what M-G-M gave Gable for his comeback film, “Adventure” (1945), a turkey if there ever was one, and swore not to rush things for his top star.

Gregory Peck was originally announced for “The Razor’s Edge” but Zanuck must have realized how perfect Power would be in the part. There was always one film a year that Zanuck personally supervised and in 1946 it was “The Razor’s Edge.” I think Power is very good in the role, and he well understood the Larry Darrell character. Always striving to do good work, Power probably felt about many of his films the way Larry felt about attending the latest cocktail party.

1946 saw the most impressive movie theater attendance in history. According to Entertainment Weekly, more than 80 million people, or about 57 percent of all Americans, went to the movies every week. World War II was over and American’s fighting men and women were home to re-kindle romances or start up new ones. The most affordable date was the movies. (TV’s impact would not be felt at the box office for another year or two).

“The Razor’s Edge” struck a chord for those returning service men and women affected by the war. Horrified at what they witnessed during the war, they yearned for a better world, looking for spiritual peace and ways they can do good in the world. No wonder “The Razor’s Edge” was such a monster hit.

“The Razor’s Edge” earned a Best Picture nomination in 1946. It lost to “The Best Years of Our Lives”, another film that struck a massive chord with returning vets and their families. The other nominees that year were “It’s a Wonderful Life”, “Henry V” and “The Yearling.”

Anne Baxter’s tragic Sophie did earn her the Academy Award that year for Best Supporting Actress. Her competition was Ethel Barrymore in “The Spiral Staircase”, Lillian Gish in “Duel in the Sun”, Flora Robson in “Saratoga Trunk” and Gale Sondergaard in “Anna and the King of Siam.” I think the Academy chose wisely that year.

Clifton Webb plays his patented snob character, but the affection he shows for his family separates it from his more caustic performances. The Academy saw fit to honor Webb with a Supporting Actor nomination for his Uncle Elliott role, but he lost to Harold Russell in “The Best Years of Our Lives.” Webb has a terrific deathbed scene that likely earned him the nomination.

Harold Russell was already selected to receive an Honorary Oscar for his role, no doubt as consolation. After all, how could an amateur win the coveted award over Webb, Charles Coburn in “The Green Years”, William Demarest in “The Jolson Story” or Claude Rains in “Notorious”? Everyone was shocked when Russell was announced the winner, making Harold Russell the only performer to win two Oscars for a single role in one film. (And the first time that an actor won a Best Supporting Actor award for his first film.) If I was a member of the Academy, I would have picked Claude Rains that year, but that’s me.

Gene Tierney is also very good as Isabel. Always praised for her beauty more for her acting, she has nothing to be ashamed of her performance here. Her Isabel is very human, flaws and all. She can’t help it that she’s somewhat weak and used to a life of luxury and ease.

Guiding all these characters over the course of their lives is director Edmund Goulding, one of those Golden Age figures who doesn’t get much respect until you review his filmography and realize how many classic movies he directed. A short list includes such titles as “Grand Hotel” (1932),“The Dawn Patrol” (1938), “Dark Victory” (1939), “The Old Maid (1939), “The Constant Nymph (1943), and “Claudia” (1943).

His best film may be his follow-up film with Power, the amazing “Nightmare Alley” (1947). It’s probably Power’s best performance, and as a carny con man he plays a role as opposite from Larry Darrell as could be imagined. It didn’t make a dime, but is a cult favorite today and remains one of the great films of the 1940s.

The multi-talented Goulding was also a composer and one of his compositions was a song called “Mam’selle”, which is featured prominently in “The Razor’s Edge.” It became a great hit and was recorded by several artists, including Frank Sinatra.

We all look for peace in our lives and strive to do good and do no harm. Such truths never die and with its themes of selflessness, overcoming adversity, love and New Age mysticism, I have a feeling that “The Razor’s Edge” would play very well with contemporary audiences.

Love Is News; That Wonderful Urge

Movie remakes are nothing new, of course, but it’s rare to have a major actor remake one of his earlier successful films. But that’s what happened to Tyrone Power when he starred in “Love Is News” (1937) and it’s remake ”That Wonderful Urge” (1948). Both are pleasant, though hardly earth shattering, entertainment.

“Love Is News” is the better of the two, and takes place in that happy 1930s movie land of rich heiresses, fast talking reporters and even faster talking editors. Contemporary viewers might scoff at its plot, detailing a race among reporters to scoop front page headlines about the romantic adventures of an heiress, but in today’s era where so much ink and cyberspace is devoted to such vapid entities and talentless twits as the Kardashians and Paris Hilton, it doesn’t seen so far-fetched.

The difference here, though, is Antoinette “Tony” Gateson (Loretta Young), one of the richest women in the country, and its most eligible bachelorette, foregoes any publicity about her life and prefers to keep as low a profile as possible. Ace reporter Steve Leyton (Tyrone Power) disguises himself as an airline employee and gains her confidence, and she spills some details about her life while the two enjoy a smoke together.

The ruse is discovered and Tony decides to turn the tables. She tells all the other competing papers that Steve is her fiancée. She gives scoops to the other papers throughout, much to the consternatation of Steve’s editor Martin Canavan (Don Ameche), who hires and fires Steve over the course of the movie.

Of course the couple will eventually come to the conclusion that despite all the bickering, they really do love each other. Both incredibly attractive, Power and Young were a good team, appearing in five films together. It’s too bad that their best film together, the canal building epic “Suez” (1938) has yet to appear on DVD, and I can’t recall it ever showing on the Fox Movie Channel.

George Sanders has a small role as a fortune hunting count in this, his second American movie. His introduction is a delight, first seen in a series of flip images where he’s showing off his profile and then patting his hair down. It’s very amusing.

The careers of Powers and Sanders were interspersed in ways the two men could never have imagined. Sanders came to the attention of the American movie going public in his first American movie “Lloyds of London” (1936). (Is this the only movie ever made about an insurance company?) This was also the film that skyrocketed Power to stardom after a few minor roles.

They would again tangle in two of the best adventure films of the 1940s, “The Black Swan: (1942) and “Son of Fury” (1942). Power and Sanders were filming a dueling sequence for “Solomon and Sheba” (1959) when Power was felled by a fatal heart attack at age 44. Thus, Sanders was with Power at the very beginning of his career and at the very end. Offscreen, Sanders was very much like the haughty characters he played so well and could be dismissive of the roles and pictures he was assigned, but he liked Power and was truly devastated by his premature death.

In addition to Sanders, “Love Is News” boasts a sterling supporting cast, including such favorites as Slim Summerville, Dudley Digges, Walter Catlett, Jane Darwell, Stepin Fetchit (less irritating than usual) and Elisha Cook, Jr.

Those players have it all over the film’s remake, “That Wonderful Urge”, with Power again in the reporter’s role and Gene Tierney taking over the Loretta Young role. Tierney and Power were also a popular team in the 1940s, co-starring in “Son of Fury” and Power’s first assignment following his WWII service, the blockbuster “The Razor’s Edge.” (1946).

Oh, there are some welcome familiar faces on hand here, including Reginald Gardiner, Gene Lockhart and Porter Hall. But they’re playing their roles relatively straight, without the charming eccentricities of the earlier cast. The editor’s role here is played down much more than in the earlier version, and that’s because Lloyd Gough is no Don Ameche.

There is one very funny new scene in the 1948 version, where Power crashes a society party thrown by his “wife”, where he eats peanuts and regales the guests with stories of his 80-year-old West Virigina-born mother, and her encounters with the government when they try to take away her still.

It’s all pleasant enough, but as I said earlier, not particularly memorable. Power would have better luck that year with another comedy, the charming leprechaun comedy “The Luck of the Irish.”

Son of Fury

“Son of Fury” (1942) is a rousing adventure film in the best tradition of Hollywood’s Golden Age. It was a real treat to re-discover it as part of the new DVD collection of Tyrone Power films.

Set in the latter half of the 18th Century, “Son of Fury” tells the story of Benjamin Blake (Roddy McDowell) who is cheated out of his inheritance by his uncle (a sneering George Sanders) who makes Benjamin his bond servant. Roddy grows up to be Tyrone Power, who escapes to the South Seas where he finds a treasure bed of pearls and an even greater treasure (Gene Tierney in a sarong). Newly wealthy, he returns to England to reclaim his estate.

There’s nary a wasted moment in the film, which clocks in at 98 minutes. It’s wonderfully escapist movie viewing, and shows why Tyrone Power was 20th Century Fox’s prime male box office star. As I’ve noted before, he always looks good in costume pictures, though I suspect he was somewhat disdainful of them. (Power’s best performance is in the harrowing “Nightmare Alley” (1947) with Power as a carny worker turned scam artist. It’s a wonderful film but was a huge box office bust, so 20th Century Fox studio head Darryl Zanuck put Power back in the adventure films which were consistently successful.)

Like so many classics from the 1930s and 1940s, the supporting cast is exceptionally strong. Just take a look at this who’s who of Golden Age character actors who appear in “Son of Fury”: Elsa Lanchester, John Carradine, Harry Davenport, Dudley Digges (who steals every scene he’s in as the lawyer Bartholomew Pratt), Halliwell Hobbes, Arthur Hohl, Pedro de Cordova, Lester Matthews, Dennis Hoey (Inspector Lestrade from the Universal Sherlock Holmes films) and as a judge, Robert Greig. A few postings ago I wrote about Greig’s butler role in “Trouble in Paradise” so it was nice to see him in a different role than his typical servant portrayal.

The film also marks the final screen appearance of Frances Farmer in the supporting role of Sander’s daughter who Benjamin has a romance with. Farmer was one of the most promising actresses of her generation, until alcoholism and mental health issues put a halt to her career.

In the other female role, Gene Tierney is about as Polynesian as I am, but she’s so gorgeous we don’t mind. Many of the South Seas scenes are accompanied by another lush Alfred Newman score, with one of those unforgettable island melodies that he seemingly wrote in his sleep.

When the film was released in 1942, the South Seas scenes were sepia tinted. (Much like the Caribbean scenes in Errol Flynn’s “The Sea Hawk” two years previously). When the film was successfully re-issued over the years the sepia tints were gone. I was hoping when the DVD was announced that the sepia tinting would be re-instated but it was not to be. That’s OK, because the transfer on the film is exquisite.

The film was directed by John Cromwell (father of the actor James Cromwell) and he’s woefully underrated as a director. I was looking at his filmography and I was surprised to see how many of his films are really first rate. My favorite film of his is the sublime 1937 version of “The Prisoner of Zenda” with Ronald Colman and Madeline Carroll. It’s a shame that these two films are his only entries in the swashbuckling field, as these films show he was able to bring out the best in this type of material.

Rating for “Son of Fury”: Three stars.