Tom, Dick and Harry (1941)

The Horror…

I was left in a state of despair after watching Tom, Dick and Harry. The fact that a Ginger Rogers film could be this shockingly below par. It’s not just a forgettable, run of the mill film. Heck, I wish I could call it mediocre. Tom, Dick and Harry is horrifyingly bad.

Although the opening title is creative, it all goes downhill from there. For starters there is a “joke” early during the film, in which Phil Silvers asks Rogers if she wants some ice cream, he mentions a variety of flavours, Rogers mentions he forgot one, Silver’s denies it. Once he leaves, Rogers say to her date that he forgot to say pistachio. Several minutes later Silvers returns just to mention he forgot Pistachio. I don’t get it, what’s the punch line!? Rest assured my laugh count by the end of the film was a total of 0.

But let’s move onto the most awful thing about Tom, Dick and Harry. I am talking about the film’s dream sequences. They sound like an interesting idea on paper, but good lord, are they terrifying! I rarely find any movie scary, weather classified as horror or not, but never have I been so close to wanting the literally hide behind the couch. The most terrifying thing about these sequences are the adults dressed as babies, miniaturised and superimposed in the scenes. The Exorcist? Rosemary’s Baby? Phhh , please. Those adults dressed as babies is where it’s at when it comes to the stuff nightmares are made of. Was David Lynch inspired by this film? It’s like something straight out of Eraserhead.  Every time one of these dream sequences was about to start I was pleading with the movie, “please not another one!”. This was the last thing I was expecting from a 1940’s movie with such an innocent, carefree title.

I can assure you that I’m not exaggerating when I call Tom, Dick and Harry one of the absolute worst films I’ve seen from Hollywood’s golden age. After finishing the film I had to watch something else in order to help get it of my mind, not only because it’s a terrible film starring my beloved Ginger Rogers,  but because those dream sequences will give me my own horrible nightmares (Just for the record the film I watched was Lonely are the Brave starring Kirk Douglas, which did the trick). I’d imagine after winning an Oscar for Kitty Foyle, Ginger Rogers would have had all sorts of film offers going her way. Heck, she turned down Ball of Fire and instead appeared in this. I don’t even like thinking about it. Thankfully the following year she stared in The Major and the Minor, so all is forgiven.

All Through the Night (1941)

A Mixture of Action Und Comedy

Bogart: Let’s Get Silly!

Mixing up so many genres into a single movie could potentially be a disaster yet I’ve perhaps never seen a better genre mash-up than All Through the Night. I’m astounded at this movie’s ability to have a bit of everything and pull it off so immaculately; bouncing back and forth between drama, comedy, action, murder mystery and even film noir. All Through the Night is the closest thing to a Hitchcock movie starring Humphrey Bogart in which an ordinary man gets caught up in espionage and becomes a fugitive for a crime he didn’t commit, with moments in the film such as the auction scene or Bogart deliberately getting arrested by police directly reminded me of North by Northwest; likewise the movie even stars Judith Anderson in the Mrs. Danvers hairstyle from Rebecca while Bogart’s exploits against the movie’s Nazi villains gives an urban Indiana Jones edge to the film. Even the movie’s final climatic moment had me on the edge of my seat and thinking to myself “how is he going to get out of this?!”. One top of that the film gets an additional boast with some truly superb use of shadows and lighting; All Through the Night really exemplifies the unique look of Warner Bros. movies of the 30’s and 40’s.

I may sound hyperbolic but the more I think about it, the role of Gloves Donahue may be the greatest performance of Bogart’s career; why you ask, versatility! Just like the tone of the film he is able to continually bounce back between being serious to just downright silly. Bogart has made me laugh during comedic moments in his other movies but I never knew he could make me laugh this side splittingly hard; from subtle moments such as throwing the reserved sign off a table in a nightclub to the more obvious in which he infiltrates and stalls a secret Nazi meeting. At another point he delivers the line “More here than meets the FBI”; I do love me a corny pun but with Bogart delivering it just makes it funnier – All Through the Night makes me wish he had starred in more comedies.

On top of all that, the character he plays is a momma’s boy yet he’s still badass! I find this aspect of his character is hilarious in itself. There’s something adorable about a tough guy who wears dotted bathrobes and loves cheesecake so much; exemplified even more with his mother being played by the ever motherly Jane Darwell. All Through the Night features a large selection of character actors at some of their best work and even features a young Jackie Gleason in one of his earliest film roles; what more secrets does this movie hold? If I was to find any point of contention with All Through the Night I wouldn’t have minded seeing a bit romance between Bogart and Kaaren Verne, but with a film that has this much merit, it’s hard to complain.

All Through the Night is an anti-Nazi propaganda film and an effective one at that. I find the satire here is on par with The Great Dictator and To Be or Not Be as the movie pokes fun at Nazi ideology. The leader of the branch of Nazi spies is portrayed by Conrad Veidt whom there was probably no one better at the time to play evil Nazis. Gloves Donahue is also a minor gangster which reflects the attitude of real-life gangsters of the time who worked with the government to infiltrate Nazi spies. One scene in the film involves Bogart giving a chilling monologue on how the Nazis will take people’s freedoms away in an argument against US isolationism in the ongoing war in Europe; all this however without even mentioning the word Nazi once throughout the film. Another interesting aspect of the film is the mentioning of an actual concentration camp Dachau. Being released in 1941 before the true nature of the camps where discovered, this is one moment I found quite chilling. All Through the Night was released in the US only 5 days before the attack on Pearl Harbor, although Warner Bros. had already long established themselves as an anti-Nazi studio.

By the time I watched All Through the Night I had already seen all of Bogart’s major movies and figured I was largely finished exploring the actor’s filmography, thus it came as such a delight discovering this obscure gem which satisfied me more than many of his more famous movies. This is the type of movie which makes me want to scream out, “Why the hell is this not more well known?!”, but then again its moments like these in which I live to be a cinephile.