Command Decision is my favourite film in the wasteland of mediocrity that is Clark Gable’s post-war career; a period which only had a few highlights. The opening stock footage is the only action seen in the film as Command Decision is a movie consisting of wordy drama; quality actors delivering quality performances.
Gable himself was a bombardier during the war and spearheaded the production of Command Decision thus it must have been something he had a real passion for. The role of Brig. Gen. K.C. “Casey” Dennis is not cocky Gable as he often portrayed, nor does he have a leading lady to play off. Dennis is a man under strain which you can clearly see on his face; in order to fight Nazis he must first fight his superiors, politicians as well as dealing with the press and even attending to matters such as farmers complaining about early morning take-offs frightening their cows (“When did I ever get the impression this war was against the axis?”). Above all, he is a man with life and death on his hands and even the outcome of the war. He may not see the battlefield but he still has an unpleasant job to do.
Walter Pidgeon, however, gives my favourite performance in the film as Major General Kane with his monologue in which he speaks of how the US Air Force struggled for years in an effort to get it equipped and running is the highlight of the movie. It is four minutes long, there are no cuts with actors interacting with Pidgeon along the way while he moves around the room with the camera following him; hair-raising acting.
Van Johnson gives the film its comic relief to contrast the serious, downbeat nature of the film. As Sgt. Evans, he rarely takes himself totally seriously from his wisecracks to sitting at Dennis’ desk when he’s not around. Johnson was often cast in military roles and it’s not hard to see why; he was a boy next door with the essence of an eager young patriot. However Evans’ inability to take himself seriously could show a cynical side to his character as someone who doesn’t have much faith in the war machine; in fact the one scene in which he does act in a more serious manner is the moment in which he praises Dennis and shakes his hand after Dennis lambasts Edward Arnold’s congressman who criticises him for recklessly causing heavy loss of life.
Command Decision is a movie which covers a lot making it one worth viewing more than once in order to take it all in. Giving the film the benefit of the doubt in its accuracy, it’s an educational experience. Compared to a film like The Dawn Patrol (original and its remake) there is a world of difference in flight commanding between the world wars; much more high tech, bureaucratic and on a larger, industrial-like scale.
Like the flight commander in The Dawn Patrol, Dennis gets hounded for the decisions he makes which leads to the message I ultimately take from Command Decision. Dennis’ decisions are causing a heavy loss of life of US airmen but the success of these missions to destroy the Nazi’s secret weapon in Schweinhaven (not a real place) could change the outcome of the war and save a greater number of lives in the long term. You can’t afford to appear virtuous and care only for the immediate loss of life in order to get results. However, as Kane knows, without a good publicity and political support there not be much of an air force and how do you do that is your actions appear reckless to the laymen; a real catch-22.
Three’s a Crowd
The More The Merrier represents the screwball genre adapting for the war years however this was at the end of the genre’s original run. I wonder why there were not more screwball comedies made during the war period? Did people become more cynical with the war or perhaps the genre was simply made for the depression era. Instead of taking on the establishment like the genre screwball did during the depression, The More The Merrier is supporting it. It is refreshing to see a propaganda film from the war years which is less gloomy and shows how common folk got on with their daily lives during the war.
My main flaw with The More The Merrier is Joel McCrea. He’s fine but that’s the problem, he’s only just fine; a serviceable actor who doesn’t leave a great impression. He’s the weak spot of a trio of characters who could have been much stronger with a more charismatic actor. Granted this was during the war and most of Hollywood’s big male leads were off in Europe kicking Hitler’s ass. Could Cary Grant have played the role instead, but perhaps a big star like that couldn’t play a role in he doesn’t show up until half an hour in. The trio of characters still manages to be fun with Jean Arthur playing the straight man and Charles Coburn as an immature and conniving old man who still seems like a kid at heart; while the romance between Arthur and MrCrea is still believable and handled very well as they spend the final third of the film quietly denying their feelings for each other.
Jean Arthur and Charles Coburn are one of the more unconventional screen pairings in Hollywood starring in three films together, just look at the morning schedule scene; comic choreographed brilliance and by far my favourite part of the film. When McCrea enters the picture though I feel it is never as strong. Also after you watch this movie you may find yourself saying “dam the torpedoes, full speed ahead!”, a lot.
No One Can Succeed Like Mister Roberts
***This Review Contains Spoilers***
Fonda, Cagney, Powell, Lemon. What more could you ask for? Being a huge fan of all four actors, for me personally, Mister Roberts may be the greatest accumulation of actors ever; thus I will try my best to contain my inner fanboy. Not only do all four play interesting characters but they all share such interesting relationships between each other. Fonda and Cagney share a Bugs Bunny/ Yosemite Sam-like dynamic with Cagney being a frustrated old captain (possibly with a Napoleon complex) in a position of power but with no control over the taller Fonda stepping over everything he does.
Jack Lemon’s Ensign Pulver, on the other hand, hates the Captain but out of total shock, the captain likes the Ensign. I find this dynamic particular funny as I can relate to that situation of being admired by someone you dislike. However, I also relate to the character of Mister Roberts himself in his predicament of being stuck in a rut of which he is desperate to escape from; wanting to leave the navy cargo boat and be right in the action of the Second World War. The entire film effortlessly combines tragedy and comedy with no better example of this being the final scene itself in which the film transitions from the tragedy upon the characters discovering that Mr. Roberts has been killed in action to one more final pay off from a recurring gag; one of my favourite movie endings ever.
The claustrophobic intimacy of the ship, as well as the simply superb dialogue and performances, makes the dialogue-heavy scenes so engaging. Even with two directors on the project which could have spelled disaster, the film manages to come out perfectly fine rather than ending up like a Frankensteinian stitch up. The other scene which always stuck out to me was at the beginning of the film when the men are attempting to get a glimpse of women in a shower and going crazy as hell over it. Would men have the same reaction today because of the internet? Was the prospect of seeing a naked woman more thrilling back then?
Mister Roberts would be William Powell’s final film although one of Jack Lemon’s first, so I see the film as a passing of the torch between two generations of comedic actors. Originally Powell retired after appearing in How to Marry a Millionaire but decided to appear in Mister Roberts after reading the script. A much, much better choice of final film in which he shows that even in this stage of his career the man was still a master of words.
Love’s Struggle Throughout the Ages
Should an actors’ race limit the roles they can portray on the basis that they are not of that race? Isn’t this essentially a racist argument and an ethno-nationalist one at that? To state that a white actor playing a non-white character is offensive is then one is stating they are offended on the basis of race – this is racist. To state a white actor playing a non-white character is offensive to a culture is to say that culture is tied to race. – This is essentially the argument the alt-right makes. If culture is what matters and race is irrelevant then an actor playing a character of another race should also be irrelevant. There is also the double standard at play in which for a non-white actor to be cast in a role or as a character originally conceived as white it will be viewed as forward-thinking and progressive; for a white actor to be cast in a non-white role then it is considered racist? The only question that should matter is does an actor of one race convincingly play a character of another race? I could write a whole article on this but as I’ve addressed the crux of the matter, let’s talk about A Majority of One.
I’ve never seen another love story like A Majority of One. A story of two elderly individuals who are worlds apart having to overcome their prejudice, as well as being one of the few films in existence about love at old age. These imperfect and flawed characters feel so real and human and while two and a half hours may seem overlong, I believe this time is justified. – I wish more films could have the level of honest storytelling on display here.
Many reviewers can’t buy into Alec Guinness in the role of Japanese businessman Mr. Koichi Asano, but not this viewer – I thought Guinness was marvelous. His character is flawed, he’s not the stereotypical wise old Asian man who is full of otherworldly knowledge which he easily could have been; he makes mistakes and doesn’t have the answers to everything. Unlike many Asian characters in Hollywood films before, he doesn’t talk in broken English or exhibit any other commonly seen Asian stereotypes. Compared to Japanese stereotypes seen in World War II propaganda films 20 years earlier, A Majority of One was certainly a sign of progress.
Rosalind Russell plays a potentially unlikable bigoted character as Bertha Jacoby but she manages to make the role endearing with her lovable nature and witty comebacks. I didn’t see her character as an exaggerated stereotype. I’ve seen far more exaggerated representations of Jews in other films (do I even need to list examples?). Her character has led an ingrown life in Brooklyn, however, the movie shows the younger generation of her daughter and son in law holding more progressive views and are less conservative than their elders, and more argumentative at that. The film also has the greatness that is Eddie (Marc Marno). A whiny little brat but in a funny way who is comically Japanese but not in a disrespectful way, such as when he insists on watching sumo wrestling in the middle of a family crisis. – I love this guy.
A Majority of One highlights westernised trends in Japan such as Alec Guinness wearing a western flat cap to the popularity of American music and Hollywood movies (and Robert Taylor in particular) in Japan, while still acknowledging the anti American sentiment which exists in Japan (“Many people in my country hate the Americans unreasonably because of the war”). This scene in which Asano attempts to bond with Jacoby after their awkward first encounter shows the lack of logic in hating a country based on the actions of its government. Jacoby tells Asano that her son died in battle “All because you [Japan] and Mr. Hitler wanted to rule the world” and Asano responds “My wife and I did not so wish Mrs. Jacoby…what most of us wished for was a happy and peaceful existence”. – The government is not the people.
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.