5

Brother Orchid: The Seductive Power of Good

Brother Superior: When the heart speaks, Brother Orchid, other hearts must listen.

Brother Orchid (1940)

Interested in seeing a screwball-comedy-film noir gangster-western-religious flick?  I am always on the lookout for oddball films for Advent and they don’t come odder, or more heart warming, than Brother Orchid (1940).  Starring Edward G. Robinson with a fantastic supporting cast including Humphrey Bogart, Ann Southern, Ralph Bellamy and Donald Crisp, it is a trip back to the Golden Age of Hollywood when literate, thoughtful films were considered mass entertainment.  It also is a fine exponent of a facet of the human condition that is not much commented upon today:  the seductive power of good.  A review of the film is below with the usual caveat as to spoilers. Continue Reading

2

Johnny Rocco Explains It All

 

“You hick! I’ll be back pulling strings to get guys elected mayor and governor before you ever get a 10-buck raise. Yeah, how many of those guys in office owe everything to me. I made them. Yeah, I made ’em, just like a — like a tailor makes a suit of clothes. I take a nobody, see? Teach him what to say. Get his name in the papers and pay for his campaign expenses. Dish out a lotta groceries and coal. Get my boys to bring the voters out. And then count the votes over and over again till they added up right and he was elected.”
Something to remember if we have another Florida 2000 situation in some state this year.
1

Video Clip Worth Watching: Brother Orchid Confesses

Brother Superior: When the heart speaks, Brother Orchid, other hearts must listen.

 

A brilliant scene from a brilliant movie, Edward G. Robinson as Brother Orchid takes a large step in his gradual transformation from being a mobster disguising himself as a monk into a real monk.  Although not a sacramental confession, the scene has always struck me as an example of the shame and redemption that a good confession brings to a sincere penitent.  After the scene Brother Orchid is forgiven, the “Brother Superior” wryly admitting that as a young monk he had been guilty of the same sin of paying a child to do some of his work at the monastery.  Go here to read about Brother Orchid (1940) an astonishingly moving screwball-comedy-film noir gangster-western-religious flick that makes great Advent viewing as it illustrates the impact of the grace of God on the most unlikely of souls.

The Messiah on Mott Street

Every now and then, God remembers the tenements.

Buckner, The Messiah on Mott Street

 

 

In my early teen years I was a fan of Rod Serling’s anthology series Night Gallery.  Usually consisting of tales of  horror, on December 15, 1971 something different was broadcast for Christmas.  Edward G. Robinson gives a moving performance of the eternal Jewish longing for the Messiah, and how, whether we realize it or not, we are always in God’s hands.  The episode may be viewed here.

 

Who’s the Messiah? He’s the messenger from God. Any moment he will appear, looming big and black against the sky, striking down our enemies and lifting us up to health and wealth and Heavenly contentment… and fix our digestions, too. And supply me with a new set of teeth.

Abraham Goldman (Edward G. Robinson), The Messiah on Mott Street

5

And All His Empty Promises

 

 

Back when I was a boy, I watched entirely too much television.  Of course, who could blame me?  Tempted by a luxuriant three, count them, three channels, albeit one of them fuzzy in bad weather, to choose from!  However, I do not regret watching the Early Show on Channel 3.  Back in those bygone days, many stations would run old movies from the thirties, forties and fifties, between 3:00 PM-5:00 PM.  Thus I first experienced some of the classics of cinema, and one of my favorites was Double Indemnity, 1944, the first of the film noire genre. Adultery and murder were perhaps too mature topics for me in my initial pre-teen viewings, but I was fascinated by it because it seemed to be a playing out on screen of what I was learning at the time from The Baltimore Catechism:  that sin will lead inevitably to destruction unless contrition and amendment are made.   The film was fortunate to have at its center three masters of the craft of acting.

 

Fred MacMurray, born in Kankakee, Illinois, 37 miles from my abode, in 1907, was a good guy in real life and usually in reel life.  A firm Catholic and staunch Republican, he tried to join the military after Pearl Harbor but a punctured ear drum kept him out of service.  He adopted a total of four kids with his two wives:  his first wife dying from cancer in 1953, and his second wife remaining his wife until his death.  (Such fidelity was as rare in Hollywood then as it is now.)  On screen MacMurray played to type and was almost always a good guy, but not always, and it is ironic  that the two best performances of his career came when he played bad guys:  weak, lustful and doomed Walter Neff in Double Indemnity and the scheming, cowardly Lieutenant  Thomas Keefer in The Caine Mutiny.

 

Barbara Stanwyck had a Dickensian childhood from which she was lucky to emerge alive, her mother dying of a miscarriage and her father going off to work on the Panama Canal and never being heard from again.  A series of foster homes followed, which Ruby Catherine Stevens, as Stanwyck was then named, constantly ran away from.  Dropping out of school at 14 to begin working, she never looked back.  Breaking into show business by becoming a dancer in the Ziegfield Follies at age 16, she was a star on broadway in the play Burlesque before she turned 20.  Changing her name to Barbara Stanwyck, she broke into films immediately thereafter, displaying a flair for both drama and comedy, specializing in strong independent women.  Her personal, as opposed to her professional, life was a mess.  Married in 1928 to her Burlesque co-star Frank Fay, they adopted a son, Stanwyck having been rendered sterile by an abortion at 15.  The marriage ended in divorce in 1935, Fay during the marriage often slapping Stanwyck around when he was drunk. Stanwyck got custody of their son.  Stanwyck was a hovering and authoritarian mother, leading to a life long alienation from her son after he became an adult.  Stanwyck married actor Robert Taylor in 1939, and, after numerous acts of infidelity on both sides, divorced in 1950.  Ironically Stanwyck and Taylor did stay friends after their divorce, Stanwyck, who never remarried, referring to him as the true love of her life.  In her politics Stanwyck was a staunch conservative Republican who supported the investigations of Congress into Communist infiltration into Hollywood.  Remaining in demand as an actress almost until her death in 1990, she filled her last years with charitable work.  Stanwyck was well equipped by her own tumultuous life to give depth to her portrayal of the murderous, scheming Phyllis Dietrichson in Double Indemnity.

 

Although remembered today chiefly for his gangster roles and his portrayal of the rat-like Dathan in The Ten Commandments, Edward G. Robinson was actually an actor with a very broad range of work:  comedies, dramas, historical epics, you name it.  By 1944 he was age 51 and realized that his days as a leading man were coming to a close.  His half comedic role as the insurance claims adjuster Barton Keyes in Double Indemnity he viewed as a step in his transition to being a character actor.  Always a liberal, Robinson was blacklisted in Hollywood due to his affiliation with Communist front groups.  Robinson admitted as much by an article he wrote for the American Legion Magazine entitled “How the Reds Made a Sucker Out of Me”.  His comeback came when anti-Communist director Cecil B. DeMille, who thought that Robinson had been treated unfairly, cast him in the scene-stealing role of Dathan in The Ten Commandments.

 

Spoiler alerts in regard to the following: Continue Reading

7

Brother Orchid

Brother Superior: When the heart speaks, Brother Orchid, other hearts must listen.

Brother Orchid (1940)

Interested in seeing a screwball-comedy-film noir gangster-western-religious flick?  I am always on the lookout for oddball films for Advent and they don’t come odder, or more heart warming, than Brother Orchid (1940).  Starring Edward G. Robinson with a fantastic supporting cast including Humphrey Bogart, Ann Southern, Ralph Bellamy and Donald Crisp, it is a trip back to the Golden Age of Hollywood when literate, thoughtful films were considered mass entertainment.  It also is a fine exponent of a facet of the human condition that is not much commented upon today:  the seductive power of goodness.  A review of the film is below with the usual caveat as to spoilers. Continue Reading