A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

Monday, November 11, 2024

The Man I Love (Raoul Walsh, 1947)

Ida Lupino and Robert Alda in The Man I Love

Cast: Ida Lupino, Robert Alda, Andrea King, Martha Vickers, Bruce Bennett, Alan Hale, Dolores Moran, John Ridgely, Don McGuire, Warren Douglas, Craig Stevens, Tony Romano. Screenplay: Catherine Turney, Joe Pagano, based on a novel by Maritta M. Wolff. Cinematography: Sidney Hickox. Art direction: Stanley Fleischer. Film editing: Owen Marks. 

The Man I Love is a rather scattered and melodramatic film noir laced with music. It gives Ida Lupino one of her best roles, and she takes charge of it with such authority and intensity that it's not surprising that she collapsed during the filming. She plays Petey Brown, a lounge singer who decides to come home for Christmas, only to find her family embroiled in a number of crises. Her brother, Joe (Warren Douglas), is involved in some shady business and her sister Sally (Andrea King) is dealing with the hospitalization of her husband, Roy (John Ridgely), a shell-shocked veteran. Sally and her other sister, Ginny (Martha Vickers), spend a lot of time looking after the infant twins of their neighbors, Gloria (Dolores Moran) and Johnny O'Connor (Don McGuire), partly because Gloria is a boozy tramp to whom Johnny is devoted. Joe works for nightclub owner Nicky Toresca (Robert Alda), so Petey goes to work as a singer at his club, partly to keep her eye on her brother. When Joe gets involved in some kind of scuffle, Petey goes to bail him out of jail and discovers that the other guy arrested in the dust-up was San Thomas (Bruce Bennett), a pianist well-known in the jazz circles in which Petey travels. While the womanizing Nicky is making a play for her, Petey is falling for San, giving her another problem: managing two men. Raoul Walsh manages to keep all these plot threads from getting too tangled, but not without some loss of credibility. Fortunately, there's some good music to listen to, including the Gershwin song that gives the movie its title. (Lupino's singing was dubbed by Peg La Centra.) But mostly the movie is a showcase for Lupino, whippet-thin and sharp of tongue.  

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