Lady on a Train (1945)

We had not watched this little mystery movie from beginning to end until now, when we put it on the Christmas cinema garland because of its numerous character actors. And I don’t believe I have ever fully watched a movie with Deanna Durbin, the brief rival to Judy Garland in the early 1940s. Durbin certainly had a lovely voice, though more operatic than Garland’s. Even though her acting in this film seems less forced than some of Garland’s early efforts, Durbin didn’t prove to have the vocal or character depth that Garland eventually evidenced.

Lady on the Train was enjoyable but not delightful enough to make it onto our holiday watch list in future years because the connection to Christmas is tenuous and the film itself is thin.


Pulling into Grand Central Station for a holiday visit to New York, Deanna Durbin witnesses a murder out of the window of her train car. She cannot convince the police of what she saw, so she then contacts her favorite mystery writer, who also dismisses her. She stumbles upon the identity of the victim, a rich industrialist whose greedy family wants only the inheritance. After numerous puzzling paths, usually shown with bits of slapstick comedy mixed with a touch of suspense, she solves the murder and marries the mystery writer with whom she heads on her honeymoon, again on a train.


Deanna Durbin is visiting New York for Christmas, but the holiday is used only as the film’s quick rationale for her visit and a few decorations. After the first 10 minutes and Durbin’s singing “Silent Night,” the holiday setting is completely ignored.


Ralph Bellamy (Jonathan Waring) appeared in two fantastic screwball comedies: The Awful Truth (1937), for which he was nominated for a best supporting actor Oscar, and His Girl Friday (1940). His best known role was as Franklin Roosevelt in Sunrise at Campobello (1960).

Edward Everett Horton (Mr. Haskell) will be seen soon in Holiday (1938). He also had wonderful roles in The Front Page (1931), Here Comes Mr. Jordan (1941), Arsenic and Old Lace (1944) and as the narrator of the Fractured Fairy Tales in the Rocky & Bullwinkle show.

Allen Jenkins (Danny) makes his first appearance on our Christmas cinema list, which is surprising considering how many classic films he has on his resume: I Am a Fugitive from a Chain Gang (1932), 42nd Street (1933), Ball of Fire (1941), as well as supporting roles in the Falcon and Perry Mason film series from the 1930s.

George Coulouris (Mr. Saunders) appeared in such classics as Citizen Kane (1941), For Whom the Bell Tolls (1943) and None But the Lonely Heart (1944).

Dan Duryea (Arnold Waring) appeared in such diverse films as Ball of Fire (1941), The Pride of the Yankees (1942), None But the Lonelyheart (1944) and Winchester ’73 (1950).

Elizabeth Patterson (Aunt Waring) has been previously seen in Remember the Night (1940).  Her long list of credits includes Dinner at Eight (1933), Bluebeard’s Eighth Wife (1938), I Married a Witch (1942) and Hail the Conquering Hero (1944).

Samuel Hinds (Mr. Wiggam ) played Pa Bailey in It’s a Wonderful Life.

William Frawley (police sergeant) has already been seen in Miracle on 34th Street, Good Sam and The Lemon Drop Kid.

Thurston Hall (Josiah Waring) appeared in such classics as Theodora Goes Wild (1936), The Great McGinty (1940) and Saratoga Trunk (1945).

Chester Clute (train conductor) was seen in Larceny Inc. and three other films on our holiday watch list: Remember the Night, Bachelor Mother and It Happened on Fifth Avenue.

Tom Dugan (police turnkey) has been seen in The Lemon Drop Kid.

Ralph Peters (cabbie) also played a cab driver in The Man Who Came to Dinner.

Cyril Ring (Circus Club ringmaster) has been seen in The Cheaters, Beyond Tomorrow and Holiday Inn and will be seen soon in Holiday.


Ralph Bellamy appeared with Fred Astaire in Carefree (1938).

Edward Everett Horton appeared with Fred Astaire in The Gay Divorcee, Top Hat and Shall We Dance.

Elizabeth Patterson appeared with Fred Astaire in The Sky’s the Limit (1943).

Thurston Hall appeared with Astaire in the film version of The  Band Wagon (1953).


We always enjoy films with trains and New York scenery, but these elements weren’t enough to make us love this movie. I enjoyed Durbin’s rendition of “Night and Day,” but not enough to watch the film again any time soon.


Turner Classic Movies usually shows this film once a year.

The Apartment (1960)

The Apartment may be the best all-around film on our holiday watch list, though I’m still partial to It’s a Wonderful Life.  It is the only film on our list to win a Best Picture Oscar.  It also won Billy Wilder Oscars for best director and best screenplay, plus best art direction and best editing. Jack Lemmon and Shirley MacLaine were nominated for their acting (and they won the Golden Globes that year). Jack Kruschen, who plays Dr. Dreyfus, was also nominated for a best supporting actor Oscar.

I think this is probably Wilder’s best film, with Double Indemnity and Some Like It Hot a close second and third.  It is definitely my favorite film for Shirley MacLaine and Jack Lemmon, who create pained yet sincere and amusing characters amidst the cold, calculating corporate culture that Wilder so effectively satirizes.


C.C. Baxter (Jack Lemmon) is working his way to the top of the corporate ladder by letting executives in his company use his apartment for illicit rendezvous.  Baxter is attracted to the elevator operator, Fran Kubelik (Shirley MacLaine), not realizing that she is having an affair with Mr. Sheldrake (Fred MacMurray).  Realizing the fruitlessness of her affair, Fran attempts suicide in the apartment, not realizing that it belongs to Baxter. Baxter rescues her and nurses her back to health, falling more deeply in love with her only to find that she has decided to return to Sheldrake.  On New Year’s Eve, however, she realizes how much Baxter loves her and runs back to him and the apartment.


The film begins several weeks before Christmas and has major turning points on Christmas Eve and New Year’s Eve.  There is a drunken office party and a drunk Santa that are key backdrops to the film’s satire.  Still, it retains a warm, redemptive center.


Fred MacMurray (Jeff Sheldrake) plays an immoral boss so different from his sweet role in Remember the Night.  Because of his association with such nice roles as the father in My Three Sons (1960-72) and The Absent-Minded Professor (1961), it is easy to forget how he could be so effective in complex, nasty roles, such as Double Indemnity (1944) and The Caine Mutiny (1954).

Ray Walston (Mr. Dobisch) will always be TV’s My Favorite Martian (1963-66), but he had a host of wonderful film roles, such as The Sting (1973), Damn Yankees (1958) and South Pacific (1958).

Jack Kruschen (Dr. Dreyfus) made a brief appearance earlier in The Lemon Drop Kid (1951).  He had a small role in Cape Fear (1962) and McLintock! (1963), as well as The Unsinkable Molly Brown (1964) and dozens of TV series.

David White (Mr. Eichelberger) is probably best remembered as Larry Tate on TV’s Bewitched (1964-72).

Edie Adams (Miss Olsen) had a wonderfully diverse career as a singer, comedienne, and a serious dramatic actress, not to mention her sultry TV ads for Muriel cigars. She was married to the innovative TV comedian Ernie Kovacs, who tragically died in 1962.  Her best known film roles came in It’s a Mad Mad Mad Mad World (1963) and The Best Man (1964).

Franklyn Farnum (Jack Lemmon’s jealous co-worker) appeared in Meet John Doe (1941), Lady on a Train (1945) and White Christmas (1954). He had roles in several other Billy Wilder films, including The Lost Weekend (1945), Sunset Boulevard (1950) and Some Like It Hot (1959).

Hal Smith (man in Santa Claus suit) is best remembered as the town drunk,  Otis Campbell, in The Andy Griffith Show (1960-66). He had a small role in O. Henry’s Full House (1952) and did cartoon voices in such shows as The Huckleberry Hound Show, Quick Draw McGraw, The Flintstones and Scooby Doo.


Franklyn Farnum appeared with Fred Astaire in Let’s Dance (1950), Royal Wedding (1951) and Funny Face (1957).


Billy Wilder’s ability to combine comedy, poignant drama and wicked social satire was unmatched by any Hollywood director.  I particularly love his ability to use small objects on multiple levels to create comedy, character, and turning points in the plot, such as the broken mirror, the tennis racket with the strand of spaghetti, the gun, and the cards.  He does similar things in so many of his movies that it became one of his hallmarks.

This is the final film on our watch-list with a reference to the holiday Tom & Jerry drink.  Jack Lemmon tells Fred MacMurray that he has the mix ready in the refrigerator.  The other three films were Beyond Tomorrow, Never Say Goodbye and The Cheaters.


TCM occasionally shows this fine film, but it is not on their schedule for the next few months. It is available for streaming with Amazon Prime.

Holiday (1938)

I have always loved this movie, primarily because it is the third of four wonderful films that Cary Grant made with Katharine Hepburn.  Three of them were directed by George Cukor: Sylvia Scarlet (1935), Holiday (1938) and The Philadelphia Story (1940).  The best of their four films to my mind is Bringing Up Baby (1938), directed by Howard Hawks.

This film, like The Philadelphia Story, was based on a play by Philip Barry.  Holiday is a bit stiffer than Philadelphia Story, but it still has effective performances and a touching story.

And, of course, it has a wonderful group of character actors, who help make the film so enjoyable.


Johnny Case (Cary Grant) has fallen in love with Julia Seton, the younger daughter of a stuffy, rich banker.  Johnny comes from a poor background but has started to succeed in business and after he makes enough money he plans to take an extended holiday to find the true point of working.  He shares his plan with Julia’s older sister, Linda (Katharine Hepburn), whose free spirit has been stifled by her father.  On New Year’s Eve, just as their engagement is to be announced, Johnny learns that he has made enough  money for the holiday, but neither Julia nor her father accept the idea.  Linda realizes that she loves Johnny, and when Julia finally rejects Johnny and admits that she doesn’t love him, Linda joins Johnny on the holiday.


The visual references to Christmas and New Year’s Eve are bare.  The film starts on Christmas Day with a scene in church and the congregation singing well-known Christmas hymns as Julia Seton tells her father of her intended engagement.  Later the formal engagement announcement is made at a New Year’s Eve party, and we hear “Auld Lang Syne” being sung, ostensibly from the street and the crowd at the Seton party.  While there are several epiphanies in the film (Linda realizing she loves Johnny, Johnny realizing he loves Linda, and Linda realizing how her sister resents her), there isn’t any reversal/redemption that is a requisite Christmas theme.


Edward Everett Horton (Nick Potter) was previously seen in Lady on a Train (1945).  Horton played the same role in the 1930 film version of this play by Philip Barry.  He will next be seen in Frank Capra’s Pocketful of Miracles (1961).

Jean Dixon (Susan Potter) played Molly the maid in My Man Godfrey (1936) and had a role in another lovely screwball comedy, Joy of Living (1938).  She also had a long career on Broadway, starting in 1926 and continuing through 1960.

Lew Ayres (Ned Seton) had a long career with varied roles including All Quiet on the Western Front (1930), Johnny Belinda (1948) and Dr. Kildare in a series of nine films from 1938 to 1942.  He was married to Ginger Rogers from 1934 to 1941.

Henry Kolker (Edward Seton) also had a long film career beginning with silent pictures.  He had roles in Imitation of Life (1934), as Friar Lawrence in Leslie Howard’s Romeo and Juliet (1936), which was also directed by George Cukor, and one of my favorite screwball comedies, Theodora Goes Wild (1936).

Binnie Barnes (Laura Cram) portrayed Lillian Russell in Diamond Jim (1935) and also had roles in Broadway Melody of 1938 and The Divorce of Lady X (1938).

Henry Daniell (Seton Cram) appeared with Katharine Hepburn and Cary Grant in The Philadelphia Story (1940). That same year he appeared with Charlie Chaplin in The Great Dictator. He also appeared in a number of historical pics, including The Private Lives of Elizabeth and Essex (1939), The Sea Hawk (1940) and Jane Eyre (1943). He appeared with Basil Rathbone in three Sherlock Holmes pictures: Sherlock Holmes and the Voice of Terror (1942), Sherlock Holmes in Washington (1943) and The Woman in Green (1945).

Ann Doran (kitchen maid) appeared previously as Mrs. Hansen in Meet John Doe (1940).  She also had roles in Mr. Smith Goes to Washington (1939) and  His Girl Friday (1940).

Cyril Ring (churchgoer) was previously seen in Lady on a Train, Meet John Doe, The Cheaters and Holiday Inn.


Cyril Ring appeared with Astaire in Holiday Inn and Broadway Melody of 1940.


The team of Hepburn, Grant and Cukor filming a play by Philip Barry and a script by Donald Ogden Stewart is always a delight, though this film is really just an appetizer for the far superior The Philadelphia Story.

Among the things I love about Holiday are Cary Grant’s acrobatic tumbles, which harken back to his show-business origins as a knock-about comic acrobat in England.   His skill in pantomime and acrobatics served him well in the slapstick elements of screwball comedy, and he used it effectively to contrast with the suave, sophisticated image that he cultivated.


Turner Classic Movies will show Holiday on January 26 at 2:30 p.m. (ET).

Pocketful of Miracles (1961)

Even though this film was made by one of my favorite directors — Frank Capra, I have delayed watching it because Capra discusses it with such pain in his autobiography, The Name Above the Title.  A remake of a film he originally directed in 1933 (Lady for a Day), Pocketful of Miracles was the last film that Capra ever made, primarily because he felt he had lost the decisiveness needed in directing.  Apparently during the production there were continuing disputes between Bette Davis and Glenn Ford over numerous trivial issues that created daily tension on the set.

Well, we finally watched the film yesterday, and we probably won’t be watching it again. I can’t be sure whether it was my pre-judged hesitations about the film or the movie’s disconnectedness that will keep it off future holiday watch lists.  It certainly has loads of wonderful character actors, but except for the young Peter Falk, they seem to be tired and give only half-hearted performances.

I also found that the film being shot in color was a distracting disconnect.  Would it have been a better fit with the setting (1933 just after the end of Prohibition) to have shot the film in black and white?  And Capra’s attention to detail, so noticeable in films such as It’s a Wonderful Life, seems missing here.  What a disappointing way to end a marvelous career.


Apple Annie, a Times Square denizen, sells apples to Dave the Dude, a gambler and gangster who has come to rely on her lucky apples to help him in all of his risky businesses.  The alcoholic Annie, the chief organizer for a group of panhandlers and hustlers, has been secretly sending money for years to raise her daughter in a Spanish convent.  The daughter, who has been led to believe her mother is a rich socialite, has fallen in love with the son of a Spanish count, and they all want to come to New York to meet Annie.  Desperate for help, Annie turns to the Dude, who arranges a penthouse, a new wardrobe, a pretend step-father and even a large society reception to announce the engagement.  Despite numerous near miscues that risk revealing the truth, all goes well and the daughter sails back to Spain to live happily ever after, while Annie returns to her panhandler organizing.


The film begins at Christmas with a few snowy scenes on the streets of New York, but soon the setting changes to a indeterminate time of year.


Hope Lange (Queenie Martin) had roles in films such as Bus Stop (1956) and Peyton Place (1957).  She co-starred in  TV’s The Ghost and Mrs. Muir (1968-70). Her father, Arthur Lange, was the music arranger for Florenz Ziegfeld.

Arthur O’Connell (Count Romero) had notable supporting roles in Picnic (1956), Bus Stop (1956) and numerous TV shows during the 1960s.

Peter Falk (Joy Boy) had played a small-time gangster seriously in  Murder Inc. (1960) and then was again nominated for a best supporting actor Oscar for his comic portrayal in this film. He is best known as TV’s Columbo (1971-2003), but he had notable roles in films such as  It’s a Mad Mad Mad Mad World (1963), Murder by Death (1976) and The Princess Bride (1987).

Thomas Mitchell (Judge Blake) was previously seen in It’s a Wonderful Life, also directed by Capra.  Like Capra, this was Mitchell’s last film.

Edward Everett Horton (Hudgins) was previously seen in Holiday.

Sheldon Leonard (Darcey) also appeared in It’s a Wonderful Life.

Ann-Margret (Louise) made her debut in this film, which was quickly followed by some big hits, including State Fair (1962), Bye Bye Birdie (1963) and Viva Las Vegas (1964). She appared with Peter Falk in The Cheap Detective (1978).

Barton MacLane (Police Commissioner) played a similar role in the Torchy Blane movies in the 1930s.  He appeared in two Humphrey Bogart films: High Sierra (1941) and The Maltese Falcon (1941).  On TV he had an extended role as General Peterson on I Dream of Jeannie (1965-69).

John Litel (Police Inspector) was previously seen in Christmas Eve.

Jerome Cowan (Mayor) was previously seen in Miracle on 34th Street.

Frank Ferguson (newspaper editor) appeared in A Star Is Born (1954), Sunrise at Campobello (1960) and Hush … Hush, Sweet Charlotte (1964).  He played Eli Carson in TV’s Peyton Place (1964-69) and had an extended role on Petticoat Junction (1964-70).

Willis Bouchey (newspaper editor) appeared in films such as From Here to Eternity (1953), The Big Heat (1953) and A Star Is Born (1954).  He was one of the frequent rotating judges in TV’s Perry Mason (1960-66).

Fritz Feld (Pierre) was previously seen also playing a hairdresser in O. Henry’s Full House.

Ellen Corby (Soho Sal) was seen in two previous films on our holiday watch list: All Mine to Give and It’s a Wonderful Life.

Mike Mazurki (Big Mike) appears in films such as  Come to the Stable (1949), Some Like It Hot (1959) and  It’s a Mad Mad Mad Mad World (1963). He had an extended role as Clon in the odd, short-lived TV series  It’s About Time (1966-67).

Hayden Rorke (police captain) is best known for his role on TV as Dr. Bellows in I Dream of Jeannie (1965-69).  He also had a small, notable role in An American in Paris (1951).


Frank Ferguson appeared with Fred Astaire and Ginger Rogers in The Barkleys of Broadway (1949).


The New York setting seems particularly superficial, as does the connection with Christmas.  Finally, it’s the disjointed nature of the various elements of the film, something so contrary to Capra’s usual production values, that keep us from liking this film.


Pocketful of Miracles is not currently scheduled on Turner Classic Movies but is available for $2.99 on Amazon Prime.

Bell, Book and Candle (1958)

This is the third film starring James Stewart on our holiday watch list; the others were It’s a Wonderful Life and The Shop Around the Corner. That ties him with Barbara Stanwyck, who appeared in Christmas in Connecticut, Meet John Doe and Remember the Night.  It’s also the second film featuring Jack Lemmon, though he is just a supporting player here, unlike his wonderful starring role in The Apartment.

Bell, Book and Candle is a nice little film, though a bit shaky in its casting: Jimmy Stewart is too old for the romantic lead, and Kim Novak seems far too languorous and breathy.  It’s a well constructed script, based on a stage play by John van Druten. When performed on Broadway in 1950-51, it starred Rex Harrison and Lilli Palmer, who were married at the time.


Gillian Holroyd (Novak), a lovely young witch who runs a boutique in Manhattan, is bored on Christmas Eve and wants to meet someone new.  She is mildly attracted to her upstairs neighbor, publisher Shep Henderson (Stewart), but when she realizes that he is engaged to a former college nemesis (Janice Rule), Gil casts a love spell on Shep and they begin a passionate love affair on Christmas.  Gil eventually reveals to Shep that she is a witch, and Shep while not believing her at first eventually goes to a rival witch (Hermione Gingold) to break the spell.  After the break, Gil realizes that she has fallen in love with Shep and as a result has lost her powers.  When Shep learns of this, he also realizes that he is honestly in love, and all ends well.


The story begins on Christmas Eve, and there are many scenes of snow-covered sidewalks and streets in Manhattan. The film concludes in the spring, but the themes of reversal and redemption necessary to make it a Christmas film are there.


Ernie Kovacs (Sidney Redlitch) was known primarily for his innovative TV comedy, but this was his second film.  The first was Operation Mad Ball (1957), also directed by Richard Quine and starring Jack Lemmon.   Kovacs was married to Edie Adams, whom we saw in a small dramatic role in The Apartment.  He died in an auto accident in 1962, cutting short a brief but brilliant career.

Hermione Gingold (Biance de Passe) was best known for her role in Gigi (1958), but she also appeared in Around the World in 80 Days (1956), The Music Man (1962) and A Little Night Music (1977). She also appeared in several Broadway productions, including one with my favorite title: Oh Dad, Poor Dad, Mamma’s Hung You in the Closet and I’m Feelin’ So Sad (1963).

Elsa Lanchester (Queenie) has already been seen in The Bishop’s Wife, and we will see her soon in Come to the Stable.

Janice Rule (Merle) had supporting roles in many TV series during the 1950s and early 1960s, including The Twilight Zone, Checkmate and Route 66. Her best film roles came in Welcome to Hard Times (1967), The Ambushers (1967) and The Swimmer (1968).  She was married to actor Ben Gazzara from 1961 to 1982. Ironically, since she plays Kim Novak’s rival in this film, Rule played the role of Madge in Picnic on Broadway, while Novak took that role in the movie version.

Howard McNear (Andy White, Shep’s co-publisher) was seen previously in Bundle of Joy and is best known for his role as Floyd the barber in TV’s The Andy Griffith Show.


So far this is the only film for which I cannot find any direct connection to Fred Astaire.  It does feature a delightful scene atop the Flat Iron building on 23rd Street just a few blocks from where Fred, his mother and sister lived when they first moved to Manhattan in 1905, but that’s it.


Snow, Manhattan, the Flat Iron building, Jack Lemmon, and a clever, touching script.  Oh, and Pyewacket, of course!  (By the way, this is the only film in our holiday watch list that includes a cat, except for a brief scene in The Thin Man when Asta surprises a cat in the Thin Man’s shop.)


Turner Classic Movies will show Bell, Book and Candle on January 23 at 2:30 a.m.

Come to the Stable (1949)

This film has been one that we have had on the waiting list for several years, and we finally got around to adding it to the holiday watch list this Christmas because we had more openings what with the longer Advent season.  We’re glad we did. It is a charming film focused on faith, with some interesting elements connecting it to other holiday films.

The most obvious connection is to The Bishop’s Wife, which also starred Loretta Young and was also directed by Henry Koster.  Two other character actors (Elsa Lanchester and Regis Toomey) also appeared in both films.

Another interesting point we saw is how much of a role World War II plays in this film.  The nuns (Loretta Young and Celeste Holm) have made a faithful promise to build a children’s hospital in the United States, after the USA saved their French hospital during the liberation of Europe.  The gambler (Thomas Gomez) miraculously donates the land for the hospital when he learns of the nuns’ connection to France, because his son had died in Europe during the war.  The musician (Hugh Marlowe), who at first seems pleasant enough but then becomes Scrooge-like, finally joins in the miraculous redemptions, when he also recognizes his WWII connection to the nuns.

How many of the films we have seen on our Christmas watch list have some central connections to World War II?  It’s a Wonderful Life, Holiday Affair, White Christmas, Christmas in Connecticut and Never Say Goodbye all make some reference. With the war more than 75 years distant from us today, we may forget until we ponder these films how WWII reaffirmed so broadly the values of faith, family and community that are central to Christmas.  Perhaps that is why there were so many fine Christmas films made in the late 1940s.


Two nuns from France have come to the United States to fulfill a promise they made to build a children’s hospital after the U.S. troops preserved a French hospital during a World War II battle.  With no land, no money and no support from the church authorities, they seem to face impossible challenges, but at each step their simple faith miraculously finds the buried charitable spirit in everyone they encounter and brings their dream to fruition.


The Christmas connection is seen first in an amusing Nativity scene at the beginning of the film.  Though there is plenty of snow early on, Christmastime is less the setting and more the thematic spirit.


Celeste Holm (Sister Scholastica) is best known for her supporting roles in All About Eve (1950) and High Society (1956). I recall her fondly also as the Fairy Godmother in the 1965 TV production of Rodgers & Hammerstein’s Cinderella, which included Ginger Rogers, Walter Pidgeon, Lesley Ann Warren and Pat Carroll in the cast.

Hugh Marlowe (Mr. Mason) played Celeste Holm’s husband in All About Eve (1950). He had other distinctive roles in Meet Me in St. Louis (1944), Twelve O’clock High (1949), The Day the Earth Stood Still (1951) and Monkey Business (1952).

Elsa Lanchester (Amelia Potts) is making her third appearance on our holiday watch list, the others being The Bishop’s Wife and Bell, Book and Candle.

Thomas Gomez (Luigi Rossi) is best known for his role as a gangster’s henchman in Key Largo (1948). He also appeared in Captain from Castile (1947) and numerous TV series in the 1960s.

Basil Ruysdael (the Bishop) appeared as a dean in People Will Talk (1951) and played a bishop again in The Last Hurrah (1958).

Dooley Wilson (Anthony James) is, of course, best known as Sam the piano player  in Casablanca (1942).

Regis Toomey (Monsignor) also appeared in The Bishop’s Wife and Meet John Doe.

Mike Mazurki (Sam) previously appeared in Pocketful of Miracles.

Walter Baldwin (Mr. Jarman) appeared as the father in The Best Years of Our Lives (1946) and had an extended role as Grandpa Miller in TV’s Petticoat Junction.

Robert Foulk (policeman) previously appeared previously in The Lemon Drop Kid (1951). He had a small role as a customs officer in Gentleman Prefer Blondes (1953) but is better known for his roles as Ed Davis in TV’s Father Knows Best (1954-57) and as Mr. Wheeler in Green Acres (1966-71).

Louis Jean Heydt (Al) was seen previously in The Miracle at Morgan’s Creek (1943). He had interesting key roles in The Great McGinty (1940) and The Big Sleep (1946).

Nolan Leary (station master) was seen previously in Fitzwilly (1967). He had roles in White Heat (1949) and High Noon (1952), was one of the rotating judges in Perry Mason (1957-63), and also played a judge on Lassie (1957-63).

Gordon Gebert (Willie Matthews, one of the children in the Nativity scene) made his screen debut in this film and was next seen as Timmy in Holiday Affair (1949).

Marion Martin (Rossi’s manicurist) is probably most familiar as the platinum blonde Evangeline in His Girl Friday (1940), but her other roles include Boom Town (1940), Tales of Manhattan (1942), The Big Street (1942), Lady of Burlesque (1943) and Angel on My Shoulder (1946).


Nolan Leary appeared with Astaire in The Barkleys of Broadway (1949).


We were surprised how much we enjoyed this movie.  There were some brief interesting scenes in Manhattan, and some wild jeep driving by the nuns, but I think it is ultimately the large number of surprising appearances by character actors that endeared the movie to us.


The film is not currently scheduled on Turner Classic Movies, but it often appears in December.

The Great Mr. Nobody (1941)

This was a last minute addition to our holiday watch list, when we learned that it had a reference to our favorite holiday drink, Tom & Jerrys.

We’re glad we added it because it is a pleasant little movie with many familiar character actors, but we probably won’t be including it in future Christmas cinema garlands.  The plot is just too thin and disjointed.  It bears some resemblance to Good Sam and perhaps even It’s a Wonderful Life, as it focuses on a perfectly good man who forgoes his own dreams to help others who are down and out.  Eddie Albert’s character (Dreamy Smith) just does not have the complexities of Sam Clayton and George Bailey and never faces a “dark night of the soul” as they do.  Similar to It’s a Wonderful Life, it takes the intervention of a strong woman (in this case the lovely Joan Leslie) to save him.


Dreamy Smith (Eddie Albert) has a dream of quitting his job in the classified ad section of a New York newspaper to become partners with his roommate (Alan Hale) on a sailing ship.  But every time he comes close to fulfilling his dream some mishap or someone in trouble gets in the way.  He gets taken advantage of by everyone, including his boss, who steals his clever ideas. Despite being pushed by his girl friend (Joan Leslie), he never seems to stand up for himself.  Finally fortified by some alcohol, he stands up to his boss but is fired.  That’s when Mary intervenes, and Dreamy is ultimately recognized as a quiet hero for all of the people he has helped.


The film concludes on Christmas Eve, but the holiday connection is fairly thin.


Eddie Albert (Dreamy Smith) was best known for his starring role as Oliver Douglas in TV’s Green Acres, but he had many fine supporting film roles, such as Brother Rat (1938), Roman Holiday (1953), The Teahouse of the August Moon (1956), The Sun Also Rises (1957) and The Longest Day (1962).

Joan Leslie (Mary Clover) had some wonderful roles in the early 1940s, including Velma in High Sierra (1941), Gracie Williams in Sergeant York (1941), Mary Cohan in Yankee Doodle Dandy (1942) and Connie Reed in Two Guys from Milwaukee (1946).

Alan Hale (“Skipper” Martin) is best remembered as the side kick of Errol Flynn in several pictures, including The Adventures of Robin Hood (1938) and The Sea Hawk (1940). His other notable roles include It Happened One Night (1934), Imitation of Life (1934) and The Strawberry Blonde (1941).  He was the father of Alan Hale Jr., who played the Skipper in TV’s Gilligan’s Island.

John Litel (John Wade) has appeared previously in Christmas Eve and Pocketful of Miracles.

Dickie Moore (“Limpy” Barnes) was a popular child actor, appearing in such films as Blonde Venus (1932), Oliver Twist (1933) and as Dickie in many of the Our Gang shorts in the 1930s.

William Benedict (Jig) had hundreds of character roles, often in newspaper offices, including Libeled Lady (1936), Theodora Goes Wild (1936) and Meet John Doe (1940).  He played Cary Grant’s caddy in Bringing Up Baby (1938).

George Irving (Dr. Carlisle) is most familiar as Mr. Peabody in Bringing Up Baby (1938), but he also had notable roles in A Night at the Opera (1935), Sergeant York (1941) and Once Upon a Honeymoon (1942).

Paul Hurst (Michael O’Connor) started appearing in silent films in 1913 and later had roles in notable films, such as Mr. Deeds Goes to Town (1936), Alexander’s Ragtime Band (1938), Gone with the Wind (1939) and The Ox-Bow Incident (1943).

Charles Halton (Mr. Bixby) has been seen previously as the detective in The Shop Around the Corner and the bank examiner in It’s a Wonderful Life.


Joan Leslie danced with Fred Astaire in The Sky’s the Limit (1943).

William Benedict appeared with Astaire in Second Chorus (1940).

Paul Hurst appeared with Astaire in The Sky’s the Limit (1943).


There are many familiar faces but no standout performances.  It was along wait till the last five minutes of the film to see the Tom & Jerrys being ladled out of a large punch bowl into special mugs.  This makes the fifth film in our list to mention the holiday drink; the others were Beyond Tomorrow, The Cheaters, The Apartment and Never Say Goodbye.


The film is occasionally shown on Turner Classic Movies but is not currently scheduled in the coming months.

2018-19 Wrap Up

Now that Epiphany has arrived, the wonderfully long holiday season has come to a close for 2018-19.  As always, Barbara and I have enjoyed watching our favorite Christmas films and adding some new ones to the watch list.  I have enjoyed posting my thoughts about them on this new blog and especially concentrating on the many fine character actors who helped bring these stories to life on the screen.

As a final post for this theme, let me pull together some different categories.


It is hard to choose between The Apartment and It’s a Wonderful Life.  As pure film, I lean toward Billy Wilder’s satire of 1950s corporate America, but I have a solid place in my heart for Frank Capra’s masterpiece.  So …. let’s split the difference: Best Film — The Apartment; Best Christmas Film — It’s a Wonderful Life.


Choosing the worst film on the list is much easier.  All Mine to Give is all but unwatchable, followed in a close second by Bundle of Joy, which at least had some instructive value in demonstrating how not to do comedy when compared to its original, Bachelor Mother.


Barbara Stanwyck and Jimmy Stewart take the prizes here not only with the most appearances on our watch-list (three each) but with the best performances.  Stanwyck perfected the balance between the hard-bitten sophisticate and the vulnerable romantic in all three of her films: Remember the Night, Meet John Doe and Christmas in Connecticut.  Stewart has more varied characterizations in his three films (The Shop Around the Corner, It’s a Wonderful Life and Bell, Book and Candle), but the sensitivity of his Shop performance and the range and complexity of George Bailey make him worthy of the top prize.  Let me not forget Cary Grant, who also made three appearances on the garland: The Bishop’s Wife, Holiday and In Name Only.  All three performances were great, but Grant did far better films that are not on the Christmas list.


Choosing among so many character actors is even harder.  A trio appeared in five different films, (Cyril Ring, Chester Clute and Fred Kelsey), but their roles were fleeting and nearly anonymous, but let’s give them some credit just for quantity.

My three favorites made far fewer appearances, but they created memorable, distinctive personalities that were essential to their films, so I’ll give this trio a share of the prize.

S.Z. “Cuddles” Sakal had wonderful roles in Never Say Goodbye and Christmas in Connecticut that helped make both films so delightfully amusing.

Charles Coburn shows himself to be a master of subtle comedy in Bachelor Mother and proves to be effectively stiff in the melodrama In Name Only.  Without him neither film would be as effective.

Similarly, James Gleason creates subtle, multilayered characters in his two appearances: Meet John Doe and The Bishop’s Wife.

NEW FILMS: Keepers & Throw Aways

We added 10 new films to our holiday watchlist, but we will probably keep only two for next year. Another three we will likely never watch again. The definite throw-aways are All Mine to Give, Bundle of Joy and Christmas Eve. The keepers are Larceny Inc. (definitely) and In Name Only, and possibly Come to the Stable, The Cheaters and Fitzwilly.  Although we enjoyed Lady on a Train and The Great Mr. Nobody, we weren’t intrigued enough to want to see them again any time soon.


I’m already thinking about how we will organize next year’s Christmas cinema.  It will be a shorter list than this year, since in 2019 Thanksgiving will be late (November 28).  Right now I’m thinking of a hodgepodge of themes, such as films set in department stores, films with intervening ghosts and spirits, films set in Manhattan, etc.  And instead of a daily blog, I am contemplating a weekly post and a short compilation of clips capturing each theme to be posted on YouTube.  We’ll see what happens.

In any event: Merry Christmas and a Happy New Year!



When Harry Met Sally… (1989)

We almost always end our holiday film watching with this delightful comedy, because it is the “newest” movie on our cinema garland. Can you believe it’s 30 years old?  It’s also one of only six color films on our list: the others are Comfort & Joy (which usually starts the garland), White Christmas, and a few first-timers this year: Fitzwilly, Bundle of Joy and Pocketful of Miracles.

This year, as we organized our watch list around character actors, it is again appropriate to end with When Harry Met Sally … since it has no character links to any of the other films on the list but still has several nice supporting performances.

Even though it is a “modern” film, this is still a good, old-fashioned movie.  There is a reverence for old films (the repeated references to Casablanca, for example, and even one to The Lady Vanishes) and for classic jazz. The charming “documentary” clips of other loving couples who recall how they fell in love also cement the old-fashioned feeling.  It is a solid, clever script that features the best performances ever by Meg Ryan and Billy Crystal.


Harry and Sally first meet traveling from Chicago to New York in 1977.  They hate each other.  They accidentally meet again five years later and annoy each other.  And five years after that they fatefully meet again and slowly become good friends, fall in love, then out of love, and then on New Year’s Eve fall in love for good.


There are some lovely Christmas scenes in Manhattan, including the Rockefeller Center tree, and the film concludes on New Year’s Eve.  The themes are love and surprising reversals, which certainly connect to the essence of Christmas.


Carrie Fisher (Marie) was the daughter of Eddie Fisher and Debbie Reynolds, who starred in Bundle of Joy. Carrie was best known as Princess Leia in the early Star Wars films, but she also appeared in Shampoo (1975) and The Blues Brothers (1980).

Bruno Kirby (Jess) played the young Clemenza in The Godfather: Part II (1974).

Estelle Reiner (café customer) was the mother of director Rob Reiner. She appeared in the Mel Brooks-Anne Bancroft re-make of To Be or Not to Be (1983).  She was a respected jazz singer on radio as a teenager and in clubs in Los Angeles in the 1960s.


I couldn’t find a single direct connection to Fred Astaire, but the spirit is there, and the sound track includes “Let’s Call the Whole Thing Off,” the classic Gershwin tune that Astaire and Rogers sing and skate to in Central Park in Shall We Dance.


Beyond the classic love story between Harry and Sally, this is also a love letter to Manhattan, with scenes shot all around that wonderful town.


Look for it to be scheduled later this year on Turner Classic Movies or other channels, as the film celebrates its 30th anniversary.