they drive by night ( 1938 film )
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they drive by night at rotten tomatoes. last accessed: february 27, 2011 .
this is the 1938 british movie they drive by night, not the 1940 raoul walsh one with the same title. walsh’s film is a searing drama about truck drivers. woods’ film is a crime thriller that isn’t really about truck drivers at all, which is maybe part of the trouble with it .
they drive by night (d. arthur woods, 1939) was made as a quota film by warner brothers at teddington, which had been bought and modernised by the studio in the early thirties. the fruits of these improvements show, particularly in the atmospheric soundtrack and the fluid cinematography by basil emmott .
they drive by night is a 1940 black - and - white film noir starring george raft, ann sheridan, ida lupino, and humphrey bogart, and directed by raoul walsh. the picture involves a pair of embattled truck drivers and was released in the uk under the title the road to frisco. the film was based on a. i. bezzerides ‘ 1938 novel long haul, which was later reprinted under the title they drive by night to capitalize on the success of the film. part of the film’s plot (that of ida lupino’s character murdering her husband by carbon monoxide poisoning) was borrowed from another warner bros. film, bordertown (1935) .
they drive by night is a 1940 black - and - white film noir starring george raft, ann sheridan, ida lupino, and humphrey bogart, and directed by raoul walsh. the picture involves a pair of embattled truck drivers and was released in the uk under the title the road to frisco. the film was based on a. i. bezzerides' 1938 novel long haul, which was later reprinted under the title they drive by night to capitalize on the success of the film. [ 2 ] part of the film' s plot (that of ida lupino' s character murdering her husband by carbon monoxide poisoning) was borrowed from another warner bros. film, bordertown (1935) .
variety quotes from weekly variety. 16 feb 1938. 129: 10. 15 .
as they pause by the fire, we cut to the circus in the nearby town .
“half social - realist drama about truckers, half women’s genre melodrama about a neurotic rich wife who murders her husband and makes a play for another man”, as robert sklar explains, even for a raoul walsh movie they drive by night is hard to define .
released in december, 1938: a demented killer is strangling dance hall girls, and a hapless ex - con is accused and chased by the police .
the film began production in september 1937 and continued until january 1938, with its premiere coming on february 18, just over a month after shooting wrapped .
when the film was released, the new york times film critic, bosley crowther, gave the film a positive review, writing, “but for fanciers of hard - boiled cinema, they drive by night still offers an entertaining ride. as mr. raft modestly remarks of his breed, ‘we’re tougher than any truck ever come off an assembly line. ’ that goes for the picture, too. ”
they drive b ...
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enjoy a night in with these popular movies available to stream now with prime video .
fun fact: one million dollars in 1938 money is about sixteen million in 2015 cash. so it’s a big deal .
when the film was released, the new york times film critic, bosley crowther, gave the film a positive review, writing ,
but for fanciers of hard - boiled cinema, they drive by night still offers an entertaining ride. as mr. raft modestly remarks of his breed,' we' re tougher than any truck ever come off an assembly line.' that goes for the picture, too .
[ 6 ]
the turning point came with
the light that failed ,
in which she forcefully played a vengeful prostitute who betrays an artist going blind (ronald colman). that performance and her next one, as a demented murderer in
they drive by night ,
won her a long - term contract at warner brothers .
the beginning of the 1940s in hollywood sees the loosening of genre conventions as different movie formats began to interbreed. in particular a kind of gangster - flick meanness began to shove its way into regular drama, eventually producing the style we now call film noir. they drive by night is an odd little transition movie from this period, one of those awkward little steps in an evolutionary process .
they drive by night shows the realities of life for women scraping by selling sex, whether on drummond street, lisle street or the great north road. they are the victims of abuse, poverty, sexual assault, murder. while the novel is a fast - paced, exciting read that stands out for its use of language and its shifting locations, it is much more, the author’s subtle social commentary adding another, deeper layer to the story. john king
of course the device of slightly barmy yet beautiful women bumping off their husbands would become something of a film noir staple. but here is where they drive by night shows its primitiveness alongside later noirs. raft resists lupino like a saint, and stays true to goody - goody anne sheridan (and on the subject of sheridan, why is she suddenly transformed from smooth - talking floozy to prim housewife - in - waiting ?) over the next two decades fred macmurray, orson welles and even jimmy stewart would be getting suckered in by the “wrong kind of woman” and being dragged down to a sorry end. and perhaps this is the final flaw in they drive by night. in pictures like this, we don’t want perfect morals and cosy endings. we want the hero to take the bait hook, line and sinker .
ridiculously, i’ve never watched hell drivers, though i have a copy here. i think that one would make a good double with the us they drive, or with jules dassin’s thieves’ highway .
despite his politicised criticism of the justice system, his anger at the way he saw the legal machine working for the rich in a capitalist system, curtis avoids preaching in his novels. his ideas act as props for his sentences, fuel the energy of his narratives. they drive by night is packed with observation and sense of place – whether london or the major roads of the north. it is also full of his trademark use of slang and working - class dialogue. as jonathan meades shows in his introduction to the new london classics edition, they drive by night is a dream come true for anyone interested in this sort of language. while curtis captures the speech of ordinary men and women, by moving into the margins of society he is able to record its more outrageous use. this ability alone makes james curtis a true cult author .
sources: bazin, andré. orson welles: a critical view. foreword by françois truffaut; profile by jean cocteau; translated from the french by jonathan rosenbaum. new york: harper & row, 1978 .
it was after the release of bringing up baby that the independent theatre owners of america included hepburn on a list of actors they called “box office poison. ” the list, published in the independent film journal in may 1938, also included such legends as joan crawford, fred astaire, and greta garbo .
in the course of more than 50 films, miss lupino was a spiteful cockney in
the light that failed
( 1939), a crazed wife in
they drive by night
( 1940), a loyal girlfriend in
high sierra
( 1941), an escaped convict in
the sea wolf
( 1941) and a steely murderer in
ladies in retirement
( 1941) .
after holiday was released in june 1938, audiences had to wait about eighteen months before seeing grant and hepburn in their fourth and final film, the philadelphia story (1941). i wish that grant and hepburn had made more films together. it always looks as though they are having a marvelous time onscreen .
runyonesque broadway gamblers turn patriotic when they stumble onto a cell of nazi saboteurs .
in they drive by night shorty recognises molly from the caffs on the edgware road, and this busy street leading into central london seems to have been similar to the tottenham court road of the day, full of wide boys and chisellers. the edgware road is more upmarket these days, though still known for its middle eastern food, the greasy spoons of curtis’s time replaced by eateries dealing in cheap meze, felafel and coffee. curtis wouldn’t have minded. spaghetti was still considered exotic in the thirties .
david and susan head off into the night to try and catch baby before the zoo does. george ran off while they were on the phone, so david keeps an eye out for the terrier, too .
when this film was released in early 1938, variety called bringing up baby “the most frantic and whirligig of recent film funnies” with “general ludicrous hullaballoo. ” (its “whirligig” nature is due to the fact that the movie contains all the conventions and tropes of screwball comedy bundled into 102 minutes of nonstop nuttiness. )
the locations mentioned in they drive by night will interest london lovers, both for the fact they can be identified today and also for the way in which they have changed since the thirties. drummond street, where alice lives and dies, is now lined with south indian diners in a somers town that is largely asian. but it isn’t hard to imagine the area in the thirties, when it housed a different population – transient, verging on criminality perhaps, a short walk into soho or camden town, the old boozers full of characters from patrick hamilton’s trilogy twenty thousand streets under the sky, which was based around a local pub .
the promoter immediately shifts his sights to a rival tennis player, and millie is rebuffed by her husband and her daughter. the final shot of the film shows millie at night, alone, sitting in the now empty bleachers of the championship tennis court, her plans for vicarious stardom smashed .
but aunt elizabeth and major applegate stumble on baby first as they stroll around the house .
not to be confused with either nicholas ray' s melancholic 1949 crime tale they live by night or raoul walsh' s 1940 action - melodrama (which borrowed only its title), this british thriller concerns one flawed man' s attempts at clearing his name. they drive by night stars emlyn williams as shorty, a just - released convict eager to reunite with his girlfriend - - whom he finds strangled to death when he reaches her apartment. certain the police won' t look favorably upon him should he report the dead body, shorty enlists the help of ex - girlfriend molly (anna konstam) in an attempt to find the real killer, amidst the intrusions of walter hoover (ernst thesiger), a creepy forensic criminologist who might know more than he lets on. ~ michael hastings, rovi
as mentioned above, i’m not really sure how one would classify this film since there is humor, film noir, soap opera, straight drama and romance all in it. the combination makes the film interesting and recommended .
“ south of the chocolate mountains: scattered impressions of the hitch - hiker ” bright lights film journal essay on lupino’s film the hitch - hiker .
they drive by night shifts between the claustrophobic streets of central london and the open roads of the north, the urban screwsman hitching rides on lorries driven by hardened working men, discovering a petrol - soaked world of roadside caffs and travelling tarts searching for a lift and a ‘present’. shorty is soon the subject of a police manhunt and endures several adventures, along the way meeting up with molly, an old friend from their time as ‘chavvies’ on the edgware road. he saves her from being raped by a couple of ‘gutter crawlers’, beating the men to a pulp for their assault, his actions in direct contrast to the plans of the real killer back in london .
thank you! i love grant in his comedies, too. thanks for stopping by !
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miss lupino is survived by a daughter, bridget duff, and a sister, rita lupino .
living in the quieter neighbourhood of clapham junction, but operating around the west end, alice’s killer is becoming more and more deranged. mental ramblings reveal his identity, though he refers to himself as the lone wolf and sees his psychopathic behaviour as a form of cleansing. he is wiping the scum from the streets, eliminating prostitutes so they won’t pester decent citizens for money. this is social cleansing by the cleansing flame, a mask for his failure, perversion and class prejudice. he strikes again and they drive by night turns full circle. the streetwalker queenie glimpses the killer. the police keep hunting shorty, but drag in the victim’s pimp big harry and accuse him of this latest murder. the hangman’s noose awaits one of these men .
this film won best director and actor at the 1956 asian film festival famas awards for best actor, picture, story, editing, and sound. [ ↩ ]
they stumble through the woods with a butterfly net and a croquet mallet, the classic leopard hunting tools .
they stop to dry off, and of course susan sets fire to one of david’s socks. typical .
when aunt elizabeth realizes that susan is not actually at home, she and major applegate go down to the jail. but the constable doesn’t believe that they are who they say they are either, so he locks them up! gogarty ends up in a cell, too, and soon everyone is collected behind bars .
yes, the urban sceneries of metro manila are well - depicted in this film like the case of “victory joe” on war - torn manila and in other film retros .
brothers paul and joe fabrini run a trucking business in california mainly shipping fruit from farms to the markets in los angeles. they struggle to make ends meet in the face of corrupt businessmen and intense competition. they are forced into driving long hours and one night pick - up waitress cassie hartley who' s just quit her job at a truck stop. the three of them witness the death of a mutual acquaintance when he falls asleep at the wheel. this has a profound effect on paul and joe and they become determined to find a way to make the business pay so they can quit .
just before the boys pull into haig' s truck stop there is a night scene of the truck on the highway with two cars behind it, and a road marker showing. after they leave haig' s the same scene is shown again with only a cloud slightly different .
the bigamist was the last of lupino’s films under her rko deal, which was not renewed. for the first time, lupino appeared in a film that she directed. the production is surrounded by considerable irony, inasmuch as it was joan fontaine’s involvement with collier young (and lupino’s corresponding association with actor howard duff) that precipitated the divorce between lupino and young. young and fontaine were then married, as were lupino and duff. the film was distributed by the filmakers group after rko passed on the complete film. without the necessary national distribution mechanism afforded by a major studio, the film failed to obtain adequate bookings and the filmakers went out of business .
established in 1938, lvn was among the big three studios whose output accounted for 65% of the films produced from 1946 to 1960, a period roughly coextensive with the golden age of filipino filmmaking. 6 the commercially profitable star vehicles crafted by executive producer doña sisang 7 at lvn were an admixture of nationalism, commercialism, and escapism. director lamberto avellana recalls her saying, “why remind audiences of their hardship? ” 8 studio era escapism was most often achieved by predictable happy endings. yet in gregorio fernandez’s 1955 melodrama higit sa lahat [ above all ] 9, the obligatory narrative resolution is undermined by the film’s trenchant critique of postwar materialism .
it is possible that author james curtis served time in prison. much of his life remains shrouded in mystery, but his descriptions of life behind bars, his knowledge of procedure, suggest this is more than speculation. it is safe to say that he didn’t trust the justice system. his non - fiction work, a guide to british liberties, published as part of the fact series in september, 1937, is clear evidence of this, but it is in his fiction where his beliefs are more flamboyantly revealed, novels such as they drive by night and the gilt kid being obvious examples .
and that’s not all that’s wrong with the story. they drive by night sets itself up, quite promisingly, as a gritty action drama about the lives of bottom - rung truckers. then, halfway through, the plot is hijacked by lupino and turned into some femme - fatale murder wotsit, and all the business about trying to scrape a meagre profit and stay awake on long hauls (not to mention bogart’s character) is forgotten. it’s not that this is confusing, as both parts are fairly straightforward, it’s just that neither of them is fully developed. each bit looks like half a movie, the first one trailing off into nothing, the second boiled down into forty minutes of clichés .
future learning and skills – giving everyone the opportunity to build a lifelong relationship with film .
with the headline: ida lupino, film actress and director, is dead at 77 .
unexpectedly, the “kung ako’y mahal mo” was an enjoyable and well - polished film by dr. gregorio fernandez – the father of merly fernandez (of “uhaw” fame) and the late rudy fernandez .
she was married to (and divorced from) the actor louis hayward (1938 to 1945) as well as mr. young (1948 to 1951). she and howard duff were married in 1951 and divorced in 1983. he died in 1990 .
fun fact: virginia walker was the first actress that howard hawks signed to a personal contract. he “loaned” her to rko to play miss swallow. she married hawks’ brother william (bill) just a few months after making this movie in june 1938 .
unfortunately, he wasn’t vindicated until decades later, and was instead punished for the film. hawks’ refusal to listen to rko executives, the film’s lackluster box office, and the damnable fact that bringing up baby went $ 306, 000 over budget and forty days behind schedule, made rko so mad that they removed him from gunga din (1939), and gave the film to director george stevens .
ida lupino’s first big break came in william wellman’s 1940 production of the light that failed, a role that lupino fought for over the objections of wellman, co - star ronald colman, and her advisors, who assured her that the unsympathetic cockney girl she played in the film would alienate audiences. instead, lupino walked away with the film and emerged as a major star as the year drew to a close. signing with warner brothers, lupino commanded star billing in such gritty classics as they drive by night (raoul walsh, 1940), high sierra (walsh, 1941), the sea wolf (michael curtiz, 1941), and ladies in retirement (charles vidor, 1941). in 1943, ida lupino received the best actress award from the new york film critics association for her work in the hard way, but, in truth, she was becoming disenchanted with her career as an actress .
founded in 1999, senses of cinema is one of the first online film journals of its kind and has set the standard for professional, high quality film - related content on the internet .
evans, peter william. carol reed. british film makers. manchester university press, 2005 .
warner brothers were not confident of the film' s commercial potential, and after having gained an american certificate (minus a shot of a book entitled' sex in relation to society' in hoover' s collection) they told the censors that they couldn' t get a negative out of britain, and were therefore not planning a us release .
barbara scharres, “ida lupino”, the film center gazette, 16. 2, p. 4 .
an american tanker is sunk by a german u - boat and the survivors spend eleven days at sea on a raft. they' re next assigned to the liberty ship
sea witch
bound for murmansk through the sub - stalked north atlantic .
we' re pleased to share this terrific compilation of the greatest cats in movies. ever. by burger fiction, and we are told they are working on a part two! comment on youtube to let them know which cinema cats are your favorites !
and then it’s back to leopard hunting! they see baby on the roof of a house, so they do what any normal person would do, and begin singing baby’s favorite song to get him to come down. george is there, too, so he contributes to the serenade. i love this moment because susan and david seem to forget why they are singing and instead focus on harmonizing !
one night after homely and portly ed drinks himself into a stupor, forcing lana to drive, she parks in the garage. ed is too drunk to walk, and walsh holds the shot on lupino’s eyes as lana begins to think through the plot of her husband’s “accidental” death. never overplayed by lupino as she leaves the motor idling and exits the garage, walsh provides the film’s greatest shot as he tracks her walking from the garage in a moment of horror and guilt as the doors close behind her, announcing the garage as a gas chamber for her unconscious spouse. in this scene, walsh gives us a femme fatale that is equally impulsive, real, and terrifying .
this entry was posted on april 14, 2008 at 4: 15 pm and is filed under film, literature, television with tags a gun for sale, are they really so awful? , arthur woods, brighton rock, christopher challis, denham studios, derek twist, dr who, edge of the world, emlyn williams, end of the river, ernest thesiger, graham greene, havelock ellis, hitchcock, i claudius, john waters, josef von sternberg, lawrie knight, lew ayres, lured, michael powell, myra hindley, no 17, pennies from heaven, pepe le moko, pieges, powell & pressburger, raoul walsh, robert newton, sabu, sex in chains, steve martin, they drive by night, this gun for hire, william dieterle, william hartnell. you can follow any responses to this entry through the rss 2. 0 feed. you can leave a response, or trackback from your own site .
once grant was cast, bringing up baby became the second of four films starring cary grant and katharine hepburn. their first was sylvia scarlett (1935), followed by bringing up baby and holiday, which they started filming just eight days after baby premiered .
shorty lays down to sleep and the mother cat approaches him but the scene cuts off. later in the film molly and shorty are joined by the mysterious walter hoover (ernest thesiger) who states that he believes in shorty’s innocence. this is because hoover is the real killer and shorty suspects this. while they are talking, the mama cat appears at hoover’s feet .
i did not know that about night must fall! it makes sense that there’s a personal connection behind it. i read a murder is arranged and thought it a bit bland, but nmf is electric stuff .
a loose adaptation of a. i. bezzerides’s terrific pulp novel long haul (1938), about brothers hauling loads between los angeles and san francisco, the film was scripted by jerry wald and richard macaulay — the writing team behind the roaring twenties (raoul walsh, 1939) and manpower (raoul walsh, 1941). wald would later co - produce a number of walsh’s movies at warner bros. including background to danger (1943), objective, burma! (1945), and one sunday afternoon (1948) .
five patriotic convicts are helped to escape imprisonment in devil' s island so they can fight for occupied free french forces against the nazis .
david tries to make her understand that she is driving his car, but his efforts are useless, as we knew they would be .
susan is also upset that they hit the truck in the first place, though she neatly sidesteps any culpability. as she tells david :
susan hurries to tell david not to call the zoo–she doesn’t want them to take aunt elizabeth’s leopard away! but she’s too late. the zoo’s staff is already out searching for baby, and david told them they can keep the cat if they find him! oh dear !
dorothy arzner was the only woman director working in the hollywood film industry in the early 1940s; her last film, first comes courage (1943) was a powerfully feminist production starring merle oberon as norwegian freedom fighter, working undercover. the film retains arzner’s individual stamp, although columbia took the film out of her hands as the end of production neared when she fell ill, and brought in director charles vidor to complete the project, who just three years later would score his biggest success with gilda (1946). after first comes courage, columbia terminated arzner’s contract, and from 1943 to 1949 there was not a single film directed by a woman made in hollywood .
the theatrical trailer of classic raoul walsh' s classic noir film with bogart and george raft... .
i love this film and am jealous of the quality of the copy you’ve got. mine is just awful .
they drive out to boopy’s house, but he’s asleep. so susan grabs a handful of pebbles and throws them at his bedroom window to wake him up. she doesn’t think the first flurry did it, so she grabs a bigger rock and hurls it towards the window, where it hits boopy right in the forehead. he’s knocked out, so david and susan hightail it out of there .
2014 saw metallica continuing to work on a series of ideas for the forthcoming album whilst also continuing to seek new challenges. they performed “one” with chinese pianist lang lang at the 56 th annual grammy awards, and they also accepted an invitation to play the world famous glastonbury festival, another first. the result was, unsurprisingly, an overwhelmingly positive experience. the band also continued touring with their metallica by request tour, where fans were invited to request songs to be performed live at south american shows and the by now standard european summer run .
in a jarring plot shift and performance, this film demonstrates the way that walsh often used his female actors to subvert his stories and genres by often taking them into much darker and complex places than anyone (especially the men) thought possible .
lvn is an acronym for the surnames of its three founders: narcisa buencamino vda de leon, carmen villongco, and eleuterio navoa, jr. tiongson writes, “the 1950s and early 1960s have been described by many writers as the golden age of the filipino film… [ because ] most of the films churned out by the big three studios of this period – sampaguita pictures, lvn, and premiere productions… achieved a higher level of technological expertise and artistry in filmmaking. ” nicanor tiongson, “the filipino film industry, ” east - west film journal 6. 2 (1992): 29. [ ↩ ]
vivian sobchack, “lounge time: postwar crises and the chronotope of film noir” refiguring american film genres: history and theory ed. nick browne (university of california press, 1998) 130, 157 - 159. [ ↩ ]
they had a great time offscreen, too. in her autobiography me: stories of my life, hepburn remembers in her typical blunt fashion how much fun she and grant had making bringing up baby: “cary was so funny on this picture. he was fatter, and at this point his boiling energy was at its peak. we would laugh from morning to night. ”
not wanted (1949). credited to elmer clifton, but lupino directed all or virtually all of this film .
williams cast himself as the kind of guy he went for. as i trust you know night must fall was inspired by williams’s discovery that an ex - boyfriend had become a serial killer. his interest in the moors muders (beyond belife is really something) shows his interest in murderers didn’t wane. thus he’s somewhere between patricia highsmith and dennis cooper in literary iconography .
then the drivers from the circus arrive and ask for the constable’s help in tracking down their dangerous leopard. they’ve barely had time to tell their story when baby wanders in. the circus guys realize that baby isn’t the leopard they were transporting, which means that there are two different cats loose in connecticut !
the review aggregator rotten tomatoes reported that 94% of critics gave the film a positive review, based on 17 reviews .
on dangerous ground (1952). lupino directed certain scenes during director nicholas ray’s absence from the film due to illness .
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welles, orson; bogdanovich, peter. this is orson welles. edited by jonathan rosenbaum. new york: da capo press, 1998 .
the director is raoul walsh, which is a bit of a mixed omen. although walsh was a fine craftsman, no studio ever gave him a really important project since the big trail in 1930 and nearly all his later pictures smack of potboiler. still, a good man with a bad movie. in they drive by night he keeps his camera close to the action to elicit a feeling of intensity and restlessness. he doesn’t over - emphasise interiors and doesn’t clutter shots with props or shadows, but still the atmosphere is cramped with the way actors all seem to huddle together, filling the frame. he uses wider, open shots for emphasis at important moments in the same way another director might use a close - up. still, the story lacks the free - spirited romanticism that inspired walsh’s most memorable moments .
susan, meanwhile, is upset that they had to pay for the birds that baby ate. she thinks they should have run away, instead. but david responds with these sage words: “when a man is wrestling a leopard in the middle of the pond, he is in no position to run! ”
susan and david have to cross a small stream to get to the animals, but susan assures david that it’s shallow, and they stride boldly across. but just two steps in, and the water is over their heads. susan sputters: “the riverbeds changed! ” as they swim back to the bank .
many are the ads for player’s cigarettes in this film! i won’t reproduce them all or you will be hypnotised into craving the smooth smoke doctors recommend, and i don’t want that on my conscience. the items offered by charlie’s include teas, you will note. for a hard - boiled crime drama, this film shows quite a lot of tea being drunk. it’s an odd effect .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
all i want to know is, how do movie companies come up with the title for movies? give me a break - they drive by night - doesn' t that sound like a movie about working class truck drivers, and their adventures on the road? nothing could be further from the plot of this intense thriller. does it suggest a story about a demented killer? does the name suggest that there will be dancing girls at the center of the story? does it suggest that our killer will make the hairs on the back of our neck stand at attention when he is on the screen? i got none of this from the name of the movie, but it holds all of this and more. i dare say that this is one of the finest thrillers to ever come out of the wonderful isle of britain - and it would have made suspense master hitchcock jealous if he watched it and knew that he didn' t make this film .
david returns to mr. peabody and they try to restart their game. but david leaves the lawyer a second time when he sees susan attempting to drive off in his car! i say “attempting” because she’s struggling to pull out of the parking space without demolishing the bumpers on david’s car and the one parked next to it. david yells, “i’ll be with you in a minute, mr. peabody! ” and runs to the parking lot .
styles of substance: the extraordinary image: orson welles, alfred hitchcock, stanley kubrick, and the reimagining of cinema, by robert p. kolker
angels with dirty faces
has become a favorite bogart film by default; it has been shown so often and has served as the prime source of material for countless satirists and impressionists it is the familiar tale of two young boys who grow up to be on opposing sides of the fieldone a gangster (james cagney) and the other a priest, (pat o' brien). the story was obviously sentimental its saving virtues were the performances by the leads, clever and suave, energetic direction by michael curtiz, and a good music score by max steiner bogart had little, and certainly nothing new, to do as he played cagney' s lawyer - turned - nightclub - owner who double - crosses him
ida lupino, an earthy, intelligent movie actress who created a luminous gallery of worldly wise villainesses, gangster' s molls and hand - wringing neurotics, died on thursday night at her home in burbank, calif. she was 77 years old .
ronnie scheib, “ida lupino: auteuress”, film comment, 16 (january, 1980), pp. 54 - 64 .
directing keeps you in a constant state of first - night nerves. … you may be terrified but you mustn’t show it on the set. nothing goes according to hoyle. … reshuffle your schedule. … keep your sense of humor, don’t panic. i sometimes wonder how anything gets on film. and yet, if i don’t work, it’s panic manor. (8 )
october 16, 2017: exciting news for fans of cats in movies! you can now buy a downloadable version (and soon a print version as well) of the blog cats on film by anne billson. the book is an expanded version of the blog with more information on the movies and the cats therein! order your copy today from one of the numerous handy links at the cats on film site !
the presence of warner brothers (along with other american involvement in the industry at the time) begins to account for this, but the film was also the product of a film industry that was unsure of its future audience as it approached the second world war .
crowther, bosley. the new york times, film review, july 27, 1940. last accessed: february 27, 2011 .
if you don’t enjoy absurd, nonsensical exchanges like this one, you may not love this film…it’s basically 102 minutes of such screwiness .
my favorite part of this film is when susan says she was born on the side of a hill. i love your screenshots 🙂
2015 saw metallica complete the third annual metallica night with the san francisco giants, inaugurate a similar fun time with the san jose sharks and honor the golden state warriors by performing the national anthem prior to game 5 of the nba finals in oakland, ca. they also headlined the first rock in rio festival in the us, held in las vegas, nv, continued to play european summer shows, headlined lollapalooza in chicago as well as closed down and opened arenas in quebec city. in between the few live dates, the band was quietly hammering away on new music at hq .
gogarty is understandably terrified and runs into the house babbling about a leopard. everyone assumes he is just drunk, but of course david and susan know better. they run to the barn to check on baby and are horrified when they see the empty stall. david tries to calm a hysterical susan, but it doesn’t work very well :
the doubling continues throughout the film: susan drives away with david riding on the running board twice, she steals two different cars, and the pair end up beneath a bedroom window at two different houses. there are two nearly identical purses, two confused phone calls with alice, two missed appointments with mr. peabody, and of course two leopards! even miss swallow and susan could be considered doubles. they look alike, though they are the complete opposites in personality .
the leading role went to george raft, which was as good a way as any of sticking some gangland atmosphere into the picture. raft can’t act though, at least not very well, being at turns jittery and wooden – very much the poor man’s cagney. he should have gone into musicals like cagney did, as he was a very good dancer. raft is supported by humphrey bogart, who was at the time just on the cusp of becoming a major star, although no - one knew it at the time. it looks very odd to see him next to raft, a bit like spotting elvis presley in somebody’s backing band, since although he is rarely centre - stage he has fantastic presence, always on the verge of upstaging. they drive by night also features one of the earliest big parts for ida lupino, and i regret to say she is at her most hysterically bad. admittedly bits of her performance look ok, but to see the whole thing shows it to be very forced and calculated, lacking in any kind of natural flow .
well yes! although that one’s a bit long for double - billing. at the eiff screening the audience staggered out, drained, looking older than when they went in .
flow is a critical forum on media and culture published by the department of radio, television, and film at the university of texas at austin. flow ’s mission is to provide a space where scholars and the public can discuss media histories, media studies, and the changing landscape of contemporary media .
also known as: murder on the run warner brothers - first national productions starring: emlyn williams, ernest thesiger, anna konstam directed by: arthur b. woods
traipsing through the woods at night presents many opportunities for slapstick, and hawks and his stars hit them all. for example, susan gets whacked in the face by branches as she follows david through a thicket. when she asks if maybe she should go first, david answers chivalrously that she’d better not because she might get hurt. she thanks him and then takes a tremendous thwack in the face from branches he releases as he walks on .
according to tcm, this scene was inspired by a real - life incident. cary grant was at the metropolitan museum of art seated next to the manager of the museum and his wife in a theater. at one point, grant stood up to let the wife walk by. he noticed that his fly was unzipped, so he unobtrusively zipped it up just as the woman passed him. but he accidentally zipped part of her dress into his fly, and the zipper stuck! grant and the woman had to walk in lockstep to the manager’s office to get some pliers. grant told hawks about the incident, and they added it to the film .
the review aggregator rotten tomatoes reported that 94% of critics gave the film a positive review, based on 17 reviews .
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to the film! on april 10, 1937, collier’s weekly published a short story by hagar wilde entitled “bringing up baby. ” (oddly enough, “stage to lordsburg” the story upon which stagecoach (1939) was based, appeared in the same issue !) you can read wilde’s story here –it’s delightful .
it’s also intriguing because sometimes people i recommend it to today don’t “get it. ” they come back to me with confusion and faint exhaustion in their eyes, and say “it was just so weird. ” i think most of their reaction is due to the genre of the film. we don’t have screwball (in the classical sense) anymore, and bringing up baby is about as screwball as they come. so if you’re expecting a typical romantic comedy, this movie will knock you for a loop .
grabbing a bus out of london — the conductor is “billy hartnell”, future film star (brighton rock) and tv’s first dr. who — our emlyn winds up at the first of the film’s several transport cafes, where camp coffee is on offer but the long distance drivers inexplicably prefer tea. it was at “greasy spoons” like this that anthony “puffin” asquith, top film director and son of the prime minister, would moonlight, helping out in the kitchen in order to pick up truckers. emlyn is himself picked up by a trucker, and after numerous adventures, ends up — at another cafe .
as one might expect, the table’s occupant is bewildered by this stranger’s presence. but susan introduces herself without a hint of embarrassment. she isn’t constrained by society’s rules, and we like her for it. this is one way that the film sets up susan as miss swallow’s opposite. remember how miss swallow chastised david for using slang, and otherwise stretching the rules of polite society? well, susan breaks more conventions than she upholds, and she has a wonderful time doing it .
a world war ii u - boat crew are stranded in northern canada. to avoid internment, they must make their way to the border and get into the still - neutral usa .
i love this scene because both susan and david get to be the heroes at different times. it’s not just david rescuing susan or the other way around. they’re a good pair .
lupino’s first production company was named emerald productions. ida lupino had been married from 1938 to 1945 to actor louis hayward, but, shortly after her divorce from hayward, lupino met and fell in love with production executive collier young, who was then working for columbia pictures. ida lupino and collier young were married in 1948, and, shortly thereafter, lupino, young and anson bond (owner of bond’s clothing) formed emerald productions. shortly thereafter, bond decided that film production was too risky and his share of the partnership was bought out by screenwriter malvin wald. with this change in partnership, emerald productions became simply the filmakers, and ida lupino was ready to realize her dream as a director of theatrical motion pictures .
lucy ann stewart, ida lupino as a film director, 1949 - 1953: an auteur approach (new york: arno press, 1980) .
the adam’s rib connection is wonderful, thank you! that makes the additions to wilde’s story make more sense. i’m glad you enjoyed my review! thanks for stopping by !
susan and david eventually spot baby and george. the animals are wrestling in a clearing, but it appears to be a friendly bout. i’m not sure how they were able to film that scene with confidence, as it really is asta and nissa rolling around and pawing at each other. if nissa got mad…but everything turned out okay .
david says that he can’t wait to celebrate, but miss swallow crushes his hopes of a honeymoon. now that the intercostal clavicle has been found, she insists that they come straight back to the museum after they are married so that david can get on with his work. the completion of the brontosaurus is much too important to delay for such a minor event as their marriage .
he’s thinking (he could be a model for rodin’s “the thinker”) about where the bone in his hand fits in the skeleton. he’s called back to earth by the arrival of a telegram announcing some very happy news. the museum’s expedition in utah has finally found the brontosaurus’ intercostal clavicle! david is thrilled because it’s the last bone they need to complete the fossil !
after being released from prison, notorious thief roy earle is hired by his old boss to help a group of inexperienced criminals plan and carry out the robbery of a california resort .
it is also worth noting that the hitch - hiker was made by lupino and the filmakers company after her divorce from collier young, and represents a return to the director’s chair after a two - year hiatus. though filming of the hitch - hiker went smoothly, and all seemed well on the surface (collier young even appeared in a cameo within the film as a sleeping “mexican peon”), there is an atmosphere of real violence in the film – not only in the subject matter, but also in lupino’s relentless pacing, hyperkinetic camera set - ups, and her intense use of oppressive close - ups to heighten the film’s suspense.
they drive by night is a 1938 british black-and-white , crime thriller , directed by arthur b. woods starring emlyn williams as ' shorty ' , an ex-con , ernest thesiger as hoover , an ex-schoolteacher , and ronald shiner as charlie , the café proprietor . it was produced by warner bros. - first national productions . the film is based on the novel of the same name by james curtis . the picture is sometimes confused with the 1940 american film , they drive by night , based on the novel the long haul by a. i. bezzerides and featuring george raft and humphrey bogart . 
they drive by night is a 1938 british black-and-white, crime thriller, directed by arthur b. woods starring emlyn williams as' shorty', an ex-con, ernest thesiger as hoover, an ex-schoolteacher, and ronald shiner as charlie, the café proprietor. it was produced by warner bros. - first national productions. the film is based on the novel of the same name by james curtis. the picture is sometimes confused with the 1940 american film, they drive by night, based on the novel the long haul by a. i. bezzerides and featuring george raft and humphrey bogart.
they drive by night is a 1938 british black-and-white, crime thriller, directed by arthur b. woods starring emlyn williams as' shorty', an ex-con, ernest thesiger as hoover, an ex-schoolteacher, and ronald shiner as charlie, the café proprietor. it was produced by warner bros. - first national productions. the film is based on the novel of the same name by james curtis. the picture is sometimes confused with the 1940 american film, they drive by night, based on the novel the long haul by a. i. bezzerides and featuring george raft and humphrey bogart.