The Forest Rangers (1942): What Do You Get When You Cross Smoky the Bear with Max Factor?

The Forest Rangers (1942) isn’t high drama, it isn’t supposed to be. It IS a sometimes comedy, sometimes action, always colorful yarn from Paramount with some of the studios top stars of the day, tromping around among mile high timbers, dodging the flames of a raging forest fire. Along with striking Technicolor, The Forest Rangers sports a catchy tune, “I’ve Got Spurs That Jingle Jangle Jingle”, written by Frank Loesser and Joseph J. Lilley, which became a big hit on the airwaves.

Fred MacMurray is the forest ranger, Susan Hayward is a fetching lumber mill owner, who has the hots for Freddie boy, while he meets, gets the hots for and marries even more fetching city girl Paulette Goddard. Redheaded wildcat Hayward doesn’t take too kindly to the new bride (like it’s any of her business) and gives girlie girl Goddard the wilderness once-over. Think along the lines of of Hayley Mill’s treatment of tenderfoot Joanna Barnes in The Parent Trap some twenty years later. Both remained perfectly coiffed and glossed while fighting fires and each other, and MacMurray remains his ever stoic, yet capable self.




According to the Hollywood Reporter, Madeline Carroll was originally to play Celia, the part Goddard ended up playing, and Goddard was to play Tana, the Hayward role. After seeing the film, and knowing the way Paramount worked such a treatment during this period, I could see the Carroll/Goddard combo working very nicely, even better than the finished product in fact, as Goddard had vivaciously conniving down pat (see Hold Back the Dawn (1941)).

Susan and Paulette had just come off the set of Cecil B. DeMille’s Reap the Wild Wind, so the two cuties were no strangers to sharing the screen and both did what was required of them in this lighthearted look at love in the lonesome pines. Also sharing the screen with the star trio was Eugene Pallette (always a rotund treat), Lynne Overman and Regis Toomey, who completes the love daisy chain as an airplane pilot who carries the torch (no pun intended….this time) for Hayward’s Tana.

Remember the Night (1940): Unsung Christmas Classic

Classic movie lovers know Fred MacMurray and Barbara Stanwyck (complete with blonde wig) as Walter Neff and Phyllis Dietrichson, the adulterous murderous duo in the noir classic Double Indemnity (1944), but four years before they became the duplicitous pair of nasty doings, the stars made a little remembered Christmas film ironically called Remember the Night. Each brought their own brand of star power and persona to their roles in the Preston Sturges written flick, MacMurray as a strong and low key hero caught up in the whirlwind that is Stanwyck in a jam.

Set on Christmas Eve in New York City, MacMurray plays a prosecuting attorney who feels sorry for shoplifting Stanwyck (and what a piece she nabs!) after he requests a continuance for her case, causing her to be faced with jail time over the holiday. Softhearted Fred (who I'm sure noticed Barbara's gams in court) works it out with a bail bondsman to get the comely crook out until after the new year. Mistaking the attorney's intentions, the bondsman ~ accurately called 'Fat Mike' ~ gets Stanwyck out of jail and hauls her over to MacMurray's digs. Having been up this street before, the hard boiled dame plays along but the attorney on his way to his mother's farm for Christmas, is flustered and bumbling (as MacMurray does so well). Realizing Fred isn't the wolf she assumed, Babs wants to stay with him and with no where else to go, tags along with him to experience the down home, warm spirit of the season she'd never known before.

Made at Paramount Studio and directed by Mitchell Leisen, the film has alot going for it creatively. Leisen, one of the studio's top directors during this period, had a background in set and art direction and his attention to detail always showed in his films. The leisurely pace of some of the scenes allows for the viewer to linger over the scenario and take it all in to its full effect without being rushed. A fine example is the exchange between Stanwyck's Lee and MacMurray's Aunt Emma (Elizabeth Patterson) while dressing for a holiday barn dance. There isn't alot of dialogue between the two actors as Patterson helps Stanwyck into a corset and reminisces over her lost love of more than a quarter of a century, but the feeling is there and the pathos and sentiment is powerfully felt. One scene to which the pace is an extreme detriment in this blogger's eyes at least, is one played out by Stanwyck's defense attorney. His tirade of comic courtroom defense seems to go on as endlessly as a wedding toast given by the groom's boorish and long winded second cousin, once removed! This performance aside, the film is both charming and touching.

One noteworthy outcome of Remember the Night is the emergence of Preston Sturges as a writer/director. Upset that his script for the film was cut and jumbled about by director Leisen, he was determined to go out on his own to direct his own scripts. When Paramount gave him the chance later the same year, he did just that with The Great McGinty, winning an Oscar for his screenplay and establishing himself as a top talent in Hollywood. He was so impressed with Barbara Stanwyck that he told her that he would write a screwball comedy just for her and the following year did so with The Lady Eve. Leisen was also impressed with the ultra professional Miss Stanwyck and in one account claimed by the director, Stanwyck stayed tied up in all the tight fitting garb for the corset scene for over an hour just in case she was needed before her performance was required.

Along with Patterson's Aunt Emma, Beulah Bondi adds a homespun touch as MacMurray's loving and supportive mother. Always the eternal maternal (unless she played the eternal spinster, of course), Bondi is lighthearted and lays the groundwork for her portrayal of Ma Bailey in Capra's classic It's a Wonderful Life (1946). Sterling Holloway is a bit irritating as Willie, the lazy/hyperactive (depending on the circumstances) farm hand to the elder femmes, but taken into context, Bondi and Patterson help him carry his scenes to completion. MacMurray and Stanwyck, two personal favorites, make the film glide with charm, both of the humorous and sentimental variety. Among the numerous holiday films, both modern and classic, on exhibition this season, my hope is that Remember the Night is added to the must see repertoire of classic movie fans.

UPDATE: 13 Classic Movies I've Never Seen....But Really Want To

Several weeks ago, I posted a list of 13 classic films that had always intrigued me for one reason or another but which had eluded me over time, either by my own fault or merely the lack of access to the film. Thanks to a terrific friend, I am happy to say that I have now had the opportunity to watch some of the elusive movies on my list and thought I might share some of my thoughts pertaining to these swell flicks. This post is dedicated to that super classic film loving pal.

The Trail of the Lonesome Pine (1936) Sylvia Sidney, Henry Fonda, Fred MacMurray.

The Trail of the Lonesome Pine was the first film to be shot outdoors in full Technicolor. It focuses on the centuries old feud between two mountain families and how an outsider from the city, who comes to buy part of their lands for coal mining, affects their feud.

Initial appeal for me: I am attracted to Paramount films (which this is) from this era because unlike MGM and Warner Brothers productions, they are harder to find and the ones I have seen (many years ago on commercial television or AMC back in the day when it was a real "classics" channel) I enjoyed no end. Also, I am a fan of young Fred MacMurray, who I feel is underrated and overlooked in the movie actor market. Lastly, having known the backwoods theme of the film, I assumed it would have similarities to one of my alltime favorite movies, Shepherd of the Hills (1941), another Technicolor drama based on hillbilly lore.

My opinion: I really enjoyed The Trail of the Lonesome Pine. The color cinematography is gorgeous and the entire cast did a fine job. Having little knowledge of the films of Sylvia Sidney, the female star, her role as June was enough to ignite an interest in seeing more of her.

Hands Across the Table (1935) Carole Lombard, Fred MacMurray, Ralph Bellamy.

Queen of the Screwball Comedy, Lombard stars along with MacMurray in this fine example of the genre. Carole plays a gold digging manicurist who latches onto playboy Fred, the hitch is, she doesn't know he's broke.

Initial appeal for me: As with Sylvia Sidney, I have only seen a handful of Lombard's films in my time (through lack of access) and as earlier stated, I like the performances of young Fred MacMurray (Maid of Salem, Remember the Night). From the things I'd heard and read, Hands Across the Table seemed like a solid comedy and a good example of Lombard's work.

My opinion: The film was good. Not as good as other screwball classics but better than adequate for sure. I was glad to see Ralph Bellamy in a more sympathetic role rather than his usual buffoon second lead. MacMurray was charming as expected and Lombard was just great. Some of their comic antics were a little strained but overall a film that I'm glad I was able to see.

Mandalay (1934) Kay Francis, Ricardo Cortez, Lyle Talbot

Mandalay is a Kay Francis film through and through. Lurid melodrama which has Kay suffering and wringing her hands with costume changes galore for it's glamorous star (though Francis' character is anything but glamorous, Kay could be nothing but!). Francis plays a gal abandoned by her low life lover into what is essentially white slavery at a brothel/nightclub in Rangoon, Burma. When she decides to leave said life, it's not as easy as she may think. Just getting into distribution under the wire before the Production Code hit big time in Hollywood, it's a racy and risque bit of Kay Francis fun.

Initial appeal for me: I had heard of Mandalay for years as an excellent showcase for the always interesting Francis.

My opinion: The film was everything I expected and then some. Kay is great as Tanya/Spot White and Mandalay is a great example of what a Warner Brothers melodrama could be before the Production Code watered things down.

Forbidden (1932) Barbara Stanwyck, Adolph Menjou, Ralph Bellamy.

Like Mandalay, Forbidden is a pre-Code gem with one of that periods most solid performers, Barbara Stanwyck (Stanwyck would be a solid performer for decades). She plays a dowdy librarian (can you imagine!) who takes her life savings to go on a cruise and meets a married man whom she falls for....permanently.

Initial appeal for me: Always a big Stanwyck fan, her early 30's roles are some of the most compelling of the era. The film was directed by Frank Capra, who always puts on a good show and whose early pairings with Stanwyck were always interesting to me (Ladies of Leisure, The Miracle Woman). Add these elements to the fabulous pre-Code title of Forbidden and I was hooked.

My opinion: Forbidden, like Mandalay, had the adult subject matter and atmosphere that I assumed it would and I enjoyed it thoroughly. Not as much as some of Stanwyck's sassier early roles in films such as Ladies They Talk About or Baby Face, but very watchable nonetheless. Never a big Adolph Menjou fan, that opinion carries through here. I cannot understand Stanwyck's character's attraction to him, as I cannot understand the public's attraction to him as an actor. However, his casting is what it is and taking that fact with a grain of salt, he doesn't hurt the overall picture.

I still have the remaining 9 movies on my initial posting list to discover but I have high hopes for them as well as the many many other films that I yearn to see but fate has yet to allow me. Perhaps after I see a few more on this list I will post another with hard to find gems I can't wait to get my peepers on.

13 Classic Movies I've Never Seen...But Really Want To

Through the years when discussing classic movies with friends and fellow film lovers, inevitably I've been asked numerous times who and what my favorites actors, actresses and films are. I have had discussions on what my favorite Hitchcock films are, my favorite Bette Davis movies and so on. Then the other day I was chatting with an online friend and we started discussing the films we had always wanted to see but hadn't, either by lack of opportunity or as is often in my case, just let the opportunity slip by. So I thought I would share 13 such films. These are by no means the only movies that meet this criteria for me or even necessarily the ones I want to see the most, but it is a good overall example. When perusing this lineup one may ask "Why in the world is THAT on here?". We are all different, with our own likes and dislikes and our own special reasoning for those preferences. Some of the films listed are very famous, most are not.

(NOTE: These are listed neither alphabetically, chronologically nor in order of importance)

They Won't Forget (1937) Claude Rains, a red hot murder/rape trial in the deep South and Lana Turner in a tight sweater. Tell me that's not a combination for a swell sounding film.

Trade Winds (1938) Joan Bennett is one of my favorite actresses (hence her appearance more than once on this list) and this film changed the course of her career with a simple hair color change. Plus it sounds cute and has the irresistible Ann Sothern.

Citizen Kane (1941) I know what you're thinking, "A fellow writes about classic movies and he's never seen one of the MOST classic!." What can I say, I was never a huge Orson Welles fan, but I've heard so much about it, I'm intrigued.

Meet John Doe (1941) Two of my favorite stars, Gary Cooper and Barbara Stanwyck at their peak with Frank Capra along for direction.

Forbidden (1932) Pre-Code Stanwyck directed by Capra and a really attention catching title.

Hotel for Women (1939) So elusive I've never even seen evidence of a television screening. This was Linda Darnell's film debut. Though no award winning classic, it sounds like fun with two long time favorites Ann Sothern and Lynn Bari in tow.

The Sign of the Cross (1932) Cecil B. DeMille directing a Pre-Code epic set in decadent, ancient Rome in which Claudette Colbert bathes in a giant pool of asses milk (no joke!).

House Across the Bay (1940) Joan Bennett again, this time in a drama with George Raft, whose usually very watchable.

Hound of the Baskervilles (1939) Classic film version of a classic tale. Basil Rathbone's first offering as the famous British sleuth, Sherlock Holmes. Lead to the long running movie series.

All Through the Night (1942) I like early 40's Bogart, but somehow missed this one. Also, my aunt, a big Bogie fan, had this poster in her home when I was a little tot. Good memories.

Hands Across the Table (1935) 1930's screwball comedy with Carole Lombard and Fred MacMurray. Sounds great to me.

Trail of the Lonesome Pine (1936) Another Fred MacMurray flick that from what I understand, is similar in atmosphere to Shepherd of the Hills, one of my favorite movies. Henry Hathaway directed both. I also feel that MacMurray was a much underrated actor.

Mandalay (1934) I like a good Kay Francis flick, though I haven't seen that many of them. From what I've been told, this is a perfect example of Kay at her pinnacle.

Some of these films are from Paramount Studios before 1948 and the MCA company bought this library with little distribution in recent years, therefore my lack of viewing opportunities. But others have been televised often or have been released on VHS and DVD for years now and I, alas, have just not taken the opportunity to fit them in to a busy and tight film viewing schedule. Whether you like the films on this log or in some cases don't, I hope you find it of some interest.

Bing, Bob and Dottie: The Road to Success

No relation to the 1931 melodrama of the same name, The Road to Singapore (1940) would launch one of the most popular and successful movie series in history and become a touchstone for the "buddy" film henceforth. Seven times Paramount contract stars Bing Crosby and Bob Hope headed to some far-reaching locale, either on the lam or touring their vaudeville act, inevitably meeting up with sarong beauty Dorothy Lamour.

The irony is the mega popular trio only developed after Fred MacMurray, Jack Oakie and comedy team Burns and Allen all turned down the film. Crooner Crosby and comedian Hope were then paired with exotic Lamour as the love interest. Road to Singapore became a huge hit for Paramount. Bob Hope was given third billing, being the least famous of the three stars but after his success in Singapore, along with the two hit comedy thrillers, The Cat and the Canary and The Ghost Breakers, he made with Paulette Goddard, he topped Lamour for the second spot in the forthcoming film, Road to Zanzibar(1941) and all those thereafter. Zanzibar was originally a jungle adventure script that the studio wasn't sure what to do with. When they changed the formula to comedy and cast Bing, Bob and Dottie (as Lamour was affectionately called) based on the success of Singapore, they knew they had struck gold.

The films always showcased both lively and romantic songs sifted in with the laughs. The third entry, Road to Morocco (1942) offered great musical examples with the balled "Moonlight Becomes You" and the raucous title tune, which displayed Hope and Crosby's flair for ad-libbing and using Hollywood insider jokes (as they sit atop a camel they sing the line "..For any villains we may meet, we haven't any fears; Paramount will protect us cause we're signed for 5 more years.."). Classic! Arguably the best in the series, Road to Morocco was nominated for two Academy Awards for Best Screenplay and Best Sound Recording.

The hits continued with Road to Utopia (with Dorothy Lamour giving a great rendition of "Personality") in 1946, Road to Rio (featuring the Andrew Sisters in one of their final film appearances) in 1947 and Road to Bali in 1952. Bali was the only "Road" picture to be filmed in color, and though it was still a profitable entry in the franchise, the original magic of the earlier films was lacking. The final "road" taken was Road to Hong Kong in 1962, but this time Dorothy Lamour was replaced with younger actress Joan Collins (Lamour received a small cameo role). It was also the only film of the group that was not released by Paramount. The public was lukewarm and it appeared that alas, the spark was gone.

Fred MacMurray: All Around Good Guy

Most middle aged Americans remember Fred MacMurray as Steve Douglas, the ever patient, wise father of "My Three Sons." The long running television comedy, along with a string of light-hearted Disney films, breathed new life into MacMurray's sagging movie career. But Americans of a certain advanced age, along with those of us of all ages who enjoy classic movies, remember Fred MacMurray as the handsome, affable star of films (mostly at Paramount) during the 1930's and 1940's.

Usually playing the slightly bumbling comic foil of Claudette Colbert, Carole Lombard or Paulette Goddard, he made a 180 degree turn in 1944 to play adulterous murderer Walter Neff in the classic noir film Double Indemnity with Barbara Stanwyck. But it wasn't long until he was back at good-guy leads in Murder, He Says (1945) and The Egg and I (1948) again with Colbert.

In 1954 he married lovely blonde actress June Haver (his second marriage) who remained his wife until his death in 1991.