Twelve O'Clock High

There's a moment early on in Henry King's Twelve O'Clock High that sets its mood. After a day in London, Harvey Stovall (Dean Jagger) heads to what at first appears to be a field in the English countryside. The camera follows him, and the music changes as it's revealed Stovall's at the now-derelict airfield where he served during World War II.

What follows in Twelve O'Clock High is how the soldiers of the 918th Bomb Group are treated by their commander. Upon succeeding Col. Keith Davenport (Gary Merrill), the aptly named Brig. Gen. Frank Savage (Gregory Peck) starts doling out strict rules to toughen them out. But how long until Savage starts to connect with them?

Early on in Twelve O'Clock High, Davenport makes remarks about the soldiers' frames of mind following their missions. The way he describes their ailments sounds a lot like post-traumatic stress disorder (then known as combat fatigue) so is it possible that this was the first fictional depiction of the condition? (Then again, The Best Years of Our Lives showed that three years prior.)

This being a film starring Peck, naturally he's the main draw acting-wise. Merrill, a year away from doing All About Eve, also stands out. But Jagger -- who won an Oscar for his work here -- especially holds his own.

Twelve O'Clock High is a now-underseen work from those involved, and it honestly shouldn't be. Being made after World War II, it's understandable as to why it isn't as known (there were many similar themed works in the years since V-J Day). But the work from its actors and King proves its own worth from other features. It's fascinating to watch.

My Rating: ****1/2

In Old Chicago

History and Hollywood make for strange bedfellows, especially during its Golden Age. Many times accuracy takes a back seat for entertainment. It hasn't improved much over the decades but sometimes it has its perks.

With Henry King's In Old Chicago, it takes liberties on the climatic fire that consumed the city in 1871. That aside, King shows (as he would in the years to come) how well he can tell a story. (That's saying a lot considering he would later make Alexander's Ragtime Band and The Song of Bernadette.)

Anyway, In Old Chicago stars the likes of Tyrone Power, Alice Faye and Don Ameche. (All three would reunite with King the following year for Alexander's Ragtime Band.) As proven by their next film with King, all three elevate the story (Power in particular).

Speaking of the story, In Old Chicago chronicles the life of an Irish family trying to survive within the hustle and bustle of the city. While the matriarch (Alice Brady) makes a honest living, one son (Power) turns to hustling while the other two (Ameche, Tom Brown) pursue more respectable lives. Unsurprisingly, conflict is regular within this tight-knit family.

In Old Chicago may have been made in response to San Francisco the previous year but it's easily a work of its own. King, a generally underrated director of Hollywood's Golden Age, depicts of nostalgia for Americana. Truly he's a name that should be held in the same regard as John Ford.

My Rating: ****1/2

A Yank in the R.A.F.

Is there any better escape from reality than a movie? Regardless of the current situation of one's life, it's a nice reprieve from various woes that could be encountered. (Well, it's true.)

And many titles from Hollywood's Golden Age could be viewed as a quick escape from everyday life. With glamorous stars, exotic locations and adventurous plots, they were exactly what the public needed to take their minds off what they read in the daily news. Though sometimes a number of these films add elements from then-current events.

Such is the case with Henry King's A Yank in the R.A.F. Set (and made) in the aftermath of the Battle of Britain, it's admittedly the typical studio fare of the time. But hey, it's a good temporary escape.

How so? It's a familiar plot: man re-unites with former flame, she starts seeing someone else, she ends up being torn between the two. And if you know how the story goes (which you probably do), you know how it ends. Still, as stated above, it's a nice brief escape.

A Yank in the R.A.F. overall is nothing special but the combination of Tyrone Power and Betty Grable certainly works. (As does the dry wit of the many British supporting actors.) To think this was released just months before the attacks on Pearl Harbor...

My Rating: ****

Alexander's Ragtime Band

There's something different about musicals from Hollywood's Golden Age than the select few we get nowadays. Maybe it's the charisma from the stars. Maybe it has to do with the musical numbers themselves, what with the high-energy dancing. Regardless, they're always entertaining.

Now Henry King's Alexander's Ragtime Band isn't as well-known as Yankee Doodle Dandy or Singin' in the Rain but it should be. It has the right balance of comedy, drama, and, of course, music. (Not an easy combination, let's be honest.)

Admittedly Alexander's Ragtime Band is more or less a showcase of numerous Irving Berlin songs (and sometimes the plot gets in the way) but that doesn't matter. After all, isn't the whole point of a musical its entertainment value? (Well, most of the time it is, anyway.)

Tyrone Power and Don Ameche handle all of the acting for the film while Alice Faye dabbles in both that and singing most of the film's songs. But Ethel Merman easily steals the show when she starts singing. (There's a nice subtle bit of acting from Power at one point. Pay attention to his expressions when Faye's singing "Now It Can Be Told".)

Alexander's Ragtime Band is very entertaining to watch for sure. From Faye and Merman's musical performances to the general mood of the film, it's the kind of picture that's best suited for a chance to unwind after a long day. And again, it should be better known.

My Rating: *****

BOOK VS MOVIE: The Sun Also Rises

Catching up on reading is hard enough as it is. Throw in the fact I watch an obscene number of films, and it's clear as to why I can only read a scant number of books a year.

I'm finding it easy to catch up on classic films, but classic novels aren't as easy. I mean, you try reading a novel written in a style considered different by today's standards. Especially since I don't have the greatest attention span in the world either. (Hey, look, a cat.)

Still, that didn't stop me from reading Ernest Hemingway's The Sun Also Rises. It's a great novel, no denying that. After all, the whole novel is practically Hemingway's musings after his experience in World War I. (Mainly saying that because, there's a lot of drinking in this novel, but moving on.)

The film directed by Henry King doesn't exactly fall into the same category. Indeed, Errol Flynn is quite good, but there's an apparent forced air among Tyrone Power and Ava Gardner. I mean, they're good, but they don't feel right for their roles. But something else about the film just doesn't feel right.

Yes, man of the novel/film comparisons I do I tend to side with the film. Only a few times do I side with the novel. In this scenario, I'm siding with the novel because the novel is a bold and gripping tale while the film is...not. Seriously, the film got rid of almost all the good scenes in the novel.

What's worth checking out?: I'd go with the book.