Studio in Crisis: RKO in 1952

By 1952, it was apparent to all that RKO Radio Pictures was in financial trouble. After all, in that year, they lost over $10,000,000, one of the biggest losses reported by a movie studio since the days of the Great Depression. But that was not the only crisis at RKO that year. Early that year, the first crisis arrived. The previous year, blacklisted writer Paul Jarrico had been fired by studio chief Howard Hughes, who employed similar treatment to any other blacklisted individuals. But Jarrico took action in 1952, suing RKO for their intention to leave him uncredited on The Las Vegas Story, simply because he was blacklisted. Hughes blasted the thought of this lawsuit, making it into a major controversy by his statements. The Screen Writers Guild became involved, and insisted that Jarrico was entitled to screen credit because, although the script had been polished since his draft, he still wrote a third of the script. Hughes went through the roof. He announced that he would not bend to the decision, said that the Guild should scrutinize its ranks for other "Communists", and dared the writers to strike against RKO. There were repercussions inside the studio as well. The number of productions was slahed. (At the end of the year, only one film, Split Second, was being filmed at the studio) Many employees were let go. And an office inside the studio was started to do background checks and to remove the names of blacklisted individuals from RKO films of the past, such as the writers of 1948's Rachel and the Stranger. Even in Hollywood which was in the midst of the Red Scare, reption was mixed, with a person at the Writers Guild stating that she felt that Hughes was doing this to cut the number of films being made at the cash-strapped studio. And then there was another lawsuit. Jean Simmons sued because she said that Hughes took their verbal agreement as an exclusive contract to the studio. The suit was settled out-of-count wilh Miss Simmons agreeing to appear in three RKO films. But her attorney filed suit a month later for libel and won. Later that year, Hughes sold all of his stock in RKO to a business based in Chicago. But just a few weeks after the new owners were in place, another crisis occurred. The Wall Street Journal published a series of articles revealing that RKO's new owners were involved in organized crime. Quickly, Hughes repurchased his stock and became studio chief again, as the new owners abdicated. The year ended on that note. Between Hughes' crazy and ludicrous actions (not to mention his support for the horrible Blacklist, one of the worst events in Hollywood history) and the lawsuits, RKO became studio non grata in Hollywood, with several independent producers, such as Walt Disney and Samuel Goldwyn, leaving the studio. RKO itself would be out of business by 1958. Hughes had left in 1954. But what is very ironic about 1952 is that so many RKO films that year were very good such as Angel Face, The Narrow Margin, Hans Christian Andersen, Clash by Night, Macao, On Dangerous Ground, The Las Vegas Story, One Minute to Zero, Rancho Notorious, At Sword's Point, The Lusty Men, Sudden Fear, The Big Sky, and the US distribution of Rashomon. Moviewise, it was RKO's last great year. But one should not forget all the troubles behind the surface, troubles that lead to the studio's undoing.

The Films of Bette Davis' Prime, Part II: 1940-1948

In 1940, Bette appeared in two films, both of them being exceptional. All This and Heaven Too was a fascinating melodrama with historical intrest as well. Charles Boyer also was excellent in the film. The Letter was one of Bette's best films. Playing a cold-hearted murderess who feigns to be guilty only through self-defense, she was absolutely hypnotic. The Letter also happened to usher in the film noir movement, thus solidifying its position as a milestone of the American cinema. The Bride Came C.O.D. was a decent comedy, yet it somehow fell short of expectation given that Bette and James Cagney were its two leads. That being said, it was still a good film; good, yet not great. The Little Foxes was the only film of Bette's prime that was not done at Warner Brothers ( it was a Samuel Goldwyn production distributed by RKO Radio Pictures). It also featured one of Bette's nastiest characters up to that time. Again, her performance was triumphant, but so were the performances of the entire ensemble. The Great Lie was an ideal film. Bette reportedly had a hand in the script, polishing characterization for her own character as well as those played by Mary Astor and Hattie McDaniel. It might just have paid off, as the film as exceptional in every way and won an Oscar for Astor. Bette took a supporting role in The Man Who Came to Dinner, which is just as well as Monty Wooley stole the show. It is one of the most delightful comedies of the entire decade. "Bette is so good when she is being bad!" So went the publicity tagline for In This Our Life. The tale the film was more than slightly sordid, with its insinuations of incest, racial intolerance, and revenge. Bette and Olivia de Havilland help to carry the film and to make it seem pretty entertaining overall sordidness aside. In This Our Life was completely overshadowed by Bette's next film, Now Voyager. Now Voyager is one of the finest romantic films ever to teach the screen and is this writer's favorite Davis film of all. There is not a false moment in the entire film. Watch on the Rhine featured another supporting performance by Bette. The film was top-notch and featured an exceptional performance by Paul Lukas. Old Acquaintance was a fine film with both Bette and Miriam Hopkins playing the material to the hilt as two friends with a tempermental friedship spanning several decades. The scene in which Bette shakes Miriam has been an audience favorite for decades. (The film was remade as Rich and Famous in 1981. That production was a good film in its own right.) Mr. Skeffington was another fine film, and rather daring for Bette as she looked very unglamorous in several scenes. The film has grown on me with every viewing and the ending is perfect. The Corn is Green is a very touching and moving production. It is a truly wonderful film that should be better-known today. Deception was a film noir  that grew better with every viewing. It is a very complex film that features tumultuous performances that are exactly right for the film. A Stolen Life featured two Bette Davis performances for the price of one, and remains one of her strongest films. Winter Meeting is the overlooked film more so than any other. On further research, it is pretty good, although not great, but even just plain good Bette is better than none. June Bride was the last film of Bette's Warner Brothers prime. It is a pleasant comedy with both Bette and Robert Montgomery adept in the comic situations. Bette's tenure at Warner Brothers ended the next year with the unintentionally amusing Beyond the Forest, a film that she hated. It is decidedly not a film of her prime period. Bette kept working for several more decades and gave many more wonderful performances. But her prime at Warner Brothers will always hold an important spot in the memories of all classic film lovers.

The Films of Bette Davis' Prime, Part I: 1937-1939

In the late 1930s, Bette Davis sued Warner Bros. for not offering her better roles after making a critical smash (Of Human Bondage) and winning an Oscar (for Dangerous). Bette lost the lawsuit, but was suprised to find that Warner Bros. wanted her back. And this time they were more than willing to give her exceptional roles. And indeed, Bette Davis appeared in one magnificent film after another. This golden age started with Marked Woman in 1937. This film was a mix between a gangster film and a courtroom drama, and was a very fine film. It's Love I'm After was a sparkling comedy with wonderful performances, and is an overlooked gem. But for Bette, bigger things were in store. In 1938 , she appeared first in The Sisters and then in Jezebel. The Sisters is a very absorbing melodrama that is top-notch in every respect, but it is overshadowed by Jezebel. Jezebel gave Bette an exceptional role (maybe as reconciliation for not receiving the role of Scarlet O'Hara that she so desperately wanted.) as a spoiled Southern belle. The film won Bette her second Oscar. The banner year of 1939 came next. In Juarez, she played the Empress Carlotta, who eventually goes insane. Juarez was a troubled production with Bette's role being cut drastically to make more room for Paul Muni's titular character. What remains of her performance is, as always, astonishing, but kind of leaves the viewer wanting more. Bette then played Queen Elizabeth I for the first time (she played the role again in 1955's The Virgin Queen) in the film The Private Lives of Elizabeth and Essex. The film also happened to be her first film in Technicolor. Her performance remains the best portrayal of Queen Elizabeth that the screen has ever seen. It is a true Tour de Force. But the same could also be said of Dark Victory. Bette recived another Oscar nomination for the quintessential tearjerker. While the film is not perfect (Humphery Bogart gave one of his rare weak performances in the film), Bette makes the film into a landmark of film history. Bette's last film of the 1930's was The Old Maid. It contains one of her most subtle performances, features another great performance from Miriam Hopkins (one underrated actress) and is an exceptional film that is not to be missed. By the end of 1939, there was no denying that Bette Davis was the queen of Warner Bros. and one of Hollywood's Finest Actresses of all time.