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Classic movies for phobics

Cary Grant

Who Is the Biggest Charmer?

07/27/2022 by leah@carygrantwonteatyou.com 4 Comments

The Talk of the Town (1942) is a joyous experience. It features a romantic triangle between three actors who are absurdly charming: Jean Arthur, Cary Grant, and Ronald Colman. It’s a bit of an odd tale, but frankly, with these three people in the mix, who cares about plot?

You can’t watch Cary Grant’s smirking, musing, or flirting….

Hear Jean Arthur’s lovely tweety voice…

Or witness the sweetness of Colman’s subtle smile….

without giving into them, can you?

The only question is which of the three is the MOST charming.

Certain actors carry a patina of their roles with them. To me, Julia Roberts, Tom Hanks, Al Pacino, Robert De Niro, and Denzel Washington are all like this. Try to watch Tom Hanks without the echoing sweetness of Josh (Big) and his other early comedies winning you over; I can’t make it through half a minute of any of his movies without already loving the guy.

But it’s not often that THREE actors this charming share the screen, as they do in The Talk of the Town.

The story is a peculiar mishmash. Jean Arthur’s Nora, a teacher, is renting her house to a renowned legal scholar, Professor Michael Lightcap (Colman). Her old school chum, Leopold, is on the run from the law, accused of starting a fire in a mill that killed his foreman. He hides in her home right as Lightcap arrives and pretends to be her gardener to fool the new resident.

Lightcap may be the only person who can save Leopold’s life. The mill’s owner is egging on a mob to kill Leopold for his alleged crime. The fugitive, annoyed by Lightcap’s cold legal logic, moves Lightcap with his passion and firebrandy ways (couldn’t resist), which are what made the mill owner hate him to begin with. Nora finagles a job as a secretary to Lightcap to protect Leopold from being discovered by the mob–or by Lightcap.

A triangle really is the right word, as Nora is impressed by Lightcap’s prestige, intelligence, and ethics, and torn between these new feelings and her old affection for Leopold.

Yet it would be a mistake to leave Leopold and Lightcap out of the mix: the film is as much about intellectual as romantic affection. Whether Lightcap is most drawn to Leopold or Nora is a question that never gets answered.

And who can blame him? This is a charm off, my friends, and in every corner of this Isosceles is an actor—and by extension, character–you can’t help watching. Let’s dig a little deeper:

Jean Arthur

Whether she’s wisecracking as Saunders (Mr. Smith Goes to Washington), flirting without realizing it (The More, the Merrier), baffled (Easy Living), or earnest (Shane), Jean Arthur is adorable. I love seeing her in oversized PJs.

The look somehow captures her appeal–the way people underestimate her until that feisty, birdlike voice and the frustration she evokes so well (she should be annoying but somehow never is) draw you in and win you over.

Ronald Colman

I fell for Ronald Colman in Random Harvest, and woe betide the woman who ever watches that film: his “forgotten man” will haunt you. With a voice nearly as memorable as Arthur’s, the broken veteran in Random Harvest moves seamlessly from his shaken condition to the debonair man of consequence. He is equally convincing in both versions of himself. His gruffness in The Talk of the Town‘s start, therefore, never fools me for a second. This, my friends, is a sweetheart, make no mistake–and thus he proves to be. These two films came out in the same year, so perhaps others didn’t have this early love affair with him. But watch him in anything, and you fall for the man.

Cary Grant

Cary Grant, of course, is the most obvious charmer–playing, as he often admitted himself, the part of Cary Grant his whole life. He is never fully convincing as the local troublemaker driven by his ideals–until he questions his own judgment due to his admiration for Lightcap.

Cary Grant often seems to be in reflective mode, and his torn feelings about Lightcap play over that gorgeous face. But then, we are on his side as soon as we recognize that face. This is the slightly disreputable version of the actor you can’t help but adore, the rabble rouser with a naughty streak, with a pinch of The Awful Truth and Topper. You’re never convinced this is the Cary Grant of Suspicion, though he is accused of murder. Like with Arthur, you can’t ever count him out, even when he’s romantically (and ethically) paired against a potential Supreme Court justice, Lightcap.

So who do YOU think the winner of this charm-off would be, however it may end in the film? I leave it to you to decide.

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Posted in: 1940s films, Comedies (film), Romantic Comedies (film), Uncategorized Tagged: Cary Grant, Jean Arthur, Ronald Colman, The Talk of the Town

Classic Movies with Awesomely Silly Plots

05/25/2020 by leah@carygrantwonteatyou.com 16 Comments
Picture of Myrna Loy and William Powell in I Love You Again

It’s not unusual to find a film with a strikingly ridiculous plot. I spent many Friday nights as a teen watching USA Up All Night (hosted by Gilbert Godfrey). How I loved taking in gloriously dumb films, hour after hour.

But to find movies with such plots that are genuinely good? That’s a whole other level of enjoyment. Now add 80 years or so, and the film is STILL GOOD, STILL FUNNY? That’s a comedic masterpiece.

Last Tuesday I wrote a post on feel-good silly films, and rated them according to their degree of silliness. (In a homage to Spinal Tap, I let the ratings go to eleven rather than ten.) So today, I’m going to list five films with plots so absurd they deserve that 11 silliness quotient fully. And not coincidentally, these films are a blast to watch. In no particular order:

The Palm Beach Story (1942)

PIcture of Joel McCrea, Mary Astor, Claudette Colbert, and "Rudy" Vallée, The Palm Beach Story

A woman (Claudette Colbert) leaves her broke husband (Joel McCrea) so that she can marry a millionaire and use his money to fund her original husband’s brilliant project. She heads to Palm Beach to find such a millionaire, aided by a “wiener king ” and trigger-happy hunters. The writer/director is Preston Sturges, so you know you’re in for a treat.

Easy Living (1937)

Edward Arnold and Jean Arthur in Easy Living

A banker (Edward Arnold) in a fight with his extravagant wife (Mary Nash) throws her fur coat off the roof of their home. The coat hits the hat of a bus passenger (Jean Arthur). The banker’s attempts to compensate the passenger destroy her reputation, but do aid her income. If you need a teaser to be convinced, check out the banker’s and passenger’s hilarious fight about loan interest.

Arsenic and Old Lace (1944)

Cary Grant and Josephine Hull in Arsenic and Old Lace

Mortimer (Cary Grant) has always known his cousin (John Alexander) is a bit off. After all, his cousin thinks and acts like Teddy Roosevelt, building his canal. But in visiting his beloved aunts (Josephine Hull and Jean Adair), Mortimer discovers they have some issues as well: they’re serial killers murdering lonely old men. “Teddy” assumes the dead bodies are yellow fever victims and takes them in stride. But Mortimer begins to fear for his DNA. A screwball classic.

I’m No Angel (1933)

Mae West, courtroom scene, I'm No Angel

A lion tamer (Mae West) becomes the talk of high society, even winning a classy lover who plans to marry her (Cary Grant). The circus fears losing her income, so they convince the lover that their star is cheating on him. When her lover leaves her, the tamer sues him for breach of promise. She acts as her own lawyer, spending 90 percent of the trial strutting and seducing the jury in what may be the funniest courtroom scene ever.

I Love You Again (1940)

William Powell and Myrna Loy in I Love You Again

A man (William Powell) gets hit on the head and becomes an old self he’s forgotten, a swindler, instead of the upright prude he now is. He decides to live the prude’s life as he looks for a score and becomes intrigued by the uptight man’s wife (Myrna Loy), whom the swindler version of himself never met. She, sick of his stodgy ways and unaware of his change, wants to divorce him. The question is, will the man’s wife fall in love with his older self? I feel dizzy just explaining this amnesia plot, but it’s The Thin Man’s Loy and Powell team, so what’s not to love?

There you have it. Five ridiculous plots. Five ridiculously fun movies. And I haven’t even scratched the surface of this topic! Anyone who wants to share their favorite silly plot, please do so in the comments!

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Posted in: 1930s films, 1940s films, Comedies (film), Humor, Mae West Moments, Romantic Comedies (film) Tagged: Cary Grant, Claudette Colbert, Easy Living, I Love You Again, I'm No Angel, Jean Arthur, Mae West, Powell and Loy, Preston Sturges, screwball classics, silly classics, The Palm Beach Story

Getting Nosy about Mae & Cary

06/06/2019 by leah@carygrantwonteatyou.com Leave a Comment

Grace Collins of True Stories of Tinseltown and I chat about two stars who created the personas that made them stars, and never let those personas slip. We’re not nosy about ALL Hollywood stars’ lives, but that kind of inventive commitment is worth talking about! As usual, the two of us had a lot of fun, and Grace is a great host. (I might get a bit too enthusiastic, but in my defense, I was then reading Goodness Had Nothing to Do with It.)

Check out the podcast here or here or here.

Enjoy Grace’s other wonderful posts and podcasts on her sites or check out her Facebook page for more.

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Posted in: 1930s films, 1940s films, 1950s films, 1960s films, 1970s films, Mae West Moments, Uncategorized Tagged: bios, Cary Grant, fan tributes, life stories, Mae West

Men Who Love Too Much in Classic Film

11/18/2018 by leah@carygrantwonteatyou.com Leave a Comment

Continuing our theme on characters who love too much, Grace Collins of True Stories of Tinseltown and I turned our attention from women to men, especially Edward G. Robinson’s sad sap Chris in Scarlet Street, Claude Rains’s hoodwinked Alexander in Notorious and bad con artist Johnny of Suspicion (whose love runs to money rather than females). Of course, we took some detours too, commenting on the newest A Star Is Born and how much we’d suck as spies.

Check out the podcast here, here, or here.

And definitely enjoy Grace’s other wonderful posts and other podcasts:

www.facebook.com/truestoriesoftinseltown/?ref=br_rs
www.inyourfacewithdonnieandgrace.com/news
www.truestoriesoftinseltown

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Posted in: 1940s films, Film Noir/Crime/Thriller & Mystery, Humor Tagged: Cary Grant, Claude Rains, Edward G. Robinson, film review, Grace Collins, men who love too much in film, Notorious, Scarlett Street, Suspicion, True Stories of Tinseltown podcast

Five Favorite Classic Movie Stars

05/16/2017 by leah@carygrantwonteatyou.com 26 Comments

To celebrate National Classic Movie Day, I’m joining Rick’s Five Stars blogathon by sharing some of my favorite classic movie stars. And though I can’t quite say they’re my favorites ALL of the time (of course, that shifts), they are always on my list. Since my favorite character actors deserve their own post, I’m focusing on those who frequently star in their vehicles. Here we go. In no particular order:

1: Barbara Stanwyck


Because her acting was superlative and ageless. Because she got her scenes in one take, her emotions so visceral you always feel immersed in her characters’ lives. Because her crews loved her. Because she could be funny,  dramatic, or both at once. She was marvelous.

2: Van Heflin


Because his acting was so natural. Because he didn’t demand attention or the starring role, but the authenticity of his acting and his easy confidence made him riveting anyway. Because he singlehandedly changed my mind about westerns with his understated performance in 3:10 to Yuma. Because he never got the credit he deserved, which somehow makes me love him more.

3: Cary Grant


Because he had the all-time best smirk. Because he could be sexy or goofy, usually both at once. Because his acrobatics were truly impressive. Because in spite of his unfailing glamour, his characters were always real. Because he knew how to share the screen with a canine. Because he was adept at self-creation. Because he gave me a name for my blog.

4: William Powell


Because I wouldn’t typically consider his looks attractive, but his personality onscreen was so assured and wonderful and silly that I find him sexy just the same. Because I want to befriend most of his characters, and am sad I can’t. Because I could listen to that voice all day. Because I’ll watch anything he’s in, just to fall for him again.

5: Mae West


Because she wrote her own lines and dictated her own role–onscreen and off. Because those lines were so well written that people know them almost 100 years later, without knowing where they’re from or who she was. Because she was combustible onscreen, and always hilarious. Because she was a feminist, whether she admitted it or not. Because she had impeccable timing. Because of that walk. Because her movies are utter joy. Because there will never be another like her.

Check out other bloggers’ favorites at Five Stars blogathon!

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Posted in: 1930s films, 1940s films, Blogathons, Drama (film), Feminism, Mae West Moments Tagged: Barbara Stanwyck, Cary Grant, favorite classic movie stars, lists, Mae West, Van Heflin, William Powell

Mae West Quote of the Week: Religion vs. Jewels

01/30/2016 by leah@carygrantwonteatyou.com Leave a Comment

She Done Him Wrong
“You know it was a toss-up whether I go in for diamonds or sing in the choir. The choir lost.”

The line would be funny regardless, but West does so much with it: She pauses in between the sentences for emphasis. She follows up the words with an arch look at her love interest of the hour (Cary Grant) and then smokes. She struts up and down the room an unnecessary amount of times in their short conversation. She makes a number of references to position and anatomy before and after the gems (which are clearly a stand-in for her sexual escapades).

Thought for the day: Ever wondered whether any woman in this world could be as suggestive in an hour as She Done Him Wrong‘s Lou (West) in five minutes?

This quote is part of my monthly tribute to West.

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Posted in: 1930s films, Comedies (film), Mae West Moments, Romantic Comedies (film) Tagged: Cary Grant, great quotes, innuendo, Mae West, She Done Him Wrong

Mae West as a Deadpan Plaintiff in I’m No Angel

06/26/2015 by leah@carygrantwonteatyou.com 11 Comments

I'mNoAngel-CourtroomScene
This post is part of the The “…And Scene!” Blogathon. Check out the other entries here.

There are very few scenes in film as funny as when Mae West is talking about the number of men in her life, or, as she famously put it after the courtroom scene in I’m No Angel, the much more important amount of “life in your men.”

I’m a sucker for courtroom scenes in general, but most are thrilling, dramatic. I admit that a few are funny–From the Hip, Seems Like Old Times–but there’s nothing like Mae West on a roll, and every second of the courtroom scene of this glorious pre-Code wonder is the actress (and writer) at her best.

Tira, a circus performer, is suing her wealthy fiancé (Cary Grant) for breach of promise. He broke off their wedding because he saw another man in her place while she was out, not knowing it was a set-up by her boss, who didn’t want to lose her successful act to matrimony.

Unsurprisingly, the defense attorney immediately tries to besmirch Tira’s reputation, suggesting she gets around, that she has a “colorful past.”

In another movie, we might expect shame, embarrassment, hostility at such an attack. But this isn’t just any movie.

“Well, I gotta admit, I’ve been the love interest in more than one guy’s life,” Tira agrees. “I don’t see what my past has got to do with my present.”

“We shall show that to the satisfaction of the court, I believe,” the attorney primly responds. “Nevertheless, the fact remains that you’ve been on friendly terms with several men.”

“Alright, I’m the sweetheart of Sigma Psi. So what?”

The audience in the courtroom aren’t the only ones laughing at her quip. Even the defendant can’t resist.

CaryGrantI'mNoAngel
When she’s scolded by the judge for not answering the question, she coos at him in response. (He will later take her on a date.)

MaeWest-judge
The attorney presses on, undeterred, referencing a bunch of (obviously married) men by name, asking if she knows them.

“I do recall their faces,” she answers, “but them ain’t the names they gave me.”

Appalled, her own lawyer asks for a recess and chides her for admitting to such an active dating life.

Tira is unrepentant: “Why shouldn’t I know guys? I’ve been around. I travel from coast to coast. A dame like me can’t make trips like that without meeting some of the male population.”

He explains that she can’t win the case. She considers her options.

MaeWest-court-strategy
And then asks if she can question witnesses herself.

It’s at this point that West really hits her stride–literally. Because she gets to walk up and down past the jury box, practicing her famous strut repeatedly, flirting with everyone in the courtroom.

She treats her accusers with disdain, slamming their efforts to make her look bad, and saying, “OK, I’m through with you,” after she completes her questioning. Between witnesses, she asks the jury, “How ‘m I doin, hmmmmnnnn?”

For once, jury duty has proven to be a blessing. Just look at their reactions to her performance:

I'mNoAngel-jury
As Tira concludes, her lover (Cary Grant) can’t handle it anymore and admits defeat. He’s fallen more in love with her than ever, as we have. Who cares if she’s the sweetheart of Sigma Psi? She’s Mae West, idiot. Catch her while you can. Case closed.

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Posted in: 1930s films, Blogathons, Mae West Moments, Romantic Comedies (film), Uncategorized Tagged: best courtroom scenes, Cary Grant, I'm No Angel, Mae West, Pre-Code

Say Anything Fan? Holiday (1938) Is the Classic Film for You

09/06/2014 by leah@carygrantwonteatyou.com 2 Comments

A hero who reveals his vulnerability, yet retains his pride; the kind of man devoted enough to lift a jukebox above his head blaring Peter Gabriel’s “In Your Eyes” to woo the girl who dumped him, yet still grounded enough to enjoy relaxing with his friends; a boy with few prospects who is seeking a “dare-to-be-great” situation.

Lloyd-Cusack
There’s a reason Say Anything (1989) and its hero, Lloyd Dobler (John Cusack), were nearly universally worshipped by every middle and high school girl I knew. Cusack quickly became the heartthrob of my generation, just as Cary Grant was to his. In Holiday, Grant played a role much like Cusack’s in Say Anything. That’s why if you’re a diehard lover of Lloyd Dobler, I think you should check out this 1938 film and see for yourself the many similarities:

Lightheartedness
Those accustomed to seeing Grant’s suave persona on display in clips and photos might not realize how fun it is to witness him being the opposite—silly, playful, with that same uneasily expressed, coltish confidence in himself that makes Lloyd Dobler so appealing. In Holiday, Johnny (Grant) likes to do flips to cheer himself out of tough times or worries, just as Lloyd chides his sister for not being able to pull out of hers.

SolutiontoWorry-CaryGrant
Romancing the Daddy’s Girl—and Daddy Ain’t So Great
Both films feature heroines who are too close to fathers who don’t deserve such adulation. In Say Anything, Diane’s dad (John Mahoney) winds up being a crook; in Holiday, Julia’s (Henry Kolker) is so obsessed with money and status that he verges on caricature.

Johnny's fiancée and her father

Johnny’s fiancée and her father

Much of Holiday focuses on Johnny’s discovery that Julia (Doris Nolan) is much closer to her father’s character than he realized, just as Say Anything shows Diane (Ione Skye) slowly recognizing that her father is not the moral center of her universe. Luckily, we have both of Julia’s siblings, Linda (Katharine Hepburn) and Ned (Lew Ayres), mocking their dad the whole time in Holiday, which is way funnier than the whole Diane-Dad snooze fest.

Unconventional Ambitions
Both heroes have unpopular dreams. Lloyd’s is beautifully expressed when Diane’s dad opens the door and he tries to sell himself as a trustworthy date: “I’m an athlete, so I rarely drink. You heard of kickboxing, sport of the future?”*

DoblerSportoftheFuture
Lloyd responds to a question about his career plans with “Spend as much time as possible with Diane before she leaves” and proceeds to give an amusing description of his hopes: “Considering what’s waiting out there for me, I don’t want to sell anything, buy anything, or process anything as a career….So what I’ve been doing lately is kickboxing….”

Grant’s plan, captured in the film’s title, is to take a vacation from employment. He’s worked since the age of ten, and isn’t sure what he’s doing it for: “I want to know how I stand, where I fit in the picture, what it’s all gonna mean to me. I can’t find that out sitting behind some desk in an office, so as soon as I get enough money together, I’m going to knock off for a while….I want to save part of my life for myself….You know, retire young, work old, come back and work when I know what I’m working for, does that make sense to you?”

Johnny, like Lloyd, makes fun of the idea of needing familial or professional connections: “When I find myself in a position like this, I ask myself what would General Motors do? And then I do the opposite.”

And like Lloyd, Johnny thinks his love should be enough for Julia’s father: After offering a character reference, he adds, “I’m quite decent and fairly civilized. I love your daughter very much, which isn’t a bit hard. She seems to like me a lot too. And uh, well, that’s about all that can be said for me, except that I think we have a grand chance of being awfully happy.”

A Marvelous Support Network
Both men are backed by funny friends who provide much of the comic relief of their films. Edward Everett Horton plays a professor and Jean Dixon his wife, Susan; they are friends of Johnny’s who gravitate toward Linda rather than Johnny’s fiancée. When they arrive at the fussy engagement party for the couple, Susan says, “Don’t tell anyone, but I’ve got a run in my stocking.” “Good heavens, we’re ruined,” answers her husband. “Not a word of this to a soul,” he warns the butler.

GrantandHorton
Among Lloyd’s many entertaining friends, Corey (Lili Taylor) is the obvious standout, with her 63 songs about her ex and classic line in response to Lloyd’s “…I’m a guy. I have pride”: “You’re not a guy…The world is full of guys. Be a man.”

LiliTaylor
In Johnny’s case, Julia proves to be remarkably dull, and soon is outshone by her supportive sister, Linda (Hepburn). Linda can be quite amusing, though at times she’s a bit melodramatic about the family woes.

GrantandHepburn-Holiday
In Say Anything, we’re stuck with Ione Skye as the romantic interest the whole film, with that terrible acting doing nothing for any of us. When Diane dumps Cusack, all the viewers may protest, but it was a relief not to hear Skye talk for a bit and listen to Lloyd’s friends instead.

Rising Above…
Both Johnny and Lloyd display a remarkable level of emotional maturity—Lloyd, in his continued efforts to unite Diane and her father once they become estranged in spite of the latter’s hostility toward him.

CusackandMahoney
And Johnny, in his attention to his fiancée’s needs and sensitivity to her family despite her father’s rudeness toward him.

GrantandKolker
After asking many not-so-subtle questions about Johnny’s connections, Julia’s father expresses zero interest in her suitor’s obvious resourcefulness, the loss of his mother, and his pride in who he is. Johnny freely discusses his background: his dad’s grocery ownership and debts, an alcoholic uncle, and his own work as a steel mill worker, garbage truck driver, and laundry worker while earning his degree at Harvard. While he isn’t exactly trying to provoke the father’s snobbery, he clearly is amused by it.

“Admirable,” the father says after hearing Johnny’s answers about his life, with no sincerity whatsoever.

“Anything else, sir?” Johnny finally asks.

“I beg your pardon?” the father replies.

“I should think you would,” snaps Linda.

Luckily, fun-loving Linda is the one Johnny will eventually be falling for. If my description doesn’t win you, hopefully this image of the former acrobat (Grant) in action will.

acrobatCaryGrantKatharineHepburn
*When I mentioned this quote on kickboxing, my husband pointed out that Lloyd was one prescient guy given the success of UFC….

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Posted in: 1930s films, 1980s films, Comedies (film), Romantic Comedies (film), TV & Pop Culture Tagged: Cary Grant, Holiday, John Cusack, Lloyd Dobler, Say Anything

The Delightful Raunchiness of Mae West

06/05/2014 by leah@carygrantwonteatyou.com Leave a Comment

MaeWestwveil
I knew from Complicated Women, TCM’s documentary on films before the production code, that early movies challenged men’s ownership of women’s bodies, minds, and souls. Many of these pre-code movies (1929-34) were so shockingly liberal in content that they make today’s look prudish by comparison (nudity in a Tarzan movie, anyone?) After the code, of course, sexuality and feminist portrayals of women were both toned down to please potential censors. But Mae West, who wrote and starred in her films, managed to sidestep this “sanitation” to an extent because she was so gifted at double entendres.

I’d heard of West, of course, knew a couple famous sayings, thought of her vaguely as ahead of her time. But to know of West and to watch her? Not the same. Mae West’s pre- and post-code films were in their own plane, and not only because of her undeniable sensuality and eagerness to express it. And “ahead of her time” is a gross understatement in West’s case. The play she wrote that got her thrown in jail on morals charges in 1927? Titled Sex. Madonna would be attacked for giving a book that title almost seventy years later.

Pioneers Madonna (in ‘92) and Mae West

Pioneers Madonna (in ‘92) and Mae West

And West’s next play? Drag (as in queen), which the vice folks managed to squash entirely. Luckily, we can still watch West on screen. Here are just four reasons why you will embrace this voluptuous rebel:

1. Half of the suggestive one liners you know originated with her.

Her famous “Why don’t you come up sometime, see me?” seduction. (Note how overwhelmed Grant looks!)

Her famous “Why don’t you come up sometime, see me?” seduction. (Note how overwhelmed Cary Grant looks!)

This is just a small sampling of lines written and delivered by West (mostly from her films):

  • “When I’m good, I’m very good, but when I’m bad, I’m better.”
  • “It takes two to get one in trouble.”
  • “Is that a pistol in your pocket, or are you just happy to see me?”
  • “A hard man is good to find.”
  • “When I’m caught between two evils, I generally like to take the one I never tried.”
  • “When women go wrong, men go right after them.”

It’s not just the cleverness of West’s expressions that make her movies so entertaining; it’s the sheer number of them she manages to squeeze in. She Done Him Wrong (1933), which is just over an hour,has more funny lines in a few minutes than most current rom-coms in their bloated two-hour running times.

2. You need to see a woman born in the 1890s shimmying like West does.

West in I'm No Angel

West in I’m No Angel

She’s dancing, she’s walking—it doesn’t matter. You have never seen a woman strut like this one.

3. 1930s Hollywood actually portrayed young men smitten—in droves—by a 40ish woman

Mae West’s films are irrefutable proof that everything does not improve with time, including Hollywood’s treatment of women past the age of 30. Today we are delighted to see the occasional rom-com with a 40-year-old woman; that’s when West got started. And being who she was, West was never content with just one man in her thrall.

Men who've caught sight of Lou (West) in She Done Him Wrong

Men who’ve caught sight of Lou (West) in She Done Him Wrong

3Lou (West) eyeing a conquest, whom she refers to as “And you, Mr. Mmhmmm?”

Lou (West) eyeing a conquest, whom she refers to as “And you, Mr. Mmhmmm?”

4. Her films are wonderfully ludicrous.
My favorite plot: A woman makes a living as a lion tamer, which men find so attractive they start sending her diamonds (I’m No Angel). The court scene near the close of the film is even more breathtaking. West annihilates the lawyers and slays the judge and jury with her smarts and that amazing walk. Is this whole film absurd? Absolutely. Is it hilarious? Oh yes.

The lion’s-mouth seduction

The lion’s-mouth seduction

Luckily, you can find a plot almost as ridiculous (and funny) in She Done Him Wrong, which is on Netflix streaming right now. What are you waiting for?

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Posted in: Feminism, Humor, Mae West Moments, Romantic Comedies (film) Tagged: Cary Grant, Madonna, Mae West, Pre-code films, sexuality

The Gatsbys of Wes Anderson Films: Climbing above Archie Leach

04/10/2014 by leah@carygrantwonteatyou.com Leave a Comment

M. Gustave (Ralph Fiennes); the impeccable, refined, and deeply sketchy hero of The Grand Budapest Hotel; is the kind of character who made me fall for Wes Anderson films: men with a flair for self-creation so extreme that I can’t help rooting for them because my own imagination, by comparison, seems embryonic.

In my favorite of Anderson’s films, Bottle Rocket, the hero is Dignan (Owen Wilson), whose first steps in a 50-year plan of becoming a criminal mastermind involve stealing from friends’ houses for practice, moving on to a bookstore heist wearing nose tape, and then promptly going on the lam. No unimportant detail escapes Dignan’s dedication to this persona: note the binoculars he uses when springing his friend Anthony (Luke Wilson) from a voluntary stay at a mental health facility.

Owen Wilson

“Look how excited he is,” says Anthony when his doctor protests the sheets hanging from the window. “I gotta do it this way…I have to climb out. It’s so important to him.” Dignan’s enthusiasm is so contagious that Anthony continues to go along with his buddy’s increasingly ill-conceived plans just because he can’t bear to deflate him. And when you hear Dignan’s prattle and see that grin, you can’t blame him. (Admittedly, I think Owen Wilson, who co-wrote the film, largely responsible for the success of this character; his considerable charm made even the overrated Midnight in Paris palatable.)

And, of course, there’s Max Fischer (Jason Schwartzman) in Rushmore, who puts more energy into his school activities than the rest of the student body combined. As Anthony Lane put it, “To say [Max] attends Rushmore is like saying the Holy Father hangs out at the Vatican: Rushmore could exist without Max, but there would be no point to the place.”

Rushmore

In the newest Anderson installment, M. Gustave’s considers the care of his establishment, guests, and the new bell boy of paramount importance. He is the platonic version of a hotel concierge, a fussy perfectionist so accommodating he knows guests’ wishes in advance, and he’ll go to absurd (and disturbing) lengths to satisfy them. But unlike with most of Anderson’s heroes, M. Gustave’s refined veneer slips regularly in The Grand Budapest Hotel. In difficult situations, coarse language breaks through the stylized version of himself he’s created, and these curious, funny instances cause viewers to wonder just who this guy is.

Fiennes

That’s probably why the film reminded me of Cary Grant’s classic comment about the style and sophistication that became synonymous with his name: “Everyone wants to be Cary Grant. Even I want to be Cary Grant.” Because of course, he wasn’t. Born Archibald Leach in Bristol, England, Cary Grant was poor, largely abandoned by his family, and making a living as a juggler/acrobat by his early teens. Not exactly the pedigree we all might expect given his dashing presence on the screen.

I think what I love so much about Anderson’s heroes—his Gustaves, Maxes, and Dignans—is also what I admire most about Grant: not only do these heroes envision an impossibly large, glorious version of themselves, but they also manage, despite the many obstacles Anderson—and life—stacks up against them, to pull it off.

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Posted in: Comedies (film), Humor Tagged: Cary Grant, Gatsby, Owen Wilson, The Grand Budapest Hotel, Wes Anderson
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