DIDJA KNOW: Didja See?

Spencer Tracy and Irene Dunne play lovers split asunder and 
reunited in a spiritual way in A Guy Named Joe. 

Didja ever notice a glaring similarity between a modern movie and an earlier predecessor? Sometimes, the latter-made films are direct remakes; other times, they just bear a strange plot resemblance to earlier fare. I normally discuss this double-take analysis in my "Take One, Two, Three" articles, but today's offering is less in depth. Instead of re-hashing storylines and how they mutate from film to film, I instead offer up a new game of: If You Liked This, You Should Watch This. Since not all of the following original films were hits, it makes one wonder why studios would decide to reinvest in an already failed clunker; since some of the originals were great box-office successes, it makes one wonder why studios would want to desecrate an already perfect vehicle by re-doing it-- sometimes to disastrous results. In any case, here is the latest conglomeration of my congested, media-soaked head. You be the judge:


Angels in the Airfield

Steven Spielberg's film Always was fairly well received upon its 1989 release. An atypical romance with an otherworldly quality, it told the story of a renegade pilot (Richard Dreyfuss) who squelches forest fires. Due to his risky job, his girlfriend (Holly Hunter) is constantly in emotional turmoil with worry over his safety, and rightly so. He goes on one mission too many, and the cost is his life. However, he returns as a spirit, looking over his grieving love and getting mighty jealous when she starts falling for another guy (Ted Baker). An appearance by Audrey Hepburn as a helpful angel (left) also tipped the scales on this one, making it a well-acted, well-crafted love story for adults. BUT...

Didja see A Guy Named Joe? The plot is practically identical! Released in 1943 and directed by Victor Fleming, this film tells the tale of ace WWII bomber pilot (Spencer Tracy) who loses his life in the line of duty, much to his girlfriend Irene Dunne's despair. He is soon back as a guardian angel, who too is forced to watch his young mentor (Van Johnson) as he rises in the ranks as a pilot and falls for his girl. In both versions, the returning guardian learns with bitterness the love he took for granted in his life, overcomes his overzealous penchant for danger, and coaches the new, younger pilot into a better flier. He too overcomes his own personal envy in pushing his mourning girlfriend toward a love that he was unable to fulfill for her himself in life. The later film is admittedly a remake-- though, as 45 years had passed between pictures, few people know it! (Spence and Irene embrace next to Ward Bond, right). 

Two Little Mermaids

In 1984, the fantastical romantic comedy Splash hit theaters thanks to director Ron Howard. The unconventional tale of a young man (Tom Hanks) who falls in love with a mysterious woman (Daryl Hannah, both left)-- who turns out to be the mermaid who saved him from drowning as a child-- was an unlikely sensation that helped seal Hanks's reputation as the comic leading man of his generation. The mermaid, known as Madison, comes to land, sprouts legs, and hides her tail by avoiding water. As she acclimates to human life, she is forced to keep her true identity a secret from the man she loves, but eventually the truth comes out, and the befuddled (and a little grossed out) suitor is left with a harsh decision to make. With the help of his brother (John Candy), he decides that love is the only answer, and he forsakes his life on the land for an eternal swim with Madison. (It goes without saying that a massive suspension of disbelief is necessary to enjoy said picture). BUT...

Didja see Mr. Peabody and the Mermaid? It was produced in 1948 and directed by Irving Pichel. It too tells the unlikely tale of a girl with a tail. (Haha). This time, William Powell is the surprised recipient of aquatic affection, however, he is aware that the girl of his dreams (Ann Blyth) is a fish from the get-go. To boot, he is middle-aged and unhappily married. Hence, when he accidentally catches a mermaid when out fishing on vacation (right), he is both struck dumb and pierced with Cupid's arrow. He takes his prize home, where he moves her from the bathtub to the outdoor coi pond and tries to keep her existence a secret, though his shenanigans increasingly make him look as mad as a hatter to his friends. Though man and fish fall in love, in this case they admit defeat: their two worlds can never be one, and besides, Powell's character needs to go back to his wife and patch all that matrimonial business up. Because of the differences in plot, this is clearly not a remake, but with such an interesting spin on romance (or should I say, "fin"), you can't help but draw a comparison.

Knock Outs

There are a great many films out there surrounding the passion and the pain of athletic combat: Rocky, Cinderella Man, The Fighter, Golden Boy, Warrior, Million Dollar Baby, etc. All of these films have some level of similarity in plot-- the underdog is put through the mill to overcome insurmountable odds and become a champion. Details vary, endings add new interpretations, but they all evoke the emotions of sympathy and aggression in the audience-- hearts with fists-- that makes this genre a continuing, surefire hit-maker at the box-office. The excitement of competition itself is enough to keep audiences coming back for more. Hence, much was made of Darren Aronofsky's recent take on the subject in The Wrestler in 2008. In this film, Mickey Rourke portrays an aging wrestler (left) of the comical yet intense WWF style, who struggles with the decision to give up the ring for a safer, more respectable life. The estranged relationship he shares with his daughter (Evan Rachel Wood) and the complicated and not fully reciprocated attraction he has for a stripper (Marisa Tomei) adds to his personal frustration. At the end, a broken, wreck of a man, he decides that the only place he belongs is in the ring, where he accepts the mask of his caricatured self and faces daily, painful atonement for his sins. The brutally nuanced performance of Rourke brought the film a great deal of attention, and it was hailed as a creative and moving contribution to the genre, BUT...

Didja see Requiem for a Heavyweight? Though this earlier movie by Ralph Nelson (1962) revolves around boxing, the plot is uncannily similar in many ways to The Wrestler. Adapted from a televised production, the film stars Anthony Quinn as the aging boxer Louis "Mountain" Rivera (right) who is clearly on the way out. Battle-worn and suffering from punch-drunk dementia, he too considers surrendering a life of pain in the ring for a more simplistic career-- as a camp counselor. An impossible romance enters his life too with the lovely Grace Miller (Julie Harris), for though her heart goes out to him, she is intimidated by his aggressive presence and too frightened for his safety to truly fall for him. Torn between his manager (Jackie Gleason) and his trainer (Mickey Rooney), Mountain vacillates between his feelings of duty to pay off the former's gambling debts and the latter's concern for his personal safety and support of his retirement. After having his heart broken and humiliating himself in his failed attempts at normal, civilian life, Mountain accepts his fate as a puppet of the ring. He even sacrifices his dignity to do so, sells out, and becomes a gimmicky, cartoon-ish wrestler known as "Big Chief Mountain Rivera." He enters the ring to jeers and laughs, but is too numb to hear them or feel the punches anymore. While different in details, this earlier offering proves that The Wrestler may not have been the super-creative endeavor that we  origianlly assumed.

Re-Count

In 2008, the all-American nice guy Kevin Costner appeared in the film Swing Vote (left) directed by Joshua Michael Stern. In it, he plays Bud Johnson, an immature and under-driven father whose daughter holds the reins of responsibility in their small family. Disappointed by his apathetic approach to life, she tries to vote for him at the latest presidential election in their home state of New Mexico, however, a technological mishap causes his ballot to go uncounted. This minor occurrence causes big waves when it is discovered that NM will hold the deciding vote in the electoral college and-- with a 50/50 tie between the Republican and Democratic candidates-- Bud's un-tallied vote alone will make the national decision. Suddenly swarmed by the media and forced to take a stand for the first time in his life, Bud is politically seduced by both flip-flopping candidates-- played by Kelsey Grammer and Dennis Hopper-- and he finds himself interested and asking questions on behalf of the American people. In the end, he must step up to the plate and make a decision, but the process changes the man he was and makes everyone else question their own political and social stances. Pretty interesting concept. BUT...

Didja see The Great Man Votes of 1939 starring John Barrymore? Directed by Garson Kanin, this film is a nearly identical precursor to Swing Vote. In it, Gregory Vance (Barrymore) is a washed up widower and fallen intellectual who has found solace in alcohol. To his children, he is a sad genius, but to the world, he is a faceless night watchman. His life is turned upside down even further when it is discovered that he is the only registered voter in his district left to solve the latest ballott dilemma. A big mayoral election comes to the fore, and the politicians come calling with their governmental flirtations, trying to win his deciding vote. Just as in the later picture, Vance is forced to remember himself as a man, embrace his duty as a patriot, and emerge as an integral part of his community. He garners a self-respect that has been absent for years, and thus the respect of his children, though their presence in his life is being threatened by un-trusting relatives who want to take them away. Confident for the first time in a long time, Vance fights back the only way he knows how and manipulates the system that is trying to manipulate him, inevitably refusing bribes, turning on the wooing candidates, and making up his own mind. The final victory is a dual one in that he wins back his self respect and his children. Swing Vote (as far as I know) is not an admitted re-make, but the close resemblance of the stories makes it and The Great Man Votes at least fraternal twins.

Several Brides for One Brother

In 1999, Gary Sinyor directed the romantic comedy The Bachelor, (no, not the TV show). In it, Chris O'Donnell plays Jimmie Shannon opposite Renee Zellweger as Anne Arden. Jimmie and Anne have been dating for some time, and while all of their friends get married around them, Jimmie finds it difficult to commit. Begrudgingly, he admits that maybe it is time for him too to settle down, but when he proposes to Anne with the phrase "sh*t or get off the pot," she gives him the heave-ho despite her love for him. Unfortunately, Jimmie discovers immediately afterward that his grandfather has died and left him a $100 million fortune-- wth the slight draw-back that in order to collect, he must be married by 6:05pm on his 30th birthday... which is tomorrow. Jimmie tries to win back Anne, but she's still miffed, so he is forced to go through his little, black book and approach any ex that will have him-- but his proposal skills are so poor that none will. When word gets out that he is to inherit a fortune, suddenly he finds himself attacked by every woman within driving distance and literally chased down the street by thousands of females in wedding dresses (left). Long story short, he and Anne reunite, but not before he has learned that it is she he wants and not the cash, which is thankful, since they have run out of time. At least they have each other and are rich in love. Cute enough, BUT...

Didja see Buster Keaton's classic Seven Chances??? Released in 1925, this hysterical hit of visual mayhem revolves around Buster's James Shannon, who is a struggling broker and romantic underdog. Suddenly, he is alerted to the fact that his grandfather has died, and he will inherit $7 million if he is married by 7pm on his 27th birthday... today! Uh-oh. He quickly proposes to his girl, Ruth Dwyer, but she turns him down when his proposal insinuates that he has to marry any girl he can find and not her in particular. Offended, she leaves him to his typical bad luck, aided only by his partner and the lawyer who initially broke the news. He proposes to every girl in sight, but as he is not exactly the prototypical ladies' man, he is consistently turned down. His pals line up seven girls for him to propose to, but still no luck. While he takes refuge at the church, unbeknown to him, the word of his upcoming fortune is leaked. Awakening from a nap, he is suddenly surrounded by frothing females in wedding gowns (right), but he is too overcome and intimidated to deal with the situation. He runs, the ladies take chase, but he finds salvation in Ruth's arms-- she has forgiven him. The two are married at the stroke of 7:00 and live happily, and richly, ever after. Since Keaton and O'Donnell's characters share the same name, it is pretty clear that the later film is a remake. While both are entertaining, there is no match for Keaton, so if you are going to see either, see Seven Chances!

Lon-a-Thon

Since I start to implode if I don't mention Lon Chaney at least once a month, I have a few past-present film comparisons to go over in relation to his work. For starters: Didja see Ace of Hearts? Produced in 1921 and directed by Wallace Worseley, the plot involves a group of insurgents who, having for various reasons become disenchanted with the court system, take matters of retribution into their own hands in the name of justice. They choose various subjects, whom they deem despicable, and engage in a game of chance in order to decide which member of their tribe should kill the immoral infidel. Another member, Lilith, played by Leatrice Joy, deals from a stack of cards. The man who receives the Ace of Hearts is the chosen assassin (left). In the midst of the latest caper, a love triangle ensues. Lon's Mr. Farrallone is in love with Lilith, but so too is Mr. Forrest (John Bowers), whom she, of course, chooses. Chaos follows, with Lon as per usual sacrificing himself for his beloved, while the obvious questions of right and wrong and the hypocrisy of man are brought to the fore. BUT, you may recognize the storyline in 1983's The Star Chamber, in which Michael Douglas joins a band of fellow judges who are determined to bring justice to the criminals that they were unable to punish in a court of law. They meet secretly, dole out verdicts, and condemn men to death by their own means. Both films beg the question, What is justice?

Didja see Tell It to the Marines? In 1926, George W. Hill directed this masterpiece with Lon starring as the intimidating Sergeant O'Hara (right) who has been tasked with bringing latest enlistee Skeet Burns (William Haines) up to snuff. Hard-boiled, rugged, and self-sacrificing, O'Hara consistently butts heads with Burns over the latter's insubordination and their shared affection for base nurse Norma Dale (Eleanor Boardman). In the end, Skeet overcomes his own selfishness, toughens up, and fights alongside his mentor in a pivotal battle, proving once and for all that he is a man, and thus, a man worthy of Norma's love. After the younger man has served valiantly, O'Hara bids him and Norma adieu, and continues on, training the next chapter of weak enlistees. In this film, Lon forever set the unsurpassed bar on military tough guys that would be frequently repeated in various films, from Full Metal Jacket to Stripes. BUT, you may notice an uncanny similarity between the plot lines of Tell it to the Marines and 1982's An Officer and A Gentleman. Minus the love triangle, they are very similar in that Lou Gosset, Jr's Sergeant has to train and mature the headstrong and crooked new soldier, Zack Mayo (Richard Gere). Both films present the strange, macho love-hate relationship between the superior officer and his trainee and the arduous process the underling must go through to embrace maturation, responsibility, and eventually love, (in the latter film via Debra Winger).

Didja notice how many of Lon's early gangster films centered around Chinatown? In Outside the Law (1920), his dastardly character of Black Mike Sylva cooks up trouble for fellow crooks Dapper Bill Ballard (Wheeler Oakman) and Molly Madden (Priscilla Dean) in this neck of the woods. In addition, Lon makes his first appearance as a Chinaman in a dual role as Ah Wing, thanks to director Tod Browning. ~ In The Shock, Lon portrays Wilse Dilling, a crippled con, again from Chinatown (left), forced to do some undercover work for Queen Ann (Christine Mayo). He switches locales to a small town, where he consequently falls in love with good girl Gertrude Hadley (Virginia Valli) and changes his ways. Turning his back on the criminal life, he returns to the dirty underbelly of Chinatown only to save his beloved's life. ~ In addition, the gang of cons in The Miracle Man were assembled from Chinatown. Lon, of course, plays Frog in this picture, which-- thanks to his abilities of contortion as a salvaged cripple-- would be his big breakthrough. ~ And finally, one of the working titles for Lon's cop drama While the City Sleeps, in addition to "Easy Money," was "Chinatown." ~ BUT, did this influence the eternal movie on this geographical subject, 1974's Chinatown starring Jack Nicholson and Faye Dunaway? Director Roman Polanski's take on the city presents just as many diabolical components as these Lon predecessors, including corruption, violence, and incest. What is it about this place that brings out the worst in people, anyway? Whether in NYC or L.A, early Chinatown comes across as a today's Compton!

See what happens? Ya' go to Chinatown and ya' get Jack'd (aka Nicholson).

MENTAL MONTAGE: Use Your Clout

The ultimate film about the entertainment "cat" race, Stage Door:

Kate Hepburn, Lucille Ball, and Ginger Rogers.

Clawing your way to the top of the entertainment ladder is no easy feat. After completing the seemingly insurmountable task, which not all are able to do, one can either be left with a deluded feeling of euphoria, which erases all memory of the aforementioned climb, or one can continue to bear the cuts, bruises, and war wounds of his battle, which serve as daily reminders of his lengthy diligence and hard work. The former group can at times get lost in the twisted web of fame and fortune, drifting into the annoying abyss of entitlement and egotism. This outcome is rarely good. The latter group, however, usually maintains a devout gratitude for their good fortune and thus a dignified sort of humility. This creates a better path, one possessing clear-headedness, good business sense, and a compassion for the underdog. In the history of Hollywood, there are several tales of various stars sticking their necks out for other struggling artists-- using their "clout" as it were-- to help someone in a position from which they themselves have fortunately evolved. These instances of professional aid are at times minute, but the effect is always profound to the object in need, who will forever remember a small moment of kindness that-- if he or she was really lucky-- changed everything.

When Lucille Ball was still making the rounds at various studios, she landed a contract at RKO, where she primarily wound up in featured roles and bit parts. Despite the fact that, as far as the studio was concerned, she was just another one of the dime a dozen hopefuls, she was able to ingratiate herself to different people on the lot by being forever professional, completely willing, and incredibly funny. Hard work was not something that she ever had a problem with. Perhaps fellow nose-to-the-grindstone actress Katharine Hepburn took note of this. The two didn't have much a friendship, for Kate was higher on the acting echelon and being primed for stardom (in constant competition with another RKO leading lady, Ginger Rogers), but the duo would come into direct contact one fateful day-- which, coincidentally, could have been catastrophic for Lucy. Lucy was in the makeup chair, being prepped for yet another publicity photo to help test/boost her appeal, when all of a sudden, she was unceremoniously ushered away to make room for Hepburn, who was being readied for her daily shoot on Mary of Scotland (in wardrobe, left). Hepburn, through no fault of her own, took precedence over Lucy's cosmetic needs: Mary was a huge project for the studio. Lucy, pursing her lips, made her way into the next room, only to realize that she had left her tooth caps behind. Trying not to make a fuss or disturb "the Queen," Lucy tried to flag down the beautician who was working on Kate. She waved her arms at him through a dividing window, but to no avail. Though he saw her, he directly snubbed her flailing and continued with his work. Insulted, her temper grew red-hot, until she threw a steaming coffee pot at him! Unfortunately, the pot hit the table only to splatter all over Kate and her regalia. Lucy's eyes surely bulged as she began to panic! With Kate's dress dirtied with brown coffee spots, the shooting for the day couldn't be done and the studio was out thousands of dollars. Yet, when the top dogs came for blood, Kate stood by Lucy and refused to blame her for the incident. She used what little power she had to diffuse the situation instead of engaging in the expected diva-temper-tantrum. Lucy was also aided by Lela Rogers, Ginger's mother, who had been giving her acting lessons at the studio's behest. Lela believed that Lucy was one of the more promising young hopefuls and made this known to the enraged higher ups. Because of these two ladies, Lucy's job was saved-- temporarily. Interestingly, though her time at RKO would not last, she was there long enough to appear in Stage Door with both Hepburn and Rogers.

After RKO, Lucy would have help from another lady of the screen. Struggling to find work, and being told over and over again that her time was past-- that there was nowhere for a woman in her thirties to go in her career but down-- Lucy was having trouble holding onto her dream. Her self-confidence was at a bottom low, which was effecting her mentally and physically. She had even developed a stutter. Out of nowhere, she couldn't get through the most normal of sentences without breaking into stunted syllables. Just as suddenly, Olivia de Havilland (right) entered the picture. The two were not pals, barely having exchanged more than the usual "Hello, how are yous" at various parties and social affairs, but for some reason Olivia had taken a liking to Lucy. Perhaps she saw in the woman a another version of herself-- a fellow female fighter. As such, when word reached her that the funny, bubbly red head was on a downward spiral, she stepped in. She told her agent, Kurt Frings, to take Lucy on as a client and help to turn her career around. She just knew that the girl had "it" and only needed the right project to reach the stardom she deserved. Since no one said "No" to O de H-- a lesson Jack Warner learned all too well-- Frings agreed and added the stunned Lucy to his roster of clients. In a whirl, Lucy was still a nervous wreck when she began shooting on her first Frings induced project, Lover Come Back, opposite George Brent. Yet, she pulled it together, and once the cameras started rolling, she lost the stutter and regained her swagger. She remained eternally grateful to Olivia for her helping hand. It didn't turn out to be Lucy's big break, but it did help her get one step closer to success and kept her afloat during a confusing and back-breaking time.

Husband Desi Arnaz had also received a little help in his early career from none other than fellow crooner Bing Crosby. With Bing (left), judging from various accounts, you either loved him or hated him. Desi was one of the lucky ones who caught him on a good night. A very good night. Desi was a struggling musician touring with Xavier Cugat and his band, for which he played the guitar. Their itinerary eventually took the troupe to Saratoga, where Bing happened to be in attendance. Bing must have been impressed with Desi's playing, because he gleefully introduced himself-- in Spanish no less-- to the starstruck young man. Very friendly, and perhaps aided by a little too much liquor, "Bing-o" got congenial quickly and started asking the tongue-tied Cuban what he was earning for his talents. Desi responded with the sad truth: a measly $30/week. Bing, who knew Xavier, suddenly became Desi's champion. "That cheap bastard!" he roared. "Come on! Let's get you a raise!" He took Desi by the arm and the two marched right up to Cugat. Bing demanded that Cugat up the ante on Desi's paycheck. After being placed on the spot by such a huge superstar, Cugat was forced to agree... With one stipulation: that Bing perform a song with the band that night. Bing agreed, and Desi got his raise. Soon enough, ol' Dizzy had the money and confidence to tour with his own band, which inched him closer to Hollywood and his soul mate, Lucy.

In 1943, Van Johnson was just another struggling actor. Minor roles and extra work were the daily grind, until through a stroke of luck, he found himself cast in a supporting role in a major motion picture: A Guy Named Joe. Van was ecstatic! This could be his big break-- the opportunity of a lifetime. Enjoying his good fortune, he was out driving with friends Keenan and Eve Wynn (Van's future wife, but that's another story) when he was broadsided by another car. It was a serious accident, which left him badly injured. Very badly: a metal plate had to be put in his head! (In his future film work, you can see the noticeable scar). This tragedy couldn't have come at a worse time. His role as Ted Randall in the upcoming film was in jeopardy, for he needed extensive time to recuperate. Victor Fleming was put in the unfortunate position of looking for a replacement, until two angels came out of the wings. Both Irene Dunne and Spencer Tracy were impressed with Van and believed he was perfect for the role, and they went to bat for him (all three in the finished film, right). Through much persuasion, they convinced Victor and the studio to postpone until Van was completely healed, promising that his performance would help to make the picture a hit. The big wigs surprisingly listened. It turns out that Van, despite the conflicting evidence, was a lucky man, and the film helped to skyrocket him to Stardom. His accident turned out to be a pain and a pleasure, for due to his injury, he was unable to serve in the military during WWII. As one of the few fellas left at home while other stars went off to battle, his capable leading man potential made him a top box-office star. Thanks to Irene and Spence, he had had his breakthrough and would never look back.

Sometimes, the scuffle for a fellow comrade becomes more than a professional courtesy. It's personal. This is something that Betsy Blair knew all too well. Married to the triple threat actor/dancer/singer Gene Kelly, her own career took a back-seat to his, especially after he found success in Hollywood with his breakout role in For Me and My Gal. Betsy didn't mind. She was fine with playing the role of the supportive spouse and loving mother and putting her own career on hold (see happy family, left). A talented actress and dancer herself, she did make the intermittent film but never achieved the same success or notoriety as her husband. At least, not the same kind of notoriety. During the "red scare," Betsy found herself the focus of the HUAC witch hunts. Though not a communist, her leftist politics, outspoken position on African American rights, and her part in the SAG anti-discrimination committee landed her on the blacklist. Her husband, Gene, who was equally liberally minded if not as outspoken, was safe from the same attack because of his growing box-office appeal. Seeing his wife so mistreated and outcast was difficult, to say the least. Her sadness enraged him, particularly when the role of Clara in Marty-- which he thought she would be perfect for-- was kept out of reach due to the current political tide. Tired of seeing his wife held down, Gene marched into studio head Dore Schary's office and gave him an ultimatum: let Betsy off the hook and give her the role, or Gene would simply stop coming to work! This was a bold move and could have quite easily gotten him into legal trouble for breach of contract, or worse, fired and blacklisted himself. However, Gene Kelly's name on the marquee meant guaranteed money, so Dore took the bait. Betsy landed the role of a lifetime in Marty, which would be the most memorable of her career, and received an Oscar nomination for her heart-wrenching performance. Sadly, this would prove to be one of the last happy moments in the Gene-Betsy marriage, which finally collapsed under the tension two years later. Yet, however the relationship may have ended, Betsy would always speak admiringly of her first husband, his courage, and the bold move that deepened her love and respect for him.