June Bride (1948)

Hours before embarking on an assignment, magazine editor Linda Gilman (Bette Davis) has been thrust with a new reporter who happens to be her old lover, foreign correspondent Carey Jackson (Robert Montgomery). The two bickering sweethearts are heading to Indiana with a staff of workers to cover the wedding of two young lovebirds for the June issue of "Home Life".

From the onset, Linda finds herself beset with problems: the McKinley-era house needs updating to bring it into Truman-era style, the February snow outside the windows needs to be disguised to look like June sunshine but, worst of all, the bride needs to be found after she runs off with an old beau named Jim! 

This last problem Linda blames on Carey whom she believes lured Jim back with the intent to break up the wedding. Why? Because she thinks Carey sneers at old-fashioned happily-ever-after wedding stories and would rather have a fresh "angle" to an article then pen a simple straightforward love piece. 

Over the course of one busy week, Linda finds she may have misjudged Carey. 

If June Bride plays out like a filmed adaptation of a popular Broadway comedy, it is because it was a play, but one that went unproduced - "Feature for June" by Graeme Lorimer, Sarah Lorimer and Elaine Tighe. Screenwriter Ranald MacDougall adapted it but something was lost in the translation. The script is witty enough (it earned the Writers Guild of America award for Best Written American Comedy) and the players all handle their parts capably but, overall, the picture lacks punch...zip...verve...snap. In short, it falls flat. Whether this is director Bretaigne Windust's fault is difficult to determine but June Bride certainly could have been enhanced in the hands of a better director. Preston Sturges would have done wonders with this material and cast! 

Nevertheless, on its release it was a critical and box-office success and Bette Davis' contract with Warner Brothers was renewed for four more pictures (Bette only made one more film with the studio before walking out on her contract).

Bette Davis looked chic and youthful in the film and was bedecked in outfits designed by Edith Head. In spite of playing a successful single working woman, her character would be pooh-poohed by modern feminists because ultimately she chooses to "carry the bags" and walk two steps behind her man. 

Supporting roles went to Tom Tully (a fine actor in every film he made), Fay Bainter, Jerome Cowan and Mary Wickes. The younger roles were well-played by Betty Lynn (The Andy Griffith Show), Barbara Bates and Raymond Roe (The Major and the Minor).

Victorian Thrillers of the 1930s & 1940s

Victorian London, steeped in a dark and romantic aura, has always been the ideal setting for murders and mysteries in films of the 1930s and 40s. Lurking beneath the white facade of stately manors inhabited by fashionable ladies and gentlemen with high morals and social sensibilities lay seedy districts reeking with crime and misery....districts where foul deeds were not uncommon. Opium-addicts, prostitutes, music hall wenches, and rum-guzzling sailors were wildly cavorting with Destiny on a nightly basis.

It was this contrast between wealthy society and dredging poverty that gave birth to so many tantalizing stories of horror in the "Penny Dreadful”'s of the day; stories with characters like Sweeny Todd the Demon Barber of Fleet Street and Jack Sheppard. All of them were loosely based on news accounts these authors were reading about on a daily basis of the serial killer Jack-the-Ripper.

In these gentle times even whispers of innuendo were received by ladies with a good dose of smelling salts, nevertheless, these tales of true-life terror were repeated throughout the city and developed into short stories of legendary fame. They featured crimes that super-sleuths like Sherlock Holmes could solve on a weekly basis or settings that gentlemen thieves such as Raffles could prowl around in. Once motion pictures gained popularity, these stories were brought to life in visual splendor. One of the earliest films to depict this atmospheric era to perfection was Dr. Jekyll and Mr. Hyde (1931) starring Frederic March, Mariam Hopkins, and Rose Hobart. Director Rouben Mamoulian's pre-code horror classic transported audiences to a dark and dangerous London of the late 1800s, where they were able to witness first-hand the transformation of the reserved Dr. Jekyll into the hideous Mr. Hyde. 

Here are a few more well-known Victorian London thrillers brought to the silver screen :

The Mystery of Mr. X (1935) - This decisively Jack-the-Ripperish story features Robert Montgomery as our light-fingered gentleman hero who is being implicated as the killer of nine grisly London murders done by a murderer who always strikes in a different neighborhood and leaves his mark next to his victims…the signature of Mr. X! Peter Lawford starred in a remake of this tale in MGM’s The Hour of 13 (1952). 

The Adventures of Sherlock Holmes (1939) - A grisly midnight murder in a secluded city park, mysterious South American funeral dirges, suspiciously heavy footprints, missing crown jewels from the Tower of London and a puzzling drawing of an albatross add up to making this one of Sherlock Holmes’ most intriguing cases. Ida Lupino and Alan Marshall star with Basil Rathbone and Nigel Bruce in this second Sherlock Holmes feature from the 20th Century Fox studios. A visual Victorian feast for the eyes it be.

Dr. Jekyll and Mr. Hyde (1941) - MGM pulled out all the stops in this ultra-glossy gas-lit masterpiece based on Robert Louis Stevenson's classic tale of a man's double nature - the law-abiding Dr. Jekyll and the positively hairy sexual sadist Mr. Hyde, the creature within himself that he created whilst experimenting to scientifically suppress the evil nature residing within mankind. The all-star cast includes Spencer Tracy in the title role, Ingrid Bergman as buxom barmaid Ivy, Lana Turner, Donald Crisp, and Ian Hunter. Directed by Victor Fleming. 

The Lodger (1943) - Laird Crager, a great burly hulk of an actor, portrayed the very essence of a creepy social recluse in The Lodger where, as Slade - a quiet pathology student residing at the home of the Burtons (Sir Cedric Hardwicke and Sara Allgood) - he is suspected of being none other than Jack the Ripper. Gasp! The gorgeous moody photography of John Brahm transports us into the cobblestoned mire of Whitechapel through its heavy fog-encased settings, period detail, and its disturbing visual vignettes. George Sanders and Merle Oberon also star.

Gaslight (1944) – Charles Boyer, Ingrid Bergman and Joseph Cotton star in this intrepid MGM remake of the 1940 British classic Gaslight featuring Anton Walbrook and Diana Wynyard. Twenty years after a wealthy woman was murdered in her home in Thorton Square her niece moves into the London dwelling with her husband, a suave and sinister gentleman who plots to drive his wife mad because he has a dark secret to hide. MGM attempted to destroy all available prints of the English version of this psychological thriller but fortunately a few remained and today we can enjoy both editions on DVD. 

The Picture of Dorian Gray (1944) - Oscar Wilde's fantasy about the inner state of the soul of one Dorian Gray was given A-class treatment in director Albert Lewin's pet project The Picture of Dorian Gray, released through MGM. Silky smooth 26-year-old Hurd Hatfield played the title character (a role which made him very unpopular in Hollywood) along with an impressive cast including George Sanders, Donna Reed, Angela Lansbury, Peter Lawford and Sherlock Holmes veteran actor Miles Mander. Incidentally, Basil Rathbone wanted the role of Lord Henry but was overlooked because he was already being too closely identified with the legendary detective of Baker Street. Stunning cinematography, a strong narrative, and eye-popping Technicolor sequences make this a most memorable film.

Hangover Square (1945) - Laird Cregar returned to the screen as another downright suspicious madman, this time as a pianist who had to struggle with mental turmoil - and the compulsion to wreak destruction - whenever he hears the ping! of a certain note.John Brahm’s filming is atmospheric and eerie in its dreamlike sequences and the film has a great cast including George Sanders and Linda Darnell.

Yellow Jack ( 1938 )

For hundreds of years people on the island of Cuba - and throughout other parts south of the equator - were dying of yellow fever, a disease that many doctors believed was unpreventable and, if not caught in time, incurable. What baffled these men of medicine the most was the fact that they were unable to determine what triggered yellow fever. Was it caused by germs in the air? Bad food? Sweat from dirty clothing? Was the disease something that spread from person to person? 

According to MGM's Yellow Jack, all these questions were answered in 1898 when, at a United States Marine camp in Cuba, three doctors ( Lewis Stone, Henry Hull, Stanley Ridges ), along with the aid of five brave guinea pigs....ahem, volunteer soldiers....tested out the theory of Dr. Finlay, a Scotsman who believed that yellow fever came from the bite of an infected mosquito. Other scientists felt this was the likely cause, too, but with over 700 species of mosquitoes on the island, they didn't even know where to begin their investigations as to which species was the culprit. Thankfully, Dr. Finlay ( Charles Coburn ) made the study of those bugs his life's work and had solved that mystery years prior. Now, with five plucky soldiers on hand ( Robert Montgomery, Alan Curtis, Sam Levene, Buddy Ebsen, and William Henry ) he was given the opportunity to put his theories into action. 

Yellow Jack was based upon the 1934 Sidney Howard-Paul de Kruif play of the same name, which starred James Stewart in the lead role as the Irish sergeant John O'Hara. It was his performance in this play that led to him coming out to Hollywood and signing an MGM contract. He could have done an excellent job with this part, but Robert Montgomery was given the lead instead and unknowing film audiences didn't mind the change for Yellow Jack did fairly well at the box-office. Robert Montgomery and Henry Hull ( certainly an underrated actor ) both give good performances and George B. Seitz directs the action with a steady hand. Both Seitz and Louis Stone were probably enjoying this trek in the jungle as a change of pace from the Andy Hardy films. 

Pretty Virginia Bruce, the only female lead in the film, portrays the nurse whom Robert Montgomery's heart thumps for. He's not as concerned about finding a cure for yellow fever, as much as finding a cure for the love-bug. He fails to realize that the interest she pays to him is merely out of her itching desire to find a soldier willing to stake his life for the cause of science and humankind. But ultimately, she falls for the winsome ways of the sergeant and comes to admire his selflessness as much as the audience does. 

For a decade after the release of The Story of Louis Pasteur in 1935, "medical discovery" pictures were a popular genre. These films usually featured stellar casts, engrossing scripts, and a touch of romance. Yellow Jack embraces all these aspects, too, with an added bit o' Irish humor. It is well worth watching on a hot and sticky day....just be sure to have your mosquito netting handy.