Want to know what great acting is? It’s when two actors who loathe each other in real life have to perform a convincing love scene on film. And watching I Married a Witch (1942) starring Veronica Lake and Fredric March, you’d never guess that this romantic duo feuded constantly during the making of the film. On the surface, I Married a Witch is a tale of the supernatural, played for laughs, and uses its premise to poke fun at American politics, the institution of marriage, and New England’s puritan ancestors.
Robert Young plays an embezzler and a womanizer whose luck runs out in THEY WON’T BELIEVE ME (1947), an underrated film noir.
When most baby boomers think of actor Robert Young, they probably recall his popular TV medical series Marcus Welby, M.D. (1969-1976) where he was the epitome of the kind, compassionate doctor or they remember Jim Anderson, the perfect dad in the all-American family sitcom Father Knows Best (1954-1960). He was also typecast as “Mr. Nice Guy” in most of his Hollywood films, playing cheerful romantic leads or the leading man’s best friend or some other debonair, noble or well-intentioned character who rarely made a strong impression compared to more assertive male leads like Clark Gable, Gary Cooper or Spencer Tracy. But there were several occasions when Young discarded his good guy image by playing shadowy characters, outright villains, or damaged human beings. Among these atypical casting choices, Young is most memorable in Alfred Hitchcock’s Secret Agent (1936) as an undercover spy, a budding fascist in The Mortal Storm (1940), a shellshocked and physically maimed war veteran in The Enchanted Cottage (1945), a complete cad and accused murderer in the underrated film noir They Won’t Believe Me (1947), directed by Irving Pichel, and an architect who is suspected of being a dangerous criminal in The Second Woman (1950).
Robert Young as the star of the popular TV series, MARCUS WELBY, M.D. (1969-1976).
Men behaving badly could easily qualify as a cinema subgenre with such classic examples as Kirk Douglas in Champion (1949) and Robert De Niro in Raging Bull (1980) leading the pack but the athletic anti-hero of La Noche Avanza (English title: Night Falls or The Night Draws On, 1952) might even surpass them in terms of sheer toxic masculinity. Marcos (Pedro Armendariz) is Mexico’s most famous undefeated jai alai champion, a public hero and a sexually magnetic lure for women. He is also the epitome of an arrogant macho muchacho Latin male who considers everyone else inferior with boasts like “I’m one of the victorious, the strong…The weak don’t count.”
When fans of classic films from Hollywood’s golden era exclaim “They don’t make ‘em like they used to,” they are usually referring to the kind of lavish, big-budget, audience-pleasing entertainments that were the specialty of Cecil B. DeMille during the silent and sound eras. Often derided by some critics as being corny and bombastic with an exploitable mix of sex, violence and quasi-religious elements, his most popular films were always in sync with what audiences wanted from a movie during his 45-year reign as a major Hollywood director/producer. Three of DeMille’s biblical epics, The Ten Commandments (1923), The King of Kings (1927), and Samson and Delilah (1949), along with Reap the Wild Wind (1942) are still considered some of the biggest box office hits in the history of Hollywood. The latter film, in particular, is an excellent example of his larger-than-life approach to storytelling mixing rival sea captains, a hurricane, and a giant red squid into a torrid romantic saga based on Thelma Strabel’s best selling novel.
Cinema Sojourns 