NAKED CITY: A CASE STUDY OF TWO SAVAGES (First broadcast on February 7, 1962)

 

When I was growing up in the Golden Age of TV back in the 1950's-60's, we were primarily a CBS family, with occasional visits to NBC. The ABC network was little more than a mysterious, snowy screen 90% of the time. That's because in those primitive days before cable, reception depended mainly on how close the transmitter was, and also which way the wind was blowing at any given time. As a result, we didn't get a chance to become familiar with most of the ABC lineup. It was only through the advent of home video that I began to catch up on some of the shows I had always heard about, but never saw. 

One of those shows was NAKED CITY, a serious crime drama that ran for four seasons: 1958-59 and 1960-63. It was based on the 1948 Film Noir by the same name. When I finally had the chance to see some of the episodes on DVD, they reminded me of the dramas I loved on CBS during my lost youth, such as ROUTE 66, THE DEFENDERS, and EAST SIDE, WEST SIDE. These programs didn't always offer happy endings but featured well-written topical stories and excellent acting by many big-name stars, as well as many up-and-coming talents. 

NAKED CITY was a 30-minute program during its first season. The stars were James Franciscus, John McIntire (later replaced by Horace McMahon), and Harry Bellaver. The show was cancelled but came back in 1960 as a 60-minute program. Horace McMahon and Harry Bellaver returned, joined by Paul Burke and Nancy Malone. The show was filmed using real New York locations.

One especially hard-hitting episode was A Case Study of Two Savages, first shown on February 7, 1962. It was written by Frank R. Pierson and directed by William Graham. The story was inspired by the infamous Charles Starkweather case. Starkweather, 19, murdered eleven people on a killing spree across Nebraska and Wyoming in 1959. He was accompanied by his girlfriend, Caril Ann Fugate, 14. Starkweather was executed, and Fugate spent seventeen years in prison. Their exploits also inspired the films THE SADIST (1963) and BADLANDS (1973), as well as other dramatic adaptations. This television episode starred Tuesday Weld as Ora Mae Youngham  and Rip Torn as Ansel Boake.

Ansel and Ora Mae hail from Arkansas. As they drive their old, beat-up car into New York City, the show begins with these words from the narrator:

Fifteen thousand years ago, Man came out of the caves. Today, whenever we encounter the violence and savagery of those times, all we can do is marvel at how far the human race has come in only fifteen thousand years. When Ansel Boake was four years old, he killed his first thing, one of his mother's chickens. After Ansel killed his mother's chicken, his father thrashed him. By the time he was sixteen, Ansel had thrashed his father. Ansel Boake had no friends, he never learned to read, he never held a job longer than three months. But he could wander in the woods without a compass and not get lost. He could live off the land, killing food with gun, knife, snare, fishhook, a rock, or his bare hands, equally well. Ansel Boake met Ora Mae Youngham eight days ago. Six days, fourteen hours, and nine minutes ago, they were married. In the last six days, fourteen hours, and nine minutes, Ansel Boake and his wife, Ora Mae, have shot and killed a filling station attendant in Frankfort, Kentucky during the course of a holdup, knifed a hotel manager in Harrisburg, Pennsylvania, and shot and killed a hitchhiker they picked up in Elizabeth, New Jersey.

As Ansel and Ora Mae make their way into Manhattan, Detective Adam Flint (Paul Burke) and Sgt. Frank Arcaro (Harry Bellaver) have parked on a busy street to perform an errand. While Adam goes to take care of the errand, Frank gets out of the car to stretch. When Ansel's car passes by and stops at a stoplight, Frank notices that the license plate is about to fall off. He walks over to the car to let the driver know.

Ansel and Ora Mae take offense at Frank's interference in their "affairs". Frank assures them he's just trying to be helpful, but Ansel gets angrier by the second.

Ansel gets out of his car and begins arguing with Frank and pushing him around. Ora Mae cheers him on. Meanwhile, the stoplight has turned green and the driver behind Ansel starts honking his horn. Ansel yells at the driver, becoming more agitated. He pulls out his gun and goes to the car's passenger side and confronts the driver, shooting him at close range and killing him. As he heads back to his own car, he shoots Frank twice, wounding him seriously. 

As Ansel drives away at high speed, we hear these words from the narrator:

And so, Ansel Boake and his bride came to New York to continue their honeymoon.

Frank is taken to a hospital. He is unable to remember very much about the incident or the people involved. Adam begins the investigation, determined to find out who shot his friend.

Ansel abandons the car and he and his wife set out on foot trying to figure out what to do next. Ora Mae asks Ansel why they just can't go back home. He reminds her of all the things they've done together in the last several days. Ora Mae claims she can't be held responsible as she is under eighteen. She tells Ansel she will swear he forced her into running away with him. While saying this, she's clutching a doll that she brought from home. Ansel tells her she can go back home to her mama anytime she wants to. But Ora Mae relents and takes Ansel's arm. She tells Ansel that she wants a wedding ring, and he promises to get her one.

 As the newlyweds continue walking, a carriage driver begins speaking to them and asks them where they would like to go. Ora Mae asks him to take them to a jewelry store. But she tells Ansel to do the driving. The carriage driver reluctantly agrees. 

When they arrive at a jewelry store, Ora Mae sees a beautiful ring in the window. She and Ansel go in to inquire but find out the ring costs $11,000. Ora Mae is deeply disappointed. Ansel promises her, "You're gonna have that ring, if I have to kill somebody for it."

Ansel begins his plan to get money for the ring. He and his wife go into a bar. While Ora Mae sips her drink, Ansel attacks and kills the bartender and then robs the cash register. Ora Mae looks on with excitement and then rewards her husband with a kiss.

 Adam Flint continues his investigation as the killings pile up. The random nature of the crimes is reminiscent of the case of Bonnie Parker and Clyde Barrow, and also the recent Starkweather killing spree. The police discover Ansel's abandoned car and find a gun inside. They try to trace the owner.

In the meantime, the newlyweds are relaxing in their cheap hotel room. Like any other loving husband, Ansel is cooking breakfast for his wife. When he starts getting romantic, Ora Mae once again brings the discussion back to the wedding ring, asking Ansel how he plans to get it for her. He tells her he can't just steal it, because in his peculiar logic, that would be like the whole marriage is "stolen".

The ownership of the car is traced back to Ora Mae's mother (Audra Lindley) in Arkansas. Detective Flint and Lieutenant Mike Parker (Horace McMahon) call the local sheriff and Mrs. Youngham to get a description of Ansel and Ora Mae. Mrs. Youngham doesn't seem deeply concerned with her daughter taking the car or getting married to a man she hardly knows. She describes Ansel as just another hillbilly. Mrs. Younger asks the police if she can come and get the car, but they tell her the car is junked and not worth the trip. She tells them that's too bad, because she always wanted to see New York.

Ansel decides that the best way to get money for a wedding ring is to rob a bank. The first step in his plan is to get another gun and plenty of ammunition. He goes into a gun shop while Ora Mae waits outside. While starting a friendly chat with the clerk, he asks to purchase some ammunition and also to take a look at one of the handguns locked up behind the counter. As the jovial conversation continues, Ansel is loading the gun. The clerk, laughing and enjoying the conversation, hardly notices what Ansel is doing. Suddenly, Ansel shoots the clerk at close range, killing him on the spot. 

Ansel leaves the gun shop, and he and Ora Mae steal a car from a man parked outside. The next step in Ansel's plan is to get some dynamite. He goes to a construction site, kills the man guarding the shack containing dynamite, and steals ten sticks. The police now have identified Ansel and Ora Mae as the killers thanks to their conversation with Mrs. Youngham and the sheriff in Arkansas. With all of the latest killings and thefts, Detective Flint believes the ultimate goal is a bank robbery in the same general area of the other crimes. Police patrols are dispatched to keep watch over the banks.

Ansel has chosen the bank he wants to rob. As he and Ora Mae are sitting in their stolen car preparing for the robbery, Ansel is humming a tune as he gets his gun loaded and ready. Sitting next to him with her gun, Ora Mae smiles and says to her husband, "Did I ever tell you I was having a good old honeymoon?" Getting a little more serious, she tells Ansel that she would just like to keep moving around for the rest of their lives, not owning anything, not having a home or children. Just thinking only about themselves. She makes Ansel promise her that things will always be that way. Then they get ready to enter the bank.

Ansel walks in with his gun and dynamite concealed in a sack. He goes to one of the tellers. Ora Mae comes in and sits down next to an older woman. Her gun is hidden in her purse. Ansel greets the teller and, pointing to Ora Mae, informs him that she has a gun aimed at the other woman. The teller is ordered to put all of his cash into the sack and not say or do anything else.

The teller starts to put cash into Ansel's bag, but another teller sees what's happening and manages to discreetly catch the eye of the security guard. Ansel senses something is wrong and orders the teller to hurry up. Ansel begins to light the dynamite with the cigarette he has in his mouth. The dynamite is meant to cause a distraction so he and Ora Mae can escape. The situation escalates quickly as the security guard is alerted. Ora Mae stands up with her gun and tells the other woman, "Listen, lady! Get up, or I'll give it to you good!"

After the dynamite has been lit, the security guard fires at Ansel. Ansel fires back and kills the guard.

Suddenly, police officers are rushing into the bank. Ansel and Ora Mae both fire their guns wildly. The bank teller and some of the policemen are shot. But Ansel is finally shot multiple times and killed. Ora Mae rushes to him.

As Detective Adam Flint and Lieutenant Mike Parker try to pull Ora Mae away and take her into custody, she clings to Ansel saying, "He was my husband, the sweetest, kindest man I ever knew!" When they finally get her away from Ansel's body, Parker and Flint ask her why her husband shot Detective Frank Arcaro. At first Ora Mae is confused and doesn't know who they're talking about. When Flint refreshes her memory, she says in a very puzzling tone, "I don't know. Just for the hell of it, I guess. You know". Not knowing how to respond, Flint and Parker just look at her and at each other.

We hear the narrator once again:

Fifteen thousand years ago, Man came out of the caves. Today, when we encounter the violence and savagery that belonged to those times, all we can do is marvel at how far the human race has come in only fifteen thousand years.

There are eight million stories in the naked city. This has been one of them.

This powerful episode was very timely, considering the Starkweather-Fugate nightmare had occurred only three years before. Sadly, this story has even more meaning in our present time with all the seemingly random shootings and killings in schools, shopping malls, and other public spaces. How many of the individuals responsible for these crimes fit the description of Ansel Boake given by the narrator at the beginning of this show? How many have a history of family violence, isolation, poor social skills, lack of empathy, and limited education? As for Ora Mae, she was certainly underage and may not have been considered legally responsible for some of her actions. But she was hardly innocent. She constantly cheered Ansel on in his acts of violence and participated in some of them. Her only desire was to have a wedding ring, and she didn't care what her husband did to get it for her. And yet, we have to wonder about the family history of a teenaged girl who describes someone like Ansel as the sweetest, kindest man she ever knew. That statement tells us quite a bit about Ora Mae.

These two very complicated characters are perfectly brought to life by Tuesday Weld and Rip Torn. One might argue that Weld looked a little too glamorous for such a character, but that takes nothing away from her sensitive, multi-layered performance. Weld, only eighteen years old at the time, was a popular, sensational young actress who had won a Golden Globe in 1960 for Most Promising Newcomer. She had already proven her talent for comedy by her regular role in the television sitcom THE DOBIE GILLIS SHOW, but some of her film roles were less than stellar projects. (SEX KITTENS GO TO COLLEGE (1960) anyone?) However, she showed dramatic depth in BECAUSE THEY'RE YOUNG (1960) and several strong television roles like the one in NAKED CITY. Weld continued to have a long career, with standout roles in films like PRETTY POISON (1968), I WALK THE LINE (1970), and ONCE UPON A TIME IN AMERICA (1984). Weld was nominated for an Oscar for her excellent supporting performance in LOOKING FOR MR. GOODBAR (1977). She has been inactive since the early 2000's.

Rip Torn made his film debut in the controversial BABY DOLL (1956). He worked successfully in films, television, and on the stage. A member of The Actor's Studio, he appeared in the original Broadway production of SWEET BIRD OF YOUTH. He reprised his role for the 1962 film version and married its leading lady, Geraldine Page. Before his death in 2019, Torn was one of Hollywood's most prolific character actors. He won an Oscar nomination for his supporting role in CROSS CREEK (1983). He was nominated six times for an Emmy Award for his work on THE LARRY SANDERS SHOW, winning in 1996. And he appeared in the first two films in the popular MEN IN BLACK series.

This NAKED CITY episode, and, in fact, the entire series, can be found on Youtube: 

My blog post is part of The 9th Annual Favourite TV Show Episode Blogathon, hosted by A Shroud of Thoughts. You can find his blog here: A Shroud of Thoughts: The 9th Annual Favourite TV Show Episode Blogathon is Here (mercurie.blogspot.com)

LAST NIGHT IN SOHO (2021)

 

I picked up a DVD copy of this film from my local Barnes & Noble not long ago after hearing some intriguing things about it. There is so much to like about this film, especially the incredible art direction and cinematography. It has a unique, imaginative story and a likable lead character. This character, Ellie, is played by Thomasin McKenzie, a talented young actress who was so wonderful a few years ago in LEAVE NO TRACE. Ellie is a young woman from Cornwall who goes to London to study fashion design. She is obsessed with the culture of the 1960's, especially the music. Ellie arrives in London hoping it will be like the so-called Swinging 60's era but is soon disappointed when the reality turns out to be quite different. Ellie is also caught up in memories of her mother, who went to London to study fashion design as well but ended up disillusioned and taking her own life. At times, Ellie sees visions of her mother. This psychic gift soon leads her into a mystery involving another young woman, Sandy, whose life during the 60's parallels her mother's life. 

Thomasin McKenzie having a REALLY bad night in Soho!

I wasn't sure where this movie was going, but I loved the beginning, as Ellie finds herself to be the ultimate fish out of water in contemporary London. And as one who was a teenager in the 60's, I loved her fixation with the music from that era. The unfolding of the mystery concerning Sandy (Anya Taylor-Joy), is well-constructed and involving. But eventually, blood begins to spurt out from all sides of the screen, and away we go. By the time we reach the harrowing climax, we find ourselves viewing a completely different movie, which could be retitled: THE SOHO ZOMBIE APOCALYPSE. (Spoiler alert.) The director, Edgar Wright, found it necessary to bombard our senses with his special effects tricks in order to show us as much ugliness and physical cruelty as his budget would allow. Sorry for the cynical reaction. I don't handle violence well, especially when it isn't necessary for the telling of a story. What could have been a fascinating psychological mystery played out with brilliant imagery and characterizations degenerated into just another slasher flick. I'm not familiar with any of this director's other work, so I don't know if gushing geysers of blood are normal features of his style. Whatever the case, this is not a film I would enjoy seeing again, in spite of its many positive attributes.

All of the actors give good performances. Miss Taylor-Joy, so good in THE WITCH (2015), is quite effective here as well. Matt Smith is appropriately hateful as the villain. And Michael Ajao is gentle and moving as Ellie's best friend. One of the most interesting things about the film is the appearance of three iconic faces from the British cinema of the 1960's: Rita Tushingham, Terence Stamp, and Diana Rigg. Tushingham's role is rather small, but Stamp and Rigg are very important to the story. Edgar Wright has directed several other popular films, including SHAUN OF THE DEAD (2004), ANT MAN (2015), and BABY DRIVER (2017).

BACHELOR FLAT (1962)

 

In 1971, Tuesday Weld appeared on The Dick Cavett Show to plug her newest film, A SAFE PLACE, directed by Henry Jaglom. Cavett, in his usual way of letting loose with disarming questions and remarks, posed this to Miss Weld:

"By the way, can I get one thing out of the way with you? You're a superb actress, and over the years no one has ever been sure of that, because you've been in a bunch of bad movies."

Now, how's that for a conversation starter? One should always begin an evening with an actress by mentioning her bad movies.

Which brings us around to BACHELOR FLAT. This fluffy little romantic comedy was directed by Frank Tashlin. It was a reworking of his 1954 movie SUSAN SLEPT HERE, which starred Dick Powell and Debbie Reynolds. I've never seen the original, so I can't comment on it. But BACHELOR FLAT, like many so-called romantic comedies from the 1960's that I've been watching lately, contains very little romance and practically no "comedy" likely to induce actual laughter from anyone having to sit through it. It does have plenty of exaggerated characterizations, lots of physical gags, and a sort of leering sex-tease element going on. What I mean by leering sex-tease is the suggestive atmosphere that sex is a definite possibility, that several members of the cast are obsessed with it, and the viewers  are being programmed to expect it to happen at any second. However, this was 1962 and pre-Sexual Revolution, so at no time during the course of the film does any actual sex occur. So then, to recap: Very little romance, no comedy worth mentioning, and no sex. This begs the question: Why make such a film in the first place? For the answer, one would have to go to Hollywood and break into the archives at 20th Century-Fox. Good luck with that project. Quite possibly, the studio was trying to promote their young contract players Tuesday Weld and Richard Beymer. Miss Weld was still a real live teenager and one of the emerging sex kittens of the period, both onscreen and off. Beymer had starred in WEST SIDE STORY, the Best Picture of 1961. Both were considered hot properties in need of exposure and exploitation. What could be better than a leering sex-tease rom-com? 

Richard Beymer and Tuesday Weld

BACHELOR FLAT was also a vehicle for English comedian Terry-Thomas, who was starring in his first American film. He plays an anthropology professor named Bruce Patterson. His British charm and style somehow make him irresistible to every woman and girl on the campus. As we see during the first moments of the film, the female population has been driven mad with collective lust over the beleaguered professor. However, he is engaged to marry Helen Bushmill (Celeste Holm). While she is away traveling, Patterson is staying at her beach house. Also staying on the property, but in a small trailer, is law student Mike Polaski (Beymer), who is a good friend to the professor. Helen has neglected to tell Patterson that she has a seventeen-year-old daughter, Libby (Weld). Libby, in turn, knows nothing about Patterson. When she shows up unexpectedly at her mother's home, Libby, confused about the situation, assumes another name, Libby Smith, and identifies herself as a runaway juvenile delinquent. Patterson tries to navigate the situation while fending off the amorous attentions of several lovestruck women. Meanwhile, young Mike and Libby find themselves attracted to each other. As if the human interaction isn't enough to keep audiences at the edge of their seats, salivating with anticipation, Mike has a terminally cute dachshund who gets more screen time than Lassie ever got on television. 

And so, hilarity ensues. OK, not really. None of the goings-on are very funny. Apparently, Terry-Thomas was considered to be a major comic in his prime. As I see it, his only comedic gift was his rather unconventional face, accentuated by the wide gap in his front teeth. In this movie, he was required to be in a state of nervous agitation at all times. Combined with all of the slapstick he had to perform, the role must have been exhausting. The movie insinuates that Patterson is being helplessly drawn to the nubile Libby, but nothing ever happens between them. This is where the aforementioned leering sex-tease element comes into play. To be fair, this particular storyline remains no more than mildly suggestive. Libby's attractiveness is certainly being put on display for the male viewers, but she doesn't assume the role of femme fatale or resident Lolita, in spite of a sexy dance sequence. By the movie's end, all the confusions of identities are resolved, mother and daughter are happily reunited, Patterson and Helen are planning their wedding, and Libby and Mike have discovered the wonders of making out on the beach. And even the dachshund is reasonably content, despite the lack of any immediate romantic possibilities.

A happy ending in the rain. From left: Celeste Holm, Terry-Thomas, Tuesday Weld, Richard Beymer.

My main reason for seeking out this movie is, of course, Tuesday Weld, who is one of my favorite actresses. Dick Cavett had a point about some of the bad movies this gifted young lady found herself in. But even in something as silly as BACHELOR FLAT, Weld manages to transcend the material. In Libby's quieter moments, Weld displays her trademark qualities of wistfulness and vulnerability, qualities that grab the viewers' hearts. Richard Beymer's easy, understated masculine strength makes him a good match for Weld. The pleasure of seeing these two interact almost takes one's mind off the embarrassment of Terry-Thomas. As for Celeste Holm, I have no idea how she got herself involved in something like this. Apparently, her ALL ABOUT EVE money had finally run out. 

By the way, the dachshund has a first name: Jessica. And she gets star billing in the credits. After the reviews for this movie came out, she retired into obscurity. 

HONEYMOON WITH A STRANGER (1969)

 

In celebration of Barbara Steele's recent birthday (She was born in Ireland on December 29, 1938. Some sources say 1937. Discretion is advised.), I would like to showcase this ABC Movie of the Week that debuted on American television in December of 1969. It was filmed in Spain and directed by Joseph Peyser. Steele has a strong supporting role among an international cast of actors: Janet Leigh, Rossano Brazzi, Joseph Lenzi, Cesare Danova, and Eric Braeden.

The plot is based on the French play Piege pour un homme seul (Trap For a Lonely Man) by Robert Thomas. An American woman, Sandra Latham (Janet Leigh), is honeymooning in Spain with her new husband, Ernesto DiCardi (Joseph Lenzi). After their first glorious, passionate night together, Sandra awakens in the morning to find her husband gone. When several days pass without his return, she goes to the local police station to report him as missing. She enlists the help of Captain Sevilla (Rossano Brazzi). But then, Ernesto suddenly returns. However, it's not the same man she married. She swears to Captain Sevilla that this second man (Cesare Danova) is an imposter. But Ernesto DiCardi's best friend and lawyer, Frederico Caprio (Eric Braeden) and Ernesto's sister, Carla (Barbara Steele), show up and identify the second Ernesto as the real one. Sandra is near hysteria, swearing to Captain Sevilla that the family has organized some sort of heinous plot against her. And so, the plot indeed thickens! Things are not what they seem to be, and nearly everyone is guarding a mysterious secret.

Janet Leigh and Cesare Danova

This movie is a fun watch, even if the story seems somewhat familiar. The location shooting in Spain adds sort of an exotic atmosphere, although the landscape tends to be quite dry and desolate. Still, this was a nice diversion for American television, especially with the international cast. Top-billed Janet Leigh had been a major movie star for quite a long time by 1969, although her career was beginning to slow down a little. To keep working, she turned to television. She's quite good in this film. As the story moves along and we learn more about Sandra, one is tempted to think that Marian Crane from PSYCHO (1960) had managed to escape that little shower incident and morphed into a hardened, determined female mastermind. The Italian gentlemen are as suave as one would expect, and the handsome German actor Eric Braeden is forceful and masculine, threatening to steal every scene he's in.

Eric Braeden and Barbara Steele

Of course, for a Barbara Steele freak like myself, this lovely actress is the whole show. Her American fans were surprised and delighted to see her in this movie. She had done very little work in this country. In 1960, while briefly under contract to 20th Century-Fox in Hollywood, she appeared in one episode of the TV series Adventures In Paradise. In 1961, she appeared in THE PIT AND THE PENDULUM for American-International Pictures as well as an episode of Alfred Hitchcock Presents about the same time. Most of her films were made in Europe; Italy, France, Germany, etc. Only a few of her stylish Gothic horror films, and Fellini's art house classic 8 1/2 were seen in the US. She remained largely an enigmatic figure for most of us. HONEYMOON WITH A STRANGER gave us the chance to see her in a contemporary setting, working with distinguished co-stars. Her dark beauty adds a dramatic and mysterious flair to the film.

Steele made this film at a time of great change in her life and career. After many years of living in Rome, she returned to the United States sometime in 1968 or 1969 with her new-found love, screenwriter James Poe. He was preparing a script for a film entitled THEY SHOOT HORSES, DON'T THEY?, and was writing one of the parts for Barbara. He was also planning to direct the film. When they came to Hollywood and signed with a production company, James Poe must not have bothered to read the fine print in the contract. The producers gave themselves the right to make any changes they desired. The first thing they did was bring in another writer to work on Poe's script, taking it out of his hands. They didn't want Poe to direct, so they hired Sidney Pollack. Barbara was replaced by another English actress, Susannah York. It was a devastating experience for James and Barbara. Her career slowed down considerably, as did Poe's. After working in HONEYMOON WITH A STRANGER, Barbara returned to Italy for a very strange movie called FERMATE IL MONDO...VOGLIO SCENDERE aka STOP THE WORLD...I WANT TO GET OFF (1970). After that, she and Poe were married, settled in Hollywood, and she didn't make another feature film until her comeback in Jonathan Demme's cult favorite CAGED HEAT (1974). 

Steele's devoted fans can only wonder what she may have been able to accomplish during this period when she was at the peak of her beauty and dramatic power. But at least we have this enjoyable movie to watch her in, holding her own among equally talented actors. This is another one of those made-for-TV-flicks that isn't yet available on any kind of commercial release. It can be found on Youtube, and also on DVD-R from a few online sellers. The imagery is not terribly good, unfortunately. Let's hope it eventually gets a little bit of much deserved love and remastering.

THE SILVER CORD (1933)

 

THE SILVER CORD is one of my favorite films from the 1930's pre-code era. I first saw it quite a few years ago when I still had Turner Classic Movies. It's not available on any commercial DVD or Blu-ray release in the US, but it can be found from online sellers that make bootleg copies from television or VHS tapes. My copy is quite watchable. The film is based on Sydney Howard's 1926 play of the same name. John Cromwell, who directed the play, was brought in by RKO to direct the film also. Distinguished actress Laura Hope Crews repeated her stage role as Mrs. Phelps, the overly possessive mother who tries to manipulate her two adult sons. The play was considered controversial for its critical attitude toward motherly love.

The story opens in Heidelburg, Germany. Biologist Christina Phelps (Irene Dunne) is working on an experiment in her laboratory. Her husband of a few months, Dave (Joel McCrea), comes into the lab to tell his wife about a good job offer he's received from an architectural firm in New York. Christina is pleased and tells Dave that she can continue her work in New York as well. They make plans to return to America.

One big unhappy family. Eric Linden, Francis Dee, Laura Hope Crews, Irene Dunne, Joel McCrea

Upon arrival at Dave's childhood home, Christina is introduced to her new brother-in-law, Robert (Eric Linden), and his fiancé, Hester (Frances Dee). The two couples are enjoying getting acquainted. 

And then Mother shows up.

If one word was needed to describe Mrs. Phelps, it would be "fluttery". The lady appears to have emerged right out of the nineteenth century. Upon entering the house, having seen the car Dave and his wife drove up in, Mrs. Phelps flutters around with breathless enthusiasm, calling her son's name. "Dave! Dave Boy! Where are you? It's Mother!!" After finally latching on to Dave Boy, remarking about how bad he looks, Mrs. Phelps is introduced to Christina. Mrs. Phelps is friendly to her new daughter-in-law, describing her to Dave as "splendid". But when the two women sit down for tea and conversation, Mrs. Phelps expresses regret that Christina and Dave plan to live and work in New York City. Mrs. Phelps, who owns several acres near her rural home, had dreamed of Dave's taking charge of developing the property while living in his mother's home, "with a complete love to sustain him", meaning a mother's love, of course. She accuses Christina of trying to take her son away from her. 

Having successfully interjected herself into Dave's marriage, Mrs. Phelps then goes to work on her younger son's engagement. Conferring with Rob alone, she manages to convince him that he doesn't really love Hester and Hester doesn't love him. Soon after, Rob breaks his engagement to Hester and the young woman becomes hysterical. Christina comforts her. These pleasant family interactions take place on the first night of Christina and Dave's visit. On the second day, Christina confronts her mother-in-law in an attempt to save her marriage.

Mother managing her sons. 

I don't want to give away too many plot details, because there are some important surprises as well as some splendid dialogue and characterizations. I don't know how closely the film follows the play, but the film makes Christina the central character of the story. She is the voice of the modern woman, one who is educated and career minded, but still wanting a happy marriage and family life. As played by top-billed Irene Dunne, one of the most popular stars of the sound era, she emerges as the sensible heroine who saves her husband from a cloying, dominating mother. To me, however, the marvelous Laura Hope Crews makes Mrs. Phelps the most fascinating character in the story. She makes this determined woman into a genteel monster, a woman who covers the knife with sugar as she happily plunges it into a person's chest. Crews laces her deviousness with a sly, sophisticated humor. A less gifted actress might have broadened the humor and turned the story into a drawing room comedy. Crews applies just the right touch. Mrs. Phelps seems unable to realize just how pathetic she is for wanting to keep her grown sons clutched to her bosom. She manipulates every situation to make herself look like the victim. After causing the breakup of Hester and Rob's engagement, the distraught Hester tries to call a taxi to take her to a hotel. Mrs. Phelps, concerned about appearances, rips the telephone cord right out of the wall. She says to Hester, with great indignation, "You are the only person who has ever caused me to do an undignified thing! I shall not forget." 

Laura Hope Crews and Eric Linden share an uncomfortable moment.

The film is mostly confined to the house, although there is some dramatic action that takes the camera outside. I don't find this film slow or static in any way. The dialogue comes along fast and furious and all of the performances are well done. In spite of the depressing nature of this domestic situation, there was a happy real-life outcome. Joel McCrea and Francis Dee fell in love during the filming and were married soon after. Their marriage lasted fifty-seven years, until McCrea's death.