In This Our Life (1942)

Released in 1942 by Warner Bros. and directed by John Huston, In This Our Life is a drama adapted from the novel of the same title written by Ellen Glasgow. The film stars Bette Davis and Olivia de Havilland as sisters - Stanley and Roy respectively - two very different women born to the wealthy Timberlake family of Richmond, Virginia.

We learn at the onset that the sisters' father, Asa (Frank Craven) has just lost his portion of a successful tobacco company to his wife, Lavinia's (Billie Burke) brother, William (Charles Coburn).

Roy is married to Dr. Peter Kingsmill (Dennis Morgan) and runs a successful operation as an interior decorator, while Stanley is just days away from marrying her fiance, Craig (played by George Brent).

The evening before her wedding Stanley runs off with Peter and it becomes apparent to everyone that they've been having an affair for some time now. Roy is devastated, but her hurt quickly turns to anger and she vows to move on with her life. She divorces Peter and he and Stanley marry and move to Baltimore soon after.

Stanley's betrayal forms a sort of bond between Roy and Craig and the two become friends then, over time, their friendship turns into romantic love.

Of course, while things are starting to look up for Roy, Stanley's situation has grown progressively worse. Her wild nature and Peter's hard drinking have resulted in an unhappy marriage and soon word reaches the Timberlake clan that Peter has killed himself, which means Stanley is moving back to Richmond...



Bette Davis initially pursued the role of Roy, but was forced to take the role of Stanley instead. She felt she was too old for the role and was dissatisfied with the script and the film, which she thought was a watered-down version of a powerful and moving novel that shed light on racial injustice.

I haven't read the novel, so perhaps my opinion of the movie would be different if I had, but I enjoyed the film and found it to be an entertaining diversion. Bette Davis is always interesting, even if I do think she was miscast - I had no problem with her age, but I didn't find her entirely believable as a femme fatale.

Olivia de Havilland is lovely, as usual. She had the "woman of quiet dignity" part down pat, didn't she? The role of the "good sister" suits her well in the film and she looks absolutely gorgeous.

Charles Coburn is sufficiently creepy as the sisters' uncle who has an unnatural interest in niece Stanley. George Brent and Dennis Morgan are nice additions to the film, though there isn't a lot of dialogue for either of them, which I found disappointing. It was interesting to see Morgan in an unflattering role as a cheating husband.

The film also features Hattie McDaniel as Minerva Clay, Parry's mother and the Timberlakes' maid. Unfortunately, it's a very small role for her. (I was also disappointed with Billie Burke's very boring role as the sickly mother.)

In an effort to avoid spoiler alerts, I won't go into specifics, but I will say that I really enjoyed Ernest Anderson's portrayal of Parry Clay, a young African American man who aspires to become a lawyer. It was so refreshing to see a film from this time period portray a person of color in a positive and realistic light. Anderson won the 1942 National Board of Review award for Best Actor for his performance.

Overall I enjoyed In This Our Life and found it to be a solid drama with a fine cast. An extra ten minutes might have helped to flesh out the characters a bit and I think the film would have been more powerful if we had been given more time to truly understand and care about the characters and what happens to them.

First a Girl (1935)

Once you get past the improbability that anyone could fail to notice Jessie Matthews's obvious...female charms,
First a Girl is an enjoyable and entertaining British musical comedy.

Matthews stars as Elizabeth, a big city delivery girl who dreams of being a stage actress. One day while out on a delivery she meets Victor (Sonnie Hale), a female impersonator who longs to be a serious Shakespearean actor. Elizabeth soon finds herself out of a job, then Victor comes down with a bad cold and as he is unable to perform, he enlists Elizabeth to stand in for him (naturally).

Dressed in a gaudy gown, she impersonates a man impersonating a woman singing and dancing in a truly disastrous performance. Despite this, the audience loves her and seems to think the mishaps are all part of the show. Victor, seeing an opportunity here, urges her to take on the job full time, while he acts as her manager.

Mix in love interests and a suspicious reporter and soon we're wondering how Elizabeth and Victor will ever be able to fix the mess they're in (and get their happily-ever-after!)...

Released in 1935 by Gaumont British Pictures, First a Girl was one of many films directed by Victor Saville and starring Jessie Matthews. (Evergreen was another of their hugely popular films, released the year before in 1934.)

The dance sequences were especially entertaining for me, particularly the scene in the beginning of the film which has Elizabeth (in her delivery uniform) dancing to a South American tune, which is absolutely adorable. Jessie Matthews is always fun to watch, even though (in my opinion) she is a somewhat awkward dancer. She seems to be "all limbs" at times, especially when compared with other female musical film stars of the thirties like Eleanor Powell.

Matthews's singing in the film is lovely as always, though! The film features many wonderful songs written by Al Goodhart, Al Hoffman and Maurice Sigler, including "Say the Word and It's Yours", "It's Written All Over Your Face", and "Everything's in Rhythm with My Heart".

Anna Lee and Griffith Jones are also in the film. Lee plays Princess Miranoff, a spoiled, rich woman who seems willing and able to do just about anything if it will bring her some amusement, and Jones plays the understandably confused Robert, who is disturbed to discover that the female he finds so attractive is in fact a female impersonator. I found both of their performances very enjoyable.

"Darling, getting engaged is like being vaccinated...
sometimes it takes and sometimes it doesn't."

Other highlights include the Busby Berkeley-esque scene featuring a chorus of female dancers sporting striped, sequined costumes that create a kaleidoscopic effect against the mirrored floor and shots of the gorgeous beach resort in Nice.

Of course, the scene wherein Elizabeth, in an attempt to keep up her charade as a man, drinks hard liquor and smokes cigars like a seasoned pro. Jessie Matthews in a tuxedo is just too cute.

I highly recommend this film, especially if you like films from the thirties. This is one of the best British musicals ever made (better than Evergreen, in my opinion) and there is a lot to enjoy here.

Tippi: A Memoir by Tippi Hedren

Alfred Hitchcock is known mainly for his impressive catalog of films (including Psycho, Rear Window, Vertigo, and my personal favorite, Shadow of a Doubt), but anyone with even a mild interest in the director is likely familiar with the term "Hitchcock Blonde"...and just how questionable (often-times indecent) his behavior really was behind the scenes.

Tippi Hedren was, of course, one of those "Hitchcock blondes" and as I am a big fan of her and her work both as an actress and as a wildlife advocate, I knew I wanted to read her story in her own words.

Tippi: A Memoir was published in November 2016 by William Morrow and Company. The book begins with Hedren's childhood experiences growing up in Minnesota in the 30's and early 40's and how those experiences helped to shape her.

Her modeling career began in 1945 when, after school one day during her sophomore year of high school, she was approached by a woman from Donaldson's Department Store who expressed an interest in hiring Tippi to model in their Saturday fashion shows.

Her stint with Donaldson's came to an abrupt end when her father announced the entire family would be moving to Southern California (with the hope that the milder weather would improve his poor health). Teenaged Tippi was understandably devastated, but as she had no choice in the matter, she and the family headed out west to Los Angeles.

Two years later in 1947, Tippi graduated from Huntington Park High School. A few years later, after a brief stint at college, she found she still had the modeling bug, so she sent her portfolio to Ford Modeling Agency and shortly after, in 1950, the agency sent their new model out to New York.

During the next ten years, she married (then later divorced) Peter Griffith, gave birth to their daughter, Melanie, and moved back to L.A. in the wake of her broken marriage. Upon her return to Los Angeles, she took the odd modeling job, including an appearance in a television commercial advertising a meal replacement shake named Sego. This commercial was seen by Alfred Hitchcock and thus began her meteoric rise to fame...

At 355 pages (with large font size) Tippi: A Memoir is not a lengthy book, but it is an interesting read. She details some of the ups and downs of her three marriages (nearly four), as well as her relationship with her daughter, which clearly is the most important relationship of her entire life. She describes Melanie as the greatest love of her life and the best thing that ever happened to her. 

The book does mention Hedren's complicated (and often horrible) dealings with Hitchcock, but she does not go into great detail (obviously thinking about that time of her life could not have been a pleasant experience). She mentions that there were many positive moments and experiences with filming The Birds and Marnie and I think the chapters pertaining to those films would have been more detailed had Hitchcock's obsession with her not cast such a pall over it all.

A large portion of the book is dedicated to the events leading up to and including the making of the film Roar. In 1969, Hedren traveled to South Africa to film a movie and there she had her first experience with lions. From then on she and her husband at the time, Noel Marshall, became absolutely obsessed with big cats and the idea of making a film about them, which took them nearly eleven years to complete. 

I really enjoyed this section of the book (even though I haven't seen Roar) and I was amazed at Tippi Hedren's dedication, passion and resolve throughout this time of her life. The film was not easy to make, with injuries, money troubles and a failing marriage, but she never gave up. She seemed most driven by her desire to use the film to raise awareness for the preservation of wildlife and to ensure that she'd be able to keep and care for the big cats (and a variety of other animals) that she'd adopted during those eleven years. (I was more tickled than I probably should have been to read that I share a name with a tigon cub named Noelle and I learned that a tigon is different from a liger. A tigon is the offspring of a male tiger and a female lion, and a liger is the offspring of a female tiger and a male lion.)

As an animal lover myself, I was touched by the respect and love she developed for big cats (all animals, really) and that those feelings led her to become an advocate for animal rights. She formed a non-profit organization called The Roar Foundation, which supports Shambala Preserve, her wildlife sanctuary (which was initially the "set" for the film). Shambala, located in Acton, California, is open to the public one weekend each month (by reservation) and I would love to visit someday.

Overall, I really enjoyed the book and Hedren's way with words. She tells her story in a succinct, friendly and humorous way. Even with everything she went through over the years, she strikes me as a generous and kind person and after reading her memoir I have even greater respect for her. I think my only complaint is that I wish the book had included more photos of the animals!