Now With More Than 3000 Reviews! Go Nuts - Read 'Em All!!

WELCOME! Use the search engines on this site (or your own off-site engine of choice) to gain easy access to the complete MAKSQUIBS Archive; over 2500 posts and counting. (New posts added every day or so.)

You can check on all our titles by typing the Title, Director, Actor or 'Keyword' of your choice in the Search Engine of your choice (include the phrase MAKSQUIBS) or just use the BLOGGER Search Box at the top left corner of the page.

Feel free to place comments directly on any of the film posts and to test your film knowledge with the CONTESTS scattered here & there. (Hey! No Googling allowed. They're pretty easy.)

Send E-mails to MAKSQUIBS@yahoo.com . (Let us know if the TRANSLATE WIDGET works!) Or use the Profile Page or Comments link for contact.

Thanks for stopping by.

Sunday, December 1, 2013

DANGEROUS (1935)

Doubling down on her no-holds-barred perf in R.K.O.’s OF HUMAN BONDAGE/’34, Warner Bros. gave Bette Davis plenty to chew on, swallow and spit right back at you in every reel of this trashy tale. She’s a jinxed actress, down on her luck when society architect Franchot Tone takes her on as a charity project. Naturally, they capitulate, screw up his engagement with unexciting Margaret Lindsay and nearly destroy each other. Real-life doomed actress Jeanne Eagles (prominently mentioned in the storyline*) was the likely inspiration for these melodramatic doings, but there’s little resemblance to anything real under Alfred E. Green’s mechanical megging. (Second-unit man Russell Saunders is likely responsible for the famous third-act smash-up.) It still remains intensely watchable, in spite of some unintended giggles, thanks to lots of chemistry between Tone & Davis, plus a few lifelike moments, as when Davis tells off housekeeper Alison Skipworth. Yikes! Few actress worried less about playing the sympathy card, compare with Kate Hepburn’s actress in MORNING GLORY/’33, yet they each got Oscar’d for them.

SCREWY THOUGHT OF THE DAY: Davis always claimed to have dubbed the nameless Academy Award statue ‘Oscar’ after she brought the award home and noted a resemblance to her then-husband’s (Harmon Oscar Nelson) backside. Hmm.

DOUBLE-BILL: *The astonishing Jeanne Eagles survives in one film, a stage-bound, but utterly fascinating early Talkie adaptation of Somerset Maugham’s THE LETTER/’29, handsomely remade by Davis with William Wyler directing in 1940.

No comments: