"It's Tough to Be Famous," or Media, Myself and I

As the scion of one of Hollywood's first families, Douglas Fairbanks Jr. was born in the spotlight, and in the 1932 film "It's Tough to Be Famous," he spends all his time trying to get out of it.

YOU'RE hot! I'm wearing a turtleneck and wool blazer! 

Fairbanks plays Scotty McClenahan, a submarine commander whose ship is dead in the water -- actually, UNDER the water, eighty feet of it. There's no ventilation, and oxygen is running out.

On the surface, help is on the way with search planes flying, phones buzzing, flotillas flotilla-ing -- every producer of stock footage in the country is swinging into action! But in the submarine on the ocean floor, the mood is lower than a submarine on the ocean floor. Then Scotty gets an idea -- he starts shooting the crew, one at a time, out the torpedo tubes to the surface. Finally, it comes down to Scotty and Stevens (David Landau). They can't both escape because someone has to stay behind and pull the trigger:



When Scotty comes to, he's a hero -- and waiting to see him at the big welcoming ceremony is mom (Emma Dunn) and girlfriend Janet (Mary Brian). There's someone else waiting as well -- magazine publisher Chapin (a perfectly cast Walter Catlett), who is to ballyhoo what Crosby is to crooning:

  


"From now on," Chapin tells Scotty, "you're America's sweetheart!" Since Scotty was on the verge of being discharged anyway, he lets Chapin take him under his wingtips -- I mean wing. Scotty starts fielding offers from vaudeville and radio, and he starts endorsing things he doesn't know anything about. The phoniness and constant attention starts to get to him, and he can't even go to the movies without seeing his puss in the newsreels:

 


Scotty finally has a job, but he wants to be an engineer, and all his boss wants him for is the publicity value. And when his verbal faux pas make nationwide headlines, he finds his marriage to Janet crumbling as fast as his celebrity status. Finally, he tells Chapin, "We're all trying to get rich because I had the good luck -- or the bad luck -- to do my duty down in that submarine."

From Charles Lindbergh to Ryan Lochte, media-created Celebrities have been part of our culture, and through a remarkably smart script, "It's Tough to Be Famous" outlines a scenario that's relevant. All that's changed is the delivery system -- it's the Internet and TV rather than vaudeville and printed material.

In the end, Scotty is knocked from his public perch in the most natural of ways -- by another sailor, named Ole, who jumped overboard to rescue a dog.

"Don't you realize that Ole is the ideal national hero?" Chapin tells Scotty. "He's big, handsome, dumb, got a nice smile and he doesn't speak enough English to antagonize anybody!"

Here is full cast and credits information for "It's Tough to Be Famous," and here's the trailer:          

"Street Scene," or Slum Like It Hot

The 1931 film "Street Scene" opens with Alfred Newman's theme music -- music that is so evocative of a city that it was being used as "New York Music" in 20th Century-Fox films twenty years later. And unlike many film scores of the time, it has a sophisticated orchestration -- you hear it and you expect to see a movie from the 1940s instead of one from the early 1930s:



The Hell's Kitchen apartment building at the center of "Street Scene" would today be filled with condominiums selling for hundreds of thousands of dollars. But in 1931 it contains the most diverse group of tenants this side of Ellis Island -- the Kaplans, the Maurrants, the Joneses, the Fiorentinos and the Olsens, to name a few. Within the space of 24 hours, on a hot summer day, they gather on the front stoop to gossip, fight, argue and witness a double murder.

Setting the story on a broiling summer day is a great way to get everyone outside and introduced -- the Maurrants include mother Anna (Estelle Taylor), crabby father Frank (David Landau) and daughter Rose (Sylvia Sidney). Then there are the Joneses, the most vocal member of which is mother Emma (Beulah Bondi), a buttinski, a gossip and a know-nothing with views on poverty and evolution that would place her comfortably within the ranks of today's Republican party. Her son Vincent is an angry ignoramus and her daughter is a floozy. The Kaplans include radical father Abe, schoolteacher daughter Shirley and sensitive Sam (William Collier, Jr.), who's always reading a book and who is sweet on Rose. The Olsens are a Swedish couple with a new baby and the Fiorentinos include an Italian husband and his German wife.

The daily routine -- life as it plays out on the stoop -- revolves around incessant talk about the weather and gossip about the neighbors -- particularly Anna Maurrant, who's having an affair with the guy who collects for the milk each week. Meanwhile, Rose is being pressured into a sexual relationship by her piggish boss, while Sam Kaplan has a hard time working up enough nerve to tell Rose how he feels -- or to counteract the constant catcalls of "Kike" from the bullying Vincent Jones.

King Vidor directed "Street Scene," and in a way the film is an extension of his towering 1928 film "The Crowd." "Street Scene" is also about urban alienation -- in this case, an alienation that the characters experience even as they live cheek to jowl in a crowded apartment building. 

After the characters are introduced, we move to the next morning. Sam sits on the front stoop reading a book. There's a music lesson being conducted in one of the apartments. Two marshals are there to evict one of the residents. Mr. Maurrant has just left to go out of the town, and Mrs. Maurrant has just pulled down the shades to entertain her gentleman friend. Here's the beautifully paced scene:



Rose has been at her boss's funeral, and when she gets back to the block she knows something's wrong. Within a few hours her mother has become today's tabloid headline:



Then it's time for Rose to say goodbye -- Sam wants to come with her, but he isn't mature enough yet, and she knows that:



"Street Scene" is based upon Elmer Rice's Pulitzer Prize-winning play, and he also wrote the screenplay. The film's heightened realism doesn't seem quite as daring or as incendiary as it probably was in 1931. But the proof is in the pudding -- you've seen a lot of movies and TV shows like "Street Scene" since 1931.

Here are the complete credits.

"Union Depot" and the Warner Regulars

In their underrated 1978 film "Movie Movie" director Stanley Donen and screenwriters Larry Gelbart and Sheldon Keller paid homage to the 1930s movies they loved as kids. To do this, Gelbart and Keller wrote two 45-minute movies -- one a black-and-white boxing film, the other a musical in color -- so that "Movie Movie" took the form of a double feature. More importantly, as in the 1930s when studios had stock companies -- players under contract -- it was a double feature with the same actors (including Art Carney, George C. Scott, Eli Wallach, Red Buttons and Trish Van Devere), but in different roles. The movie even had a preview of coming attractions -- a World War I movie ("War at its best!") with all the same actors as the other two movies.

In 1932's "Union Depot" we get to see a good chunk of the Warner stock company from the early 1930s, including Frank McHugh, Guy Kibbee, Alan Hale and David Landau. They all have business of one sort or another within the majestic marble structure where people are coming and going while announcements of train departures bounce off the walls. The movie opens with a tracking/crane shot to show you the whole enchilada:



More than other Hollywood studios, Warner Bros. had a uniquely working-class viewpoint, and in this movie it's expressed by the fact that the station is teeming with immigrants, from Eastern Europeans -- as seen above -- to Asians:



Our hero is Chic (pronounced "chick," not "cheek"), played by Douglas Fairbanks, Jr. He and his sidekick, Scratch (Kibbee), have just been released from the local hoosegow on a vagrancy charge, and they're looking to raise a few bucks. Chic gets lucky when he "inherits" a suit from a drunken traveler (McHugh, doing one of his specialties) with money in the pocket. He buys himself dinner, and then he sees a forlorn-looking Ruth (Joan Blondell) on a bench. She's a chorus girl who broke her ankle; now she's recovered, but the show has moved on without her, and she needs money to catch a train to Salt Lake City, where she can get her job back. At the same time, Scratch has come across a claim check. Chic redeems it, and gets a violin case -- filled with money!

Meanwhile, the guy who belongs to the case (Hale) is trying to get it back, and he'll get tough if he has to, see? And Ruth is trying to escape the clutches of a creepy old guy (see creep at right) who developed the hots for her during her recovery. And the money turns out to be counterfeit, and Chic is arrested by the feds, leading to a pretty cool chase through the train yards as he tries to capture the real bad guy, Hale:



And one thing's for sure -- if you didn't like the Warner regulars in these roles, you'd be seeing them in something different within a few weeks. In 1932 McHugh appeared in eight films -- he played a mechanic in "The Crowd Roars," a frantic new father in "Life Begins" and a wisecracking reporter in "Blessed Event," among others. Kibbee was just as busy, going from a drunk hobo here to a corrupt cop in "Big City Blues" to a bartender in "The Mouthpiece" to James Cagney's father in "The Crowd Roars."

Here are the full credits for "Union Depot."