"Red Dust," or Sweat Surrender

The 1932 film "Red Dust" is ironically titled -- dust has very little to do with what happens in the movie. Moisture, however, plays a starring role -- moisture in the form of sweat, rain, steam and humidity, with a very special appearance by Jean Harlow's bathwater.

Set on a rubber plantation in Indochina, with the nearest large city being Saigon (they pronounced it "say-gone" in those days), "Red Dust" deals with Denny (Clark Gable), a rough-and-tumble plantation boss who's torn between two women -- earthy goodtime girl Vantine (Jean Harlow) and icy yet smouldering Babs (Mary Astor). The three of them face one crisis after another -- windstorms! Rainstorms! Tigers! Fever! The Chinese cook's bad teeth!

Vantine appears first -- we see her in bed, where she has gone to sleep and hide from a drunken worker (Donald Crisp), and she's illuminated by Denny's flashlight. This happens on a steamy night when Denny just happens to be in a bad mood -- he's on one of his periodic rants to the wizened McQuarg (Tully Marshall) about how he'd love to leave the whole grueling business: "Swallowing dust one month, wading in mud the next -- just so some old woman can take a hot water bottle to bed with her."

Vantine has taken the boat (On water!) to the plantation to hide out from the authorities. She doesn't say why she's in trouble, but from her appearance and filmy wardrobe we can guess.

Vantine: What else do you do around here besides work? Know any games?

McQuarg: If it was the summer of 1894, I'd play games with you, sister.

Then she tries to strike up a conversation with Denny:



In a nice touch that Howard Hawks would steal -- er, adopt -- in "To Have and Have Not," Denny and Vantine make up different names for each other. She calls him Fred, and he calls her Lily. And they end up playing other games together, if you know what I mean, and I think you do.

Both Harlow and Gable are surprisingly assured in their roles -- even more so for Harlow. Her star was still on the rise and it was during the making of this film that her husband, MGM executive Paul Bern, committed suicide. But Harlow gets all the film's best lines and knocks them out of the park -- for instance, while cleaning a bird cage, she asks the occupant, "Whaddya been eating? Cement?"

Fast forward a few weeks, and Vantine is ready to board the boat back to civilization. Arriving on that very same boat is Willis, the plantation's new surveyor (Gene Raymond), and his wife, Babs.

You can tell that the Willises aren't quite prepared for the rugged conditions they find -- they've packed tennis rackets, and when she sees the plantation headquarters, Babs asks where the main house is. On top of everything else, Willis has a tropical fever and he spends the next week or so sweating like crazy. Denny nurses Willis through his fever, and earns the gratitude of Babs. He likes that -- he likes her. Meanwhile, Vantine's back -- the boat has had mechanical trouble.

So there's a full house, and once Willis has recovered, Denny sends him on several long-distance missions so that he can make a play for Babs. He takes her on a tour of the plantation, and they get caught in a downpour, which has a way of breaking down, um, formalities:


Vantine can't figure out why Denny goes for a cool customer like Babs. But she just goes her own merry way while she's waiting for the boat to be repaired. This includes using the camp water supply as a bathtub, with Denny as a flustered observer -- not flustered for his sake, but for Babs's sake, for God's sake:



(By the way -- when Harlow basically played herself in the great 1933 Hollywood satire "Bombshell," there's a scene when her character, Lola Burns, has to do "Red Dust" retakes in the bath barrel.)

Despite Denny's infatuation, it's pretty clear that Babs isn't right for him. Unlike Vantine, she calls him "Dennis" and wouldn't think of joking around or pitching a double entendre. And when Denny goes to visit Willis in a remote location, he finally understands how much the guy loves his wife and how out of place Babs would be on a rubber plantation. (Babs, in fact, is the film's only sweat-free character, making her seem even less human.)

So Denny gets noble and comes back to break up with Babs. She doesn't take it well, and she has a gun, so Denny gets shot. Then Willis arrives, and Vantine steps in:

   

For them, the plantation is home, sweat home.

Here are full credits for "Red Dust," and a trailer:

"City for Conquest" Starring James Cagney and ... Jack Benny?

By the time "City for Conquest" was released in 1940, James Cagney had been one of the top stars at Warner Bros. for ten years. The movies that put him in that position -- tough, fast-moving urban dramas with lots of action and snappy dialogue -- were so successful financially, artistically and culturally that they came to symbolize the studio's style during the 1930s.

In a way, "City for Conquest" is the last Cagney picture of that type. It's an elegy for those movies, usually set in New York City, with Cagney as a working-class Irishman named Danny, Eddie or Tommy who fights passionately for what he believes in, regardless of what side of the legal fence he's on.

In this movie, Cagney is in the unique position of being a kind of hero and elder statesman at the same time. There's crime in the picture, but unlike in the old days, he doesn't get directly mixed up in it. He's showing his age slightly -- his teaming with Ann Sheridan as his romantic interest, who's supposed to be the same age (there's a 15-year difference), is a little off. But in many ways, "City for Conquest" is the quintessential Cagney performance, combining his natural pugnaciousness and physical style with low-key drama and naturally played sentiment.

We begin in the city's Lower East Side, of course, led there by a philosophical and slightly annoying tramp (Frank Craven) who's supposed to symbolize the unbreakable spirit of New York. This part would seem a natural for Craven, who played a similar role, the omniscient stage manager, in the Broadway production of "Our Town." It isn't that it's a bad performance -- it's just that the character is more of a dramatic conceit than a person, and Craven has to make his way through purple pronouncements about the city like this: "Look at it! Seven million people fighting, fighting, clawing away to get one foot on a ladder that'll take em to a penthouse." See for yourself:


We first see Danny (Cagney) and Peggy (Sheridan) as kids -- Peggy demonstrates her love of dancing by doing a number on the sidewalk, and Danny demonstrates his gift for fighting by decking a kid who interrupts her act. Oh, and there's one other kid hanging around -- Danny's artistic brother Eddie (Arthur Kennedy), fingering his accordion and staring into space, dreaming of the symphony he's going to compose.

Then we fast forward a few years -- Danny is driving a dump truck and boxing for relaxation. Eddie is giving piano lessons and still dreaming of that symphony, which he describes in phrases that might as well be spoken by our verbose tramp friend: "It's the city, with all of its proud, passionate beauty and all of its sordid ugliness ... of its teeming seven millions and its barren loneliness."

Meanwhile, Peggy's dream of dancing is given life by the smooth, arrogant Murray (Anthony Quinn in his days as the second-string Cesar Romero), and they become a team. Danny's happy for her success -- she's always gonna be his goil, no matter what -- but when Murray starts bad-mouthing Peggy and her friends, Danny gets hot:


Despite his skill in the ring, and despite the entreaties of his buddy Mutt (longtime Cagney sidekick Frank McHugh) Danny's always been resistant to a boxing career. Then, when Eddie loses his music scholarship and Peggy tells him of her dreams of being upwardly mobile, Danny realizes he's going to need some extra kale. So he signs with kindhearted fight promoter Scotty MacPherson (Donald Crisp) and starts making the boxing circuit at the same time that Murray and Peggy start making the vaudeville circuit. We learn this in one of those great Warner montages:


About this time, we're introduced to a character who's a lot like the characters Cagney used to play -- Oogie, a pal from the old neighborhood (director Elia Kazan in an early role). Oogie's back from a stretch in the pen, and Danny stakes him to a meal and a new pair of shoes. As Danny rises in the fight game, Oogie's star is rising, too, most likely through nefarious means.

Then comes heartbreak -- Peggy leaves Danny for a nightclub tour, and a heartbroken Danny starts fighting outside his class out of anger and spite. This leads to a championship match where the opponent plays dirty by rubbing rosin dust in Danny's eyes, causing him to lose his sight. For the rest of the movie Cagney plays his role with a squint -- and he's one of the few guys who can make a squint look heroic. Oogie takes it upon himself to avenge Danny, and ends up eating lead on the waterfront. You can almost hear him say "I ain't so tough" a la Cagney in "The Public Enemy."

At the movie's climax, only Eddie has achieved his dream -- to conduct his symphony at Carnegie Hall. Danny listens on the radio, from his newsstand in Times Square:

You might call this ending over the top -- I would, but I think it's bad form to poke fun at a scene that brings tears to your eyes.

One of the best parts of Jack Benny's radio show were parodies of current movies, and "City for Conquest" did not escape scrutiny. By this point in Benny's career, he was the country's most popular radio comic and the regular cast that would be with him for decades was firmly in place -- jovial announcer Don Wilson; comic foil Mary Livingstone (Benny's real-life wife); vain, boozing bandleader Phil Harris and naive singer Dennis Day.

This is during the period when Benny's show, written by Bill Morrow and Ed Beloin, hadn't quite fallen into its postwar sitcom phase -- there is an opening about Jack putting his footprints at Grauman's Chinese Theatre, with Benny exhibiting the same kind of false modesty as Anne Hathaway accepting a Golden Globe for "Les Miserables."

The "City for Conquest" sketch is short, concentrating mainly on the boxer plot. Targets include the film's overblown "poetry" and Eddie's musical aspirations (Phil Harris plays Eddie, who is composing his symphony on a drum set instead of a piano. His solution for the big finish: more cowbell.) There's also fun poked at Cagney's Lower East Side patois:

Benny (as Cagney, to Mary): Is that a new skoit?

Mary (as Sheridan): Yeah. Is that a new shoit?

Benny: Yes, it's a new shoit. How do you like my shoit?

Mary: It's a little short around Detroit.



Here are the credits for "City for Conquest," and a trailer: