--From here in you're on your own …"
"Won't you try a glass of our Elderberry Wine --" er, I mean, Coffee, "before we start up?" Welcome to my Cinema Coffee House, no arsenic, just syrup and shots -- of flavored Films. This week's brew is a House Blend. The in between flavor of Light and Dark. Laughs, a leading man's Leading Man, Character Actors, Romance, with just "a pinch ..." of Horror. In a comedic, then again #ThatWindowSceneTho, sort of a way ...
... ARSENIC AND OLD LACE.
Yes, yes, you know the story, you've seen the film more times than you can count. But do you ever get tired of it? Really? I didn't think so. Films like this stand the test of repeating. Films like this are never seen too often, watched too much or discussed enough. Yes, there is a difference between "seeing" a film and "watching" a film, as I have discussed before. Some films we've seen so often, we never stop to think of the last time we sat down and watched them in their entirety from beginning to end. They become "in the background" films. While working, while cleaning the house, while working out, while reading a book with the tele on mute or low volume. In short, the beauty of Cinema.
Yes, yes, you know the story, you've seen the film more times than you can count. But do you ever get tired of it? Really? I didn't think so. Films like this stand the test of repeating. Films like this are never seen too often, watched too much or discussed enough. Yes, there is a difference between "seeing" a film and "watching" a film, as I have discussed before. Some films we've seen so often, we never stop to think of the last time we sat down and watched them in their entirety from beginning to end. They become "in the background" films. While working, while cleaning the house, while working out, while reading a book with the tele on mute or low volume. In short, the beauty of Cinema.
"Arsenic" was a "go to" film for my Mom and I, not only as a traditional watch about this time of year, as a Halloween flick, along with INTERVIEW WITH THE VAMPIRE (1994) my CINEMA COFFEE piece here)), NIGHT MUST FALL (1937) my CINEMA COFFEE piece here)), THE UNINVITED (1944) my CINEMA COFFEE piece here)), all which I will be pouring Coffee for in the coming weeks in a countdown to Halloween during our CINEMA COFFEE chats, #ForMyMom.
But so repeatedly did films like this become in both watching and seeing, on my part, it spilt over into my Mom's (and Dad's) notice, resulting in continuous dialogue between my Mom and I in our everyday conversational vocabulary. Literally. At home, or in public. Yes, "Right out here in the open, with everyone looking" we would go into ... And, Scene. How many times I'd break into Bette Davis in OF HUMAN BONDAGE whilst in the grocery store, I'll never tell, "You dirty swine!" But between my Mom and I, we got the joke, so the heck with the bacon.
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The 1941 film adaptation of ARSENIC AND OLD LACE, not released until 1944 (more on that shortly), was adapted from the Broadway Production that premiered on its Opening Night in 1941 of February. The Stage Play was written by Joseph Kesselring in 1939, who actually picked up this dark tale through his own personal outlook on the psych of the American people, further inspired by an actual incident that took place while he was teaching at Bethel College in Kansas from 1922, at the age of 20, before leaving the boarding house in which he was staying in 1924. As so it seemed, his views and those at the College, just didn't mesh well.
This storyline inspiration did not stop there. The play itself, as in the film (for the most part), is taken place in the house (living room) of The Brewsters. A house replicated, to a fashion, of the Goerz Boarding House where Kesselring lived during his years at Bethel. For a brief insight, see the ARSENIC AND OLD LACE section in the book, 'The Capra Touch: A Study of the Director's Hollywood Classics and War Documentaries, 1934-1945' published 2012.
Having said that, the truth behind the plot or not, there's no denying the brilliance of such a comedic twist (originally birthed as a straight Drama before turning Dark Comedy during the beginning stages) to something so shockingly horrible ... Not those two nice little old ladies?! And yet, just like Mortimer, you know something has to be done! Albeit in a sympathetic (help me out here) way. Which, I believe, is also in huge part, regarding the film adaptation, to the direction of Frank Capra. I mean, it's Frank Capra. Enough said. Just as you think when you hear, Howard Hawks, Ernst Lubitsch, Preston Sturges, Billy Wilder, and so on, You don't ask, you just watch.
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However the Stage Play, isn't called for violins to be played as theme music. Make no mistake, the play, in the direction of Bretaigne Windust, was a hit. A massive 1,444 performances hit!
Thus arrives a new plot, in real life. Due to the overwhelming success of the Broadway Production, the film, made in December of 1941, had to be held back from its Box Office release until the play finished its Theatrical run ... for a while ... a long while ... a 1941 to 1944 year while.
When the negotiating of "Arsenic" began, the talk included, Boris Karloff as Jonathan. Which wasn't going to happen ... "Besides ... he said I looked like Boris Karloff ..." (who gives up a line like that when you are Boris Karloff?). However, in this case, it was for fear of losing ground, in a matter of speaking, with Theatre going audiences. Boris was not released from his contract for the period it would take to shoot the film. In "exchange" for allowing the Broadway Play to be adapted in to a Motion Picture, the Production allowed (after some convincing) for John Alexander, (Teddy, the third brother to Jonathan and Mortimer); Josephine Hull and Jean Adair, (the two Brewster Sisters and Aunts to the three "young Brewster" Brothers), to reprise their roles from stage to screen.
When the negotiating of "Arsenic" began, the talk included, Boris Karloff as Jonathan. Which wasn't going to happen ... "Besides ... he said I looked like Boris Karloff ..." (who gives up a line like that when you are Boris Karloff?). However, in this case, it was for fear of losing ground, in a matter of speaking, with Theatre going audiences. Boris was not released from his contract for the period it would take to shoot the film. In "exchange" for allowing the Broadway Play to be adapted in to a Motion Picture, the Production allowed (after some convincing) for John Alexander, (Teddy, the third brother to Jonathan and Mortimer); Josephine Hull and Jean Adair, (the two Brewster Sisters and Aunts to the three "young Brewster" Brothers), to reprise their roles from stage to screen.
Canadian Actor, Raymond Massey, the Johnny on film, does a terrific job in stepping into the character that Karloff was banking in laughs with on Broadway. Massey's tone and his eyes, do the job justice.
There is not a sour performance from ANY character throughout this film, right down to the extras standing in line at the City Clerk's Office to Character Actor, Garry Owen as the Coffee Pot -- I mean, Cab Driver. The depth you could go into with the list of actors in this film, running for miles and how they acted in their roles, it becomes very detailed, yet, it's very simple. Each actor is a true contributor to the final, overall product. Each bringing something different that blends perfectly with their fellow actor(s) in shared scene. Aside from Priscilla Lane, Raymond Massey, and Peter Lorre, you have Jack Carson, James Gleason, John Alexander, Edward Everett Horton, Grant Mitchell, John Ridgely, Chester Clute, Charles Lane, and Vaughan Glaser all in one film! Not to mention the countless others I haven't mentioned, but you recognize instantly upon sight. Right at the top, the entranced performances given by Jean Adair and Josephine Hull as Aunt Martha and Aunt Abbey, it's as if you've walked into these nice old ladies own home, "It's getting so anyone thinks he can walk in!" And in spite of Cary Grant not being a fan of his performance as Mortimer, there are thousands of people (I'm sure) that fall in love with him every single time you see him:
There is not a sour performance from ANY character throughout this film, right down to the extras standing in line at the City Clerk's Office to Character Actor, Garry Owen as the Coffee Pot -- I mean, Cab Driver. The depth you could go into with the list of actors in this film, running for miles and how they acted in their roles, it becomes very detailed, yet, it's very simple. Each actor is a true contributor to the final, overall product. Each bringing something different that blends perfectly with their fellow actor(s) in shared scene. Aside from Priscilla Lane, Raymond Massey, and Peter Lorre, you have Jack Carson, James Gleason, John Alexander, Edward Everett Horton, Grant Mitchell, John Ridgely, Chester Clute, Charles Lane, and Vaughan Glaser all in one film! Not to mention the countless others I haven't mentioned, but you recognize instantly upon sight. Right at the top, the entranced performances given by Jean Adair and Josephine Hull as Aunt Martha and Aunt Abbey, it's as if you've walked into these nice old ladies own home, "It's getting so anyone thinks he can walk in!" And in spite of Cary Grant not being a fan of his performance as Mortimer, there are thousands of people (I'm sure) that fall in love with him every single time you see him:
Elaine: But Mortimer, you're going to love me for my mind, too?
Mortimer: One thing at a time.
*sigh* ... "Oh, Mortimer." But I have to say, for my Mom and I, the main attraction to this film, as far as dialogue, goes to Peter Lorre: "Johnny," backed up with his, "Help me Johnny, it's so heavy for me," which would be the number one phrase my Mom would use in her Peter Lorre voice frequently without fail, anytime an opportunity presented itself. Be it a box to be lifted, or playing around with a weight dumbbell, she'd look to me, and suddenly, I was "Johnny," which meant, I was the one to pick up said item. But as with everything we did, it was all in fun. Though Raymond Massey's, "Aunt Abbey, go to bed," and Cary Grant's "I don't want to lick the bowl, I want to know what we're going to do!" got more than their fair play in our daily dialogue routine when talking to one another as common conversation. The "I don't want to lick the bowl" bit became my constant Classic Film quote contribution when getting frustrated in a situation. Said with vigor.
Mortimer: One thing at a time.
*sigh* ... "Oh, Mortimer." But I have to say, for my Mom and I, the main attraction to this film, as far as dialogue, goes to Peter Lorre: "Johnny," backed up with his, "Help me Johnny, it's so heavy for me," which would be the number one phrase my Mom would use in her Peter Lorre voice frequently without fail, anytime an opportunity presented itself. Be it a box to be lifted, or playing around with a weight dumbbell, she'd look to me, and suddenly, I was "Johnny," which meant, I was the one to pick up said item. But as with everything we did, it was all in fun. Though Raymond Massey's, "Aunt Abbey, go to bed," and Cary Grant's "I don't want to lick the bowl, I want to know what we're going to do!" got more than their fair play in our daily dialogue routine when talking to one another as common conversation. The "I don't want to lick the bowl" bit became my constant Classic Film quote contribution when getting frustrated in a situation. Said with vigor.
My intent here wasn't to discuss the plot with you ... (sorry, no pun intended) ...
... my intent was to showcase the fun you can have in watching and sharing ARSENIC AND OLD LACE with someone else for the first time or, as with my Mom and I, time and time and time again. This is a film I watched as a kid, a film which never left me in all that time, but only grew into something more as the years past and time became timeless.
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"What will the neighbor's think? People coming in here with one face and going out with another?!"
"Now, Aunt Abbey" is the time I leave you with your choice of Coffee, Latte, Macchiato, Espresso, Café, or hey, even Chai, to go with a film you just can't imagine anyone hasn't seen already. But if you haven't, do, enjoy some CINEMA COFFEE in whatever face you have on ... #ForMyMom
"Now, Aunt Abbey" is the time I leave you with your choice of Coffee, Latte, Macchiato, Espresso, Café, or hey, even Chai, to go with a film you just can't imagine anyone hasn't seen already. But if you haven't, do, enjoy some CINEMA COFFEE in whatever face you have on ... #ForMyMom
For my other CINEMA COFFEE blog pieces:
#ForMyMom Cinema Coffee ... | COFFEE CINEMA: Talking Streetcar | CINEMA COFFEE: "Et tu, Brute?" | CINEMA COFFEE: "La Chocolaterie" | CINEMA COFFEE: "Milk? I loathe milk!" | CINEMA COFFEE: "Elderberry Wine ..." | CINEMA COFFEE: "The choice I never had ..." | CINEMA COFFEE: "The smell of Mimosa" | CINEMA COFFEE: "Mighty like a Rose" | CINEMA COFFEE: "Don't cry on the rolls" | CINEMA COFFEE: "You're the first Kansas I ever met" | CINEMA COFFEE: "Everybody calls me Gracie" | CINEMA COFFEE: "What the devil are Belinskis?!" | CINEMA COFFEE: "Hello friends and enemies." | CINEMA COFFEE: "Stop remindin' me of heaven." | CINEMA COFFEE: "Even Gatsby could happen" | CINEMA COFFEE: "I made a wish" | CINEMA COFFEE: Audie Murphy | CINEMA COFFEE: Put The Blame on Mame | CINEMA COFFEE: "Just Singleton." | CINEMA COFFEE: "Where I Come From, Nobody Knows" | Film Therapy: Coping through Cinema | CINEMA COFFEE: Socks fall down | CINEMA COFFEE: "The moon's reaching for me" | CINEMA COFFEE: The Horne: Luso World Cinema Blogathon | CINEMA COFFEE: Aunt Bettye Lightsy | CINEMA COFFEE: I never lose | CINEMA COFFEE: "I have a mother!" | CINEMA COFFEE: THE SIGN OF GEMINI | CINEMA COFFEE: Venus Rising | CINEMA COFFEE: Stan vs Geek | CINEMA COFFEE: "Positively the same dame"
#ForMyMom Cinema Coffee ... | COFFEE CINEMA: Talking Streetcar | CINEMA COFFEE: "Et tu, Brute?" | CINEMA COFFEE: "La Chocolaterie" | CINEMA COFFEE: "Milk? I loathe milk!" | CINEMA COFFEE: "Elderberry Wine ..." | CINEMA COFFEE: "The choice I never had ..." | CINEMA COFFEE: "The smell of Mimosa" | CINEMA COFFEE: "Mighty like a Rose" | CINEMA COFFEE: "Don't cry on the rolls" | CINEMA COFFEE: "You're the first Kansas I ever met" | CINEMA COFFEE: "Everybody calls me Gracie" | CINEMA COFFEE: "What the devil are Belinskis?!" | CINEMA COFFEE: "Hello friends and enemies." | CINEMA COFFEE: "Stop remindin' me of heaven." | CINEMA COFFEE: "Even Gatsby could happen" | CINEMA COFFEE: "I made a wish" | CINEMA COFFEE: Audie Murphy | CINEMA COFFEE: Put The Blame on Mame | CINEMA COFFEE: "Just Singleton." | CINEMA COFFEE: "Where I Come From, Nobody Knows" | Film Therapy: Coping through Cinema | CINEMA COFFEE: Socks fall down | CINEMA COFFEE: "The moon's reaching for me" | CINEMA COFFEE: The Horne: Luso World Cinema Blogathon | CINEMA COFFEE: Aunt Bettye Lightsy | CINEMA COFFEE: I never lose | CINEMA COFFEE: "I have a mother!" | CINEMA COFFEE: THE SIGN OF GEMINI | CINEMA COFFEE: Venus Rising | CINEMA COFFEE: Stan vs Geek | CINEMA COFFEE: "Positively the same dame"