PLEASE DON'T EAT THE DAISIES (1960)

Spotlight on Movie Mothers - Mothers Dearest and Screenwriter Birthday - Isobel Lennart

Star Birthday - Isobel Lennart

Isobel Lennart was born on 18 May 1915 and was responsible for writing a number of popular comedies. She began working for MGM in the mail room, but lost her job after she attempted to organise a union.

Lennart joined the Communist Party in 1939, and in order to save her career,  in 1947 she was forced to testify and name 21 individuals whom she knew had been members of the Communist Party.

Recommended viewing

• The Affairs of Martha (1942)
• Anchors Aweigh (1945)
• It Happened in Brooklyn (1947)
• The Kissing Bandit (1948)
• A Life of Her Own (1950)
• Love Me Or Leave Me (1955)
• Meet Me In Las Vegas (1956)
• Merry Andrew (1958)
• Please Don't Eat the Daisies (1960)
• Period of Adjustment (1962)
• Funny Girl (1968)

Keeping with the spotlight on Movie Mothers throughout May, I have selected her screenplay for Please Don't Eat the Daisies (1960), which starred Doris Day and David Niven for my blog.

Please Don't Eat the Daisies (1960)

Please Don't Eat the Daisies (1960) is a very funny comedy starring Doris Day and David Niven as Kate and Lawrence Mackay.

The film was directed by Charles Walters, produced by Joe Pasternak and screenplay written by Isobel Lennart, based on the book (of the same name) by Jean Kerr.

The movie tells of a theatre critic Lawrence Mackay, his wife Kate, their four sons (David, Gabriel, George and baby Adam), and their dog Hobo. It co-stars Janis Paige, Richard Haydn and Spring Byington in her final film.

Between George eating the daisies, and baby Adam dropping water bombs from their apartment window onto the heads of unsuspecting people outside, the Mackays have a difficult time keeping their out of control kids behaved. They are also forced to keep baby Adam padlocked in his playpen, which resembles a cage. They do this so "he won't get out."

Musical highlights

Doris Day sings three songs in this film: "Please Don't Eat the Daisies", "Anyway the Wind Blows" and her signature tune "Whatever Will Be Will Be (Que Sera, Sera)". "Anyway the Wind Blows" was originally meant to be included in Day's previous film "Pillow Talk", and is the musical highlight from the film.

Concluding remarks

Aside from being one of Doris Day's favourite films from her career, it also one of mine. Having the seen this film at least 8 times, I enjoy it more and more each time I see it.

THE MAN WHO KNEW TOO MUCH (1956)

Spotlight on Movie Mothers - Mothers Dearest and Star Birthday - James Stewart

Star Birthday - James Stewart 

James Stewart was born on 20 May 1908 and is still known today for a number of memorable films including The Philadelphia Story (1940), Rear Window (1954) and It's A Wonderful Life (1946).

Recommended viewing

• Born to Dance (1936)
• Another Thin Man (1936)
• The Last Gangster (1937)
• The Shopworn Angel (1938)
• You Can't Take it With You (1938)
• Mr. Smith Goes to Washington (1939)
• Destry Rides Again (1939)
• The Shop Around the Corner (1940)
• The Mortal Storm (1940)
• The Philadelphia Story (1940)
• Ziegfeld Girl (1941)
• It's A Wonderful Life (1946)
• Rope (1948)
• The Stratton Story (1949)
• The Greatest Show on Earth (1952)
• Carbine Williams (1952)
• The Naked Spur (1953)
• Rear Window (1954)
• The Man Who Knew Too Much (1956)
• Vertigo (1958)
• Anatomy of a Murder (1959)
• The FBI Story (1959)

Keeping with the spotlight on Movie Mothers throughout May, I have selected his performance with Doris Day in Alfred Hitchcock's The Man Who Knew Too Much (1956) for my blog.

The Man Who Knew Too Much (1956)

The Man Who Knew Too Much (1956) is a suspense film starring James Stewart  and Doris Day, and directed by Alfred Hitchcock. It was the third of four films  James Stewart made with Alfred Hitchcock, and by starring Doris Day, this is the closest Hitchcock came to making a musical.

Hitchcock had previously filmed 'The Man Who Knew Too Much' in 1934. In the interview book 'Hitchcock/Truffaut', Hitchcock said the 1934 version was the work of a "talented amateur", and the 1956 version was the work of a "professional".

The film is best known today as the film in which Doris Day first sung one of her signature tunes, 'Whatever Will Be Will Be (Que Sera Sera)', which won the Oscar for Best Song. In this film, Doris Day proves she can act, and she's not just a pretty face who can sing. 

The film tells of Dr Ben McKenna (played by James Stewart) and his wife Jo (played by Doris Day) traveling around Morocco with their son. During the course of their travels, Ben sees a man murdered. Before he dies, he gives Ben some information. As Ben knows too much, his son is kidnapped.

Alfred Hitchcock's cameo

Alfred Hitchcock made a cameo appearance in almost all his film. In this film Hitchcock can be seen from behind watching acrobatics in the Moroccan market place just before the spy is killed. Refer to the yellow highlighted image.

Concluding remarks

Although not one of Hitchcock's best films, the film is worth watching to see Doris Day's true acting ability.

Pocketful of Miracles (1961)

Spotlight on Movie Mothers - Mothers Dearest and Director Birthday - Frank Capra

Director Birthday - Frank Capra

Frank Capra was born on 18 May 1897 in Palermo, Sicily, Italy. Capra migrated to America and is still considered to be one of the greatest film directors of all time. His most memorable film is It's A Wonderful Life (1946).

Recommended viewing

• Platinum Blonde (1931)
• American Madness (1932)
• The Bitter Tea of General Yen (1933)
• Lady for a Day (1933)
• It Happened One Night (1934)
• Mr. Deeds Goes to Town (1936)
• Lost Horizon (1937)
• You Can't Take it With You (1938)
• Mr. Smith Goes to Washington (1939)
• Meet John Doe (1941)
• Why We Fight  (documentary series) (1942-1944)
• Arsenic and Old Lace (1944)
• It's A Wonderful Life (1946)
• State of the Union (1948)
• A Hole in the Head (1959)
• Pocketful of Miracles (1961)

Keeping with the spotlight on Movie Mothers throughout May, I have selected Capra's final Pocketful of Miracles (1961), starring Bette Davis for my blog.

Pocketful of Miracles (1961)

Pocketful of Miracles (1961) is a heartwarming, yet unfunny comedy directed by Frank Capra and starring Bette Davis and Glenn Ford. The film is essentially a remake of Capra's 1933 film Lady for a Day. Actor Peter Falk was nominated for the Best Supporting Actor Oscar.

The 1960s was an interesting decade for Bette Davis, in which she made some of her best and some of her worse films. Pocketful of Miracles falls into the mediocre mid-point. It is not great, but it is not awful. The film has potential, but just isn't as enjoyable to watch as many of Capra's other films. I think the biggest drawback of the film is its pace and duration. The film runs for 2 and a quarter hours, and it takes almost 45 minutes for the main storyline to begin. Had Capra cut the film down to 90 minutes, it may have been better received and remembered.

That said, the film is notable for being a beginning and an end for three Hollywood greats:

• it was sex kitten Ann-Margret's first film
• it was director Frank Capra's final film
• it was actor Thomas Mitchell's final film

The plot

Bette Davis stars as Apple Annie. A gin-drinking apple seller who sells lucky apples to fund her daughter's European education. Her most loyal customer is gangster Dave the Dude (played by Glenn Ford), who believes Annie's apples bring him luck. 

During the film Annie receives a letter from her daughter Louise (played by Ann-Margret), bringing news she will be visiting with her aristocrat boyfriend Carlos and his father Count Alfonso Romero. The trouble is due to many white lies, Louise believes her mother to be wealthy socialite, Mrs. E. Worthington Manville, who lives in a luxurious hotel.

Dave's girlfriend Queenie Martin (played by Hope Lange) persuades Dave to help Annie out by giving her a glamorous makeover, moving her into an expensive hotel, giving her a pretend husband (played by Thomas Mitchell) and a butler (played by Edward Everett Horton).

Without giving too much away, the outcome of the film is very predictable and extremely unrealistic.

Apple Annie's relationship with Louise

Apple Annie is devoted to her daughter, despite telling many lies about who she is. During one scene, Annie yells at a cat for sleeping against a photo frame with Louise's picture on it, and then kisses the photo. It is out of her strong love for her daughter that she lies about who she is, and helps her daughter secure a wealthy husband.

Did you know...

• Bette Davis and Glenn Ford first worked together in the 1946 film 'A Stolen Life'
• Other actors considered for the role of Dave the Dude include Frank Sinatra, Kirk Douglas, Dean Martin and Jackie Gleason, who all turned down the role
• Other actors considered for the role of Apple Annie include Shirley Booth, Helen Hayes,  Katharine Hepburn and Jean Arthur, who all turned down the role

Shadow of a Doubt (1943)

Spotlight on Movie Mothers - Mothers Dearest and Star Birthday - Joseph Cotten

Star Birthday - Joseph Cotten

Joseph Cotten was born on 15 May 1905, and

enjoyed a prolific career of over 130 films and television appearances in almost 50 years.

Recommended viewing

• 'Citizen Kane' (1941)
• 'The Magnificent Ambersons' (1942)
• 'Journey into Fear' (1943)
• 'Shadow of a Doubt' (1943)
• 'Gaslight' (1944)
• 'Duel in the Sun' (1946)
• 'Love Letters' (1945)
• 'Portrait of Jennie' (1948)
• 'Beyond the Forest' (1949)
• 'The Third Man' (1949)
• 'Niagara' (1952)'
• 'Touch of Evil' (1958)
• 'From the Earth to the Moon' (1958)
• 'Hush... Hush, Sweet Charlotte' (1964)
• 'The Abominable Dr. Phibes' (1971)

Keeping with the spotlight on Movie Mothers throughout May, I have selected 'Shadow of a Doubt' (1943), one of the rare films where he played the villain, to celebrate the life and career of Joseph Cotten. 

Shadow of a Doubt

**spoiler alert - this blog may spoil the outcome of the film for those who may not have seen it**

'Shadow of a Doubt' (1943) is one of Alfred Hitchcock's masterpieces of mystery and suspense. It stars Joseph Cotten, Teresa Wright and Macdonald Carey (best known for his role as Dr. Tom Horton on 'Days of Our Lives').  The film is an ambiguous character study into the mind of a misogynist serial killer.

The film is significant for several reasons:

• It was director Alfred Hitchcock's personal favorite of all his films
• It was Hitchcock's first true American film, which was made in America and set in America
• It was one of the rare instances where Joseph Cotten played the villain, instead of the romantic lead

After a mysterious opening scene, Uncle Charlie visits his sister, and her family after being away for a long time. His sister, Emmy, adores Uncle Charlie, and has named her eldest daughter Charlie. As the film progresses, through the eyes of young Charlie, we (the spectator) begin to suspect Uncle Charlie is not the man he seems to be, hence the film's title 'Shadow of a Doubt'.

The famous dinner scene

A very famous dinner scene occurs during the film. Through the point of view of young Charlie, we see Uncle Charlie's nasty side with a misogynist monologue:

"And what do the wives do, these useless women? You see them in the hotels, the best hotels, every day by the thousands. Drinking the money, eating the money, losing the money at bride, playing all day and all night. Smelling of money. Proud of their jewellery but nothing else. Horrible... fat, faded, greedy women."

This monologue shocks young Charlie, as she replies with: "But they're alive! They're human beings!", to which Uncle Charlie responds with: "Are they? Are they, Charlie?"


It is the glare in his eyes when he says this, which sends a chill down our spine and confirms Charlie's (and our) suspicions of Uncle Charlie being the wanted murderer.


Watch the YouTube video to see this scene. It's fascinating to see the photographic technique Hitchcock has used in this scene, particularly towards the end of the monologue.

• the scene begins with a shot of the full table - notice Uncle Charlie is seated at the head of the table, giving him a sense of power and control
• as he begins the monologue, the camera cuts from Emmy to young Charlie, showing the concerned look on her face, before cutting back to Uncle Charlie
• as the monologue climaxes, the camera continues to move closer to Uncle Charlie's face until we get to an extreme close up - notice Uncle Charlie's eyes never blink during the monologue, adding to the suspence
• as young Charlie says "But they're alive! They're human beings!", the camera continues to stay focused on Uncle Charlie's face - it is fascinating Hitchcock decided to keep young Charlie's dialogue off screen, as most directors would have cut to young Charlie
• as Uncle Charlie says "Are they?" Are they, Charlie?", Uncle Charlie turns his head towards the camera - this is intended to force the spectator to see what young Charlie would have seen, and puts us into her character, giving this scene further impact

Significance of the train

The motif of the train recurs throughout the film:

• Uncle Charlie arrives by train
• as young Charlie learns her Uncle's secret, we hear a train whistle
• and finally Uncle Charlie is killed whilst travelling on the train.

This recurring motif is not a coincidence. Hitchcock is using the train as a mechanism of suspense and to help the spectator in putting together the pieces of the film by subconsciously thinking about the train. 

Charlie's relationship with Uncle Charlie

At the start of the film, young Charlie refers to Uncle Charlie as the only person who can make things better. She worships Uncle Charlie and everything he stands for. There is a strong rapport between the two, and Uncle Charlie even presents her with a ring, which ultimately becomes the catalyst for the destruction in the relationship. 

This is likely to shatter not only young Charlie's perception of her Uncle, but also her perception of the world. If her Uncle can be so horrible, is there goodness anywhere in the rest of the world. Consequently, young Charlie (the person who loves Uncle Charlie the most) is ultimately the one who turns against him. 

Significance of the the mother

We see Charlie protective of her mother several times in the film. After her younger sister Ann yells at their mother, Charlie questions Emmy, "I don't see why you let that child yell at you like that." 

Once we find out Uncle Charlie's secret, young Charlie tells him: "I don't want you to touch my mother. Go away or I'll kill you myself!"

We see Emmy reciprocate this protection when Charlie trips down the stairs, and after her near-death suffocation. It is young Charlie's desire to protect her mother from the truth which prevents her from telling Emmy about Uncle Charlie's secret.

Emmy is blind to her brother's unusual behaviour. She does not feel intimidated or offended by Uncle Charlie's monologue at the dinner table.

Why is Emmy so blinded by her brother's behaviour? It could be because she is desperate to remember their childhood together. Uncle Charlie knows his sister well, and to provoke this sense of nostalgia he presents Emmy with photos of their parents early in the film.

After Uncle Charlie is killed, we subconsciously sympathise with Emmys. Hitchcock made an interesting decision to not include Emmy in the final funeral scene. This allows us (the film spectator) to make our own judgement on how Emmy is feeling.

Closing thoughts

I have seen 'Shadow of a Doubt' a number of times, and no matter how many times I watch it, I always feel a shiver down my spine during the chilling dinner scene.

Although there are more well known Hitchcock films, I strongly recommend watching 'Shadow of a Doubt' if you've not yet seen it.

Yours, Mine and Ours (1968)

Spotlight on Movie Mothers - Mothers Dearest and Star Birthday - Henry Fonda

Star Birthday - Henry Fonda

Henry Fonda was born on 16 May 1905, and enjoyed a prolific career of over 100 films and television appearances over 50 years. He was the father of actress Jane Fonda and Peter Fonda, and the grandfather of actor Bridget Fonda. Fonda won an Oscar for his final film 'On Golden Pond' (1981).

Recommended viewing

• 'Jezebel' (1938)

• 'Jesse James' (1939)

• 'The Grapes of Wrath' (1940)

• 'The Lady Eve' (1941)

• 'The Male Animal' (1942)

• 'The Ox-Bow Incident' (1943)

• 'My Darling Clementine' (1946)

• 'Fort Apache' (1946)

• 'Mister Roberts' (1955)

• 'War and Peace' (1956)

• 'The Wrong Man' (1956)

• 'How the West Was Won' (1962)

• 'Battle of the Bulge' (1965)

• 'Yours, Mine and Ours' (1968)

• 'Once Upon a Time in the West' (1968)

• 'There Was A Crooked Man...' (1970)

• 'The Cheyenne Social Club' (1970)

• 'On Golden Pond' (1981)

Keeping with the spotlight on Movie Mothers throughout May, I have selected 'Yours, Mine and Ours' (1968), to celebrate the life and career of Henry Fonda.

Yours, Mine and Ours

Anything with Lucille Ball is always a lot of fun, and 'Yours, Mine and Ours' (1968) is no exception.


The film is based on the true story of Frank and Helen Beardsley, and is far superior to the 2005 remake with Dennie Quaid and Rene Russo (I guess the only good thing about bad remakes of old films is being able to enjoy the original).


The film was written by Madelyn Pugh and Bob Carroll, who were responsible for writing many of Lucille Ball's TV show episodes from 'I Love Lucy', 'The Lucy Show' and 'Here's Lucy'. I guess this was the closest thing we ever got to a 'The Lucy Show' movie.


Lucille Ball (looking quite good for 57), and Henry Fonda (also looking youthful for 63) are cast as Helen and Frank. Screen legend Van Johnson also appears as Frank's navy buddy.

Homage to Vitameatavegamin

In one scene, Frank's children spike Helen's drink with vodka, gin and scotch. This is a fascinating homage to the classic 'Lucy Makes a TV Commerical' episode of 'I Love Lucy', where Lucy starred in the vitameatavegamin commerical (see video below). 

The super mother
Helen is committed to her children, working part time as a nurse close to their school. As she is walking down the aisle, on her wedding day to Frank, we hear Helen's voice over "How can I do it to them?", showing she is having second thoughts, and considers sacrificing her happiness for her children. After her wedding, she cancels her honeymoon because her son has a temperature: "If Philip is sick I can't go".


If you thought a single mother capable of juggling part time work, a household, and 8 kids of her own was impressive, try adding 10 step children to the equation. If this is not a super mother, what is? Every morning breakfast consists of "5 pounds of bacon, 2 gallons of oatmeal, 3 dozen eggs and 40 pieces of toast".


In order to integrate the two families, Frank and Helen mutually agree to adopt their step children.

Did you know...

Lucille Ball's real life daughter Lucie Arnaz, screen tested for the role of Colleen. Footage from this screen test is included as an special feature on the 'Here's Lucy Series 1' DVD set.

"Little Women" (1933)

Spotlight on Movie Mothers - Mothers Dearest and Star Birthday - Katharine Hepburn

Star Birthday - Katherine Hepburn

Katharine Hepburn was born on 12 May 1907, and enjoyed a prolific career of over 50 films over 60 years. She was the first person to win three Oscar's for Best Actress.

Keeping with the spotlight on Movie Mothers throughout May, I have selected Little Woman (1933), to celebrate the life and career of Katharine Hepburn. Little Woman was one of Hepburn's first films.

Little Women (1933)

Directed by George Cukor, Little Woman is the third of many screen adaptions of the classic novel by Louisa May Alcott. It was the second of ten George Cukor films to star Katharine Hepburn.

I won't go into the story, as many of you will have either read the book, or seen another film version. Instead my commentary will focus on the linkage to the Great Depression, and the girls' relationship with their mother.

Cast

• Katharine Hepburn as Jo March
• Joan Bennett as Amy March
• Edna May Oliver as Aunt March 
• Spring Byington as Marmee March
• Jean Parker as Beth March
• Frances Dee as Meg March
• Douglass Montgomery as Laurie Laurence
• Henry Stephenson as Mr. Laurence
• Samuel S. Hinds as Mr. March

The Great Depression

Something unique about this particular version of 'Little Women' is it's linkage with the Great Depression. The film was released in 1933, during the height of the depression, and was instrumental in lifting the sprits of the American people. A powerful line is given by Marmee on Christmas Day:

"I've just come from a poor woman with a little newborn baby, and six children huddled into one bed to keep from freezing, for they have no fire. They are suffering cold and hunger. Oh, my girls, will you give them your breakfast as a Christmas present?"

In this statement, the starving family is a metaphor for the cold and hungry people of America, caught in the depression. As the film was released in November, director George Cukor is using the kindness of the March family to inspire the audience (assumed to be more fortunate if they can afford to go to the movies) to help the needy over the forthcoming Christmas period.

The girls relationship with their mother

The four March sisters share a close relationship with their mother, who they call Marmee. At the start of the film, Aunt March gives each girl $1 for Christmas. Rather than spend it on themselves, the sisters mutually agree to selflessly spend it on their mother. "I felt ashamed thinking only of myself", says Amy.

They are a close family, engaging in family activities, such as putting on plays and collectively, they work together to create a quilt.

The relationship between the girls and their mother is noticed by bystanders, such as Laurie, who says: "It's like looking at a picture, seeing you all around the table with your mother. You always seem to be having such good times."

Later in the film, Jo sacrifices her hair by having it cut, and sold to make $25, which she gives to her mother.

During Meg's wedding to John, she says "the first kiss for Marmee", and kisses her mother on the cheek, even before kissing her new husband.

Awards and nominations

• Academy Award winner for Best Screenplay
• Academy Award nomination for Best Picture
• Academy Award nomination for Best Director

Closing remarks

While this is a fantastic film version of 'Little Women', I am still undecided as to whether I like this or the 1949 version more. The 1949 version features an all-star cast with MGM's best including Elizabeth Taylor, June Allyson, Janet Leigh, Margaret O'Brien, Peter Lawford & Mary Astor.

DVD release

This film was released on DVD in Australia, but is now out of print.