Mildred Pierce (1945 film)

Based on James M. Cain’s 1941 novel, Mildred Pierce tells the story of a woman trying to create a new life to raise her family during the Great Depression as she succeeds. When her ambitious and ungrateful daughter Veda becomes a success, Mildred tries to win her love. Directed by Michael Curtiz with an adapted screenplay by Ranald MacDougall, William Faulkner, and Catherine Turney. The film is a noir-like take on Cain’s novel with elements of melodrama in the days of mid-1940s Hollywood. With Joan Crawford in the title role that would win her an Academy Award for Best Actress. The film also stars Ann Blyth, Jack Carson, Zachary Scott, and Eve Arden. Mildred Pierce is a stylish yet captivating drama from Michael Curtiz.

Monte Beragon (Zachary Scott) has just been shot dead as his last words is Mildred’s name. Later that night at the house when Mildred’s friend/business partner Wally Fay (Jack Carson) joined her for a drink at her beach house that she shared with Monte. Fay is locked inside the house as he escapes where two policeman arrive where they found Monte’s body. After Mildred is called into question over Monte’s death where her ex-husband Bert (Bruce Bennett) has confessed to shooting him. Inspector Peterson (Moroni Olsen) asks Mildred about Monte and why she doesn‘t believe Bert killed Monte.

Mildred reveals her life story years before when her marriage to Bert deteriorated as he left her and their daughters Veda (Ann Blyth) and Kay (Jo Ann Marlowe). With no source of income to support her daughters, notably the ambitious yet snobbish Veda. Mildred decides to find a job as she becomes a waitress where she befriends restaurant supervisor Ida (Eve Arden). Mildred succeeds in being a waitress though Veda isn’t impressed as Mildred reveals ambition to open her own restaurant. With Wally’s help, they meet Monte who help invests in Mildred’s restaurant as she falls for the rich man who is about to inherit a fortune from his family.

While Mildred becomes successful with the restaurant, it doesn’t give her happiness as she encounters tragedy as well as seeing Veda be enamored with Monte’s rich lifestyle. With Mildred opening more restaurants and becoming rich, she is forced to make Veda happy by giving her riches while Monte also takes advantage of Mildred’s success. With Mildred deciding to get rid of Monte, Veda ends up causing more trouble. With Veda pushing her away and Mildred desperate to have her home. Mildred makes a deal with Monte to marry her so she can have Veda back as it comes with a terrible price.

While some viewers might believe that a story like Mildred Pierce is about a woman trying to succeed following the dissolution of her first marriage while trying to please her ungrateful daughter. That’s only in terms of a simple plot summary. Really, it’s about a woman trying to win her daughter’s love only to be blinded and be taken advantage by the young girl who continuously manipulates her. It’s really the story about Mildred and Veda as they are two different personalities that represents different ideas of ambition and class struggle. Mildred is a woman trying to succeed at a time when women aren’t allowed to run their own businesses without the permission of her husband. Yet, she had to because she needed to support her daughters. She succeeds by becoming a waitress and later managing her own chain of restaurants.

If Mildred’s determination to succeed and provide a good life for her daughters is one that is inspiring. There is also a flaw to that as the thing that keeps Mildred from being truly happy is Veda. Veda is part of Mildred’s determination to succeed yet Veda scoffs at her mother’s working class background. When Mildred succeeds and has Monte at her side, Veda takes advantage of Mildred’s new finances with people such as Ida and a very reluctant Wally trying to tell her that Veda is talking money. The character of Monte is a playboy who is enamored by Mildred’s ambitions but is charmed by Veda and her love for the posh world. Monte would end up taking advantage of Mildred as well once his fortunes dwindle and eventually, he would put Mildred into ruins both professionally and personally.

The narrative starts off with a noir-fashion once Monte is seen shot but no one knows who kills him. Yet, everyone is a suspect as the story is told through Mildred with her own voice telling the story as she talks to the inspector. It’s a wonderfully told script that plays to not just melodrama but also with a dash of film noir. While some might feel that Mildred ends up being conned over and over again, it’s because it’s all about a woman’s love for her daughter and how she can be blinded where she reaches a breaking point. The script is definitely engaging in its adaptation as it plays true to the complicated drama between Mildred and her daughter.

Michael Curtiz’s direction is definitely captivating from the noir-like look of the police scenes to the melodramatic tone of the rest of the film where it chronicles Mildred’s rise from waitress to businesswoman. Curtiz also lets the scenes play out as he goes reaction whether it’s the heavy drama between Mildred and Veda to even scenes of sexual innuendo. Yet, considering it was made during the era of the Hayes Code, the sexuality of the film from the way Monte and Wally would look at Mildred’s legs is very subtle. Not overtly but it does let audience get the idea of who Mildred is but also in the way she starts to become her own woman.

Curtiz also plays up to the noir style of the film by creating an amazing opening sequence while never revealing who kills Monte. This would create a tone where it becomes very dark during Mildred’s interrogation scenes. By the time the third act arrives, the mixture of melodrama and noir finally blend as the tone of the film darkens. Even as Curtiz is always playing up to the drama whether its having a two-shot between Mildred and Veda while building up the momentum to the climatic moment of the moment that Monte gets shot. Curtiz’s direction is truly superb in the way he presents the story as well as delving into the mind of its titular character.

Cinematographer Ernest Haller does a phenomenal job with the film‘s black-and-white photography from the wondrous, sunny look of the suburbs that Mildred lived in early in the film to the dark, eerie world that comes in later in the film. Haller’s work also plays to the noir-like tone for the scenes at the police station as well as the shots at Monte’s beach home late and very early at the film. It’s definitely one of the film’s technical highlights as Haller’s work is spellbinding. Editor David Weisbart does an excellent job with the editing from the rhythmic cuts to play up to the drama including the dissolve transitions needed to help structure the story from the interrogation to the scenes of Mildred as a housewife.

Art director Anton Grot and set decorator George James Hopkins do an amazing job with the set pieces of the film. From the 1940s look of the suburban home that Mildred lived early in the film to the somewhat-posh like look of the restaurant that Mildred runs. The art direction is superb as it plays to Mildred’s rise and the eventual fall she would take. The film’s sound by Oliver S. Garretson is very good from the atmosphere of the restaurants to the sounds of gun shots that plays to the noir aspects of the film. The film’s music by Max Steiner is superb from its sweeping theme that plays to the melodrama of the film to more uplifting pieces that plays to Mildred’s rise. Steiner’s score is definitely another of the film’s highlights as it’s truly spectacular.

The cast is definitely wonderful for its array of some very memorable performances from the big actors to some small roles by other actors. Among the memorable small roles that stand out includes Butterfly McQueen as Mildred’s maid/associate Lottie that adds some needed humor the film as well as Veda Ann Borg as a fellow dancer at Wally’s own little bar. Lee Patrick is good as a woman that Bert is supposedly having an affair while Moroni Olsen is excellent as Inspector Peterson who believes that what is going on isn’t what it seems. Jo Ann Marlowe is very good as the tomboyish yet grateful Kay, the youngest daughter of Mildred. Bruce Bennett is also good as Mildred’s first husband Bert who struggles with Mildred’s new life while often warning her about Veda’s personality.

Eve Arden is brilliant as Ida Corwin, Mildred’s restaurant associate who is a tough-talker as she dislikes men while wondering why does Mildred put with Veda. Adren steals every scene in the film as she also delivers some of the film’s best lines. Jack Carson is great as Wally Fay, a man who likes Mildred while having trouble dealing with Monte as well as trying to be the guy to calm things down only to feel screwed over what happened. Zachary Scott is excellent as Monte Beragon, the man who falls for Mildred only to take advantage of her wealth as he leaves and then comes back only to be killed in the beginning of the film.

Ann Blyth is superb as Veda, the ungrateful daughter who wants to become rich and ambitious as she is also a selfish, spoiled, uncaring little bitch. With a stylized yet dramatic performance, Blyth succeeds in creating an unsympathetic character that everyone loves to hate. Even as she claims she tries to be good as there is also someone with an innocent look but is truly full of shit as Blyth captivates in the moments she’s in. Finally, there’s Joan Crawford in one of her finest performances as the title character that would win her an Oscar for Best Actress. Crawford brings a sexiness as well as a bit of realism to a woman in the 1940s trying to do what is right for her children. Even as she brings a sense of frustration over the fact that she’s a woman trying to do what is right and doesn’t feel appreciated by her ungrateful daughter. It’s an overall iconic performance from the legendary Crawford.

Mildred Pierce is an extraordinary yet stylish noir-drama from Michael Curtiz with a radiant performance from Joan Crawford. Audiences of stylish noir-like films of the 1940s will no doubt see this as a fascinating melodrama that features great scenery and some memorable dialogue. Anyone interested in the career of Joan Crawford will find this as one of her essential films. In the end, Mildred Pierce is a phenomenal film from the great Michael Curtiz.

Related Reviews: Casablanca - Mildred Pierce (TV miniseries)

© thevoid99 2011

Casablanca

Originally Written and Posted at Epinions.com on 2/19/09

Among considered to be one of the greatest films ever made, Casablanca is always mentioned in the list of great films. The story of an American expatriate who is torn in helping the woman he loves while wanting to free her Resistance leader husband escape Casablanca during World War II. Directed by Michael Curtiz based on the play by Murray Bennett and Joan Alison. Screenplay by Howard Koch, an un-credited Casey Robinson, Julius J. Epstein and Phillip G. Epstein. The film is a romantic drama that has captivated audiences since its release in 1942. Starring Humphrey Bogart, Ingrid Bergman, Paul Henreid, Peter Lorre, Conrad Veidt, Sydney Greenstreet, and Claude Rains. Casablanca is an entrancing, entertaining, and romantic masterpiece from Michael Curtiz.

It's the 1940s as Casablanca remains one of the few unoccupied French areas in Morocco. The most popular club is Rick's Café Americain, a club with entertainment and a secret gambling area owned by a cynical American expatriate named Rick Blaine (Humphrey Bogart). In a club full of a mixed clientele of refugees, Vichy French officers, Nazi officials, and other posh regulars. The club features an African-American piano player named Sam (Dooley Wilson), Hungarian waiter Carl (S.Z. Sakall), Russian bartender Sascha (Leonid Kinskey), and croupier Emil (Marcel Dalio). One of the club's regulars is Captain Louis Renault (Claude Rains), who is accompanying Major Strasser (Conrad Veidt) over an incident involving two dead German couriers, is conducting an investigator. Rick is later confronted by Ugarte (Peter Lorre) asking him to keep some letters of transits that he took from the two German couriers. After Ugarte's arrest, two people arrive into the club which is Victor Laszlo (Paul Henreid) and Ilsa Lund (Ingrid Bergman).

Ilsa recognizes Sam as she asks him to play an old song that annoys Rick until he sees Ilsa. The two hadn't seen each other since Paris got occupied by the Germans as it brings Rick some sad memories of their life back in Paris before the occupation and Ilsa's departure. With Laszlo, a Czech Resistance leader sought by the Germans, trying to get out of Casablanca to go to America. Rick isn't sure if he wanted to help Laszlo as Laszlo and Ilsa go to a rival club owner in Ferrari (Sydney Greenstreet) for help but couldn't. With Strasser trying to capture Laszlo by any means with help from Renault, tension between the French and Germans rise during a singing of national anthems at Rick's club. Renault forces the club to be closed as Laszlo turns to Rick for help but Rick remains unsure still dealing with the bitterness of the dissolution over his relationship with Ilsa. Ilsa finally comes to Rick for help as he makes his decision over his own future and everything for Ilsa and Laszlo with some unexpected help.

The film is a bending of genre of sorts with all sorts of genres crammed into one. There's adventure, romance, drama, suspense, and some humor all rolled into one. Yet, it's a remarkable film that swoons in its bending of genres as its done with such style and rhythmic dialogue from screenwriters Howard Koch and the Epstein brothers. The screenplay is filled with wonderful set-ups, twists, turns, and back stories about the Rick-Ilsa relationship in Paris to how they broke apart and why leaving Rick very bitter. Yet, the film is about what Rick would do for the woman he loves and what would happen afterwards. The film also delves into his own background working for resistence causes for other wars in previous years as he now claims he fights only for himself. His motivation to fight for himself and then be helpful for a cause is Ilsa as she reveals why she left and her own conflicts for her feelings for both Rick and Laszlo.

The script is truly brilliant in its plotting, set-ups, motivations, and development as it's all well told in the direction of Michael Curtiz. Curtiz's direction is very stylish in playing to the script's structure where the first act is largely told in Rick's club leaving the other two acts to wander in various locations and setting along with Rick's club. It's also because that since the story was based on a play, Curtiz sets it up as if it's a play in all of its intimacy and staging. With shots to emphasize the drama and tension with close-ups providing a soft look, Curtiz's direction is truly amazing in its look, tension, and compositions. Overall, Curtiz creates a film that is truly spectacular in its drama and staging.

Cinematographer Arthur Edeson does superb work with the film's black-and-white photography with dark shades of black and grey to convey the bitter mood of Rick along with more lighter colors to reflect his happiness. Even in some scenes at the club where everything is fun as Edeson's photography is exquisite. Particularly in its shading and set-ups to create moods for some of the film's dramatic moments along with its final scene with soft touches for the film's romantic portions. Editor Owen Marks does a fantastic job with the film's editing in the use of dissolves and wipe-transitions to give the film a nice rhythm as well as emphasizing its structure. Marks' editing is wonderful in playing up the drama and intensity of the romance between Rick and Ilsa.

Art director Carl Jules Wyle and set decorator George James Hopkins does an excellent job in recreating the look of the Casablanca shops and bars in its exteriors along with a wonderful look in Rick's club. Notably the atmosphere as it's a hotbed of different cultures and people where things could go right or wrong as the art direction is truly worth noting. The costume designs Orry-Kelly on the gowns that the women wear, notably the white gown that Ilsa wears on her arrival to Rick's club is gorgeous. With Anthony Gasbarri on the tuxedos that Humphrey Bogart wears, the close have a classy, sophisticated look that is truly divine. The sound work of Francis J. Scheid and recordist Edward Ullman are excellent for the atmosphere of the club in all of its grandeur and chaos. It's also great for its suspense, notably the last scene of the film that's a wide mix of emotions and tension.

The music score by Max Steiner is phenomenal in all of its arrangements and styles. From its suspenseful, intense pieces to more light-hearted scores for some of the film's non-dramatic, non-suspenseful scenes. Steiner brings versatility to the music while creating sweeping, somber arrangements for the film's romantic portions. Steiner also brings unique touches to the French national anthem with its triumphant arrangements and pieces. The soundtrack includes standards that plays up to the club scenes with one notable song is As Time Goes By that serves as romantic piece for Ilsa and Rick to hear.

The casting is phenomenal with its array of small performances and standout characters that are memorable throughout the film. Notable small roles from Ludwig Stossel and Ilka Grunig as the Leuchtag, a German couple who are friends of Carl, Gregory Gaye as a German banker refused to enter the casino, Helmut Dantine as a young Bulgarian casino player, Curt Bois as a pickpocket, Madeleine LeBeau as Rick's discarded girlfriend Yvonne, and John Qualen as Laszlo's Norwegian contact. Other memorable small roles include Marcel Dalio as the croupier Emil, S.Z. Sakall as waiter Carl, Leonid Kinskey as bartender Sascha, Joy Page as a young Bulgarian refugee who breaks Rick's cynical persona, and Dooley Wilson as Rick's longtime friend and piano player Sam.

Conrad Veidt is excellent as Major Strasser, a Nazi official who is trying to nab Laszlo for his government while hoping to get more support from Captain Renault. Peter Lorre is great as Ugarte, a slimy thief who tries to get Rick to hide some transit papers as he makes a memorable appearance. Sydney Greenstreet is very good as Ferrari, a club owner who is a friendly rival of Rick's who tries to help out Laszlo and Ilsa while making some deals with Rick. The film's best supporting performance is easily Claude Rains as Captain Renault. A shady police captain who is corruptive but only willing to play on a side that he feels will win as Renault brings a complexity and charm to his character who is an anti-hero that doesn't play by the rules. Renault's performance is truly the standout character of the film.

Paul Henreid is superb as Laszlo, a Czech resistence leader trying to go to America as he reveals what he knows about Rick and Ilsa. Henreid doesn't play the kind of guy who wants to go into conflict with Humphrey Bogart but rather as someone who needs Bogart's help. He's also the guy you kind of don't want to root for but want to help his cause which represents a great duality to his role. Ingrid Bergman is amazing as Ilsa Lund, Rick's former lover who is in conflict over her loyalty for Laszlo as well as her love for Rick. Bergman's radiant beauty and fierce performance is truly spellbinding to watch in all of her torment and desperation as Bergman truly captivates in her performance. Finally, there's Humphrey Bogart in a phenomenal performance as Rick Blaine, the cynical club owner not wanting to be involved in anything. Blaine is a great anti-hero who is in it for himself and not wanting to help anyone until he faces Ilsa. Bogart shows great depth into his own emotional torment without dabbling into any kind of theatrics as it's a great performance from the legendary actor.

Released in New York City in November of 1942 around the time the city of Casablanca had been captured by the Allies. The film went into wide release in January 1943 to great acclaim as a year later, it won three Oscars for Best Picture, Best Director, and Best Adapted Screenplay. Though its box office reception was modest, the film since its release has remained influential and powerful. The film has been considered a classic in American cinema as it places itself in the top 5 greatest films of all-time by the American Film Association along with several other lists where it would top some. The film has been released in several formats in VHS and DVD where it recently got a recent Blu-ray DVD release in late 2008 to great acclaim for its high-definition transfer.

More than 65 years since its release, Casablanca is a timeless classic that still holds up with today's films. Thanks to Michael Curtiz's stylish direction, a fantastic script filled with memorable one liners, great technical work, and a superb cast led by Humphrey Bogart, Ingrid Bergman, Paul Henreid, and Claude Rains. It's a film that is romantic, suspenseful, and thoroughly entertaining. Audiences who haven't seen this film should see this as it lives up to its hype and acclaim while audiences who have seen this film should get a chance to see it again. It's a film that truly lives up to its brilliance. In the end, Casablanca is a brilliant film that ages gracefully since its 1942 release.

(C) thevoid99 2010