Oscar Polk Movies
MGM knew it would take a bath on its all-black musical Cabin in the Sky (few Southern theaters of 1943 would touch the film), but the studio still provided its standard A-plus production values to the film; besides, it served as a training ground for up-and-coming director Vincente Minnelli. Based on the Broadway musical by Lynn Root, John LaTouche, and Vernon Duke, the film tells the story of Joe (Eddie "Rochester" Anderson), a shantytown denizen torn between the affections of faithful wife Petunia (Ethel Waters) and slinky seductress Georgia (Lena Horne). Seriously injured in a barroom brawl, Joe dreams that he is the centerpiece of a celestial power struggle between a heavenly emissary (Kenneth Spencer) and Lucifer Jr. (Rex Ingram, who ironically had played "De Lawd" in The Green Pastures). Joe is given another chance to redeem himself on Earth, lest he fall into the clutches of the Devil's little boy. Louis Armstrong briefly shows up, appropriately cast as "The Trumpeter." Song highlights include "Taking a Chance on Love," "Happiness Is Just a Thing Called Joe," "Life's Full of Consequences," and the title song. A troubled production thanks to the on-set rivalry between Ethel Waters and Lena Horne, Cabin in the Sky is nonetheless an excellent first feature effort from Vincente Minnelli. Thanks to his careful treatment of the material, the expected patronization of the black characters does not impede latter-day enjoyment of the film as much as it might have. ~ Hal Erickson, All Movie Guide
- Starring:
- Ethel Waters, Eddie "Rochester" Anderson, (more)
Cecil B. DeMille's Technicolor historical spectacle Reap the Wild Wind was to have starred Gary Cooper, but Cooper's prior commitment to Goldwyn's Pride of the Yankees compelled DeMille to recast the leading role with John Wayne. The film, set in the mid-19th century, centers around Key West, Florida, where piracy reigns unchecked. Wayne plays the captain of a salvage business, working on behalf of Raymond Massey to rescue valuables from the merchant ships wrecked by pirates. During one expedition, Wayne is rescued from drowning by Paulette Goddard, the hoydenish manager of a rival salvage firm. Goddard arranges for Wayne to go to work for her boss, Ray Milland, and a romantic rivalry ensues. Later on, Goddard's cousin Susan Hayward is lost at sea when her ship is attacked by pirates. Wayne is accused of engineering the wreck, thanks to the duplicity of Massey, the real brains of the pirate operation. Wayne and Milland both don deep-sea diving gear and swim to the bottom in search of evidence. When Milland is attacked by an octopus, Wayne saves his rival's life at the expense of his own. Massey is exposed, and Milland wins Goddard. Essentially a standard maritime meller, Reap the Wild Wind takes on the veneer of importance thanks to DeMille's epic treatment of the material. Though competition is fierce, Ray Milland steals the show with a truly offbeat characterization (he even gets to indulge in a little ventriloquism!) ~ Hal Erickson, All Movie Guide
- Starring:
- Ray Milland, John Wayne, (more)
- 1942
The once-notorious theatrical chestnut White Cargo was toned down for public consumption in this 1942 MGM-ized adaptation (the property had been previously filmed in England in 1929). More sullen than sexy, Hedy Lamarr stars as Tondelayo, the libidinous African native girl who nearly drives rubber-plantation manager Langford (Richard Carlson) to ruin and madness. Though warned by local English magistrate Witzel (Walter Pidgeon) not to "mammy-palaver" with the natives, Langford falls hopelessly in love with Tondelayo, marrying her in defiance of convention and anti-miscegenation laws. Alas, the restless Tondelayo soons tires of married life, just as Langford wearies of his bride's near-manic possessiveness. She tries to come on to Witzel, who'll have none of it, then plots to rid herself of her husband by systematically poisoning him during a bout of fever. A studio-imposed prologue and epilogue set in the 1940s was inserted to assure the audiences from the outset that Langford would eventually wise up and divest himself of the troublesome Tondelayo. Though corny and campy in the extreme, White Cargo is one of the films for which Hedy Lamarr is best remembered. ~ Hal Erickson, All Movie Guide
- Starring:
- Hedy Lamarr, Walter Pidgeon, (more)
- 1937
In this crime drama an African-American college graduate leaves his Southern home and goes to seek his fortune in Chicago. He stays at a hotel which later turns out to be a cathouse. One of the proprietors takes a shine to the lad and tries to con him into a life of crime. The boy refuses, so the crooked woman gets tough by framing him for her lover's murder. The wicked woman then goes out on a bender and ends up killed by a train. Now the boy has no alibi. A trial ensues, but fortunately, a last-minute witness appears and saves him. ~ Sandra Brennan, All Movie Guide
- 1936
It's a Great Life served as a vehicle for once-popular radio singer Joe Morrison (who can also be seen in W.C. Fields' It's the Old Fashioned Way). Morrison plays a young unemployed fellow who joins the Civilian Conservation Corps. Enjoying the twin euphoria of steady work and fresh air, Morrison and his new pal, hobo Paul Kelly, burst into song at the slightest provocation. A rift comes between Morrison and Kelly when Morrison's girl Rosalind Keith falls in love with the tramp, but all differences are swept away during a climactic bursting-dam sequence. It's a Great Life was co-written by future "Dagwood Bumstead" Arthur Lake, who in 1943 would star in a Blondie entry titled...It's a Great Life. ~ Hal Erickson, All Movie Guide
- Starring:
- Joe Morrison, Paul Kelly, (more)
The Green Pastures began life as a group of "revisionist" Biblical stories titled Ol' Man Adam and His Chillun, written in exaggerated Negro dialect by white humorist Roark Bradford. These Old Testament stories were purportedly told from the point of view of an elderly black Sunday School teacher, who translated the Biblical prose into words that his congregation ("untutored black Christians" was Bradford's description) could readily understand. Thus, "De Lawd" behaves very much like a Southern black Baptist preacher; Heaven is a wondrous bayou-like land of big cigars and eternal fish fries; "Cap'n" Noah is a languid ferryboat skipper who argues with De Lawd over the advisability of bringing along a couple of kegs of liquor on the Ark; and the court of the Pharoah is redefined as a "Mystic Knights of the Sea" type lodge hall, with Moses introduced as a "conjure man". It is, of course, a white man's perspective on black life, but both the original "Ol' Man Adam", and the subsequent Pulitzer Prize-winning stage version written by Marc Connelly and retitled Green Pastures, have a lot more clarity, profundity and spiritual reverence than most "serious" Biblical adaptations. In this 1936 film version of the Connelly play, Rex Ingram is nothing less than brilliant as De Lawd, speaking the most ludicrous of lines with dignity and quiet authority. Others in the all-black cast include Eddie "Rochester" Anderson as Noah, Frank Wilson as Moses, George Reed as Rev. Deshee, and Oscar Polk as Gabriel, who has the film's single most stirring line: "Gangway! Gangway for de Lawd God Jehovah!" Unlike many other so-called racist films of decades past, The Green Pastures nearly always charms and captivates its modern-day audiences; even the most adamant of "P.C" advocates will probably thoroughly enjoy the experience. Playwright Marc Connelly is credited as director of Green Pastures, as he was for the original stage version, but co-director William Keighley and director of photography Hal Mohr deserve most of the credit for the film's strong cinematic sense. ~ Hal Erickson, All Movie Guide
- Starring:
- Rex Ingram, Oscar Polk, (more)
Gone With the Wind boils down to a story about a spoiled Southern girl's hopeless love for a married man. Producer David O. Selznick managed to expand this concept, and Margaret Mitchell's best-selling novel, into nearly four hours' worth of screen time, on a then-astronomical 3.7-million-dollar budget, creating what would become one of the most beloved movies of all time. Gone With the Wind opens in April of 1861, at the palatial Southern estate of Tara, where Scarlett O'Hara (Vivien Leigh) hears that her casual beau Ashley Wilkes (Leslie Howard) plans to marry "mealy mouthed" Melanie Hamilton (Olivia de Havilland). Despite warnings from her father (Thomas Mitchell) and her faithful servant Mammy (Hattie McDaniel), Scarlett intends to throw herself at Ashley at an upcoming barbecue at Twelve Oaks. Alone with Ashley, she goes into a fit of histrionics, all of which is witnessed by roguish Rhett Butler (Clark Gable), the black sheep of a wealthy Charleston family, who is instantly fascinated by the feisty, thoroughly self-centered Scarlett: "We're bad lots, both of us." The movie's famous action continues from the burning of Atlanta (actually the destruction of a huge wall left over from King Kong) through the now-classic closing line, "Frankly, my dear, I don't give a damn." Holding its own against stiff competition (many consider 1939 to be the greatest year of the classical Hollywood studios), Gone With the Wind won ten Academy Awards, including Best Picture, Best Director, Best Screenplay, Best Actress (Vivien Leigh), and Best Supporting Actress (Hattie McDaniel, the first African-American to win an Oscar). The film grossed nearly 192 million dollars, assuring that, just as he predicted, Selznick's epitaph would be "The Man Who Made Gone With the Wind." ~ Hal Erickson, All Movie Guide
- Starring:
- Clark Gable, Vivien Leigh, (more)
