Tay Garnett (1894–1977)

Though nearly forgotten for decades, this charming and enjoyable comedy/musical directed by Tay Garnett and starring Irene Dunne and Douglas Fairbanks Jr. is a little gem. RKO surrounded this good story by Dorothy and Herbert Fields with top production values and some pleasant songs penned by Jerome Kern and Dorothy Fields. The story is slight but quite charming, and becomes very funny the longer you stay with it.

Irene Dunne is Margaret Garret, a broadway and radio musical sensation mobbed at every turn by adoring fans. She is rescued from one of these mobs by Daniel Brewster (Fairbanks), a wealthy young shipping tycoon with his own island in the South Seas who has fallen for Margaret from afar. She, of course, promptly has the brash Daniel arrested as a masher! When he brings her to court and the judge is going to give him six months for doing what amounts to nothing, Margaret persuades the judge to go easy on him.

To her dismay, however, the judge uses a little known law to appoint her his probation officer, creating just the opportunity Daniel needs to show Margaret how to have fun. Margaret is all responsibility, supporting a family who have become much too dependent on her — and her considerable salary — which they squander as fast as she can earn it.

Dunne had starred in the best screen version of Show Boat and she does a nice job with some very pretty Jerome Kern melodies, including “Just Let Me Look at You” and “You Couldn't Be Cuter.” Lucille Ball portrays her sister, Salina, who is chomping at the bit to be in Margaret’s shoes, while Alice Brady and Guy Kibbee offer fine support as her mother and father. Her dad has no end of ingenious methods of sneaking liquor into every container in the house.

It is charming to watch Daniel’s enthusiasm for living life to the fullest wear down Margaret’s defenses. Recording their own song, having a drinking contest, and a wild time at a rollerskating rink make for fun viewing indeed. Dunne is a hoot as she constantly reminds everyone who'll listen that she is Margaret Garret and she can do as she pleases! But how to reconcile her family responsibilities and her own happiness?

The story by Dorothy and Herbert Fields resolves everything quite nicely and the final scene is very enjoyable. Because of the expensive RKO production values, Joy of Living was considered somewhat of a financial flop in 1938, coming as it did on the heels of Dunne's success in The Awful Truth with Cary Grant. Today, however, it is easy to appreciate it for the little gem it is rather than what it is not. A nice surprise for those who have never seen it.… (més)

Unlike any biography or memoir you’ve probably ever read, this breezy and enjoyable book is a funny, charming, entertaining and often self-deprecating look at a man and his life. That the man happens to be writer/director/producer Tay Garnett, who helmed films like Joy of Living, China Seas, Trade Winds, Cheers for Miss Bishop, My Favorite Spy, the soap-opera noir masterpiece, The Postman Always Rings Twice, and the unforgettable 1930s romantic classic, One Way Passage, seems almost a fortuitous aside.

Garnett’s failings are here, but they’re handled in humorous style. You learn a lot about Hollywood from a business and creative standpoint, but you learn it between the lines, and always with a pinch of humor and a dash of irony. He drinks, he marries and falls in love, he pitches films and takes vacations, but mostly, Garnett just lives life to the fullest he can within the confines of his fluid circumstances, which were always tied to great loves, friends he was traveling with, stars he was working with, and wives he was married to in that particular moment.

A huge section of the memoir deals with an incredible extended vacation, and has only minor connections to Hollywood, until you realize a lot of the background footage from Trade Winds, starring Frederic March and Joan Bennett, was shot by Garnett on said vacation. Breezy rather than rambling, you come off liking Garnett considerably after reading this. He had his own failings, so is not quick to criticize those of other stars or directors or producers. In a way, he was akin to writer Mickey Spillane, who often wrote, as he said, when he needed bread. Garnett seemed to pause the living of life whenever he needed bread and made a movie. Fortunately for filmgoers, and those who read his memoir, that was quite often.

This is that unusual memoir that upon completion, you find yourself hard-pressed to cite specific stories or antidotes that made you enjoy it so much. You simply know as a reader that it put a smile on your face, and was a refreshing change from the salacious and titillating memoirs which seem written only to earn a buck, and perhaps settle old scores. I was surprised to discover how much television Garnett was involved in later in life.

This memoir is an absolute delight, and anyone who loves classic films will enjoy it immensely. What’s great, is even if you’re not into classic films — and how sad for you we buffs all are — this is still a fun memoir to read. Highly recommended.… (més)

Film noir et tendu, revu avec beaucoup d'intérêt, remettant en mémoire des images brouillées par les décennies.
John Garfield est particulièrement bon dans le rôle du type "dont les pieds le démangent" et qui ne quittera pourtant plus la station-service/snack où il échoue, à la recherche d'un travail. Le propriétaire, accueillant et peu méfiant (!), ne semble pas se soucier que le jeune assistant sera en proximité de sa jeune et jolie femme (Lana Turner). Ce qui devait arriver arrive et les deux amants songent assez rapidement à se débarrasser du mari gênant. Rien ne se passera néanmoins comme prévu. Il leur faudra payer leur passion coupable (et fielleuse). Le facteur sonne toujours deux fois. On n'échappe pas à la sentence de la morale. Le jugement dernier se fait sur terre.
Un excellent film.… (més)