Merrily We Live (1938) and If You Only Could Cook (1935)

Merrily We Live has been on my Wish List for years. TCM has started showing it recently to my delight. It's difficult to describe the movie, without using the words "My Man Godfrey" and "derivative," and yet this is a wonderfully enjoyable film. I will go so far as to say I enjoyed it at least as much as the earlier far more famous flick. Billie Burke plays the ditsy mother whose habit of hiring tramps as chauffeurs has left the family destitute of silver. An early scene has the family eating breakfast using kitchen utensils. She received a Best Supporting Actress nomination for the role. Despite the "forgotten men" as servants/love interests plot device, this movie is derived from different source material, a 1926 play, "They All Want Something" and the first film incarnation of it, What a Man (1930).

Brian Aherne plays Wade Rawlins a novelist who has a car accident on a fishing trip and stops at the Kilbourne mansion to use the telephone. Assuming he's a tramp looking for work, he is whisked away, protesting loudly, to be be suited up as the family's new chauffeur. One look at him in his work duds and heiress Jerry (Constance Bennett) is a goner. This is one of those moments where 1930s sensibilities are lost on me. While I think Aherne looks pretty tasty in his scruffy fishing outfit, shown above, chauffeur's uniforms always remind me a little too much of Berlin in 1939. It hardly signifies what he wears because when a tramp who isn't really a tramp and an heiress are in the same movie together, it's a sure bet they're gonna wind up getting married.

All the supporting cast are excellent including Bonita Granville as aspiring thespian/rich brat (territory that Virginia Wiedler had pretty well sown up in my book), Ann Dvorak as the chief rival for Rawlins' attention, Patsy Kelly as the sassy kitchen main and Alan Mowbray, as the family butler who quits at least once a day. This family is so screwball, even the dogs are funny, with names like "Down Boy" and "Off the Carpet" though sadly there are no wire-haired terriers present.

To add to the Dreamboat in Disguise as Servant sub-genre, If You Only Could Cook (1935) features Jim Buchanon (Herbert Marshall) as an automotive mogul who, after a rough day at the office, meets Joan Hawthorn (Jean Arthur) on a park bench while she's looking through the want ads. Mistaking him for a fellow job-seeker, she invites him to pose as a married couple in order to get jobs as a cook and a butler. Marshall of course, has his own butler, who he hits up for tips, before heading off for a few weeks vacation as a servant. Only in the movies!

Lionel Sander, best known as Max from the TV series Hart to Hart has a supporting role as one of the gangsters in the employ of Mike Rossini (Leo Carillo). The mob boss hires the couple, and then falls for Joan, which presents complications for Jim who is also in love with her. Oh, and I forgot to mention, Jim is supposed to be getting married to a woman he doesn't love in a few days. As is the way in screwball comedy, it all works out right in the end after much confusion over sleeping arrangements in the couple's cramped servant's quarters. One of Sander's lines, "If you were married to her, would you sleep on the sofa!?" sums up the tensions that drove the entire screwball genre.

Marshall doesn't quite go through the mistaken for a "forgotten man," routine. It's enough for him merely to sit on a park bench and to be branded as unemployed. Arthur is plucky and funny as usual. She always plays well as the wiser and more worldly member of a couple, and it's a nice twist to see reserved Marshall cast as her love interest. Mr. Smith and Mr. Deeds were hicks, but they were also dreamers, as is our Mr. Buchanon. He's just a bit more sophisticated.

Familiar tropes are sometimes the best because their variations delight and amuse almost more than those films which are entirely novel. During the Depression there was no greater fantasy than being a rich person with servants, unless of course it was that you were rich, your servant happened to look like a movie star and be a millionaire in disguise.

Arizona (1940)

Guess what I needed to snap me out of my fevered Herbert Marshall blogathon is frenzied Warren William blogathon. Watching Gold Diggers the other day started it off. Next up: Arizona, a western starring Jean Arthur, William Holden and Warren William. Jean Arthur plays Phoebe Titus, a pie-making, stage coach-driving, fast-shooting, other-wise hyphenated lady in leather pants, and the only American woman in Arizona territory. After selling a pie to drifter Peter Mucie (Holden) she determines that he's the man for her, but he has other ideas, namely running off and sitting under a shade tree in California. Meanwhile the Civil War happens and Jefferson Carteret (William) arrives in his dude's beaver top hat to carpet bag the whole territory into his control, while using an unscrupulous local thug as a front for his dirty dealings. By the time Muncie returns to claim his woman, she is already head of her own freighting company and owner of a ranch so big it takes two days to ride across. With the help of government contracts the couple save enough money to buy the largest herd of cattle that's been seen in the territory, but the night before Muncie is to set off for Nebraska to buy the cows, Carteret hires some local hooligans to rob Phoebe's house. Then he loans her own money back to her at 6% interest and plans to foreclose on her as soon as Muncie is sufficiently far afield. In the word's of Carteret, "that's how it's did, puddin' head."

Jean Arthur is always fun and her spunkiness lends itself well to the script that requires a woman of almost supernatural energy to sell the audience on the somewhat far-fetched tale. William Holden doesn't really seem like William Holden. I kept checking IMDB during the movie to make sure, yes, this was William Holden. Maybe he's just younger than I'm used to seeing him. Warren William makes a colorful scoundrel who stops just short of tying the heroine to the railroad tracks (I guess there were no trains in Arizona yet) in his quest to get the better of her. As the most interesting guy in the movie, I was nonetheless rooting for a romance between the two, at least until he started shooting people in the back. It was nice to see such a strong female character and even though she gets married off at the end, there's little indication that she's going to retire to a life entirely devoted to pie making. As she and her husband leave for their honeymoon, one of the town folk notes that she's made of iron from head to toe.

Arizona is a bit overlong, at two hours and ten minutes, but it is nicely filmed by Wesley Ruggles and has the benefit of the director's experience with both westerns and romcoms. The action sequences are all very good and the cow herding scenes are really quite spectacular, especially when Muncie decides to stampede the cattle into a band of attacking Indians.