TALES OF MANHATTAN
US, 1942, 127 minutes, Black and white.
Charles Boyer, Rita Hayworth, Ginger Rogers, Henry Fonda, Charles Laughton, Edward G. Robinson, Paul Robeson, Ethel Waters, Eddie (Rochester) Anderson, Thomas Mitchell, Eugene Palette, Cesar Romero, Gail Patrick, Roland Young, Elsa Lanchester, George Sanders, James Gleeson, Harry Davenport, J. Carroll Naish.
Directed by Julien Duvivier.
Tales of Manhattan is one of the earliest omnibus films that achieved great popularity. It comprised five different episodes (one with Betty Fields was eliminated from the final print, it is said, because the film was already long enough).
The film was directed by veteran French director Julien Duvivier who had made such films in France in the 30s as Pepe le Moko. He was to remain in Hollywood during the duration of the war and then to return home. While in Hollywood he made another omnibus film, Flesh and Fantasy.
The quality of the film varies. It takes a device, later used very frequently, for example in The Yellow Rolls-Royce?, of something going from one group to another and this story revolves around this central object. In this case, it is a coat.
There are interesting performances by several stars, especially Charles Boyer who has a chance to do a variation on his romantic lover with Rita Hayworth looking very glamorous (but not articulating so well). There is a good comedy routine between Ginger Rogers and Henry Fonda. Edward G. Robinson is quite striking in his episode as is Charles Laughton in his.
There is an African American story at the end which looks rather dated in its style and looks somewhat patronising. However, overall, the film is quite entertaining. It started a fashion in English and American films which Italy followed in the 1960s.
1. The appeal of the omnibus film? The coat as the central aspect of the various stories, the linking of the various stories by the adventures of the coat? The variety of the stories in entertainment style? The comment of one story on another with the portrayal of different characters, different situations, classes, sense of right and wrong – each in linking with the coat?
2. An entertaining film during the war period? The cinema styles of the 40s? The influence of this film on other similar films?
3. Black and white photography, sets and locations, the musical score? The use of so many actors in the varies stories? The film by a French director? Is this evident? His sympathy for the American style of cinema as well as American stories? Dramatic style, tracking, close-ups etc?
4. The fable atmosphere of the various stories? The different backgrounds of the individual characters, wealth and poverty, class, luck? The irony of the coat on the scarecrow at the end, after the big build-up about the quality of the coat at the beginning?
5. Audience interest in the suit, what happened to it? The ambiguity of the title of tales as stories and the tail of the coat?
6. The romantic and melodramatic impact of the first story? The initial focus on Paul as an important actor, getting the coat for his performance, acting style, the story of the coat and its bad luck? The performance and the audience thinking for a moment that he was to be shot – and the irony of this melodramatic plot being used with Ethel and her husband? Ethel and the jinx on the husband’s performance, his hurrying away to see her? The confrontation with Ethel? How was she acting, how genuine? Did she know the truth when she spoke it? Confrontation with her husband, melodrama and shooting? The irony of Paul’s acting and the reaction of husband and wife to his dying, his not dying? The irony of his really being wounded? Portrait of matinee idol type? Ethel and her glamour, fickleness? The jealous husband and the lengths she was driven to? Décor, especially the room with so many horns, and the irony of the symbol of cuckolding? The guns, the symbolism of the gun? The discussion about the alibi, the hole in the suit and its presence throughout the other story? Luther and his taking Paul to hospital? The moral of this episode?
7. The linking with Luther and Edgar and the borrowing of money and the selling of the suit?
8. The humour of the Diane-Harry-George? story? Fashionable New York setting? Harry as a romantic type, lies, the letter from Squirrel, his relying on Edgar and George to get him out of a difficult situation? Diane and her marrying, Ginger Rogers and her style, love for Harry? Ellen and her snooping, Diane defying her, the irony of their finding the letter, reading it? The humour of the symbolism of the letter and the way that it was used throughout the episode? Harry and his devices for getting George to take over and own the suit? Edgar and his very British trying to cope with the situation? The personality of George, Henry Fonda acting his naïve comedy role? His stories and trying to cope with Squirrel’s letters? The scenes between the two, the inevitability of George and Diane falling in love? The humorous arrival of Squirrel and the showdown? The romantic screwball comedy traditions of the 30s and the way that they were used? The moral of the story?
9. The linking with the Smith story? Mrs Smith and her seeing the coat? Smith and his playing the piano and audiences thinking he was in a better situation than he was? Charles Laughton’s style in this role? His hurry to the interview, the portrayal of the orchestra and the temperament of the conductor? The interview of Smith with the conductor, the fulfilment of the dream of instant success? The humour of having to get the suit and the coat being too small? Audience response to Smith’s conducting, the tearing of the coat, the growing laughter throughout the theatre? The reaction on the audience, on Smith, on the maestro? Smith and his weeping? The maestro taking off his coat and leading the audience to do the same? Their response and the success? The character of Mrs Smith and her response to her husband’s success? A genial success family? The comment on rude audiences, hypocrisy? The device of having the latecomer arrive and find people with their coats off? A blend of sentiment and humour?
10. The transition of the coat to the mission? The manager of the mission and his relationship with the alcoholics? His family helping? The letter coming for Barry and the minister taking it to him? The visual portrayal of Larry as an alcoholic, with the garbage? Persuading him to go to the party, the preparations with the coat? Their hopes? The types at the party, American upper-crust society and the reunion? Larry and his stories about China? The personalities of the various men and their success in their careers? His genial talk with the professor? With Hank? Williams and his hostility? The irony of the loss of the wallet, Williams and his nasty devising of the court case? Larry’s immediate reactions? The humour of the speeches and yet the threat and pressure on Larry? His taking over the speech, the revelation of his past and lack of success? The failure of his marriage, the revelation about his shirt? The humiliation? The pleasantness of the visit and, while Larry arrived home drunk, the possibility of success? Good humour, good nature and sentiment?
