The first part of our Studio Celebration post was an overview of the founding of Universal in 1912 and covered the milestones of the studio from the silent era, through the Great Depression of the 1930s, up to the immediate post-World War Two era in 1946. By the late 1940s Universal was starting to hit it’s stride and making the necessary moves to becoming the the top-notch media powerhouse that it is today. The pivotal year was 1946 when Universal merged with International Pictures to form Universal-International Pictures Inc., the official name it would retain until 1963.
This new venture proved to be much better than the initial four-way merger attempted earlier and described in Part 1 of the Universal story. Though the studio would continue its low budget “B” units of kiddie westerns, serials and comedies etc., it was putting forth considerable efforts towards bigger productions with better story lines. Our story will continue with a chronological list of films that moved the studio towards greatness:
The Killers (1946) was a breakout hit for the studio and is now regarded as a film noir classic, among the very best of that style. It made an instant star of Burt Lancaster and his pairing with sensuous, double-crossing femme fatale Ava Gardner is electrifying. This is the grim story of a professional boxer on the decline (Lancaster) who is hunted down by professional hit men after a heist he became involved with goes drastically wrong.
A Double Life (1947) is a dark, nightmarish story of a gifted stage actor who ultimately becomes too absorbed in his roles and loses his grip on reality – with tragic consequences. In our present era such deep involvement with self and career would be considered extremely narcissistic, unbalanced behavior. Ronald Colman won the Best Actor Academy Award for his intense, delusional portrayal of an actor who goes mad and murders his mistress in a warped, hazy rage.
The Egg And I (1947) was easily one of the most enjoyable, hilarious, homespun comedies Hollywood ever produced. The story was based on an autobiographical novel by Betty Macdonald and tells of the misadventures faced by a young couple whose dream it is to own a chicken farm!
A steady tumble of complications ensue in what would become a massive commercial hit for Universal. The financial windfall from The Egg And I spawned the Ma And Pa Kettle series, based on scene stealing supporting players Marjorie Main and Percy Kilbride. This is very funny stuff and suitable for all ages.
The irony of The Egg And I is that the popularity of this Universal ‘A’ production created the ‘B’ spin-off series – just the type of lower-half of the double bill fare the studio wanted to move away from, but still helped significantly towards making Universal a top-notch outfit. Nevertheless, money begets more money and the Kettle series comprised nine entries from 1949 to 1957.
The Naked City (1948) A superb example of 1940s film noir which deftly blends elements of documentary, melodrama, mystery and frantic action. This exceptional detective drama won two Academy Awards for cinematography and film editing. The Naked City became well known for a gritty, realistic style portraying actual New York City neighborhoods – from the slums to Park Avenue. The film was ground-breaking as one of the first to be made almost entirely on location.
Letter From An Unknown Woman (1948) Is a sumptuous romantic drama set in early 1900s Vienna. The film is based on a famous novella of a teenager (Joan Fontaine) who falls in love with a handsome, popular pianist (Louis Jourdan) after he moves into her apartment building. She soon develops an unhealthy obsession for him, a sort of secret admirer who follows his every move and even sneaks into his apartment while he’s away.
These actions are all the more disturbing as she only meets him twice within a decade and he never grasps exactly who she is. From today’s standpoint her behavior would be considered stalking and seriously emotionally disordered. Letter From An Unknown Woman is a sad tale of how fixation and unrequited love ultimately led to tragedy for her. Though not a financial success initially, it was an artistic triumph for Universal, confirming the capability of the studio to create prestige pictures and is widely regarded by reviewers today.
Winchester ‘73 (1950) A superior western with appeal far beyond the Saturday afternoon juvenile matinee audience. This was the first in a series of films teaming former MGM star James Stewart and director Anthony Mann with Universal in a mutually beneficial partnership that lasted nearly a decade. The story pits Stewart and Shelley Winters against villains Dan Duryea and Stephen McNally in the absorbing story of the highly coveted, special rifle of the title which tumbles from one hard luck set of hands to another and eventually ends up back where it belongs…with hero James Stewart – but not before a stunning revelation comes to light!
Harvey (1950) was Stewart’s second big hit of the year for Universal. The film was adapted from a popular play about an eccentric middle-aged man who has an imaginary friend in the form of a 6’3 rabbit. This outlandish comedy totally hit the spot with both audiences and critics – ideal “escape from life” entertainment that can be appreciated in any era.
Bend Of The River (1952) was the second of five pictures which James Stewart and Anthony Mann collaborated on with Universal. This exciting western boosted the rising star of Rock Hudson who would soon become the studio’s leading box office draw. The action packed story pitted homesteaders against gold seekers in 1850s Oregon with James Stewart saving the wagon train settlers from greedy, nefarious supply agents and miners. The gorgeous scenery and lush color cinematography didn’t hurt either, no doubt boosting the box office take.
The Mississippi Gambler (1953) A lavishly produced riverboat adventure featuring former 20th Century-Fox star Tyrone Power who shuns his upper-class Northern roots to pursue the diametrically opposed lifestyle of a southern steamboat gambler. Naturally, he gets ensnared in a web of card sharps and other treacherous characters in this soapy mix of fast paced, double-crossing violence and romance. Much like James Stewart, Power continued his success as a freelancing movie star and became a major draw for Universal as well in this shallow, but swift moving story that nonetheless delivered the entertainment goods.
Magnificent Obsession (1954) While this was not the first collaborative effort that producer Ross Hunter and director Douglas Sirk would engage in at Universal, this film set in motion a juggernaut of box office hits that helped Universal leapfrog above the other Hollywood studios in profitability. Hunter and Sirk became something of a dynamic duo, having the Midas touch for creating glamorous comedies and romantic melodramas that drew crowds to the cinemas.
However, on the surface Magnificent Obsession was a patently absurd story concerning reckless, shallow playboy Bob Merrick (Rock Hudson) who inadvertently causes Helen (Jane Wyman) the wife of prominent local doctor to become a widow. Unaware of who her husband was, Merrick persistently pursues her romantically which results in a car accident that causes her to go blind! The story becomes more far-fetched when the selfish, arrogant playboy does a complete about face, becoming saintly and self-sacrificing. Merrick resumes his discarded medical studies to become a brilliant, dedicated surgeon – all this to pay back his debt to Helen whom he still burns a candle for after all these years. For good measure, Merrick is compelled to honor the legacy of Helen’s deceased husband. Taking spoilers into account, let it be said that Magnificent Obsession works well as 1950s romantic melodrama and fantasy. The main point is that regardless of negative reviews and an unconvincing story line, the film was a huge financial success for Universal and they eagerly cast the high wattage combination of Hudson and Wyman again for All That Heaven Allows the following year.
The Glenn Miller Story (1954) The finest musical biopic produced by Universal which would have been a point of pride for any Hollywood studio. The story of the hugely popular 1940s big band leader was also another feather in the cap for James Stewart playing the title role. The box office receipts were tremendous for Universal’s bottom line and Stewart’s bank account as well. All films he made for the studio during this decade gave him a substantial percentage of the profits.
To Hell And Back (1955) During the 1950s, Audie Murphy (along with fellow contract player Rock Hudson) became a leading male box office attraction at Universal although the majority of his output was B level westerns. In any event, Murphy was the most decorated US soldier of World War Two and was finally persuaded to play himself and relive his harrowing battle experiences. This high profile, A level production became one of Universal’s biggest smash hits of the decade and cemented Murphy’s stardom as one of America’s leading heroes in reel life as well.
All That Heaven Allows (1955) Another pay box bell ringer for Universal, this second pairing of Rock Hudson and Jane Wyman was also another successful teaming of Douglas Sirk and Rock Hunter as they both excelled at creating soapy melodrama with social commentary. All That Heaven Allows is an engrossing, wish-fulfillment type of romance between an older woman and younger man of different socioeconomic backgrounds in small town America. Though dated now, the film was pretty titillating stuff with pointed commentary on what was considered scandalous in the 1950s. The film is also noteworthy for its lush cinematography and gorgeous autumn color palette, all directed in appealing fashion by Sirk.
Written On The Wind (1956) A lurid, tempestuous melodrama of a too wealthy Texas oil family drowning in the clutches of alcoholism, neurosis and over-privilege (or “affluenza” as it would be termed today). Loosely based on a true life scandal, the screenplay has Rock Hudson as the outsider who heroically struggles to save the Hadley’s from themselves and everyone else they come into contact with! Written On The Wind was another star in Universal’s crown with its pleasing box office returns and it also scored some prestige for the studio, winning a Best Supporting Actress statuette for Dorothy Malone.
Imitation Of Life (1959) A lavish, well-mounted soaper that has emerged as one of the great cult classics of all time. The film was the most racially charged drama of its era, creating much controversy, which propelled it to become the most financially lucrative film in the history of Universal up to that time. Imitation Of Life is the highly emotional story of two women, one white (Lana Turner) and one black (Juanita Moore). The story follows the trials and tribulations of the two women as each one is raising a young daughter and trying to make their way through the world.
Lora (Lana Turner) is a struggling actress, and Annie (Juanita Moore) faces bigger hurdles in life bringing up her bi-racial daughter Sarah Jane (Susan Kohner). Imitation Of Life thoroughly documents the humiliations and indignities suffered by Sarah Jane as she desperately tries to pass for white in a cruelly racist society. The film is also noteworthy as a professional triumph and major comeback for Turner who had recently suffered a personal tragedy when her abusive boyfriend was accidentally killed by her daughter during a domestic violence incident in 1958. The highly publicized real life scandal and the racially charged storyline made Imitation Of Life one of the great box office sensations of the decade. This film is also considered to be the best of the Hunter-Sirk collaborations.
Pillow Talk (1959) One of the outstanding sex comedies of the time, it perfectly paired Rock Hudson and Doris Day as a romantic couple who would ultimately make three films hit films together. Pillow Talk reignited the slumping careers of both stars and was another win for golden boy producer Ross Hunter. Although pretty tame by today’s standards, Pillow Talk was racy for the time -if more by implication than what actually occurs onscreen.
The sparks fly between an interior decorator Jan Morrow (Day) and womanizing bachelor Brad Allen (Hudson) because they share a telephone party line which causes Jan to file a complaint against him because he always hogs the line with boorish chatter to his numerous girlfriends. Naturally, a love triangle and other outrageous complications ensue. Pillow Talk was and still is a rollicking, zippy good time and it’s massive box office returns along with the windfall from Imitation Of Life released earlier in the year placed Universal firmly as the top ranking Hollywood studio as the decade closed out.
