Madison Avenue - 1962

 

Madison Avenue(1962) is a less slick, more cumbersome Mad Men ancestor that does not expose the hypocrisy and shallowness of the world of corporate advertising as much as it merely makes a polite nod to its existence.  It is a plodding movie, but there is something striking about the way Dana Andrews chain-smokes, wields a ready cocktail (as does everybody in this movie), and openly and publicly leers at women, condescends to them, and conveniently uses them whether he knows them or not.  If we were watching the television show Mad Men, we might grin and shake our heads at the faux-1960s parody before us.  But Madison Avenue was made in 1962 and it’s the real thing.  What may shock us more is not the behavior we titter over on Mad Men, but that we know full well it was filmed with absolutely no intent to shock us.  Nobody in the theater in the 1962 was surprised by any of it, and probably didn’t notice the sexism, or stop to count the cocktails.

This is our annual post in anticipation of Labor Day.  We’ve covered two similar films in the past here:  Executive Suite, and I Can Get it for You Wholesale.  We do not encounter in Madison Avenue any hint of the contributions of organized labor, as we do a bit the previously mentioned films, but since Madison Avenue, the New York advertising institution, plays such a huge role in our economy, for better or worse, it’s worth a look—and so is this movie, even if it does not have the energy and bite of the other films.

Dana Andrews is a cunning ad man.  We get his measure in the opening moments of the film when he in the office of a client—the CEO of a milk association, played by David White, who most of us remember as Larry Tate on Bewitched.  Mr. Andrews leers at Mr. White’s nubile secretary, speaks all the sycophant kiss-ass bilge he can to David White, and heartily sips a glass of milk to please his client with the rapture of a baby enjoying it for the first time.  Andrews is an up and coming man, we are told, but he is due for a heavy fall.

His boss, sneering, cigar in hand, played by Howard St. John, stabs him in the back over a new account because he feels threatened by Dana’s success and wants to keep him under his thumb.  Dana spends the rest of the movie trying to steal back Mr. St. John’s top account.

To do this, he enlists old girlfriend Jeanne Crain and uses her shamelessly, which she knows.  She’s disgusted with him, but stuck on the guy.  She remarks sardonically, “I just got promoted from a person to a contact.”  There is the point of the movie in a nutshell.  She’s a reporter for a Washington newspaper, and against her better judgment, does a favor for him by setting up a series of articles that will promote Dana’s new client, a small Washington-area dairy.  This is his first steppingstone to swiping the big client—David White—back from Mr. St. John.

Dana starts by attaching himself like a barnacle to a small, dying ad agency run by Eleanor Parker.  Her only employee is played by the wonderful Kathleen Freeman, who, as Dana Andrews says, “She greets people as if they were stepping into an open grave.”

One of my favorite scenes in this movie is when Dana is led by Miss Freeman back to Eleanor Parker’s office.  He passes slowly through a large, dim room with empty desks and drafting tables.  We see this business is failing, with almost all employees let go, and the lights turned down to save energy.  It is deathly quiet.  I think there may be nothing more haunting and depressing than a business that looks like it’s going under, or already has.  Haunted houses are not more ominous.

This scene, and a couple scenes that show the New York City skyline from the enormous windows of an executive office—which denotes power as much as Eleanor Parker’s dingy office denotes failure—are really the only times that setting moves the story along.  This movie was shot in CinemaScope, and really didn’t need to be.  Most of the action takes place in a bar.  Because of this widescreen camera process, we have very few close-ups—they didn’t look good in CinemaScope—and we have actors placed several feet apart from each other when delivering their lines.  The space needs to be filled up, you see, so CinemaScope becomes the master of the film instead of the director.

 

 

As for bars, if we’re not in the bar, we’re talking about going to a bar at the airport, or downtown.  Even a later bowling alley scene has the neon sign “Cocktails” right over the shoulders of the actors.  In 1962, it seems people needed a lot of refueling.

Dana, taking stock of Miss Parker’s office, decides to join her firm like a rainmaker promising a shower to a desperate farmer.  His message is hardly friendly; it is downright rude, but strikingly honest and ultimately helpful to her:

“You need light walls behind you, maybe one of those French grays that looks neutral that vibrates with life; low, modern furniture, paler than your hair; thick, cream-colored carpets; indirect lighting, with a few hidden spots directed at you.  That’s an old stage trick.  Concentrate light, you concentrate attention.” 

 

 

Then he proceeds to tell her what a mess she looks like.  “You look like a refugee from a nursing school or a novel by Louisa May Alcott.”  He suggests a new outfit, makeup, a little blush and lipstick two shades darker.  He wants soft wools, nothing frilly, that fits well but not too tightly, with the sheerest hose she can find and high heels.  No jewelry, or very little.  “The average businessman wants the deal, not the dame.  When a man is doing business with a woman, he doesn’t want her sex thrown at him.  It’s distracting.  On the other hand, he resents it if she throws her sex out the window.”  He writes her a check to fix herself up.

 

 

What a fine tightrope the ladies in business walk, but one wonders if good taste can really be taught, let alone be manipulated to a commercial advantage.  The advertising world of today clearly has no use for good taste.

Just when we may despise him for  his arrogance, he treats Kathleen Freeman with greater tact, moving her from the receptionist’s job—because he wants an attractive, younger woman there—and appoints her as his personal secretary.  No young chippie for him to sit on his lap.  He’s got work to do and realizes she has experience.  He gives her a raise, and they become pals.  His one gesture of flirtation is to tell her that “Thelma” is a very pretty name.  We see it makes her whole day.

 

 

Miss Parker, after initial resentment, takes Dana’s advice and comes into the work the next day in a whole new outfit, her hair coifed, and ready for action.  They converge upon the owner of the dairy, a simpleton, child-like oaf who inherited it from his father.  He is played in a very cute and deceptively deft way by Eddie Albert.  They meet him in his executive office.  He plays with toys, and wears a white milkman’s uniform, because he likes to take his own route for fun.  The business of the company is left to sour-faced Henry Daniell, who is kind of wasted in the small role.

 

 

Eddie Albert takes a shine to Miss Parker, which Dana notices and he exploits.  Soon they have the account, and Dana, in his campaign to win back David White’s business, creates two Frankenstein monsters: Eddie Albert and Eleanor Parker.

Mr. Albert’s shy reticence soon turns to bombastic egoism with every speech he’s encouraged to make before members of his industry.  He sounds like a fool, but he speaks with absolute belief in the blather he says.  Confidence, it seems, is the path to power, and real substance doesn’t matter.  His business increases, but more important to him, his fame and power increases and soon we see he may be invited to run for public office—shades of A Face in the Crowd (1957) here, another great movie showing the hypocrisy of the advertising world and political evil of manipulating public opinion.   (But as we see, not even ad men are immune to the spell of their own message -- Dana confesses he smokes too much because he got hooked on the habit when he worked for a cigarette account.)

 

Eleanor, who, after some vigorous chasing of Dana realizes he’s not the marrying kind, transfers her intentions, if not actual affections, to Eddie Albert who looks as though he’s going places.  She began as an earnest and hardworking ad woman, who like Mr. Albert, inherited the family business, but given a taste of the glamorous life, wants to keep it by hook or crook.  In a strange way, they really are meant for each other.

 

 

The movie culminates with a series of double-crosses.  Jeanne Crain wants to take Dana down by writing an exposé on his tactics and the nefarious ad world.  Dana, realizing he’s responsible for foisting Eddie Albert on the American public, plots to knock him out of high position even at the cost of his own career.  That move, and his relationship with Kathleen Freeman are the only indications we have that deep down, Dana is a mensch. 

He tells Mr. Albert, “I’m tired of inflating balloons.  I’m tired of seeing good men held back while mediocrity like you are catapulted to the top.”

 

 

And of Miss Parker, he regrets that he, “kicked her up the ladder, now all she wants to do is kick other people in the face.”  Curiously, all the people Dana has touched in this movie are the worse for it.  Ironic for man who’s supposed to have the Midas touch.

 

 

Dana Andrews was in his early fifties when he made this film, and looks older than a freewheeling bachelor cad who is supposed to be up and coming in his career.  The two leading ladies are in their late 30s, and all of them are nearing the end of the film careers (though Eleanor Parker gets to make one more big splash as the nasty countess in The Sound of Music- 1965).  The 1960s will belong to younger actors with fewer moral dilemmas.

Only plucky, indispensible Kathleen Freeman would have a longer active career in film, TV, and the stage as a character actor we’re not supposed to notice but we always do.  She was working on Broadway in the musical version of The Full Monty in 2001 (a role for which she was nominated for a Tony), when she died of lung cancer only five days after she resigned her part.  She was 82. 

That’s a trouper.

We never really know where Dana stands with Jeanne Crain until the last few moments of the film, when he proposes.  I don’t think we really believe him at this point, but Jeanne does.

 

 

One other scene I like occurs in a bowling alley, where Dana brings an out-of-town client to entertain him.  The client is played by our old pal Grady Sutton.  Here’s our previous post on Grady.  It’s also nice to see that Mr. Sutton actually got screen credit; he usually did not.

In way, I suppose it’s appropriate that Dana’s unresolved relationships keep us off balance, because that reflects his personality, and the CinemaScope-required arm’s-length distance between characters also suggests the isolation and lack of warmth, of genuine connection between the characters.  We just can’t seem to get close to these people, but maybe it’s for the best.  There’s really not much there.  Both reflect Madison Avenue and the modern world where insincerity, shallowness and opportunism are the way to prosper.  Mad Menis intentionally nostalgic; Madison Avenue is unwittingly prophetic.

 

My Man Godfrey - 1936

“My Man Godfrey” (1936) pegs the era in such a precise way. It’s duality is its greatest charm --a light and airy foolishness above a message of grim reality that makes it a timeless foray into a specific Depression-era genre: the screwball comedy. Carole Lombard reigned as screwball’s quintessential high priestess. We celebrate the Carole Lombard blogathon today, sponsored by Carole & Company. Have a look for other participating blogs here.

Screwball comedy in the 1930s often doubled as social commentary, that was how it worked best. It threw darts, but lacked pretension. It called a spade a spade with honest and earthy directness, but without being cynical. There was still a luminescent idealism. It told its audiences of the day the way things were, and left an unmistakable footprint for future generations to vicariously experience the 1930s.

The film, directed by Gregory La Cava, begins famously with those credits stylized as neon signs over a cityscape, panning slowly until we pass the glitter and end up at the town dump. A “Hooverville” exists here. As frothy as the café society nightlife is depicted in this movie, the dump set is remarkably gritty and realistic. And big. A lot of work on the detail of that dump set.

Carole Lombard is a ditzy Young Thing on the town. She is on a scavenger hunt, one of the fads of the 1930s, that is organized by the party she is attending at the Waldorf-Ritz. Her older sister, played by Gail Patrick, is also in the competition, and Miss Patrick reaches the dump first for the next item on their list. A “forgotten man”. This was the euphemism in the day for a hobo or bum, or street person. Forgotten man sounds almost politically correct, doesn’t it? President Franklin Delano Roosevelt used the term (though he did not invent it) in referring to the folks who needed relief, and the phrase took off.

The Forgotten Man of the piece is William Powell. Powell is excellent here, a man intelligence and dignity, whose bitterness at living among the ash heaps in the dump is barely contained. Yet there is a careful reserve about him, a latent philosopher, and a wonderful unshaven virility that attracts the audience, and soon, Carole Lombard. He was never more sexy than in this movie.

She is first awed by him, and smitten, especially when he backs Gail Patrick into a pile of ashes. Gail is a haughty, arrogant rich brat who irritates Powell with the condescending offer of $5 to Powell if he will accompany her back to the Waldorf to be inspected by the prize committee as a genuine bum. Uh, forgotten man.

There is no love lost between the sisters. Carole’s delight at seeing her sister humiliated, as well as her more sensitive and shy request that Powell be her forgotten man, makes Mr. Powell allow her the privilege of capturing him.

At the party he sees the wealthy class in an orgy of junk collecting to win a prize.  He finds himself put on display, a little like a slave at a slave market when Franklin Pangborn strokes his cheek to see if the whiskers are real. Powell calls them “empty-headed nitwits” and Carole’s simple conscience, when it exists, realizes he has been humiliated. She feels guilty, and decides to bring him to her parents’ mansion to give him a job as their butler.

Of such simple stuff is excellent screwball comedy made.

Alice Brady, no sensible earth mother as we last saw her in “In Old Chicago” here, plays a society woman ten times ditzier than Carole Lombard.

Mischa Auer, in the “mad Russian” role he patented, plays a social parasite Alice Brady takes into their home as her protégé. He is a musician when he is not eating, or doing gorilla impersonations.

Eugene Pallette, he of the lordly, imposing girth and the foghorn vocal chords, plays the husband and father, and keeper of the keys to this nuthouse. The 1930s longsuffering rich guy, out of step in a world undisciplined and nutty. He is left paying the check.

Jean Dixon, longsuffering herself, plays their maid with that typical 1930s wisecracking sensibility that keeps us all levelheaded. I love the scene where she lovingly sews a button on Powell’s jacket, and Lombard strokes the sleeve. “It’s his, isn’t it?” Powell is unaware of the harem he has made of the household females.

Our beloved Grady Sutton (see this previous post), has a brief role as the bewildered fellow Carole Lombard takes as a fiancé for spite when William Powell exhibits no interest in her.

William Powell, it is disclosed to us, but not his employers, is not really a servant. He is from an upper class Boston family. He ran away after a failed romance, intending to kill himself. When he stumbled upon the destitute in the Hooverville, he instead learned a less about life and the grit and nobility of survival. He takes the butler’s job as part of his own self-rehabilitation -- part therapy and part penance, and he applies himself with diligence to his job. He is a very good butler.

We might remark that the rich people in this movie are child-like and foolish, and irresponsible and we may wonder if the audiences of the 1930s were disgusted or ridiculing of the upper class because of it. How could people like this be running the show? On the other hand, we have their neighbors in the lower class section of town, the Sycamore family of “You Can’t Take It With You” in their own self-imposed fantasy world of foolishness. Mischa Auer, you’ll remember, shows up as the perennial guest for dinner in that one, too.

I wonder if “Ochi Chornya” (pick your favorite spelling) or “Dark Eyes” could be considered a minor anthem of the 1930s? We hear it in so many movies of the day, including repeated bursts from music boxes in “The Shop Around the Corner” (1940) here.

Another musical reference we may note is Alice Brady’s musing that nobody knows the words to “The Star Spangled Banner”. It had become officially our national anthem only in 1931, five years before this movie was made.

Perhaps my most favorite topical reference from this movie, because it turns to be just as relevant today, is when Powell responds to his business partner’s question, “When do you start paying dividends?”

He replies, “Well, we’re giving food and shelter to 50 people in the winter and giving them employment in the summer. What do you want in the way of dividends?”

And the Art Deco nightclub they build over the old landfill is called The Dump.

The lines are fast and furious, and funny, and subplots include Mr. Powell’s plan to rehabilitate the dump just as he has rehabilitated himself and get his homeless friends there jobs. Meanwhile, the evil sister, Gail Patrick, plots to have him arrested for stealing her pearl necklace, which she plants in his room.

It is refreshing, in an odd way, to see two sisters really dislike each other and be shown as truly incompatible. “Yah! Yah! Yah!” as Miss Lombard would shout. Her incorrigible sweetness mixed with a cloying immaturity is a tough balance to maintain, but Carole Lombard does it well and probably better than anyone else could. William Powell knew this, and so when this project came up, he pushed for Lombard to get the part. That they were divorced in real life clearly made no problems in their chemistry for this movie.

Powell has chemistry with everybody in this movie, including the nasty Gail Patrick, and even poor Jean Dixon is so lovesick for him by the end of the movie, she and Lombard sob in each other arms over his leaving.

But it is Gail Patrick’s character I find more interesting. For all her meanness, the spark of attraction she feels for Powell is intriguing. Her encounters with him in the drawing room, and at the bar where she intrudes upon his meeting with a friend from the old days are snide but sexy jousts. She knows he has a secret and wants to ferret it out, ostensibly to humiliate him, to take revenge for his backing her onto her bum in the ash pile at the beginning of the movie.

She bullies him, she threatens him, she insults him. She uses her womanly wiles against him. He is impervious, and, in a superior and classy way tells her off, and this drives her nuts and makes him more attractive to her. In the end, another subplot reveals that Powell, through his own private scheme to raise money, has also saved her father from bankruptcy and a possible jail sentence.

Miss Patrick’s steel butterfly persona melts under the realization that Powell is their savior. Gratitude, contrition, and humility wash over her, and that is what really saves her as a human being. We wonder what kind of person she will turn out to be now that she has undergone a conversion. With Lombard’s character, we may assume both her unflappable charm and her childish tantrums will continue without change.

If we weren’t talking about the great Carole Lombard, I would say I preferred Patrick to end up with Powell at the end. But, it’s sweet, ditzy Carol that captures, truly this time, William Powell and leads him into wedlock before he knows what’s happening. In time she may end up being a carbon copy of her mother and Powell a copy of her longsuffering father.

That infectious, almost maniacal giggle bursts forth from her at the very end of the movie when Powell is ten seconds away from saying “I do”. Lombard makes this childish ditz lovable, so it is no wonder she gets away with it. And unlike Gail Patrick, who leads men around on a leash, Lombard needs someone to look after her. Naughty girl that she is.

Don't forget to check out the rest of the great blogs participating in the Carole Lombard blogathon.

Grady Sutton

A long time ago the fellow with this pleasant face began in the movies in a walk-on part with no lines (it was a silent movie, after all), and carved out a decades-long career as the anonymous everyman who was somehow familiar.

Know this guy in the sweater?  That's Student Who Goes to Get the Dean.  This is from Harold Lloyd’s 1925 silent comedy “The Freshman”. This young man was on screen for only a few moments. Prophetically, he would build his entire career around appearing on screen for only a few, very memorable, moments.


He’s Grady Sutton, uncredited in most of his roles. Even though he co-starred in a series of Hal Roach two-reelers early on in his career, he never quite made to top banana fame.

Along the way he played the foil for W.C. Fields, and appeared in “Alice Adams” (1935) with Katharine Hepburn, and was hastily engaged to Carole Lombard in “My Man Godfrey” (1936).

Oddly enough, he managed to be one of the most recognizable bit actors in Hollywood, appearing in something like 200 movies and television shows. Once he made the transition from silents to talkies, we all got to hear that gentle Southern drawl that suited so well his shy, deadpan naivete.

Here he’s the housemaid Hattie’s beau, Butch the Butcher in “Stage Door” (1937), being teased by Lucille Ball.

Here, he’s Gary Cooper’s best man in “Casanova Brown” (1943).

Here, he’s the diner counterman who for several hysterical moments (could be one of his longer roles) agonizes over Jean Arthur’s post-wedding crying jag as he serves her boiled rice.

Here he’s one of the servicemen and the local camp that Jennifer Jones, Joseph Cotten, and Claudette Colbert visit in “Since You Went Away” (1944), as he wanders the party looking for “Suzy Flemming”.

After a few unsuccessful attempts to dance with Rosemary Clooney at the cast party in “White Christmas” (1954), Grady is introduced to Barrie Chase, who delivers her famous line, “Mutual, I’m sure.”

Mr. Sutton went on to several more decades of work in film and television, never saying much, but always a welcome addition to the party.