Shattered Politics #8: Magnificent Doll (dir by Frank Borzage)


Poster - Magnificent Doll_02

I’ve always been tempted to write one of those quizzes that you always see on Facebook, “Which American first lady should you be?”  That’s a question that I’ve often asked myself.  I know that I would not want to be any of our most recent first ladies.  (Sorry, Michelle.  Sorry, Laura.  Sorry, Hillary.)  Occasionally, I think that I would have liked to have been Jacqueline Kennedy, if not for what happened in Dallas.  Teddy Roosevelt’s daughter, Alice, is definitely a historical role model for me but it’s debatable whether she could truly be considered a first lady.  And, of course, there’s always Grover Cleveland’s wife Julia but ultimately, for me, there’s really only one choice.

If I could be any American first lady, I would be Dolley Madison.

Dolley, of course, was the wife of James Madison, who was not only our fourth President but also one of the smartest.  Madison was a skilled writer and scholar but he had absolutely no social skills.  Dolley, on the other hand, was vivacious and was, by the standards of the dentistry-free days of the 19th Century, one of the most beautiful women in America. Whereas James was uncomfortable meeting with people and struggled to express himself, Dolley was the world’s greatest hostess, bringing opposing forces together through the sheer force of her own charm and ability to throw a great party.  When the British invaded Washington D.C. during the War of 1812, Dolley was the one who saved the famous portrait of George Washington from being burned with the rest of the White House.

So, yes, I would definitely be Dolley Madison.

(Yes, I know that there’s some debate over whether her name should be spelled Dolly, Dolley, or Dollie.  I spell it Dolley and since I would have been her, I think my opinion counts for something.)

It’s a shame that there haven’t been many movies made about Dolley Madison.  Perhaps the best known is 1946’s Magnificent Doll, which is not a very good movie but which is amusing if you know something about history.

Magnificent Doll opens with young Dolley Payne (Ginger Rogers) being forced to marry John Todd (Horace McNally), a much older lawyer.  (John saved the life of Dolley’s father and, in gratitude, Dolley’s father gave him his daughter.)  Though John falls in love with her, Dolley refuses to show him any sign of affection and good for her!  (Seriously, arranged marriages suck.)  But then John dies of yellow fever and Dolley declares that she did love him all along.

But life goes on!

Soon, Dolley and her mother are running a boarding house in Philadelphia.  Fortunately, they happen to be running it at the same time that the Continental Congress is attempting to write the Constitution.  Several of the delegates are staying at the boarding house and two of them take a romantic interest in Dolley.

First there’s Aaron Burr (David Niven), a charming scoundrel who appeals to Dolley’s wild side.  Aaron does things like take her to a bar and kiss her underneath a staircase.  Aaron is vain.  Aaron is self-absorbed.  Aaron is an ambitious and charismatic brooder whose moods can be unpredictable.  Aaron is exiting!  Aaron is dangerous!  Aaron is a rebel!

And then you’ve got Aaron’s friend, James Madison (Burgess Meredith).  James is shy and gentle.  He’d rather read a book than go out.  He’s the type of smart kid who all the other kids make fun of but he’s also a good, decent man who has a great future ahead of him.  He just needs someone to bring him out of his shell.

In short, Aaron is the type of boy that you hope invites you to prom.  James is the type of boy that you marry.

And, when Dolley does marry James, it sends Aaron Burr into such a tail spin that he nearly prevents Thomas Jefferson from becoming President in 1800…

And, needless to say, this film is in no way historically accurate.  It is true that Aaron Burr was nearly elected President in 1800 and, had he been, Thomas Jefferson would never have been President.  However, most historians seem to agree that has more to do with Aaron Burr being ambitious and nothing to do with Dolley Madison.  In the end, Magnificent Doll may be amusing in its inaccuracies but bad history is still bad history.

That said, there’s still a part of me that enjoyed Magnificent Doll, despite the fact that it moves way too slowly and none of the actors (with the exception of David Niven) appear to be all that invested in their roles.  I think, ultimately, the reason I enjoyed Magnificent Doll was because it really is basically just a YA version of American history and, as a result, it does have some curiosity value.  One gets the feeling that if Magnificent Doll were released today, it would be split into two different films and that it would be promoted on social media with hashtags reading #TeamAaron and #TeamJames.

That said, if there’s any first lady who deserves a biopic (one that’s good as opposed to so-bad-its-interesting) it’s Dolley Madison.  (Personally, I would cast Amy Adams in the role.)  #TeamDolley all the way!

James Bond Film Review: Casino Royale (dir by Ken Hughes, John Huston, Joseph McGrath, Robert Parrish, Val Guest, and Richard Talmadge)


As you probably already know, we here at the Shattered Lens have been counting down the days until the American release of Skyfall by reviewing every single film in the James Bond franchise.  Today, we take a look at the first non-EON Bond film, the epic, psychedelic 1967 spoof Casino Royale.

Where to begin?

When Ian Fleming’s first James Bond novel, Casino Royale, was published in 1953, veteran Hollywood producer Charles K. Feldman bought the film rights.  However, Feldman didn’t buy the rights to Fleming’s subsequent novels and was forced to sit by and watch as Albert Broccoli and Harry Saltzman had unexpected success with Dr. No and the subsequent EON-produced Bond films.  Much as Kevin McClory did with Thunderball, Feldman first attempted to co-produce a serious adaptation of Casino Royale with Broccoli and Saltzman.  However, when Feldman, Broccoli, and Saltzman couldn’t come to an agreement on how each side would be compensated in the proposed production deal, Feldman decided to make Casino Royale on his own.  He also decided that, instead of trying to compete with EON by making a “straight” James Bond film, his version of Casino Royale would be a satirical extravaganza.

Feldman’s vision of James Bond is apparent from Casino Royale’s opening credits.  While the credits are definitely based on the iconic openings of the EON Bond films, they’re also designed to play up the fact that Casino Royale — in the grand tradition of the Hollywood studios at their most excessive — is meant to be a big budget, all-star extravaganza.

Casino Royale actually starts out with a pretty clever premise.  It seems that the name “James Bond,” is simply a code name that has been assigned to several British spies over the years.  As M (played by John Huston, who also directed the first third of the film), explains it, the name “James Bond” strikes such fear in the hearts of Britain’s enemies that the name must be kept alive.

(Speaking for myself, this is an idea that I kinda wish that the official James Bond series would adopt.  If nothing else, it would certainly explain how Pierce Brosnan and Daniel Craig could possibly be the same person.)

The original James Bond (played by David Niven) has long since retired to his stately country estate, where he spends his time playing the piano and complaining about how the agents who have inherited his name are sullying his reputation with excessive womanizing and violence.  It turns out the Sir James Bond is a man renowned for his “celibate image.”  At the start of the film, Bond is asked to come out of retirement by not only M but the heads of the CIA, KGB, and French secret service as well.  SMERSH, an organization of female assassins that’s led by the mysterious Dr. Noah, has been eliminating agents worldwide and only the original (and very chaste) Bond can defeat them.  Bond, however, refuses and M responds by ordering a mortar attack on Bond’s estate.  The estate is blown up but so is M and Bond soon finds himself returning to London as the new head of MI6.

Interestingly enough, David Niven was one of the actors who was considered for the role of James Bond in Dr. No.  Reportedly, Ian Fleming was quite enthusiastic for Niven to take the role but, by the time that Dr. No went into production, Niven was considered to be too old.  There’s a nice bit of irony here in seeing David Niven playing a retired James Bond who spends a good deal of the film complaining about the men who have subsequently assumed his name.

Once Niven takes over MI6, he orders that, in order to confuse SMERSH, all British agents (including female agents) will be known as James Bond.  The rest of the film is divided into episodes that feature these new James Bonds battling SMERSH and the mysterious Dr. Noah.

Among these agents, there’s the handsome Coop (played by Terrence Cooper) who has been trained to resist all sexual temptations.

There’s Mata Bond (Joanna Pettet), the daughter of Sir James Bond and Mata Hari.

There’s Vesper Lynd (Ursula Andress) who is sent to seduce and recruit the expert gambler Evelyn Tremble (Peter Sellers) so that Tremble can beat SMERSH agent Le Chiffre (Orson Welles) at the Casino Royale.

Best of all, there’s Sir James Bond’s nephew, Jimmy Bond.  Jimmy Bond is played by Woody Allen and … well, let’s just take a look at Jimmy’s first scene in the film:

Casino Royale had a notoriously troubled production history and most of those troubles seemed to center on Peter Sellers.  While the film was designed to be a broad, slapstick comedy, Sellers reportedly insisted on trying to play his role straight and even rewrote his lines to make his scenes more dramatic.  Welles eventually grew so disgusted with Sellers that he refused to be in the same room with him.  This caused quite a bit of difficulty since Sellers was in almost every scene that featured Welles.  Eventually, Sellers walked off the film and the film had to be hastily (and awkwardly) rewritten to account for his sudden absence.

When one watches Casino Royale today, it’s hard to escape the conclusion that Sellers was essentially correct.  While most of Casino Royale often feels disjointed and incoherent, the scenes featuring Sellers, Andress, and Welles are some of the strongest in the film.  Sellers’ dramatic approach doesn’t negate the film’s comedy.  If anything, it makes the comedy even stronger because Sellers actually seems to be invested in the reality his character, regardless of how ludicrous a situation that character may find himself in.

When I watched Casino Royale, I was struck by the stark contrast between the parts of the film that worked and the parts that didn’t.  This is a movie that truly swings from one extreme to another.  Either the film’s satire is working  brilliantly (mostly in the scenes featuring Woody Allen and Peter Sellers) or it’s falling completely flat (like in an extended sequence that features Deborah Kerr as a SMERSH assassin).

I found myself laughing more at the little scenes than the big set pieces.  For instance, I loved it when David Niven embraces Miss Moneypenny (Barbara Bouchet) just to be then told that she’s actually the daughter of the original Miss Moneypenny.  I don’t know much about the actor Terrence Cooper (though, according to Wikipedia, he was also a contender to take the role of James Bond in the official series) but I enjoyed the brief sequence where Moneypenny “tests” him to see if he can take on the Bond identity.  Unfortunately, the film doesn’t really have enough of these small, clever moments.

Ultimately, I found that Casino Royale works best when viewed as a time capsule.  Casino Royale was made at a time when the established major Hollywood studios (and veteran producers like Charles K. Feldman) were struggling to remain relevant.  Foreign films (including, it must be said, the James Bond films) were challenging the common assumptions of what could and what couldn’t be shown on-screen and the studio system reacted by trying to make films that would appeal to younger audiences while also reassuring older audiences that the movies hadn’t really changed that much.  The end result were films like Casino Royale that featured the occasional psychedelic sequence along with cameos from old (and safe) Hollywood stars like George Raft, William Holden, and Charles Boyer.  Casino Royale is the type of self-indulgent film that could only have been made in 1967 and, as such, it’s a valuable time capsule for all of us cinematic historians.

I also have to admit that, as excessive as Casino Royale may be, I happen to love excess.  Casino Royale might be overlong and occasionally incoherent but the costumes are simply to die for.  The film is a visual feast, if nothing else.

Casino Royale was released to scathing reviews and terrible box office but, in the years since, it has become something of a cult favorite.  Our own Trash Film Guru has identified Casino Royale as his favorite Bond film.  Myself, I found the film to be extremely flawed and yet oddly fascinating to watch.  Casino Royale is a total mess and that is both its greatest flaw and greatest strength.

Tomorrow, we’ll return to the official James Bond series by taking a look at You Only Live Twice.