Shattered Politics #2: They Won’t Forget (dir by Mervyn LeRoy)


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The title of the 1937 film They Won’t Forget works on many levels.

It describes the reaction of a small Southern town, following the brutal murder of teenager Mary Clay (played, in her film debut, by Lana Turner).  The town won’t forget Mary and they won’t forget the terror caused by her murder.  They also won’t forget that local teacher Robert Hale (Edward Norris) was accused of the crime.

The district attorney, Andrew Griffin (Claude Rains), hopes that the people of his state won’t forget his efforts to see Griffin convicted of that crime.  Griffin wants to be elected to the U.S. Senate and he knows that the high profile case could be just what his career needs.

The Governor (Paul Everton) knows that, if he steps into the case and acts on his suspicion that Hale is innocent, the voters of his state will never forget.  And they certainly won’t be willing to forgive.

And, on a larger level, the title lets us know that the South and the North will never forget the Civil War and the conflict between the two regions.  The film opens with three elderly veterans of the Confederate Army, preparing to march in the town’s annual Confederate Memorial Day parade and admitting to each other that, after all these years, it’s difficult to remember much about the war other than the fact that they’re proud that they fought in it.

It’s while the rest of the town is busy watching Griffin and the governor ride in the parade that Mary Clay is murdered.  It’s easy to assume that Hale was the murderer because Hale was one of the few townspeople not to go to the parade.  You see, Hale is originally from New York City.  When he’s accused of murder, it’s equally easy for Griffin and tabloid reporter William A. Brock (Allyn Joslyn) to convince the town people to blame this Northern intruder for both the murder of Mary Clay and, symbolically, for all of the post-Civil War struggles of the South itself.

Meanwhile, up North, Hale is seen as a victim of the South’s intolerance.  A high-profile lawyer (Otto Kruger) is sent down to defend Hale but, as quickly becomes clear, everyone involved in the case is more interested in refighting the Civil War than determining the guilt or innocence of Andrew Hale.

They Won’t Forget is a hard-hitting and fascinating look at politics, justice, and paranoia.  It’s all the more interesting because it’s based on a true story.  In 1913, a 13 year-old girl named Mary Phagan was murdered in Atlanta.  Leo Frank was accused and convicted of the murder.  (In Frank’s case, he was born in Texas but was also Jewish and had previously lived in New York before moving to Atlanta, all of which made him suspicious in the eyes of many.)  On the word of a night watchmen, who many believe was the actual murderer of Mary Phagan, Leo Frank was convicted and sentence to death.  After spending days reviewing all of the evidence and growing convinced that Frank had been wrongly convicted, Georgia’s governor committed an act of political suicide by commuting Frank’s sentence to life imprisonment.  Leo Frank was subsequently lynched and the man who had prosecuted the case against him was subsequently elected governor.

Well-acted and intelligently directed, They Won’t Forget is probably one of the best films of which few people have heard.  Fortunately, it shows up fairly regularly on TCM and, the next time that it does, be sure to watch.  It’s a great film that you won’t easily forget.

 

 

44 Days of Paranoia #34: Saboteur (dir by Alfred Hitchcock)


For today’s entry in the 44 Days of Paranoia, we take a look at the 1942 Alfred Hitchcock film, Saboteur.

Saboteur opens at an aircraft factory in Glenda, California.  Co-workers Barry Kane (Robert Cummings) and Ken Mason (Virgil Summers) notice a stand-offish new guy named Frank Fry (Norman Lloyd, who appropriately looks something like a rodent).  When a fire breaks out at the factory, Fry hands Barry a fire extinguisher which Barry then hands off to Ken.  The extinguisher, however, is full of gasoline, both causing the fire to turn into an inferno and killing Ken.

When questioned by the FBI, Barry explains that Fry handed him the extinguisher, just to then be informed that no one named Fry worked at the plant and that no one saw Fry — or anyone else — hand Barry the extinguisher.  Realizing that Fry has framed him and also remembering the address on an envelope that Fry was carrying, Barry runs.  With the FBI and police pursuing him, Barry tries to track down the real saboteur.  Along the way, he discovers a friendly rancher (Otto Kruger) who is actually a Nazi agent and gets some help from a group of circus freaks, a blind man, and the blind man’s model daughter (Peggy Cummings).  He also discovers that the U.S. is crawling with Nazi double agents who hide behind a veil of respectability and are plotting to destroy historic landmarks across the country.  It all eventually leads to a genuinely exciting climax atop the Statue of Liberty.

Saboteur doesn’t get as much attention as some of the other films that Hitchcock directed in the 40s and perhaps that’s not surprising.  It’s not as technically audacious as Notorious nor is it as thought-provoking as Shadow of the Doubt or as flamboyant as Spellbound.  While Robert Cummings and Priscilla Lane make for perfectly likable leads, they certainly don’t generate the chemistry of Cary Grant and Ingrid Bergman.  When one looks at the masterpieces that Hitchcock directed in the 40s, it’s easy to dismiss Saboteur as being a well-made B-movie.

And yet, I love Saboteur.  The film is pure non-stop melodrama and, over 70 years since it was first made, it remains an exciting and entertaining film.  Despite the fact that some critics may not hold Saboteur in as high regard as some of Hitchcock’s other films, Saboteur is full of moments of the director’s trademark ambiguity and irony.  This is one of Hitchcock’s wrong man films, where innocent men are chased across a shadowy landscape by the forces of law and order who, in many ways, are portrayed as being just as menacing as the film’s nominal villains.  Meanwhile, the Nazi agents hide behind warm smiles and friendly words, their evil only apparent when it’s too late to stop them.  Despite his rather fearsome reputation, Hitchcock’s sympathies always lay with the powerless and the wrongly accused.

It’s those sympathies that make Saboteur into far more than just another B-movie.

Instead, it’s one of Hitchcock’s best.

Other Entries In The 44 Days of Paranoia 

  1. Clonus
  2. Executive Action
  3. Winter Kills
  4. Interview With The Assassin
  5. The Trial of Lee Harvey Oswald
  6. JFK
  7. Beyond The Doors
  8. Three Days of the Condor
  9. They Saved Hitler’s Brain
  10. The Intruder
  11. Police, Adjective
  12. Burn After Reading
  13. Quiz Show
  14. Flying Blind
  15. God Told Me To
  16. Wag the Dog
  17. Cheaters
  18. Scream and Scream Again
  19. Capricorn One
  20. Seven Days In May
  21. Broken City
  22. Suddenly
  23. Pickup on South Street
  24. The Informer
  25. Chinatown
  26. Compliance
  27. The Lives of Others
  28. The Departed
  29. A Face In The Crowd
  30. Nixon
  31. The Hunger Games: Catching Fire
  32. The Purge
  33. The Stepford Wives