Burt Lancaster and Katharine Hepburn Passionately Enhance The Rainmaker

Stage-to-screen transfers can often prove problematic, yet every now and then all the right components seem to magically come together. Based on a hit Broadway play by N. Richard Nash (who did the adapted screenplay) that could’ve had trouble betraying its theatrical origins, 1956’s The Rainmaker has the good fortune to obtain an incredible cast working at their peak powers, enlivening the production with such skill, focus and energy, a viewer is drawn into the storyline and the endearing characters immediately and stays with them throughout a two-hour running time, as the tale of a wandering con man, Bill Starbuck, and his impact on a community, specifically the Currys, a ranching family who Starbuck becomes deeply involved with. Director Joseph Anthony, knowing what a great deal of talent he had to work with, wisely keeps his major players, including Burt Lancaster, Katharine Hepburn, Lloyd Bridges and Earl Holliman, front and center, with some amazing results. The Grade-A Paramount Hal B. Wallis production also features VistaVision, gorgeous Technicolor and an Alex North score to set the tone and heighten the entertainment value, resulting in a funny and emotionally rich experience for audiences.

As the title character, Lancaster’s galvanizing presence has seldom been as well-employed. Starting out as a trapeze artist before trying his luck on stage, Lancaster attained star status via his film debut in a key noir, 1946’s The Killers, and by 1956 had progressed as an actor and top leading man in an array of films, moving from a few other top noirs into mainstream successes starting at the outset of the 1950’s, including The Flame and the Arrow, 1952’s vastly enjoyable adventure The Crimson Pirate (wherein he and circus partner Nick Cravat pull off some incredible aerial routines), cast against type and moving in Come Back, Little Sheba, From Here to Eternity (1953’s big financial and critical hit, with Burt’s first Best Actor nod), Vera Cruz and a major 1956 smash, Trapeze, as well as venturing into independent production with Harold Hecht and James Hill, which quickly lead to the Oscar-winning Marty. As for Rainmaker, from the film’s opening frame, wherein Starbuck directly addresses the audience with unabashed assurance and a megawatt smile, it’s clear Lancaster is in complete control of his meaty assignment, bringing movie-star charisma and his compelling performance style to each scene.

A cousin to the star’s equally mesmerizing Oscar-winning work in Elmer Gantry, as Starbuck Lancaster displays his uncanny knack for taking a larger-than-life role, which in the wrong hands could come across as forced and phony, and making him a relatable, sympathetic figure. Starbuck eventually reveals insecurities aiding in his desperate drive to “make it rain,” and handles the various facets of the role with formidable skill, illustrating both Starbuck’s commanding, outsize emotions and his more introspective, sensitive traits, including the fact (as he details) he’s a dreamer at heart. Post-Rainmaker, Lancaster would add to his rich filmography, with the Oscar win for Gantry and nominations for more subtle work in Birdman of Alcatraz and his late-career comeback in Atlantic City ahead, as well successes including Separate Tables, The Leopard, Seven Days in May and Airport, and a touching swansong in Field of Dreams¸ prior to his passing in 1994.

As the film’s heroine Lizzie, a middle-aged woman searching for a different place in life outside of tending to her brothers and father, Katharine Hepburn utilizes all her considerable thespian abilities to forcefully depict a wide variety of emotions with heartbreaking clarity. Hepburn tackles all of Lizzie’s complexities, including her independent spirit, outspokenness, loneliness, insecurity, and humor in expert playing of the highest order. The legendary star appears to dive deep into the role in a manner rarely seen onscreen, allowing viewers to fully identify with Lizzie’s mindset and predicaments, while developing a great deal of compassion towards this unique outsider. Her spontaneous, direct line readings and intense, committed playing help create a fully realized portrait of Lizzie in all her moods, with Hepburn bringing originality to the plain-but-beautiful stereotype, believably conveying both Lizzie’s fears and strengths, leading to some stunning, moving moments in her big scenes with Lancaster, wherein Hepburn is so emotionally naked and captivating, a transfixed viewer can only look on with appreciative awe. As one of the leading film talents of several generations, Hepburn would have many triumphs prior to and post-Rainmaker, but her consummate work as Lizzie ranks high among her most unforgettable performances.

Earl Holliman scored a breakthrough with his remarkably endearing performance as Jim, Lizzie’s naïve, kind, energetic younger brother. After a stint in the U.S. Navy and a previous unsuccessful venture to Hollywood, the driven, self-confident young Louisiana native gained a place at the Pasadena Playhouse before making his film debut via a bit in 1953’s Scared Stiff, starring Dean Martin and Jerry Lewis. The earnestly appealing Holliman quickly found work in a series of high-profile films, including Broken Lance and The Bridges of Toko-Ri, while in 1955’s terrific noir The Big Combo the nature of his character’s relationship with Lee Van Cleef’s goes about as far as possible in portraying a gay couple onscreen in the Production Code friendly 1950’s. In addition to Rainmaker, 1956 also brought outstanding work by Holliman in Forbidden Planet and in one of the year’s big ones, Giant, but it is his focused, appealing work as Jim that possibly represents his finest hour in film. Holliman does an incredible job of staying “in the moment” and interacting with his costars with great conviction, allowing himself to never be overshadowed by the dynamic Lancaster and Hepburn, while also lending a mature professionalism in combination with the natural enthusiasm and warmth he brings to Jim. The talented Holliman would continue to thrive in hit movies (Gunfight at the O.K. Corral, Don’t Drink the Water and The Sons of Katie Elder among them), before raising his profile considerably in the 1970’s on television opposite Angie Dickinson in Police Woman.

After 20 years in films, Lloyd Bridges gained one of his best roles as Lizzie’s stern, blunt brother, Noah, just prior to Bridges’ greatest fame on television’s Sea Hunt. Noah as written is misguidedly too forthright with Lizzie, but Bridges also suggests the humanity of Noah, who wants his sister to face reality, or what he views as her reality concerning life as an “old maid.” Noah could come across as the villain of the piece, but Bridges shades the role with enough common decency and empathy that the audience understands he does ultimately want what’s best for Lizzie and the family, and is concerned Starbuck is out to take advantage of them all. Wendell Corey, perhaps at the peak of his career after first-rate work in Rear Window and The Big Knife just prior to The Rainmaker, lends a calm, thoughtful presence as File, the stoic, somewhat saturnine deputy who the Curry men view as a viable mate for Lizzie. Cameron Prud’Homme does much to help illustrate the loyal family dynamic existing within the Curry household, specifically with the strong, caring, protective nature he upholds towards Lizzie, which produces some touching father-daughter moments.  Finally, as virtually the only other female character, Yvonne Lime brings energy to her ingenue role as Snookie, and matches up well with Holliman in their comical scenes.

Released in December of 1956, The Rainmaker scored solid reviews and box-office returns, with $2,100,000 in film rentals (according to Variety). Hepburn would land a richly-deserved Best Actress Oscar nomination, with Alex North’s score also cited. Lancaster lost out on a Best Actor nod in a competitive year filled with epics, but a bigger slight had to be Holliman not making the short list for Supporting Actor, after winning the Golden Globe, back when there were not a lot of Oscar precursors to indicate who might be nominated. Holliman remains one of the few Globe Supporting Actor winners to not go on to an Oscar nomination; props to the Globes for recognizing his singular accomplishment. The film has recently received a great Blu-Ray upgrade from Kino Lorber, with that VistaVision and Technicolor never looking better. Film lovers seeking a satisfying, memorable comedy-drama featuring some of the best acting of the period won’t be left all wet by opting to give The Rainmaker a chance. 

And a fond farewell to Gena Rowlands who, working alongside husband John Cassavetes, was a key figure in the independent film movement. Making her film debut in 1958’s The High Cost of Loving, the stunning and gifted Rowlands would gain one of the most rewarding careers during the next several decades, both in mainstream films and television and most significantly in tandem with Cassavetes via (among others) Faces, Minnie and Moskowitz, Opening Night and Oscar nominated turns in Gloria and her signature performance, A Woman Under the Influence. I was fortunate to see Ms. Rowlands in person at an interview several years ago, wherein she displayed the same humor, warmth and down-to-earth qualities that were integral components of her work. R.I.P. to a true cinema legend, Gena Rowlands.   

Joseph Cotton and Teresa Wright Play Cat-and-Mouse in Alfred Hitchcock’s Masterful Doubt

 

Standing out among the many light musicals and dramatic war films of the WWII era and hinting at the onslaught of film noirs soon to become a mainstay of Hollywood cinema, 1943’s Shadow of a Doubt offers a unique tale of murder and intrigue set against an idyllic backdrop. Alfred Hitchcock proved the ideal choice for helming the adroit screenplay by Thornton Wilder, Sally Benson and Mrs. Hitchcock, Alma Reville (based on a story by Gordon McDonell), drawing viewers in from the film’s outset, wherein the mysterious protagonist is seen avoiding authorities, and slowly building the tension from thereon without ever losing the audience’s rapt state. Wilder and Benson both had major success with stories centered around small-town Americana (via Our Town and Meet Me in St. Louis, respectively), and the look and ambiance of Doubt richly conveys a peaceful, upright community in contrast to the  tale’s dark undertones, with on-location shooting in Santa Moncia perfectly capturing alternately serene and unsettling moods, and Dimtri Tiomkin’s stark, persuasive score (featuring variation of “The Merry Widow Waltz”) frequently reminding viewers all may not be well in suburbia. Involving a typical middle-class family, the Newtons, whose lives witness a steep change of events with the appearance of the beloved Uncle Charlie, Doubt explores the intricate nature of family relationships, and how feelings of love, respect and trust among kin can quickly erode given changing circumstances.

After gaining fame helming British films for over a decade, including such classics as The Man Who Knew Too Much, The 39 Steps and The Lady Vanishes, Alfred Hitchcock moved to Hollywood after signing a contract with ace producer David O. Selznick, and found instant top-tier success with his 1940 debut, the gothic romance Rebecca. After this Best Picture Oscar-winner, Hitchcock would turn out a bevy of classics over the next few decades, often centered around suspenseful themes with comedic elements throw in and featuring glamourous, magnetic stars. With Doubt, Hitchcock appears creatively motivated by the unusual locale the calm Santa Rosa setting provides and does some of his most inspired work in detailing how pervasively evil can enter into a normal, seemingly halcyon environment. His fluid, carefully planned-out camerawork keeps a viewer transfixed as the danger mounts, with specific shots helping to flesh out the characters, sometimes without them saying a word. For example, there’s a great moment wherein Uncle Charlie is going upstairs after an outing with his niece (also named Charlie) and looks back to see her framed in the doorway in long shot, speculatively starring after him. In just a few seconds, the viewer senses a major turning point in their relations due to the craft and economy Hitchcock employs. He also shows great verve in illustrating both of the Charlies’ motives (as well as highlighting the prime work of stars Joseph Cotton and Teresa Wright) with stirring close-up or profile shots which help to reveal the character’s inner thoughts to audiences, as simultaneously the two Charlies become more evasive with each other. Also, in one of his boldest camera set-ups ever, Hitchcock has Cotton look directly into the camera during a pivotal dinner scene, addressing both a character and the viewer in unnerving fashion. Hitchcock’s imposing directorial skills would produce classics that rate among the cinema’s best as he also became one of the most recognizable figures in entertainment, with Shadow of a Doubt remaining one of his most original, dedicated works.

Joseph Cotton has perhaps his greatest role as Doubt’s duplicitous Uncle Charlie. After starting out on stage in the 1930’s, wherein he befriended Orson Welles, becoming a key player in Welles’ Mercury Theater while also scoring a major success in The Philadelphia Story, Cotton’s feature film career started auspiciously with Welles’ 1941 masterpiece, Citizen Kane. Following this landmark endeavor and another choice role in Welles’ follow-up, The Magnificent Ambersons, Cotton eventually obtained a contract with David O. Selznick and quickly became one of the primary male stars of his era, playing a series of sympathetic romantic leads. Fortunately, in 1943 he wasn’t yet established as one of Hollywood’s foremost leading men, allowing him the chance to take on the unheroic, richly complex role of Uncle Charlie. Using his trademark tranquil, subtle demeanor to maximum impact, Cotton adeptly balances the duality of the character throughout the film, showing the charm and seeming benevolence that make this uncle a favorite in the Newton household, while alternately revealing, in short outbursts and observations, the cold-heartedness that drives his inner psyche. With the viewer knowing from the outset there’s much more than meets the eye with Uncle Charlie, it’s fascinating to watch how he ingratiates himself into the family dynamic while concurrently posing a possible risk to them and others, with the assured Cotton’s sly playing helping to uphold the concept that most of the town folk would deem Uncle Charlie’s every action acceptable, when a closer look is warranted.

After Cotton’s outstanding work in Doubt, he would prosper throughout the 1940’s opposite some of Hollywood’s top female stars in such Grade-A productions as Gaslight, Since You Went Away (alongside Jennifer Jones, who also starred with Cotton in Love Letters, Duel in the Sun and Portrait of Jennie) and The Farmer’s Daughter, before finishing the decade with excellent work in another all-timer, Carol Reed’s The Third Man. In the 1950’s Cotton’s output lessened in quality, with 1953’s Niagara opposite Marilyn Monroe providing a rewarding return to darker, “noirish” film territory. Cotton would continue with frequent appearances in film and television until 1981 when illness would sideline Cotton, who passed away at 88 in 1994. His never-better work in Doubt has risen in esteem along with the movie’s status, to the point where the talented Cotton’s Uncle Charlie is today considered one of the signature villains in Hitchcock films, and in classic movies.

Teresa Wright was in the midst of one of the best runs in movies ever for an ingenue, gaining Oscar nominations for her first three films (her debut in 1941’s The Little Foxes, followed by the 1942 one-two punch of Pride of the Yankees and the even-bigger commercial and critical success, Mrs. Miniver, which gained Wright the Best Supporting Actress Academy Award), clearly placing the gifted rising star in company with the best and brightest leading ladies on screen by the time of Doubt. The flourish would continue with her perceptive, dexterous role as “Little Charlie,” who serves as a moral counterpoint to the uncle she first adores, before having to deeply ponder just how wonderful he really is. Wright has the trickly job of demonstrating from the outset Charlie’s innocence, but also her mature, cynical mindset regarding the rut she views her family in. Wright’s straightforward work in sublimely illustrating the multi-facets of this Charlie makes the smart, inquisitive heroine easy for audiences to identify with and root for as Charlie uncovers clues to her uncle’s past, then has to deal with her “twin” directly, with the apprehension mounting in Hitchcockian style as one fears for her safety. Also, in a manner similar to Cotton, Wright’s performance upholds an intelligent, natural playing style, lending a modern air to their vivid scenes, even with the film depicting a definite era of long ago, as Cotton and Wright’s beautifully in-synch acting still meshes in a strikingly believable fashion.  

Following Doubt, Wright would obtain possibly her career peak with highly praised work as one of the stars of the decade’s biggest commercial hit, 1946’s The Best Years of Our Lives, which also scored heavily at the Oscars. Wright’s period of incredible achievement took an abrupt downward turn shortly after this memorable interval, as her apparently golden contract with Samuel Goldwyn was terminated and Wright focused on raising her family, while still making time for film and television (with, appropriately, a couple episodes of The Alfred Hitchcock Hour in the 1960’s), including fine playing opposite Marlon Brando in his 1950 debut, The Men, Somewhere in Time and, in a satisfying farewell to the screen, a nice role in Francis Ford Coppola’s 1997 drama The Rainmaker.

Macdonald Carey, in his second year of movies after debuting in Star Spangled Rhythm, belies his inexperience on film by convincingly maintaining a calm, pleasant demeanor and a nice earnestness as Jack Graham, a detective who comes to Santa Rosa in pursuit of Uncle Charlie and finds himself enamored by the other Charlie. Carey’s charming chemistry with Wright has viewers rooting for their burgeoning romantic in the mist of conflict, and there’s a great moment in a garage wherein the young couple discuss their attraction and possibly future in smart, open terms not normally found in romances. As his sidekick, Wallace Ford adds to the proceedings with some nicely played, lighter interactions with the Newtons.

Patricia Collinge, who scored alongside Wright in Foxes (also gaining an Oscar nod), brings some of the same fragileness and sensitivity to her role as Emma, the household’s matriarch. Deeply devoted to her family and emotionally tied to her brother partially due to their problematic upbringing, Collinge does a great job illustrating Emma’s befuddlement as a series of curious events suggest tragedy is imminent for the Newtons. As Mr. Newton, Henry Travers brings a likable unperturbed quality to his role, and alongside Hume Cronyn (playing the nebbish next-door neighbor, Herbert) provides most of the movie’s lighter moments, as Mr. Newton and Herbert constantly discuss the various methods each would use to kill the other. Travers was coming off Oscar-nominated work in Miniver just prior to Doubt, while Cronyn parlayed his impactful film debut into a great career onscreen as a leading character actor (in addition to major stage work, often alongside wife Jessica Tandy), including an Oscar nod of his own for 1944’s The Seventh Cross, the same year he reunited with Hitchcock for Lifeboat.

Edna May Wonacott, playing Ann, the precocious, wise younger sister of Charlie, was discovered just prior to filming and lends a distinctive no-nonsense air to her acting that allows Ann to avoid any signs of the cuteness normally associated with child actors of the period, which could easily make the character unbelievable. Finally, Janet Shaw has a stunning bit as Louis, the near-somnambulistic waitress both Charlie’s encounter in a dive; based on her highly eccentric turn in Doubt, one wishes Shaw’s career had gained momentum, instead of only creating the wealth of bit roles her filmography details.

A success upon release, Doubt would gain Wright acclaim from the National Board of Review as one of the year’s top performances, while McDonell gathered the film’s sole Oscar nomination for Best Writing, Original Story (one wishes Hitchcock, Wright and especially Cotton, who never gained recognition from the Academy, could have placed in their respective categories). The movie’s reputation would continue to grow as a significant film in the Hitchcock cannon, with the classic included in the 1991 roster done by the Library of Congress for the National Film Registry, and new generations discovering Doubt by means of various media platforms (including a recent 4K disc).  And finally, in addition to its enthralling story, ace performances and sublime direction, Doubt is assured to continue to attract the curiosity of film buffs due to the fact that no less than Alfred Hitchcock stated it was the favorite of all his films.