Edward G. Robinson Movie Reviews: Good Dad, Bad Dad

Edward G. Robinson & Margaret O'Brien.

Our Vines Have Tender Grapes (1945).  A year after receiving a special "outstanding child actress" Oscar for Meet Me in St. Louis, Margaret O'Brien teamed up with Edward G. Robinson in this earnest family film. They portray father and daughter (along with Agnes Moorehead as the mother) who live in a rural Wisconsin town settled by Norwegian immigrants. Like To Kill a Mockingbird, the narrative is a collection of childhood memories: the new progressive teacher who takes over the school, a circus that passes through the town, a youthful lark that turns dangerous, and one family's tragedy that impacts the entire town. The effects of World War II also loom quietly in the background, affecting the farmers' livelihoods and causing one resident to make a life-changing decision. The primary focus is on the close relationship between young Selma (O'Brien), an only child, and her father (Robinson). When the latter is forced to discipline his daughter, you can see the anguish on his face. To make amends, he gets up in the dead of night and takes Selma to see a traveling circus making a rest stop as it passes through the the town. When Selma gets excited at the prospect of seeing a "real, live" elephant, her father pays the animal's trainer to let her pet the majestic creature. It's a lovely scene that's certain to hit home with anyone who has shared a special childhood experience with a parent. A climatic scene, in which Selma makes a personal sacrifice to help a neighbor, is equally potent. The rest of Our Vines Have Tender Grapes cannot replicate the power of those scenes (and Butch Jenkins is mighty annoying as Selma's friend). Still, it's a poignant reflection on another time and place. By the way, the film's title--which is never spoken--is from the same Bible verse that provided the title for Lillian Hellman's The Little Foxes.

Allene Roberts & Edward G. Robinson.

The Red House (1947). When teenager Meg (Allene Roberts) convinces her father to hire a young man to assist with the farm chores, it appears to be a blessing. Her father (Edward G, Robinson), who adopted Meg with his sister, struggles with his wooden leg now and needs the help. Meg also has a crush on the young man, Nath, though he is dating someone else. It looks like a promising situation--until Nath decides to take a shortcut home through the nearby woods. Meg's father tries to stop the lad and warns him of dire consequences. But the more he discourages Nath, the more the young man becomes obsessed with the forest and the old red house that lies within it. One of my favorite filmmakers, Delmer Daves, directed and wrote the screenplay for The Red House. It was his fourth directorial effort and it's clear that Daves was still learning his craft. Running 100 minutes, The Red House feels like a much longer movie and could use some serious editing. That said, there are several brilliant sequences, most notably Nath's initial trek through the woods which foreshadows a later scene in the horror classic Night of the Demon. The cast is solid and features rising stars such as Julie London (as Nath's shallow girlfriend) and Rory Calhoun (a bad boy interested in Julie). It also affords Judith Anderson an opportunity to play the antithesis of Mrs. Danvers. Edward G. Robinson overplays his performance as Meg's father, who becomes gradually unhinged as he tries to hide a dark secret from his beloved daughter. It's not his best acting job, but it doesn't damage the film either. It's interesting to note that The Red House as been described as a horror film, a film noir, and a Gothic drama. I'd call it a psychological thriller--a flawed one that is nevertheless worth a look.