Book Review: The Films of Delmer Daves by Douglas Horlock

At long last, the career of Delmer Daves, one of Hollywood's most under-appreciated filmmakers, has received an in-depth, scholarly treatment courtesy of Douglas Horlock's The Films of Delmer Daves: Visions of Progress in Mid-Twentieth Century America (University of Mississippi Press, 248 pages). Horlock examines Daves's films through the lens of political and social values, race and civil rights, and gender. He also provides an overview of Daves's life and career, painting the portrait of a screenwriter and director who crafted his own vision within the confines of the Hollywood studio system.

Daves became interested in acting, writing, and directing theater while studying law at Stanford University. His initial foray into the film industry was as a property assistant on The Covered Wagon in 1924. After graduating from Stanford in 1927, he pursued his interest in movies and received credit for his first screenplay with 1929's So This Is College. Over the next decade, he carved a highly successful career as a screenwriter with films such as Dames (1934), Flirtation Walk (1934), an adaptation of The Petrified Forest (1936), and Love Affair (1939). 

Delmer Daves.

Daves's career took a different turn in 1943 when, after co-writing the screenplay for the World War II drama Destination Tokyo, Warner Bros. executive Jack Warner "ask(ed) an initially reluctant Daves to accept his first directorial assignment." Over the next two decades, Daves became one of the most reliable and successful writer-directors for Warner Bros. Horlock points out that Daves's films Destination Tokyo, Hollywood Canteen, Broken Arrow, 3:10 to Yuma, A Summer Place, and Spencer's Mountain were "among the top-grossing films of their respective years." Daves also showed his versatility by working comfortably in genres such as Westerns, Biblical epics, romances, and family dramas.

Yet, Horlock notes that "Daves has remained largely overlooked in scholarly literature and film retrospectives" and has not achieved the auteur status attributed to directors such as Alfred Hitchcock, John Ford, Samuel Fuller, and even Douglas Sirk (whose glossy 1950s melodramas are comparable to Daves's later films A Summer Place and Parrish). Yet, like Hitchcock, Daves was intimately involved in the screenplays for his films, even those with which he did not receive a writing credit. Horlock traces recurring themes in Daves's films in chapters devoted to political and social values, race and civil rights, and gender. Horlock also includes this insightful comment from actor Glenn Ford, who worked with Daves on 3:10 to Yuma, Jubal, and Cowboy: "Nothing happened in a Delmer Daves film that wasn't intentional, from the camera set-ups to the wardrobe."

Delmer Daves's The Hanging Tree (1959).

Horlock's most engrossing chapter is the one in which he analyzes gender in Daves's films, focusing on the filmmaker's use of strong, independent female characters. Horlock provides a number of excellent examples. In A Summer Place, Molly (Sandra Dee) defies her domineering mother by spending time with Johnny (Troy Donahue). In the 1959 Western The Hanging Tree, one of Daves's finest films, Elizabeth (Maria Schell) seeks independence after being rejected by the man (Gary Cooper) she loves. She forms a partnership with two other men to dig for gold and impresses them with her work ethic. Even in the romantic travelogue Rome Adventure, Suzanne Pleshette plays a young woman who defies a school board and then goes traveling in Italy on her own.

As befits its subtitle, The Films of Delmer Daves: Visions of Progress in Mid-Twentieth Century America is a scholarly volume for movie fans interested in thoughtful analyses. Still, that's not to say it isn't filled with fascinating facts (e.g., Warren Beatty was the original choice for the title role in Parrish, Daves's admirers include Humphrey Bogart, Alan Ladd, and Gary Cooper). At one point in his book, Horlock states: "Despite his working within the confines of a restrictive studio system, Daves's films deserve to be examined as the work of a serious artist of the cinema." That is exactly what the author has accomplished with his new book.

Douglas Sirk vs. Delmer Daves for the "King of the Movie Soaps" Title

OK, Douglas Sirk fans, I'm calling you out! It's not that I don't enjoy Douglas Sirk soaps like Imitation of Life and All That Heaven Allows. They're glossy, well-crafted, and entertaining. It's just that Sirk has been anointed as "King of Movie Soaps" (helped in large part by 2002's Far from Heaven, a classy Sirk homage which sparked renewed interest in his films). I'm contending that there's another director with a claim to the Movie Soap crown--and that's versatile writer-director and Stanford law school graduate Delmer Daves. So let's get down to this clash among movie soap titans (ignoring their work in other genres, of course):

Sirk's favorite leading man and Daves' principal star.

Round 1 - Daves did more with less in regard to his stars. For a leading man, Douglas Sirk had Rock Hudson...but Daves had Troy Donahue. While good-looking and likable, one could never confuse Troy with a good actor. Cinema history validated Rock as a genuine star and Troy, well, he pretty much faded after the 1960s. It's not a knockdown, but this round goes to Daves. (Of course, Sirk did use Troy as a bad boy in Imitation, but that doesn't count.)

Round 2 - Delmer Daves did a masterful job of integrating story locations into his films. The most lasting image from A Summer Place is of Troy and Sandra Dee holding each other passionately on the beach... desperately in love, aching to be together, trying to find a secret place to be alone...as the ocean splashes on the shores (OK, it's not From Here to Eternity, but it's still memorable). Likewise, the New England tobacco fields in Parrish and the stunning California coast of Susan Slade enhance these tales of young love. In contrast, it seems like the settings are incidental in Sirk's films, with the possible exception of Written on the Wind (and even then, most of the action takes place indoors).

Susan Slade: An example of Daves' integration of location.

Round 3 - Douglas Sirk used film like a canvas, skilfully employing color, framing, and objects to enhance character traits and themes. In Written on the Wind, Lauren Bacall's conservative character sports a wardrobe of muted colors while the "bad girl" (Dorothy Malone) drives a bright red car. At the end of the film, Malone's character--who has lost Rock to Lauren--clutches a phallic model oil well in her office. Delmer Daves' soaps are lushly photographed, but the nod here goes to Sirk.

Hudson and Bacall in muted colors in Written on the Wind.

Round 4 - No soap director used music better than Delmer, but then he had a great composer come up with great themes: Max Steiner's Theme from A Summer Place is still the best-selling instrumental of the rock'n'roll era and I'll never understand why Steiner's equally melodic love theme from Parrish seems to have been forgotten. Sirk, on the other hand, frequently employed Frank Skinner, whose scores ranged from lush (All That Heaven Allows) to mush (Magnificent Obsession).

Round 5 - Sirk's admirers claim that his soaps are rife with subtext: All That Heaven Allows is an indictment on social conformity; Imitation of Life takes aim at racial inequality, etc. Of course, one could make similar arguments for Daves' films: out-of-wedlock pregnancies play a key role in Parrish, A Summer Place, and Susan Slade. In the latter two films, the teenage mothers become social outcasts (societal conformance is so strong in Susan Slade that the pregnant girl's mother passes the child off as her own!). This is pretty much a draw, but I'll give the edge to Sirk because his films have garnered more documented critical acclaim--and even got the Criterion treatment.

Grant Williams worked for both directors.

Round 6 - Both directors were adept at peppering their films with great supporting actors. Sirk's soaps featured Agnes Moorehead, Juanita Moore, and Dan O'Herily. Delmer Daves had Dean Jagger, Dorothy Maguire, Lloyd Nolan, Dub Taylor, and Constance Ford. This round is a close one; we'll call it a draw. (Interestingly, in addition to Troy Donahue, both directors used Grant Williams. He played Conn White in Susan Slade and Biff Miley in Written on the Wind--gotta love those character names!)

If you've followed my scoring of this fight, it's three rounds to Delmer, two to Doug, and one tie. The winner--by decision--is Delmer Daves. He's now the undisputed "King of the Movie Soaps." It's a title he has long deserved. Anyone interested in staging a rematch? If so, I'd love to hear your thoughts.

The 5 Best Movies to Watch on a Summer Day

Looking for that perfect movie to watch on a hot, leisurely summer day? Here are my picks for your five best bets (click on blue titles to read a film review):

Paul woos Joanne.

1. The Long, Hot Summer – Everyone speaks in a slow Southern drawl, sips ice-cold lemonade, and wipes perspiration from their foreheads (well, the ladies dab it with a hankie). Plus, Orson Welles does a fine “Big Daddy” imitation, Paul Newman and Joanne Woodward generate real-life sparks, Richard Anderson plays a wussy “gentleman,” Angela Lansbury wants boiled icing, and Jimmie Rodgers sings the lovely title song. Want more? Some of the townsfolk think Paul’s handsome drifter is a barn burner!

Marta Kristen as a mermaid.

2. Beach Blanket Bingo - Well, it’s the name of the game! Go to the beach with Frankie, Annette, and the gang and catch some big waves. Donna Loren sings her best song. Frankie tries to make Annette jealous with Deborah Walley, while Annette tries to make Frankie jealous with John Ashley. Bonehead dates a pretty mermaid while Linda Evans’s Sugar Kane calls him Boney. Paul Lynde cracks jokes while South Dakota Slim just acts creepy. And, best of all, there’s Eric Von Zipper, who tells Sugar that he likes her—and when Eric Von Zipper likes someone, they stay liked!

3. Picnic – Another handsome drifter—this time played by William Holden—wanders into a small town to see old chum Cliff Robertson…and inadvertently steals his girlfriend Kim Novak. Kim’s Mom is mad because Cliff is rich. Rosalind Russell’s desperate spinster wants to get married. Kim and William slow dance at an eventful picnic to the rapturous “Love Theme from Picnic.” Oh, and did I mention it was based on a play by the fabulous William Inge?

Troy and Sandra discover young love.

4. A Summer Place – Former lovers Richard Egan and Dorothy McGuire rekindle their love during a vacation at a summer retreat. It’s too bad they’re both married to other people…a situation that worsens when their teen children (Sandra Dee and Troy Donahue) develop an attraction. The stunning locales and rich Max Steiner music bring Delmer Daves’ first-rate soap opera to life. As a bonus, Constance Ford plays one of the worst mothers in screen history!

5. Body Heat – It’s the sweatiest movie ever made. Kathleen Turner wants her husband dead. Third-rate lawyer William Hurt wants Kathleen. Can you say Double Indemnity…with Ted Danson and Mickey Rourke tag-teaming in the Edward G. Robinson role? Lawrence Kasdan’s modern film noir hits all the right notes, with musical ones being provided by John Barry’s slinky, haunting music score.

Honorable mentions: The Parent Trap, Dirty Dancing, and State Fair.

What would be on your best list for movies to watch on a summer day?

My 100 Favorite Films: From 60 to 51

After five months, we reach the halfway point of my countdown of personal favorite films. If you're reading this series of posts for the first time, allow me to clarify that these are not what I'd consider the best 100 movies ever made (though some of them are). These films are simply one classic fan's faves. (An underlined title means there's a hyperlink to a full review at the Cafe.)

60. The Solid Gold Cadillac – Judy Holliday is sublime as Laura Partridge, a (very) minority stockholder in a major corporation who keeps questioning the company’s crooked board members during its public meetings. To keep her from badgering them, the board members hire Miss Partridge as their Director of Shareholder Relations—a “do nothing” job until she decides to make something of it. This delightful comedy teams Holliday with Paul Douglas, whose warmth is a perfect complement to her bubbly persona. Fans of Born Yesterday may disagree, but I think the underrated Solid Gold Cadillac is easily Holliday’s finest film.

59. O Lucky Man! – A lengthy tale of a young ambitious man seeking meaning in life, this Lindsay Anderson film is an acquired taste. I think it’s an underappreciated one-of-a-kind gem mixing sharp satire, impeccable performances, and an awesome score by Alan Price (who was a founding member of The Animals). Price’s songs, which serve as a Greek chorus, are so catchy that I scoured used record stores (I was a college student!) the day after I saw the film in search of its soundtrack (I found it). Malcolm McDowell reprises his role as Mick Travis from Anderson’s earlier If; the later Britannia Hospital is related, but not really a sequel. Helen Mirren and Ralph Richardson headline a great supporting cast, in which several performers play multiple roles.

Bond battles Oddjob.

58. Goldfinger – My favorite 007 film has everything going for it: a terrific villain, the first of the memorable henchmen, a strong heroine, clever gadgets, another fine John Barry score, and an ingenious plot. Plus, it boasts Sean Connery giving his best performance as Bond (it helps that 007 is emotionally invested this time around…after Goldfinger murders Jill Masterson). It also features my favorite line of dialogue in a Bond film. While strapped on a slab with a laser heading toward his private parts, 007 tells Goldfinger that he won’t talk. The villain’s famous retort: “I don’t want you to talk, Mr. Bond. I want you to die!”

Lee contemplates his next move.

57. Fist of Fury (aka The Chinese Connection) – Bruce Lee’s most traditional martial arts film recycles the vintage plot of two martial arts schools pitted against one another. In this case, the setting is Shanghai 1908 and the basis of the conflict is nationality—the bad Japanese school wants the good Chinese school closed. It’s a thin premise and, overall, the film can’t compare with the slicker Enter the Dragon. Still, it features my favorite Bruce Lee performance and the fight scenes are masterpieces of balletic violence.

56. The Fearless Vampire Killers (aka Dance of the Vampires) – I consider this cult classic a stylish parody of Hammer Films’ fangs-and-damsels formula. One’s affection for it will depend, in part, upon familiarity with the Hammer approach. All the expected ingredients are present: attractive women in low-cut attire, a Transylvanian setting, a Gothic castle, garlic hanging from the ceiling of a beer haus, a hint of eroticism, and a well-prepared vampire hunter. To this mix, Polanski adds a dash of the unexpected: a bumbling love struck assistant, a Jewish vampire, a gay vampire, and a darkly humorous ending. It’s also one of my favorite “snow movies.”

The other hand spells "hate."

55. The Night of the Hunter - Charles Laughton’s only directorial effort is a haunting, poetic film that explores themes ranging from the battle between good and evil to the propensity of Nature to protect the innocent. The film also provides Robert Mitchum with his finest role as Harry Powell, evil incarnate disguised as a preacher (what makes the character even more chilling is that Harry believes he has a special relationship with the Almighty). Laughton’s striking use of shadows and silhouettes recalls the Expressionistic German films of the 1920s (e.g., The Cabinet of Dr. Caligari). I suspect much of the credit for the brilliant lighting belongs to cinematographer Stanley Cortez, a skilled craftsman who labored in routine films except for this one and Orson Welles’ The Magnificent Ambersons.

Sandra Dee and Troy Donahue.

54. A Summer Place - Fans of Delmer Daves’ glossy New England soap opera are sharply divided between those who revere it as a classy, nostalgic sudser and those who regard it as camp. I hold the former view, for in spite of occasional plunges into overwrought drama, A Summer Place evokes genuine warmth with its tale of old love rekindled and young love flaming for the first time. Thematically, Daves’ films are always more complex than they first appear. In A Summer Place, forbidden love and innocent love are explored through a subtle form of voyeurism; everybody seems to be secretly watching everyone else. No review of a Summer Place would be complete without mentioning composer Max Steiner's haunting, lyrical musical score.

McDowell as H.G. Wells.

53. Time After Time - This ingenious concoction of science fiction, thriller, and romance comes from the fertile imagination of Nicholas Meyer (The Seven Per Cent Solution). David Warner plays Jack the Ripper, who uses H.G. Wells’ time machine to escape from London in 1893 to San Francisco in 1979—with Wells (Malcolm McDowell) in hot pursuit. Watching the two turn-of-the-century intellectuals in a contemporary setting is fascinating. Much of the film’s humor is derived from Wells’s attempts to fit in. He eats at a “Scottish restaurant” called McDonald’s. He boldly discusses his ideas on “free love” to bank employee Amy Robbins (a marvelous Mary Steenburgen), who is amused by his old-fashioned values. In contrast, Warner’s killer adapts to his new environment quickly and smoothly. In an eerie scene, he flips through several TV channels filled with violent images and informs Wells: “I belong here completely and utterly. I’m home. Ninety years ago, I was a freak. Now, I’m an amateur.”

52. Where Eagles Dare – Set in the white-capped mountains of Austria, Where Eagles Dare sends seven special forces soldiers to rescue a U.S. general being held captive by the Nazis. But this is no routine mission: the soldiers must break into an impregnable mountaintop castle, there appears to be a traitor among them, and their squad leader seems to trust no one—except the blonde agent hiding in the barn. Most of the plot takes place in the first ninety minutes, including some unexpected twists that reveal the true nature of the mission. The last hour consists of a series of explosive action sequences, the highlight being a fight atop a cable car leading from the mountain castle to the village below. Richard Burton and Clint Eastwood are the stars of this perfect popcorn movie—one of my favorite flicks to watch on snowy day.

51. To Sir With Love - In a role seemingly tailored for him, Sidney Poitier plays Mark Thackeray, a young engineer looking for a job. Unable to find one in his chosen profession, he accepts temporary employment as a teacher in an inner-city London school. It’s a bleak situation—the students are out of control, most of the teachers are burned out, and the school reflects the poverty of the surrounding neighborhood. Thackeray’s initial attempts to reach his students fail miserably, but he eventually makes a difference in their lives. Cynics criticize To Sir, With Love as simple-minded and obvious. Perhaps, it is, but the story is put across with such conviction and professionalism that it’s impossible to ignore its many charms. In particular, a subplot involving an attractive student (Judy Geeson) who develops a crush on Thackeray is handled impeccably. The film’s theme, sung by Lulu (who plays one of the students), became a huge pop hit. Director James Clavell must have recognized the song’s potential—it’s heard repeatedly throughout the picture.

Next month, I'll count another ten, including films featuring Vincent Price, Elizabeth Taylor, two Hayley Mills, Toshiro Mifune, and millions of nasty ants!

A Summer Place: Old Love Rekindled and New Love Set Aflame

Fans of Delmer Dave’s glossy New England soap opera are sharply divided between those who revere it as a classy, nostalgic sudser and those who regard it as camp. I hold the former view, for in spite of occasional plunges into overwrought drama, A Summer Place evokes a genuine warmth with its tale of old love rekindled and young love flaming for the first time.

The plot focuses on two families: the once rich, but now middle-class, Hunters and the once poor, but now wealthy, Jorgensens. The families cross paths when Ken Jorgensen (Richard Egan) takes his family on vacation to posh Pine Island, where Bart Hunter (Arthur Kennedy) has turned his family’s mansion into a hotel. The Maine island holds fond memories for Ken, who worked as a lifeguard there twenty year earlier and—unknown to almost everyone—had a passionate affair with a young socialite. The identity of Ken’s former lover becomes apparent when he exchanges longing glances with Bart’s wife Sylvia (Dorothy McGuire).

During a rainy afternoon in the attic, Ken confesses to Sylvia that his real purpose for returning to the island was to see her again. Trapped in a loveless marriage, he had never forgotten his one true love. His only reason for staying married to his wife Helen (Constance Ford) was that he feared losing custody of teenage daughter Molly (Sandra Dee). Sylvia returns Ken’s affections and admits that she remained with her lazy, alcoholic husband solely because of their teenage son Johnny (Troy Donahue). Cherishing a chance at happiness again, Ken and Sylvia begin a passionate affair.

Meanwhile, Molly and Johnny become interested in each other romantically. When their boat capsizes during a storm, they must spend a night alone on a nearby island. Molly’s sexually-repressed mother accuses her daughter of making love with Johnny. She even has a doctor conduct an examination to ensure that Molly is still a virgin. This act sends Molly into shock, prompting Johnny to threaten to murder Molly’s mother. As both families try to address these problems, secrets are revealed, relationships are fractured, and acceptance triumphs over all.

Thematically, A Summer Place explores forbidden love (Ken and Sylvia) and innocent love (Molly and Johnny) through a subtle form of voyeurism. Everybody seems to be secretly watching everyone else. Johnny first sees Molly with a telescope and she watches him simultaneously with binoculars. Later, Helen spies on Johnny and Molly kissing in the garden. The hotel’s handyman spies on Ken and Sylvia and reports back to Helen. When Molly returns to boarding school, a gossipy classmate fortuitously sees Johnny kissing Molly outside a church. Even when the teens are cuddling in a private spot on the beach, a group of rowdy boys happen by to whistle at them.

Constance Ford as Helen.

The frank discussions about sex undoubtedly shocked audiences of the late 1950s. Peyton Place, released a year earlier, broached the topic of teen sex, but without the bluntness of A Summer Place. Early in the film, Molly confesses to her father how she knowingly undressed in front of her window so the boy next door could watch her. Helen constantly chastises her daughter for her “cheap behavior” (e.g., letting Johnny kiss her). She also tries to dress Molly in childish clothes that hide the girl’s figure. Her worst moment, though, is when she has the physician examine Molly after telling her daughter: “I’m not asking for the truth because I know you’d lie.”

Dorothy McGuire as Sylvia.

Though not a "woman's picture" along the lines of Douglas Sirk's Imitation of Life (also released in 1959), A Summer Place clearly revolves around strong female characters. Sylvia is obviously the one who runs the hotel--not her self-pitying husband Bart. Once Sylvia leaves the island, the hotel falls into disrepair. Helen may be a sexually-repressed, domineering woman, but perhaps her drive helped transform Ken from a lifeguard into a successful businessman. Molly, meanwhile, displays a more quiet strength--defying her mother when she writes to and secretly meets Johnny. Ultimately, her strength leads to the happy ending that eluded Sylvia and Ken for much of their adult lives.

No review of a Summer Place would be complete without mentioning composer Max Steiner's haunting, lyrical musical score. Steiner interweaves two melodies, one for the Ken and Sylvia and another for Molly and Johnny. The theme for the older lovers also opens the film as the main title. However, it’s the music for the young lovers that Percy Faith recorded in 1960 as The Theme from “A Summer Place.” The instrumental piece became a million-selling record and spent nine weeks at number one on Billboard’s Hot 100 chart.

A beautifully restrained Dorothy McGuire and a wonderfully over-the-top Constance Ford (as perhaps the decade’s bitchiest mother) give the best performances. However, A Summer Place is remembered as the film that launched the careers of Donahue and Dee (both had appeared in supporting roles in Imitation of Life). Director Daves and Donahue would reteam for three more films: Parrish (1961), Susan Slade (1961), and The Rome Adventure (1962). The best of the three was Parrish, an entertaining soap with several similarites to A Summer Place (e.g., it also features an older romance and a younger one).

Dee and Donahue would remain screen fixtures throughout the 1960s, although Dee became a bigger star (Donahue drifted into television, appearing in the series Hawaiian Eye and Surfside Six). Sandra Dee’s abrupt retirement from acting in the early 1970s contributed to her cult status among teen idols of the 1960s. On the other hand, Troy Donahue was relegated to minor roles in major films (The Godfather Part II) as well as direct-to-video features.